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Home , Catacombs of Paris, Gustave Moreau, Henri Cernuschi, Maison de Balzac, Maison de Victor Hugo, Niels Hansen Jacobsen

OMBES RIS ■ LES CATAC EN DE E DE PA E■ DEMAIS L’ÎLO STOIR ARISU AVAL ET – HI LEH ÉOLOGIQDE P DELERC LA – ■ YPTE ARCL ÉRAL LEE C ■ SÉE CARN E C DER LA VI E DE L’ÎL ÉE MU Q-JAYDERN ÉOLOGIQSÉE DU GÉUN ■ IERA,MUS DELLE RTGNA MOC U e SEYGAL L E BOUR ■ SÉEE D’ CAO ■ YPTERIS ARC – MH ■ P LAISE T ■ MUSÉ RISX-MUS MUÉ ISN DE CR PA RISIII – GUERNA ÉE AVALJEANE AC AU ÉRATIRO T DU XAV ■ N Z SÉELE DES DE BEA P MBESB DE PA OR HUGOÛ P MISSÉE - MU CARS ■ Q- N DE BAL L ■ RU RIS ■ O LAIS,IE DE M LAU VI ■ CATACSÉE DEO LA LI Q-JAY, LET GO DELLEN DE PA GNAC MAIS RIS M ONS DE VIC O ■ SÉE COA RIS ■ IT PAS IS U ■ MAIGNAC ■ EÉRATI BOUR MLE DE P A TSPE TDE L’A E DE RPA ■ SÉE CO S MUSÉB LU ER E DE P RISS AR TOILE DER PA MURIS AC E DERIS LA VI ■ M SÉEN DE RT MOD N LE SÉEDE P DAE T,A HIVISL RISE DE PA Z LEER DEN PA DELLE ÉRATIUO E D’ L U AVALE DEE L LE DE PAL ■ LOCQUEN DE BAL ET DE LART LI MOLD B S ■ MUS A E DEUSCHI, LA VI M ND TS LDE LA VIL MAISCO EIE D’ DEA LA VI ■ ESÉE BOU DER LA LI ONSE DE É ERE CERN ■ SÉE CAR X-AR RIS ■ MUSÉS ■ MUS MÉU ■ MAISÉES D RT■ MUS MODÉ N SÉE MU DE LA MO IE DEU LA VI E LERCDE PA DE HAUTEKINETS DE L’A AC RIS RIS U E D’ISA LLI RA,DELLE MU TSSÉE DE DES L’A BEAS ÉRALER LEN C SÉE DEDS AR LE DEZ PA E DEN USCHI,PA M ISZAC MUSDEÉ PAR E BOUER S ARU RT MOD ■ M SÉE ZA NA DE VI LBAL ■ E LCER N DE BALR ■ ■ MUSLAISÉ GA LAIS,E M E D’ N UU ■ MAISE DEO L MUSÉ ■ LE DE PA AC P ■ ITSÉE PA D ■■ SÉE DUA GÉ USCHI, M D TSÉ DE LA VIL MAISA VILO IE A PETU IS MMUSU É OME CERNTIQUEN RIS X-ART ERIS DE L ■ MU ÉES DELA BAL CITÉZ ULINUSCHI, M KINER ■ MUSÉ A LE SÉEDE PDEA LA MO DEU LA CI E DE PDA TS DE SL’A E CERN ■ LE DE PAD IS R E ER S AR ■ O M SÉE ZA RA,L MU SÉEE DE DES L’ÎL BEA SÉED DE NLA MO SÉEOR D HUGOE RTLE É SÉE MUS JEANÉ M A VIUL ■ ÉE DER LA VIE E DELLI LAE VI U RTU MO T E D’A VIL CIMU NTIQUEE DE L MBES MU SDE PA ■ ERLAIS GA ÉOLOGIQLAIS, M U ■ IERA,E D’A M ON DE VICU E DE L A T OM D P N ■ IT P GALMUSLÉ ■ MAIUSCHI, M X-MUSÉ A ■ OR HUGOO RT MODA PE HA e ■ LAI E CER N S D TS SÉE DE LAR MO LEST CATAC E D’A ■ULIN C YPTE ARCT PKINEA S ■ MUSULINÉ SÉE DE LAU MO X-AR M DE LA VIE RIS EÉ DE LA CITÉ IS R ■ SÉEIII ZAD IS O SÉE DES BEA MBESU DE U ■ E DEON PA DE VIC E DEX-MUS L’ÎL R O T DU M XV ÉE JEANR M RA, MU ■ CATAC O TOI MAIR S UU MBESSÉE DE JEAN PA M NTIQUEÛ U ISMBES - 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MU ÉRATION DE PA DE LA LIB

CITY OF PROGRAMME FOR 2020

MUSÉE D’ART MUSÉE COGNACQ-JAY MODERNE THE OF MUSÉE DE PARIS THE 18TH CENTURY DES BEAUX-ARTS DE LA VILLE THE ARCHAEOLOGICAL DE PARIS CRYPT OF MUSÉE BOURDELLE THE ÎLE DE LA CITÉ MAISONS DE MUSÉE CARNAVALET - PALAIS GALLIERA THE MUSEUM OF THE CITY OF PARIS MUSÉE DE LA VIE THE HISTORY OF PARIS FASHION MUSEUM ROMANTIQUE

THE CATACOMBS MUSÉE MUSÉE ZADKINE OF PARIS DE LA LIBÉRATION DE PARIS - MUSÉE CERNUSCHI MUSÉE DU GÉNÉRAL THE CITY OF PARIS LECLERC - MUSEUM OF ORIENTAL MUSÉE AND ASIAN ART JEAN MOULIN PARIS MUSÉES DEPARTMENT FOR DEVELOPING NEW PUBLICS, PARTNERSHIPS AND COMMUNICATION Director Josy Carrel-Torlet +33 (0)1 80 05 40 63 [email protected]

COMMUNICATIONS DEPARTMENT Head of Communication and Digital Services Philippe Rivière +33 (0)1 80 05 40 76 [email protected]

Head of Press and Public Relations Andréa Longrais +33 (0)1 80 05 40 68 [email protected] HIGHLIGHTS OF THE YEAR 2020

