restaurant-le-train-bleu musee-orsay

from 18 April 2013 to 08 September 2013

The Queen of Art Deco The two exhibitions displayed simultaneously in both spaces of the Pinacothque de Paris allow visitors to discover the first retrospective of French Art Nouveau and its evolution towards Art Dco, through one of its icons, Tamara de Lempicka. While Art Nouveau was drying up and saw its shapes evolving towards an abandonment of the arabesque, to return towards a form of geometric aspect and transforming itself little by little into what is known as Art Deco, the representation of the female figure was also to undergo a major evolution. From sensuality and eroticism, we were to head towards a much more advanced, transgressive sexuality. The image of the tomboy as a defining characteristic of Art Deco was to provide Tamara de Lempicka with an overweening position in that movement, going so far as to make of her its icon. Tamaras assumed sexuality although she married twice, she openly proclaimed her taste for women and freely expressed her homosexuality was to correspond to the womens taste for emancipation at that time. Like Louise Brooks or Josephine Baker, Tamara de Lempicka was to embody that image of a woman whose status was the equivalent of a mans. The Pinacothque de Paris has today chosen to exhibit Tamaras works and to illustrate the way in which this artist, through her work but also through her personality: unclassifiable and ambiguous, was to perfectly embody the period she illustrated. Her very social and theatrical lifestyle was made up of a succession of displays that awarded the major role to modernity and to luxury. That relationship with modernity and transgression probably makes of her the most ambiguous character of the start of the 20th century. Playing without compunction on womens erotic attitudes or at the very least, on their sensuality, she nonetheless situated them within a neo-cubist universe, profoundly Art Deco.
between war and peace

21 february -21 july 2013

Chagall was nearly a hundred when he died in 1985. He had crossed most of the 20th century, living through one revolution, two wars and a period of exile, and rubbing shoulders with some of its most avant-garde artists. His personal experience of History, the memory of people he knew, his travels and his homeland shine through in his work. Twentieth-century art largely repressed allegory and narrative. It was because Chagall did not follow the rules and codes (or even dogma) of modernist thought, while drawing nourishment from it, that he was able to stay figurative and bear witness to his time. He borrowed some of the forms of the avant-garde movements (Cubism, Suprematism, Surrealism) and sometimes seems to come close to them, but in the end remained independent. The parallel between the images of war and the images of peace reveals the complexity of an oeuvre which can never be reduced to a particular genre, but enfolds events, situations and the artists feelings. Depending on the circumstances, Chagall comes back to a few themes, enriching them each time with a personal dimension: his home town of Vitebsk, the Jewish traditions of his childhood, episodes from the Bible, including the Crucifixion, the couple and family life. Opening with the outbreak of the First World War, the exhibition seeks to illustrate four key periods in Chagalls life and work: Russia in wartime Opening with the outbreak of the First World War, the exhibition seeks to illustrate four key periods in Chagalls life and work: Russia in wartime Opening with the outbreak of the First World War, the exhibition seeks to illustrate four key periods in Chagalls life and work: Russia in wartime Between the wars Exile in the United States The post-war years and the return to France
Pre-impressionist masters

22nd March- 22july 2013

Eugne Boudin was born in Honfleur in 1824. In 1835, his family moved to Le Havre. Eugne worked for a printer and then a stationer. This gave him the opportunity of meeting artists passing through. At the age of twenty-two, he gave up shop keeping for painting. At a time when classicism and romanticism in art were in conflict, he chose a new path, inspired by the painters of the 1830 school but firmly directed towards outdoor painting and the search to capture fleeting moments. In fact, he wrote in his notebook that, "three brushstrokes outdoors in nature are better than two days work at your easel". In 1858, he converted Claude Monet, his elder by sixteen years, to painting. Later Monet was to say, "I owe everything to Boudin". In 1859, he met up with Baudelaire, who was fascinated with the pastel studies of Boudin and later Courbet.
Trompe-lil. Imitations, pastiches et autres illusions

2 Feburary 2012November 2013

In the Muse des Arts Dcoratifs Study Gallery the public can discover the wealth of its collections via selections of rarely or never previously shown works from its storerooms, shown for an 18-month period. Trompe-loeil, as its name indicates, is meant to trick the eye, and originated in painting, in which the illusion created by a painted object relies heavily on perspective and chiaroscuro. In decorative art, this trickery of the eye took very diverse forms. Wallpapers, for instance, proved ideal for this form of expression. From the most modest to the most sumptuous, they all imitate materials: wood, lacquer, tiles, straw, velvet, and even framed pictures. Many imitations were of course done for economic reasons, and in this game of substitutes, one sees that for centuries many materials have been imitated by others: marbled ceramics imitating jasper, glazed ceramics imitating porphyry or gold, paste imitating the diamond, linoleum floorboards, and so on. This game of illusions evolved in the 19th century, when, historicism oblige, it was not only materials that were imitated but motifs too. Owen Jones famous The Grammar of Ornament, like its French equivalent, Albert Racinets lOrnement polychrome, provided numerous medieval and Moorish motifs for 19th-century creators. Fashion was no exception and became the theatre of the most outrageous illusions. In the 18th and 19th centuries, wigs, tournures and faux-cul were worn to give false impressions. In the 20th century, illusion focussed less on form than on the fabric itself, with the appearance of false wears and tears, false pockets, false buttons, etc. Like a treasure hunt traversing centuries and materials, this exhibition invites us into the great game of illusion or the vertigo of imitation.