The Ambition of Painting is a major exhibition organized in collaboration with the Barnes Foundation in Philadelphia. It aims to restore complexity to Rousseau, too often reduced to that of a self-taught "customs officer," highlighting his awareness of his artistic language and his desire to fully integrate into the modern art system. Featuring approximately fifty works from international museums and the Barnes Foundation, the exhibition follows a thematic thread that runs through exotic landscapes, symbolic portraits, and urban scenes. Alongside his celebrated paintings of jungles and animals, the exhibition also explores the artist's public construction, from his self-portraits to his relationships with dealers and collectors such as Paul Guillaume and Albert C. Barnes. The analysis of his painting materials and techniques, conducted by the Centre de recherche et de restauration des musées de France, reveals a surprisingly sophisticated and deliberate approach. The exhibition design underscores how Rousseau, despite his lack of academic training, was able to construct an original pictorial vision, balancing apparent naiveté with formal calculation. His compositions, suspended between dream and reality, display a personal language that anticipates some of the explorations of European modernism. The "ambition" evoked by the title is not merely that of artistic success, but that of redefining the role of painting as a tool of imagination and freedom. Through this reinterpretation, the Musée de l'Orangerie invites us to consider Henri Rousseau not as an outsider, but as a protagonist of modernity, capable of combining rigor and imagination in a poetics that continues to question painting itself.
At the Louvre, the Carracci drawings reveal the birth of the Galleria Farnese, a Baroque masterpiece. A journey into the 17th-century workshop, where drawing becomes the architecture of the imagination.
A major retrospective in Paris brings Philip Guston back into focus, the artist who left abstraction behind to confront the political and social traumas of the 1970s through irony and grotesque imagery. His satirical drawings and figurative paintings reveal the courage to turn painting into a tool of critique and resistance.
John Adams’s opera returns to Paris from February 24 to March 20, 2026. Under Valentina Carrasco’s direction, Nixon in China blends political history and minimalist music to depict the 1972 meeting between the United States and China.
In Paname, Bilal Hamdad turns the city into a suspended stage, filled with anonymous figures and silent urban spaces. His large-scale paintings converse with art history in an emotional, poetic narrative about metropolitan solitude.