ver the last few years, Othe museums of the City of Paris have been the focus of major work to restore the fabric of the buildings will reopen with an exhibition and improve presentation of the great man’s private passions, of the exhibits, and also to make with pride of place going to the visitor’s experience a comfortable his drawings. Then, in the autumn, one. These renovations will be Contemporary art will also a first retrospective dedicated to completed during 2020, making be on display at the Maison de Balzac the painter François Auguste Biard it possible to present a particularly and the Musée de la Vie Romantique whose wife was, for a time, Hugo’s ambitious programme of temporary in the spring, with the latter mistress. The Musée Cernuschi exhibitions. The Musée Carnavalet - presenting an exhibition is also reopening in 2020 after Histoire de Paris, for example, in the autumn on the romantic theme a complete redesign of the permanent opening again after an ambitious of the storm. The Palais Galliera, exhibition trail, which will four-year programme of restorations the fashion museum, will also reopen improve the presentation as well and a completely redesigned tour in 2020 after renovation work as the conservation of the works. of the collections, will be hosting to convert the rooms on the ground The Zadkine Museum will be exploring a photographic exhibition floor. This will double the size the intersecting trajectories of in 2020: Cartier Bresson and Paris. of the galleries open to the public. Zadkine and Chagall. The exhibitions And the first temporary exhibition In the spring, the Palais is presenting have been devised with enhanced in the musée de la Libération the first exhibition in a French scenography and mediation techniques de Paris - musée du général Leclerc - museum dedicated to the work designed to appeal to a wide range musée Jean Moulin, which opened of Gabrielle “Coco” Chanel. This will of visitors. In addition to these major on 25 August 2019 in the Place be followed by a look at fashion exhibitions, the museums will be Denfert-Rochereau, describes the flight photographs from Vogue Paris. presenting projects that resonate of Parisians from the capital in 1940. The additional space created by with their collections, which are being the refurbishment means that, expanded and added to each year. The year 2020 will also be a busy starting in the autumn, the museum’s The international outreach of the City one at the Musée d’Art Moderne permanent collections will be of Paris museums continues apace, de Paris, which was renovated on display. with a number of exhibitions taking in 2019. The museum will place in foreign museums: fashion will focus on two contemporary The museums of the City of Paris once again be showcased in several French artists, Sarah Moon will be celebrating international museums. and Hubert Duprat, and will be with an exhibition devoted presenting two major historical to sculptor Niels Hansen Jacobsen A rich cultural programme open retrospectives, one on Romanian‑born at the Musée Bourdelle, to all will once again be provided, French artist Victor Brauner, and the golden age of Danish too. After the success of the first in the spring, and the other at the Petit Palais, which will edition in 2019, a new cycle on German-born American artists subsequently present the first major of Paris Musées art history lectures Anni and Josef Albers, in the autumn. retrospective in of the work has been scheduled. Paris Musées A major exhibition on ceramics of Russian painter Ilia Répine. The busy is also continuing its social outreach will be held as a follow-up to those programme at the Petit Palais also work in hospitals, prisons, hostels, devoted in recent years to tapestry includes exhibitions of prints and and other institutions. and artists’ jewellery. The Musée drawings, as well as a contemporary d’Art Moderne de Paris’s contribution presentation during the FIAC Finally, 2020 will also see great to the Africa 2020 season will feature International Contemporary Art Fair. innovations in the use of digital a selection of works by a dozen technology, with ground-breaking African women. To mark the 250th anniversary mediation initiatives and more works of the death of François Boucher, available online. the Musée Cognacq-Jay will be exploring the theme of love in the Age Christophe Girard of Enlightenment. Victor Hugo’s House, DEPUTY MAYOR OF PARIS FOR CULTURE which is currently being refurbished, PRESIDENT OF PARIS MUSÉES

Delphine Lévy DIRECTOR GENERAL OF PARIS MUSÉES

3 MUSÉE D’ART MODERNE DE PARIS 2

1

Hubert Duprat April - August 2020 For the first time in France, a major retrospective of the work of Hubert Duprat (b.1957). The exhibition presents series of photographs, sculptures and in situ works to trace the career of this ground-breaking artist, whose approach to art resembles the methods of a scientific collector. For some 30 years, Hubert Duprat has brought his archaeological imagination and scientific knowledge to bear on producing a highly varied and fascinating body of work. The artist invites us to discover unusual hybrids combining, for example, shagreen and polystyrene, coral and bread crumbs, quartz and paraffin. His work reflects the process of construction and explores Sarah Moon a diversity of forms. The whole of his output amounts to a corpus in which the monumental April - August 2020 and the miniature, minimal shapes and mannerist The Musée d’Art Moderne is organising the first retrospective virtuosity coexist. At the beginning of his in a French museum of work by Sarah Moon. Moon (b.1941) career, one of Hubert Duprat’s seminal works is primarily recognized as a major fashion photographer who has was inspired by the activity of caddisfly larvae. been active in France since the 1970s. But her work is not confined These larvae live in water, where they use silk to that domain, and the exhibition aims to convey the distinctiveness to wrap themselves in a protective cocoon; of both her photographic and her film work, which alternates they reinforce this with bits of gravel, between fairytale and grim romanticism. From her photographs, twigs and other debris from their habitat. where surprise and the unexpected play a major role, a body of work In a controlled environment, Duprat provided has emerged that can be compared to experimental research. caddisfly larvae with gold wire and pearls, Sarah Moon describes it as a “ballad”. Beyond the subjects – animals, leaving the creatures to manufacture delicate, plants, flowers and fairy tales –, the presence of the photographer jewelled cases. as narrator is felt throughout her work. The exhibition will be “Le Miroir du Trichoptère” [The Mirror of the Caddisfly], punctuated by films by Sarah Moon. Their variety gives an insight into the artist’s personal collection, containing the breadth of her creative range. A section of the exhibition will also more than two thousand works, engravings, be devoted to her partner, Robert Delpire (1926-2017), an art publisher objects, photographs and films, will be and one of the founders of the Centre National de la Photographie displayed in its entirety in a dedicated space (“National Photography Centre”, now the Jeu de Paume). in the museum’s collections.

CURATOR: Jessica Castex, exhibition curator #HubertDuprat CURATOR: Fanny Schulmann, curator of collections #SarahMoon 4 1 Hubert Duprat “Corail Costa Brava”, 1994-2016 2 Yohji Yamamoto II, 1996 Red Mediterranean coral and breadcrumbs Musée d’Art moderne de la Ville de Paris Julien Vidal / Parisienne de Photographie © Adagp 2019, Paris DIRECTOR - Fabrice Hergott 11 avenue du Président-Wilson, 75016 Paris +33 (0)1 53 67 40 00 Open 10:00 am - 6:00 pm Tuesday - Sunday Late opening Thursday until 10:00 pm for temporary exhibitions www.mam.paris.fr COMMUNICATION & PRESS RELATIONS Claire Schillinger +33 (0)1 53 67 40 09 [email protected] PRESS CONTACT Maud Ohana +33 (0)1 53 67 40 51 [email protected]

The Power of My Hands June - November 2020 The Musée d’Art Moderne presents The Power of My Hands, an exhibition featuring a selection of works by a dozen women from several countries on the African continent 3 and in the diaspora. In Africa, as in other parts 4 of the world, the activities assigned to women provide unique opportunities for creativity and negotiation. The women artists who take them up strive to interpret their relationship to private space as well as the public arena. They tend to create a territory beyond the silence and invisibility that have prevailed for so long. The works selected (, photographs, sculptures, and videos) reflect this intermingling of memory, family, tradition, religion and imagination. Part of Season Africa 2020. Victor Brauner April - August 2020 The Musée d’Art Moderne has organised the first retrospective of work by Victor Brauner (1903-1966) since 1972. It will include about 80 paintings, as well as a large number of drawings, sculptures, and objects. The exhibition will be presented at the Barnes Foundation, Philadelphia, in the autumn of 2020. Born in Romania, Victor Brauner was involved in the ferment of avant-garde artistic activity in the 1920s, (expressionism, Dadaist constructivism, etc.), before drifting towards a dream-like style of painting and then joining the surrealist movement in Paris in 1933. He embraced ’s pet themes (eroticism, random objectivity, the interpretation of dreams, and the occult sciences), bringing a distinctive and mysterious character to the movement. During the war, Brauner’s status as a foreign Jew, opposed to all forms of totalitarianism, forced him to go into hiding in the South of France. Ironically, this period of fear, loneliness and poverty, during which Brauner changed his style and techniques, as well as discovering an enthusiasm for the Esoteric, Kabbalah and alchemy, turned out to be a time of immense creativity. Back in Paris in 1945, he was thought of as a leader of the younger generation of post-war surrealists. Other influences, combining psychoanalysis, primitivism, archaism and myths, began to emerge. His fundamental quest was for a new, primordial language that would show, not reality, but the invisible and innermost forces of the world. 5

CURATORS: Sophie Krebs, general curator of collections, Jeanne Brun CURATORS: Odile Burluraux, curator of collections and Camille Morando, curatorial advisers #VictorBrauner and Suzana Sousa, independent curator #ThePowerOfMyHands 5 3 Victor Brauner (1903-1966). “Portrait of André Breton”, French writer (1896-1966) 5 Portia Zvavahera Oil on canvas, 1934. Paris, Musée d’Art moderne © Musée d’Art Moderne / Roger-Viollet © ADAGP Kubuda Mudumbu Rinerima (Rebirth from the Dark Womb), 2019 4 Victor Brauner (1903-1966). “La rencontre du 2 bis rue Perrel” Oil based printer’s ink and oil paint on canvas Oil on canvas, 1946. Paris, Musée d’Art moderne © Musée d’Art Moderne / Roger-Viollet © ADAGP © Portia Zvavahera. Courtesy of Stevenson, Cape Town / Johannesburg MUSÉE D’ART MODERNE DE PARIS

