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.
The Musée d’Art Moderne de Paris presents the first major Paris retrospective dedicated to Brion Gysin, an unconventional figure of twentieth-century avant-garde culture, inventor of the cut-up and the Dreamachine, whose work moved between the Beat Generation and the international art scene.
At the Jeu de Paume, the first major French exhibition devoted to Jo Ractliffe traces more than forty years of work across South Africa and Angola. Seemingly quiet landscapes function as repositories of memory, shaped by historical violence and its lasting traces.
At the Petit Palais in Paris, an exhibition traces more than a century of artists’ portraits and self-portraits, placing the museum’s historical collections in dialogue with the work of a generation of contemporary women artists.
The Musée d’Art Moderne de Paris revisits the legacy of Maurice Girardin, the collector and gallerist whose bequest played a decisive role in the museum’s creation. Through artworks, archival documents and bibliographic materials, the exhibition portrays a cultural mediator deeply rooted in the Parisian avant-garde scene.
