Toute l'actualité

Dans le flou

Hans Hartung (1904-1989)
T1982-H31, 1982
Antibes, Fondation Hartung-Bergman
© Collection : Fondation Hartung-Bergman © Hans Hartung / Adagp, Paris 2024
on 09/07/2024

Autour de l’exposition « Berggruen, un marchand et sa collection »

Paul Klee (1879-1940)
Paysage en Bleu (Landschaft in Blau), 1917
Collection particulière, en dépôt au Berggruen Museum
© bpk / Museum Berggruen, Privatbesitz / Jens Ziehe / MBGP
on 04/07/2024

Éditeur d’un jour

Paul Guillaume
Les Arts à Paris, n° 2, 15 juillet 1918, 1918
Musée de l'Orangerie
© RMN-Grand Palais (Musée de l'Orangerie) / Archives Alain Bouret, image Dominique Couto
Vedi il bando dell'opera
on 04/07/2024

La fabrique des Nymphéas

Claude Monet
Reflets verts, entre 1914 et 1926
Musée de l'Orangerie
© Musée de l'Orangerie, dist. RMN-Grand Palais / Patrice Schmidt
Vedi il bando dell'opera
on 04/07/2024

Accesso al Museo dell'Orangerie • Giochi di Parigi 2024

© Camillegharbi / Camille Gharbi
on 30/05/2024

A causa dell'organizzazione dei Giochi di Parigi 2024, l'accesso al Musée de l'Orangerie è stato modificato. L'accesso al Jardin des Tuileries è limitato.
Vi invitiamo a consultare regolarmente questa pagina, che sarà aggiornata in base all'evoluzione della situazione.

Collezione Walter-Guillaume: il percorso

Camille Gharbi
on 21/05/2024

«Paul Guillaume, uno dei primi a essere colpiti dalla rivelazione moderna»
André Breton, 1923

Video • Interview with the curator of the exhibition « Robert Ryman. The act of looking »

© Musée de l'Orangerie
on 16/04/2024

« What mattered to Ryman,, and what matters when we show him today, is to show that it's not just about creating a painting in response to an idea, a concept, or a protocol, finishing only, when it meets protocol. His approach is completely different, totally opposite. It'a about painting, experimenting, testing. Ploughing further down a furrow, and, as he said himself, to show the how of painting and not the why.Ryman didn't really consider himself as a craftsman, but as a painter going further with what had already been done, putting the « doing » and above all, the gaze, back at the heart of the practice. It's the painter view on what painting is, and his tools. But mostly, it's the visitor's gaze, those who contemplate it, who are actively looking. It' about the effect that it brings to the viewer. After all, leading to a sensitive painting. »
Claire Bernardi