Josef and Anni Albers October 2020 - February 2021 The Musée d’Art Moderne is holding the first exhibition in France dedicated to Josef (1888-1976) and Anni Albers (1899-1994), pioneer artists of 20th century modernism. The two artists, who met at the Bauhaus, spent their lives together in a sensitive, creative dialogue on questions of colour, form and technique. In 1933, when the Nazi regime closed the Bauhaus, Josef and Anni Albers moved to the USA, where they both taught at Black Mountain College and trained generations of major artists, from Robert Rauschenberg to Sheila Hicks. The exhibition spans their careers, both as individuals and together and, through their abundant artistic output, reflects their interaction 7 and the sensitivity of their shared inspiration. The exhibition features over 250 works (paintings, photographs, graphic works and textiles, as well as a selection of furniture from the Bauhaus period) from prestigious public and private collections, both French and international, to illustrate the creative development of these two exceptional artists. The exhibition is organised in collaboration with the Josef and Anni Albers Foundation, Bethany, Connecticut, and the Josef Albers Museum Quadrat in Bottrop, Germany.

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Les Flammes The living art of ceramics October 2020 - February 2021 A constant source of inspiration and expression for craftsmen, artists and designers, ceramics is one of humankind’s oldest forms of artistic expression. This transhistorical exhibition focuses on ceramics in its intrinsic links to art and more broadly to mankind, addressing its connections to crafts, decoration, cooking, medicine, aeronautics and electronics. The exhibition includes pieces dating from the Palaeolithic to the present day. It presents works by such renowned artists as Paul Gauguin, , Pablo Picasso, Salvador Dali, Lucio Fontana, 9 Marcel Duchamp, Meret Oppenheim, Cindy Sherman and Jeff Koons, as well as historical pieces (Bernard Palissy, and the Manufacture de Sèvres), anonymous pieces (Greek vases, popular art), and also more ancient or non‑Western pieces (e.g. from , , and Peru). It also features pieces that break the rules, reinvent codes and subvert accepted approaches, even if the recipes, which are akin to alchemy, have hardly changed over the millennia. The thematic organisation of the exhibition presents ceramics along three complementary axes, starting with technique, then looking at the uses it is put to, and ending with questions of effect and meaning. This exhibition has been made possible by loans from a large number of well-known institutions and prestigious private and museum collections. It is the fruit of a collaboration between French and other international 10 academics and theoreticians.

CURATOR: Anne Dressen, exhibition curator #LesFlammes 6 7 Study for Homage to the Square: Amplified, 1957 8 Red and Blue Layers, 1954 9 . Plate decorated with the head of a woman Oil on Masonite - 61 x 61 cm Cotton – 61.6 × 37.8 cm on a white background The Josef and Anni Albers Foundation, Bethany, CT The Josef and Anni Albers Foundation, Bethany, CT Musée d’Art Moderne de Paris © 2019 The Josef and Anni Albers Foundation / Artists Rights Society © 2019 The Josef and Anni Albers Foundation / Artists Rights Society © Adagp, Paris. Photo credit: Julien Vidal / Parisienne de Photographie (ARS), New York / Adagp, Paris (ARS), New York / Adagp, Paris 10 Présence Panchounette, L’art à tout casser, 1990 Photo: Tim Nighswander / Imaging4Art Photo: Tim Nighswander / Imaging4Art DIRECTOR - Yves Gagneux 47 rue Raynouard, 75016 Paris +33 (0)1 55 74 41 80 MAISON Open every day 10:00 am – 6:00 pm except Mondays and certain national holidays DE BALZAC www.balzac.paris.fr

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Eduardo Arroyo: The Human Comedy February - May 2020 The exhibition presents some thirty paintings, collages and drawings, produced after 2014 by Eduardo Arroyo, who brought his detailed knowledge of Balzac to an examination of his own memories and a reflection on the process of memory. He sketched an autobiography with portraits of characters from the novels, portraits of the writer, and also representations of the places where he lived. Following a first exhibition of these works in Madrid in 2015, Arroyo pursued his research by focusing on the characters, this time with the idea of producing an illustrated edition of Balzac’s The Human Comedy. The project was thwarted by Arroyo’s death, but he had already produced many portraits of characters from the novels. These works by Arroyo represent the first attempt by a major artist to illustrate La Comédie humaine.

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CURATOR: Yves Gagneux, director of the Maison de Balzac #EduardoArroyo 7 1 Eduardo Arroyo, Balzac, 2014, collage on paper 2 Eduardo Arroyo, Elizabeth Baudoyer, 2014, paper collage 3 Eduardo Arroyo, Les Jardies, 2014, collage and mixed techniques on paper 4 Eduardo Arroyo, Chabert, 2014, collage on paper DIRECTOR - Amélie Simier 18 rue Antoine-Bourdelle, 75015 Paris +33 (0)1 49 54 73 73 MUSÉE Open Tuesday - Sunday 10:00 am - 6:00 pm www.bourdelle.paris.fr COMMUNICATION & PRESS RELATIONS Fasia Ouaguenouni BOURDELLE +33 (0)1 71 28 15 11 [email protected]

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The Strange Fairytales of N. H. Jacobsen 2 A Dane in Paris January - May 2020 The first exhibition in France devoted to Niels Hansen Jacobsen (1861‑1941) takes the visitor into the strange, dreamlike world of this Danish sculptor and ceramicist, who was a contemporary of Bourdelle. From 1892 to 1902, the Danish artist lived in Paris; his studio at Cité Fleurie (65 Boulevard Arago) was the meeting place 3 for a group of Francophile, Scandinavian symbolists such as the painter Jens Lund (1871-1924) and the printmaker Henriette Hahn (1862-1934). Hansen Jacobsen’s studio neighbours were sculptor and ceramicist Jean Carriès, Paul Jeanneney, the collector, and the illustrator Eugène Grasset. The sculptures that Niels Hansen Jacobsen created at that time – which included The Little Mermaid, Mask of Autumn, The Troll, The Shadow, and Death and the Mother –, give physical presence to the vastness of time, the founding myths, Hans Andersen fairy tales and the ancient oral tradition of Nordic folklore. Ignoring the academic canons and the conventions of realism, these legendary figures, with their disconcerting strangeness, embrace the poetry of and the formal explorations of Art Nouveau. While he was in Paris, playing with the alchemy of clay, enamels and the hazards of fire, Jacobsen also became a master potter. An exceptional collection of ceramics from the Vejen Kunstmuseum, a partner of the exhibition, is complemented by major loans from the Petit Palais, the Musée d’Orsay, and French public and private collections. The exhibition demonstrates Jacobsen’s crucial importance in the formal working out of symbolism and, in doing so, presents a small but spectacular anthology of the first French symbolist movement.

CURATORS: Jérôme Godeau and Amélie Simier, director of the Musée Bourdelle #NielsHansenJacobsen 8 1 Niels Hansen Jacobsen 2 Niels Hansen Jacobsen 3 The Birth of Venus Troll that can smell the blood Autumn Mask Pastel, c. 1912 of a Christian Enamelled stoneware, Musée des Beaux-Arts de la Ville de Paris, Petit Palais. Bronze, 1896. 157 x 198 x 85 cm 26 x 33.5 x 10 cm © Petit Palais / Roger-Viollet Jesuskirken, Valby, Danemark Vejen Art Museum, Danemark Photo: Pernille Klemp Photo: Pernille Klemp DIRECTOR - Valérie Guillaume 23 rue de Sévigné, 75003 Paris +33 (0)1 44 59 58 58 MUSÉE Open Tuesday - Sunday 10:00 am - 6:00 pm www.carnavalet.paris.fr COMMUNICATION & PRESS RELATIONS Camille Courbis CARNAVALET - [email protected] HISTOIRE + 33(0)1 86 21 23 66 DE PARIS

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Henri Cartier-Bresson - Paris November 2020 - February 2021 For its first exhibition after re‑opening, the Musée Carnavalet - Histoire de Paris, in partnership with the Fondation Henri Cartier-Bresson, will be presenting an opportunity to compare two of the greatest French photographers of the twentieth century, Eugène Atget and Henri Cartier‑Bresson. These two independent figures have left an outstanding legacy: Eugène Atget’s photos of Paris, and Cartier-Bresson’s images of change in the twentieth century. The Carnavalet exhibition focuses on the role of Paris in Cartier-Bresson’s artistic career and his particular take on the city where he lived when not on his frequent travels. His early work was much influenced by Atget and the Surrealists, but he went on to work for the rapidly expanding illustrated press. After the war, he made his mark with portraits of personalities and long‑term reportage. In Paris, he was always out observing people. He photographed historical events such as the Liberation in 1944 and the student uprising of May 68. He was fascinated by rebellions of every kind and would join on to a demonstration whenever he could. He was also a keen observer of the triumphs of the consumer society and what people did in their spare time. He was, above all, a flâneur, especially along the banks of the Seine. The exhibition features original prints, publications and audio-visual recordings by the artist. The photographs are from the collections of the Musée Carnavalet and the Fondation Henri Cartier‑Bresson, which is also hosting the exhibition 1 “Eugène Atget – Paris”, a tribute to Atget’s poetic vision, based on original prints from GENERAL CURATORS: Valérie Guillaume, director of the Musée Carnavalet - Histoire de Paris and François Hébel, the Musée Carnavalet collections. director of the Fondation Henri Cartier-Bresson #ExpoCartierBresson CURATORIAL ADVISORY COMMITTEE: Anne de Mondenard, head curator, musée Carnavalet - Histoire de Paris, Agnès Sire, artistic director and Aude Raimbault, curator of collections, Fondation Henri Cartier‑Bresson 9 1 Henri Cartier-Bresson, Jean-Paul Sartre and Jean Pouillon, 1946 2 Eugène Atget, Notre Dame Cathedral seen from the corner Collection du musée Carnavalet - Histoire de Paris of the rue des Chantres and the rue des Ursins © Henri Cartier-Bresson / Fondation Henri-Cartier Bresson / Magnum Photograph. Collection du musée Carnavalet – Histoire de Paris © Eugène Atget / Musée Carnavalet / Roger-Viollet DIRECTOR - Eric Lefebvre 7 avenue Vélasquez, 75008 Paris +33 (0)1 53 96 21 50 MUSÉE Open Tuesday - Sunday 10:00 am - 6:00 pm Museum opening hours during the exhibition: late opening Friday evenings until 9:00 pm www.cernuschi.paris.fr CERNUSCHI COMMUNICATION & PRESS RELATIONS Sylvie Lu +33 (0)1 53 96 21 73 [email protected]

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From Hiroshige to Kuniyoshi The Sixty-nine Stations of the Kiso Kaido- October 2020 - January 2021 The Kiso Kaido- was one of the five arterial 2 roads created in Japan during the Tokugawa period (1603-1868). It connected Edo, where the Sho-gun had his residence, and Kyo-to, the seat of the Emperor. Unlike the To-kaido-, which followed the coast to the former capital and had fifty-three post stations, the Kiso kaido- (kaido- means “route”), with sixty-nine stations, crossed 3 the mountainous interior, following a longer but spectacular route. In 1835 the Kiso Kaido- was the subject of a series of prints by Eisen (1790-1848) and Hiroshige (1797-1858), which proved highly popular. On the strength of this success, two other series were created, one painted by Kunisada (1786-1865) and the other by Kuniyoshi (1797-1861). In these works, the two artists approach the same theme from a personal standpoint, drawing inspiration from Kabuki theatre and Japanese folk legends. Two complete series of the Kiso Kaido- will be displayed in the exhibition. The first, by Eisen and Hiroshige, from the Leskowicz collection, is regarded as one of the most beautiful in the world for the quality of the prints and the freshness of the colours. The second series, by Kuniyoshi, is part of the Cernuschi collection and will be on public display for the first time. A selection of woodblock prints from the extremely rare Kunisada sequence in the Boston Museum of Fine Arts will be displayed alongside the two series. The exhibition trail follows the various stations on the route and will also feature a selection of objects with connections to the prints.

CURATOR: Manuela Moscatiello, head of Japanese collections at the Musée Cernuschi #Kisokaido 10 1 Keisai Eisen (1790-1848), The Sixty-nine Stations of the Kiso Kaido-, Nojiri, 2 Utagawa Hiroshige (1797-1858), The Sixty-nine Stations of the Kiso Kaido-, Distant View of the Ina River Bridge, c.1835-1836, polychrome woodcut, Oi, c.1836-1838, polychrome woodcut, 23.2 x 34 cm 23.2 x 34 cm The Jerzy Leskowicz Foundation The Jerzy Leskowicz Foundation 3 Utagawa Kuniyoshi (1798-1861), The Sixty-nine Stations of the Kiso Kaido-, Suhara: Narihira eloping with Nijô-no-tsubone -, 1852, polychrome woodcut, 36,2 x 27,5 cm. Musée Cernuschi, M.C. 4780-40 DIRECTOR - Annick Lemoine 8 rue Elzévir, 75003 Paris +33 (0)1 40 27 07 21 MUSÉE Open Tuesday - Sunday 10:00 am - 6:00 pm www. museecognacqjay.paris.fr COMMUNICATION & PRESS RELATIONS Anne-Claire Parize COGNACQ-JAY +33 (0)1 84 82 11 63 [email protected]

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The Rule of the Senses From François Boucher to Jean-Baptiste Greuze September 2020 - January 2021 To mark the 250th anniversary of the death of François Boucher (1703 - 1770), the Musée Cognacq-Jay explores the theme of Love in the Age of Enlightenment by examining its most extreme form, the iconography of promiscuity. The 18th century, an age par excellence of voluptuousness and promiscuity, signalled the awakening of sensual pleasure. Philosophers, writers and artists alike were keen to embrace the passions of love and carnal desire as subjects. Louis XV’s court painter, Premier Peintre du Roi François Boucher, who is usually associated with delicately sensual, pastoral love scenes, also painted erotic works that were astonishingly explicit. The exhibition plots a story of desire, from the first stirrings to the gratification of passion. Boucher’s most audacious creations are presented alongside erotic masterpieces by some of his contemporaries – his teacher, his students or rivals, such as Watteau, Pater, Greuze and Fragonard. Some sixty paintings and drawings from prestigious international collections, both public and private, can be seen under one roof in this exhibition, some of them for the first time in France. The exhibition suggests a different way of looking at these works: in terms of exchanges between the artists, the social and cultural 3 context of their production and the ways in which they were received, readily conflating the roles of viewer and voyeur. As one moves around the exhibition, one is inevitably led to reflect on what these works reveal about the condition of women in the Age of Enlightenment.

CURATOR: Annick Lemoine, director of the Musée Cognacq-Jay #EmpireDesSens CURATORIAL ADVISORY COMMITTEE: Guillaume Faroult, head curator, musée du . Françoise Joulie, Art Historian. Alastair Laing, conservateur honorary curator at the National Trust, Londres 11 1 François Boucher (1703-1770), Study of a foot for The Blonde Odalisque, c. 1746-1756, pastel. Paris, Musée Carnavalet © Musée Carnavalet / Roger-Viollet 2 François Boucher (1703-1770), Hercules and Omphale, 1735, oil on canvas. Moscow, Pushkin Museum © Pushkin Museum 3 Jean-Honoré Fragonard (1732-1806) The Stable, c. 1765. Bistre wash on paper Paris, Musée Cognacq-Jay © Musée Cognacq-Jay / Roger-Viollet DIRECTOR - Sylvie Zaidman 4 avenue du colonel Henri Rol-Tanguy, 75014 Paris MUSÉE + 33 (0)1 71 28 34 70 www.museeliberation-leclerc-moulin.paris.fr COMMUNICATION & PRESS RELATIONS DE LA LIBÉRATION Sandra Madueno + 33 (0)1 71 28 34 81 DE PARIS - [email protected] MUSÉE DU GÉNÉRAL LECLERC - MUSÉE JEAN MOULIN

1 1940: The Exodus of the Parisians February - August 2020 The museum’s first temporary exhibition in its new setting addresses the subject of the exodus of Parisians during the Second World War. From the beginning of May to mid-June 1940, the population experienced a distressing historical moment: the flight of eight million people to escape the advancing German armies. In scenes of unimaginable chaos, three-quarters of the population of Paris 2 took to the roads with as many of their necessary and treasured belongings as they could carry. The structures of society had suddenly collapsed. Few traces remain of this traumatic episode, it has to be said. 80 years later, the musée de la Libération de Paris - musée du général Leclerc - musée Jean Moulin examines what was both a French and a European tragedy. The aim of the exhibition is to describe to the public how, in the space of a few weeks, a well-organised society came to an abrupt end, and to reflect on the experience of refugees in general. The exhibition is essentially based on still or moving pictures, as well as contemporary documents (newspapers, archives). Few objects remain as evidence of this tragic moment, but a number of works of art in the form of drawings will be featured.

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CURATOR: Sylvie Zaidman, head curator of the collections and director of the Musée de la Libération de Paris - Musée du Général Leclerc - Musée Jean Moulin GUEST CURATOR: Hanna Diamond, specialist in the history of the French exodus of 1940, Professor at Cardiff University (Wales / UK) #ExpoParisiensExode 12 1 The May-June 1940 exodus in France © LAPI / Roger-Viollet 2 The June 1940 exodus © Roger-Viollet 3 Exodus. Paris, Place de Rome, 12-13 June 1940 © Roger-Viollet DIRECTOR - Gérard Audinet 6 , 75004 Paris +33 (0)1 42 72 10 16 MAISON DE Open every day from 10:00 am to 6:00 pm except Mondays and certain national holidays www.maisonsvictorhugo.paris.fr COMMUNICATION & PRESS RELATIONS VICTOR HUGO Florence Claval +33 (0)1 71 28 14 85 [email protected]

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2 François-Auguste Biard Retrospective exhibition November 2020 - March 2021 This is the first retrospective exhibition of the work of François-Auguste Biard The Private Passion (1799‑1882). It will include some 60 works from public and private collections in France of a genius and elsewhere. The exhibition presents L’atelier de Victor Hugo the work of a globe-trotting painter capable of recreating, sometimes spectacularly, Spring – Summer 2020 the magnificent landscapes of the North To celebrate its reopening after refurbishment, the museum invites as well as the Amazonian forest. He was you to discover an aspect of Victor Hugo’s private life – not his life an ethnographer, an attentive observer both as a writer but as a draughtsman who established himself as a fascinating of his contemporaries and of the peoples artist, completely unbounded by the norms of his century. Too often in far‑off places that he had come to know. reduced to a number of dreamlike or visionary landscapes, Victor Hugo’s He was part of the movement that, drawings are in fact many and varied. They are worth further from the end of the 18th century and throughout examination whenever the opportunity arises, although their fragile the 19th century, set out to explore the world, nature makes such opportunities increasingly rare. its flora, fauna and indigenous populations. The exhibition combines the great masterpieces from the collection His paintings of aspects of the slave trade are with sheets to be rediscovered. It seeks to plunge the visitor into the heart evidence that he was aware of the conditions of this artistic passion that Victor Hugo shared with only his family and the impact of exploration and conquest. and close friends, or kept for himself, like a secret garden. But he also enjoyed a career as a Salon painter A solitary and virtually self-taught artist, Victor Hugo nevertheless spent in Paris. He was famous in the 1830s and 1840s time, especially in his early days, looking at some of the romantic painters, for his humorous genre scenes, his seascapes such as Célestin Nanteuil, that he was associated with. He also talked and his astounding shipwrecks. He also tried to engravers who, during his lifetime, published his drawings in often his hand at history painting. spectacular fashion. He also looked inwards, torn between the sublime François Biard was the husband of Léonie Biard and the grotesque, between contemplation of nature and moral or political who had a seven-year love affair with Victor Hugo satire, which were the two sides of his mind, alternating throughout his life which ended in 1851 when Victor Hugo went and creating a dividing line between his landscapes and his caricatures. into exile. His work was also an expression of complicity with , in whose home, in 1850, he produced his greatest drawings, and who was often CURATORS: Vincent Gille, curator of the collections the first to see them, as well as being the first person to collect them. at the Jérémie Macgowan, director of the Nordnorsk CURATOR: Gérard Audinet, director of the Victor Hugo Houses, Paris / Guernesey, Kunstmuseum, Tromsø assisted by Claire Lecourt #ExpoVictorHugo Baptiste Henriot, art historian #FrançoisBiard 13 1 Victor Hugo, Le champignon, 1850 drawing, Maisons de Victor Hugo © Maisons de Victor Hugo / Roger-Viollet 4 François Auguste Biard. Boat Attacked by Polar Bears in the North Sea, 2 Autograph manuscript by Victor Hugo (1802-1885). Illustrated traveller’s tale in Album Chenay Folio 21, Oil on canvas, Tromsø, Nordnorsk Kunstmuseum drawing by Victor Hugo. “VICTOR HUGO”. watercolour, gouache, charcoal, brown ink on paper Paris, Maison de Victor Hugo 3 “Le Poème de la Sorcière, série La torture: Le Bourreau” Drawing, pen and brown ink wash on vellum, by Victor Hugo (1802-1885) © Maisons de Victor Hugo / Roger-Viollet MUSÉE DE LA VIE ROMANTIQUE 3

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Talking about the heart Niki de Saint Phalle, Jim Dine, Annette Messager, Sophie Calle, Pierre et Gilles... February - July 2020 This exhibition is part of the Musée Following who, through her writing, laid full claim de la Vie Romantique’s project to extend to the profoundly romantic gesture of opening a way to the depths its programming beyond the 19th century of the heart, the exhibition provides an aesthetic and symbolic by presenting Romanticism in contemporary exploration of the heart and its representation in art. art and by showcasing artists whose work Echoing the four hearts in the collection, and especially resonates with the permanent collections. the key theme of romanticism – the expression of love –, the Musée The title “Raconter le coeur” is a reference de la Vie Romantique is presenting, for the first time together, to an explanation by George Sand, a selection of 40 contemporary works by various artists. The heart in a letter to Émile Regnault in 1832, as motif and symbol is depicted here in various media, including of what she was doing in the novel Indiana, painting, drawing, sculpture, ceramics, neon and photography. which she was writing at the time: “[...] In addition to the emblematic figures of Niki de Saint-Phalle, Jim Dine, What could be more interesting than the story Annette Messager, Sophie Calle, Pierre et Gilles, Jean-Michel Othoniel of the heart, when it is true? It has to be told and Françoise Pétrovitch, visitors to the exhibition will encounter work truthfully, though, that’s the difficult part [...]” by more than twenty major artists in the history of contemporary art. (cf. George Sand, Letters). The exhibition invites us to take a sensitive and poetic look at the museum’s collection through a prism held up closely to passion, feeling and romance – all of it springing directly from the heart.

CURATORS: Gaëlle Rio, director of the Musée de la Vie romantique and Maribel Nadal Jové, guest curator #Cœur 14 1 Pierre et Gilles, 40th Birthday (Pierre et Gilles), 2016, photograph, 3 Jim Dine, Irene, 1993, oil paint and enamel on canvas, 123 x 102 x 6 cm, Galerie Templon 213.4 x 137.2 cm, Galerie Templon 2 Annette Messager, Cœur au repos (Resting Heart),2009 Metal wire, black net, 43 x 100 x 17 cm Collection Antoine de Galbert, Paris DIRECTOR - Gaëlle Rio Hotel Scheffer-Renan 16 rue Chaptal, 75009 Paris +33 (0)1 55 31 95 67 Open Tuesday - Sunday 10:00 am - 6:00 pm www.museevieromantique.paris.fr COMMUNICATION & PRESS RELATIONS Catherine Sorel +33 (0)1 71 19 24 06 [email protected]

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Storms and Shipwrecks Turner, Géricault, Isabey November 2020 - March 2021 This exhibition explores European maritime art, which flourished brilliantly at the end of the 18th century and in the first half of the 19th century. Romanticism delights in upheaval, whether it is emotional, sentimental or meteorological. The sea, by its sheer immensity, appealed to the aspirations of the time. As the critic Louis‑Edmond Duranty observed, romantic spirits love “shipwreck, storms, boarding parties, fire, the sea with its dramas 5 and melodramas.” In the late 18th century, Joseph Vernet (1714-1789) painted La Mort de Virginie, inspired by the tragic end of Bernardin de Saint-Pierre’s pastoral novel. It was in keeping with the spirit of the age, which delighted in a mixture of sensitivity, the sublime and the sepulchral. Across the Channel in England, William Turner (1775-1851) painted a number of scenes of shipwreck between 1802 and 1810 with a grandiose touch that prefigured late 1820s romanticism. His emphasis was on the dramatic aspects of the sea, releasing energy and making the paint seem to explode. Artists like Géricault (1791-1824), Isabey (1767‑1855) and the first three official Painters of the Navy: Garneray (1783-1857), a sailor by profession, Crépin (1722 1851) and Gudin (1802-1880) were inspired by contemporary events and used the many published tales of shipwrecks to illustrate the sensational nature of the drama and to cast aside all classical references. With his drawings 6 in black-ink wash of tenebrous breaking waves, Victor Hugo occupies a legitimate place among the dramatic illustrators of the sea. The dramatic, tormented representation of nature, expressed as the sublime, finds resonances in the literature of authors as diverse as Denis Diderot, Victor Hugo and Alfred de Vigny.

CURATOR: Gaëlle Rio, director of the Musée de la Vie Romantique #TempetesEtNaufrages 15 4 William Turner, The Shipwreck, 1805, London, Tate Gallery 5 Théodore Géricault (after), The Storm or The Shipwreck, 1892, Musée des Beaux-Arts de Rouen 6 Eugène Delacroix, The Shipwreck of Don Juan, c. 1841, Musée du Louvre PALAIS GALLIERA

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To increase the scope of its service to the public, the Palais Galliera has been able to double its exhibition space by refurbishing the areas on the ground floor. The work, which is sponsored by Chanel, began in the autumn of 2018 and will be completed in the spring of 2020. The new galleries will cover an area of 670 m² in the red-brick, vaulted cellars of the Palais. They will be used to accommodate large temporary exhibitions on both floors of the museum and, at other times, to display items from the museum’s permanent collection. The opening of these rooms coincides with the 100th anniversary of the donation that founded the Palais Galliera collection. It was in 1920 that the Société de l’Histoire du Costume, created by Maurice Leloir, donated its collection to the City of Paris. The subject of the first exhibition is a history of fashion traced through the history of the Palais, from its origins to the present day, describing the growth of its collections and illustrating the museum’s contribution to the scientific and artistic recognition of the discipline. The Palais’s finest pieces are given particular prominence in this exhibition in order to showcase the exceptional quality of the museum’s assets, the result of a century of building up its collection.

16 1 “Rouge baiser”, illustration for a planned advertising poster by René Gruau, vers 1950 © René Gruau / Galliera / Roger-Viollet 2 Robe volante, c. 1720-1730 © Julien Vidal / Galliera / Roger-Viollet 3 Schiaparelli, “Phoebus” cape, A / H 1938-1939 © Eric Emo / Galliera / Roger-Viollet 4 Comme des Garçons, dress, A / H 2017-2018 © Françoise Cochennec / Galliera / Roger-Viollet DIRECTOR - Miren Arzalluz 10 avenue Pierre Ier de Serbie, 75116 Paris +33 (0)1 56 52 86 00 Open Tuesday - Sunday 10:00 am - 6:00 pm www.palaisgalliera.paris.fr COMMUNICATION & PRESS RELATIONS Anne de Nesle +33 (0)1 56 52 86 08 [email protected]

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Gabrielle Chanel, Fashion manifesto Spring - Summer 2020 The Palais Galliera is presenting a major exhibition dedicated to the work of Gabrielle Chanel. This is the first retrospective ever held in Paris; it pays tribute to the great couturière, whose creations are still synonymous with modernity and elegance, while also illustrating the essential role of her image in the promotion and success of her creations. From the models in jersey of her early days, 8 which were a complete break with the fashion of her time, to the sophisticated dresses of the 1930s, and the iconic tailleur of the 1950s and 1960s, the selection reflects the birth and evolution of a style based on intangible values interpreted and brought into existence Vogue Paris - 100 years with great subtlety by Mademoiselle Chanel. The presentation also lays emphasis Autumn - Winter 2020 on the codification of this style, which is The Palais Galliera presents an exceptional exhibition to celebrate still recognizable today, through a fabulous the 100th anniversary of the magazine Vogue Paris. the Parisian edition selection of exquisite jewels and costume of Vogue has shown itself to be a staunch defender of artistic and literary jewellery – emblematic accessories creation, a discoverer of talent, and has turned fashion into a cultural and essential counterpoints to the uncluttered and social object as well as an object of desire. For 100 years, Vogue’s silhouette so characteristic of the style. fashion choices have driven Parisian excellence and innovation, The exhibition is both chronological from haute couture to young designers and also prêt-à-porter. and thematic, with a scenography The illustrations and photographs convey the image of an immediately inspired by places and settings that reflect recognizable, mythical Paris, but also a festive and artistic Paris the personality and very personal world that has a nightlife but can at times be serious. of Mademoiselle Chanel. Special issues have been produced by personalities who are emblematic This retrospective follows the development of Parisian culture. The covers over the years reveal the portrait of Gabrielle Chanel’s work and shows how of the Vogue woman. She is Parisian, liberated and passionate. her creations – clothes, accessories, jewellery, The editorials, the visual choices (the photos, the drawings, the layouts) and perfumes – were designed as an integral and the cultural content are all part of the magazine’s Parisian part of a unified vision and constitute identity. Freedom of tone and style, creativity and non-conformism a manifesto that is far more than a mere are the key words in this laboratory of ideas and images that Vogue Paris fashion statement. has always been. Through photographs, drawings, magazines, archives and films, this exhibition showcases the importance and the uniqueness CURATORS:  of the role that Vogue Paris plays in promoting Parisian creativity Miren Arzalluz, director of the Palais Galliera and Paris as the international capital of fashion. Véronique Belloir, head of the collection, and the curatorial team of the Palais Galliera. Olivier Saillard, artistic director CURATORS: Sylvie Lecallier, head of collections #ExpoChanel Marlène Van de Casteeke and Alice Morin, artistic advisers #ExpoVogue 17 5 Suzy Parker wearing Chanel, Vogue français, 1954 © Henry Clarke / Galliera / Roger-Viollet 8 Guy Bourdin, December 1976 6 Portrait of Gabrielle Chanel in her apartment at the Paris Ritz, by François Kollar, 1937 9 Helmut Newton, September 1975 © François Kollar / Galliera / Roger-Viollet 7 Chanel tailleur, Vogue français, 1958 © Henry Clarke / Galliera / Roger-Viollet PETIT PALAIS

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In the Drawing Room Masterpieces from the Prat Collection March - July 2020 The collection of Louis-Antoine and Véronique Prat, which they started in the 1970s, has become one of the world’s most prestigious private collections of French drawing and, in 1995, it became the first to be shown in an exhibition at the Louvre. Le Petit Palais has decided to organize a new and expanded presentation of this collection in 2020 to coincide with the opening of the Salon du Dessin, an event that attracts all French and international art lovers. The Prat collection focuses on illustrations from the French school before 1900, and provides a particularly representative overview of three centuries of , from Callot to Seurat. The two collectors have always favoured works that are significant landmarks in art history, and some of their most famous drawings are closely associated with the genesis of seminal works in French painting: the decorations at Versailles, for example, by Le Brun, Coypel and La Fosse, Andromache Mourning Hector by David, The Dream of Ossian by Ingres, and Degas’s The Belleli Family. The drawings by Poussin, Watteau, Prud’hon, Delacroix, Gros, Millet, Redon, Cézanne and Toulouse‑Lautrec in this collection are certainly among their most important. The collection also includes masterpieces by artists such as La Hyre, Restout, Vincent, Peyron, Girodet, Doré and Gustave Moreau, who until recently were still forgotten, but who are gradually finding their rightful place in art history.

CURATORS: Pierre Rosenberg, honorary president-director of the Musée du Louvre Christophe Leribault, director of the Petit Palais #CollectionPrat 18 1 Eugène Delacroix (1798-1863), 2 Pierre-Paul Prud’hon (1758-1823), The Soul Breaking the Bonds that Tie Horse Kicking, watercolour, it to the Earth, 1821, black and white chalk, 44.7 x 33.2 cm, Paris, gouache Collection Prat

DIRECTOR - Christophe Leribault Avenue Winston-Churchill, 75008 Paris postal address: 5 avenue Dutuit, 75008 Paris +33 (0)1 53 43 40 00 Open Tuesday - Sunday 10:00 am - 6:00 pm Late opening on Fridays until 9:00 pm for the temporary exhibitions Wheelchair accessible www.petitpalais.paris.fr COMMUNICATION & PRESS RELATIONS Mathilde Beaujard +33 (0)1 53 43 40 14 [email protected]

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The Golden Age of Danish Painting April - August 2020 In the spring of 2020, for the first time in France in nearly thirty-five years, the Petit Palais is presenting an exhibition celebrating the golden age of Danish painting (1800 to 1864). The exhibition, jointly organised by the Nationalmuseum, Stockholm, the National Gallery of Denmark (SMK, ) and the Petit Palais, includes more than 200 works by leading artists of this period, including Christoffer Eckersberg, Christen Købke, Martinus Rørbye and Constantin Hansen. The exhibition has benefited from research carried out over many years and offers a comprehensive analysis of this artistic period. It focuses on a number of key themes relevant to the social, political, economic and cultural conditions of 19th century Denmark. At the same time, it provides a broad overview of familiar subjects such as life in Copenhagen, the artist at work, travelling, landscape painting and the family. These precise and delicate paintings are also notable for the originality of their frames. The exhibition is organised jointly by the Statens Museum for Kunst, Copenhagen and the Nationalmuseum, Stockholm.

CURATOR: Servane Dargnies de Vitry, curator of 19th century paintings at the Petit Palais. #PeintureDanoise 5 CURATORIAL ADVISERS: Peter Nørgaard Larsen and Annette Rosenvold Hvidt (Statens Museum for Kunst, Copenhagen) – Magnus Olausson and Carl-Johan Olsson (Nationalmuseum, Stockholm) 19 3 Christen Købke (1810-1848), 4 Martinus Rørbye (1803-1848) View from the Artist’s Window, 1825 View of Dosseringen, 1838, Oil on canvas, 38 x 29.8 cm Oil on canvas, 53 x 71.5 cm Copenhagen, Statens Museum for Kunst Copenhagen, Statens Museum 5 Christen Købke, View from the Loft of the Grain Store at the Bakery for Kunst in the Citadel of Copenhagen, 1831, Oil on canvas, Copenhagen, SMK PETIT PALAIS

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Ambroise Vollard, from Bonnard to Picasso Petiet and the trade in old master prints September 2020 - January 2021 An outstanding figure in the art market at the turn of the century, Ambroise Vollard (1866-1939) was famous for his bold investments in art. He championed Cézanne and Gauguin, as well as the young Picasso and . For this exhibition, the Petit Palais has chosen to focus on Vollard’s central role as a publisher of prints and illustrated books. As the recipient of many donations and legacies from Vollard himself as well as from his heirs, the Petit Palais will be showcasing this exceptional collection of prints. Vollard was passionate about this kind Ilya Repin of publishing and, to finance it, he invested October 2020 - January 2021 his profits from the more lucrative trade in paintings by the modern masters who This major exhibition is the first retrospective in France dedicated were under contract to him. to Ilya Repin, who is regarded as the most famous Russian painter He involved himself in the choice of paper, of the 19th century. He is generally associated with the realist the typography, the printers, and various other movement, but his style evolved over time and had a profound influence aspects of production for these exquisite books. on the development of 20th century Russian painting. Repin was A particularly novel aspect of the exhibition a witness to all the upheavals of 19th century Russia. He was interested will focus on the activities of Henri Petiet in the various aspects of Russian cultural life (literature, , (1894-1980), the art dealer who bought and science) and particularly aware of the profound historical changes the stock of the Galerie Vollard at the end taking place in his country. The show covers the full diversity of themes of the war. He, too, was a discoverer and subjects that Repin worked on during his life, the range of genres of talent and a patron for such diverse that he covered and the various aspects that typify his manner personalities as Jean‑Émile Laboureur, of painting. With around 120 paintings, including several spectacular A. Dunoyer de Segonzac, Maillol large formats, the exhibition has been made possible by prestigious and Marie Laurencin. The presentation loans from the Tretyakov Gallery in Moscow and the Russian Museum of Henri Petiet as such a pivotal figure in St Petersburg, as well as loans from other institutions in Russia is the fruit of recent research and discoveries and elsewhere. In the spring of 2021 the exhibition will move which shed new light on the market for to the Ateneum Museum, Helsinki. French prints in the 20th century.

CURATORS: Tatiana Yudenkova, head curator of the department of 19th century CURATOR: Clara Roca, head curator of 19th paintings, Galerie Tretiakov, Stéphanie Cantarutti, head curator for 19th century paintings, and 20th century Prints and Drawings at the Petit Palais and Christophe Leribault, director of the Petit Palais #Repine #AmbroiseVollard 20 6 Portrait of Modest Mussorgsky, 1881, 8 Paul Cézanne. Ambroise Vollard, 1899. Musée des Beaux-Arts oil on canvas, 0.72 x 0.585 m, Moscow, Tretiakov Gallery de la Ville de Paris, Petit Palais © Petit Palais / Roger-Viollet 7 Portrait of Baroness Varvara Üxküll von Hildenbandt, 1889, oil on canvas, 1.96 x 0.72 m, Moscow, Tretiakov Gallery DIRECTOR - Noëlle Chabert 100 bis rue d’Assas, 75006 Paris +33 (0)1 55 42 77 20 MUSÉE Open Tuesday - Sunday 10:00 am - 6:00 pm www.zadkine.paris.fr COMMUNICATION & PRESS RELATIONS Fasia Ouaguenouni ZADKINE +33 (0)1 71 28 15 11 [email protected]

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4 2 Chagall | Zadkine | Intertwined Paths November 2020 - April 2021 Chagall and Zadkine were born The proximity of the work of these two major figures of 20th century and grew up in the same provincial city art had, however, never been studied. Yet the works of Chagall in many of Viciebsk, located in the west of what ways provide a significant key to understanding the singularity of those was at that time Tsarist Russia. From that of Zadkine, shedding a powerful and revealing light on them and helping world, whose atmosphere was immortalized to pinpoint those elements which, along with avant-garde overtones, by Chagall, to Paris, where they settled before are so subtly infused in them. the First World War and where, on arrival The exhibition, prepared with the support of Marc Chagall’s family, from Russia, they both lived in the artists’ will reveal this proximity and seek to account for the formal vocabulary colony at , then on to New York, with its distinctive accent and beauty so peculiar to these two artists where they went into exile in the 1940s, whose roots were deeply embedded in an imagination and a shared the lives of these two men – governed sensitivity that reflected the world in which they were both born by the grim vicissitudes of the 20th century – and which they carried inside them all their lives. followed a surprisingly similar course.

CURATOR: Véronique Gautherin, assistant director, curator of collections at the Musée Zadkine #ChagallZadkine 21 1 “Ossip Zadkine”, photograph by Marc Vaux, c. 1914. 3 Marc Chagall, Cain and Abel, 1911, gouache on paper, Private collection © ADAGP, Paris 2019 Paris, Musée Zadkine © Marc Vaux / Musée Zadkine / Roger-Viollet 4 Anonymous, Marc Chagall in Saint Petersburg, 17 June 1910 © Archives Marc et Ida Chagall, Paris 2 Marc Chagall, Self-portrait (Head with Halo), 1911 oil, gouache and silver pigment on wrapping paper. Private collection © ADAGP, Paris 2019 THE MUSEUMS OF THE CITY OF PARIS parismusees.paris.fr

Maison de Balzac The City of Paris museums occupy some exceptional buildings: private mansions in the heart of historic areas of Paris, palaces built for universal expositions and artists’ studios. These prestigious assets make the city museums places of immense charm and status. All this property requires substantial and regular investment in order to maintain ideal conditions for visitors and to transform them into effective museums for the 21st century. And indeed, after a major wave of refurbishments in 2019, several museums are reopening in 2020 with new layouts for visiting the collections, new reception areas, and new public amenities in order to make access Nestling on the hillsides of , Balzac’s House is the only one to the museums and the time spent in them even of the novelist’s Parisian residences that still survives. It was more comfortable and pleasant. in the study of this house, between 1840 and 1847, that Balzac corrected the manuscripts of La Comédie Humaine. The museum has deployed portraits of the artist and characters from his novels, paintings, Musée d’Art Moderne engravings, and drawings, along with a well thought-out scenography de Paris to encourage the visitor to think about Balzac, and to discover the books that make up La Comédie humaine or to want to re-read them. After several months of refurbishment, the Maison de Balzac reopened its doors in the summer of 2019 with a new visitors’ trail, a renovated garden with a tea room, and a reception area providing improved access to the writer’s home. www.balzac.paris.fr Musée Bourdelle

The Musée d’Art Moderne is housed in a building erected for the 1937 Universal Exposition. Its collection, with more than 15,000 works, reflects the great artistic movements and currents of the 20th century: , cubism, the Paris School, abstraction, new realism, narrative figuration, conceptual art. The temporary exhibitions are devoted to major movements and artists on the European scene In the gardens, studios and the apartment where Antoine Bourdelle of the 20th and 21st centuries. The programme (1861‑1929) always worked, the Musée Bourdelle displays works also covers national and international trends from his entire working life: marbles, plasters and bronzes through monographic or thematic exhibitions. by the man who was Rodin’s assistant and the teacher of Giacometti Recent refurbishments have created a new and Germaine Richier. Christian de Portzamparc’s contemporary reception area and made the museum accessible extension (1992) brings out all the dramatic power of the sculptor’s to all members of the public, as well as creating monumental work. a new layout for visiting the collections. www.bourdelle.paris.fr www.mam.paris.fr 22 Musée Carnavalet – Musée Cernuschi, musée des arts de l’Asie Histoire de Paris de la Ville de Paris

RE-OPENING RE-OPENING

The Musée Carnavalet, the museum of the history of Paris, re-opens The Musée Cernuschi has been open to the public for more in spring 2020 after a three and a half-year period of refurbishment. than 120 years. It has a collection of nearly 14,000 Chinese, Japanese, The renovation involved partial restructuring and museographic Vietnamese and Korean objects. When the current refurbishment changes and was carried out by the agency François Chatillon Architect, is finished, the museum will re-open in the spring of 2020 associated with Snøhetta and the NC Agency (Nathalie Crinière). with a redesigned permanent exhibition and new museography. The museum is located at 23 rue de Sévigné, in the heart of The former presentation, focusing on the large collections of Chinese district in Paris. This historical monument has now been restored in line archaeology, will be extended chronologically to provide a vision with current conservation standards, and the public is invited to discover of that includes the modern era, with perspectives on inter‑Asian a new trail through the permanent collections, designed as an authentic exchanges thanks to the museum’s unique Korean, Japanese, journey into the past and present of Paris. Some 4,000 works, 10% of which and Vietnamese collections. are at child’s height, offer an insight into the history of Paris from The museum will also have a space devoted to Henri Cernuschi’s prehistoric times to the present day. Paintings, sculptures, furniture, personal collection, as well as a new display room for Asian paintings. woodwork, historical and commemorative objects, shop signs, photographs, The new approach to mediation, which is at the heart of the project, drawings, prints, posters, medals, and archaeological collections are all will involve a range of features, particularly digital tools, to add on display in an exceptional historical setting covering an area of 3,900 m2 contextualization and greater interactivity to the visitor experience (42,000 sq. ft.). The Musée Carnavalet - Histoire de Paris is now properly – in keeping with the museum’s commitment to providing optimum accessible to all, and retains its unique atmosphere and charm. It encourages conditions for the visitor to discover Asian art from the past discoveries, experiences and an openness to contemporary issues. and the present. www.carnavalet.paris.fr www.cernuschi.paris.fr Les Catacombes Musée Cognacq-Jay de Paris Le musée du XVIIIe

The are ossuaries in part of an underground network The Musée Cognacq-Jay houses the collection of eighteenth‑century of former limestone quarries. They were created in 1786 as part of art amassed by Ernest Cognacq (1839-1928), founder of the La Samaritaine the effort to eliminate the city’s overflowing and insalubrious . department stores. Ernest Cognacq was a great lover of 18th century art, The cemeteries were closed and bones were taken to the catacombs which, under the Second Empire, was regarded as the height of elegance th from the end of the 18 century until the 1960s. During the First Empire, and refinement. The museum was opened in 1929 in a building adjoining around 1810, the Inspector General of Quarries, Héricart de Thury the Samaritaine de Luxe near the Opéra, and named after Ernest Cognacq (1776-1854) had renovations done to transform the bone galleries and his wife and business partner Marie‑Louise Jay. The collection into a visitable mausoleum much as it is today. The tour begins includes masterpieces by Boucher, Fragonard, Tiepolo, Chardin, Houdon, at No. 1 Avenue du Colonel-Henri-Rol-Tanguy (Place Denfert‑Rochereau), and Canaletto. In 1990 the museum was transferred to the Hôtel Donon, th in the 14 arrondissement. Visitors descend some 20 metres underground a fine example of a late 16th century town mansion in the Marais district and, since April 2017, emerge on the Avenue René Coty. of Paris. www.catacombes.paris.fr www.museecognacqjay.paris.fr 23 Crypte archéologique Musée de la Libération de Paris - de l’île de la Cité musée du général Leclerc - musée Jean Moulin

Created in 1980 under the square in front of Notre-Dame Cathedral to display the archaeological remains uncovered during excavations The museum opened on 25 August 2019, to coincide with between 1965 and 1972, the crypt provides a unique overview the 75th anniversary of the Liberation of Paris. After four of the urban and architectural development of the Île de la Cité, years of restoration work, the museum is in a new location the historical heart of Paris. There is a concrete walkway at half‑height with a new exhibition layout to provide a visit guided by Jean Moulin for visitors to view archaeological remains dating from classical and General Leclerc. The scenography uses the architecture to tell antiquity to the 17th century. The remains cover an area of approximately the story of a world at war, to present voices and narratives and 1,250 m². The Archaeological Crypt was managed by the Caisse nationale to examine the crucial notion of commitment. There are state‑of‑the‑art des Monuments Historiques until August 1999. Since then, it has been computer tools for visitors at every stage of the exhibition. The Command part of the Musée Carnavalet - the museum of the history of Paris. Post of Colonel Henri Rol‑Tanguy is open to the public for the first time. It is now wheelchair accessible. An exhibition devoted to Notre Dame It is 20 metres underground and accessible by stairway. A virtual visit Cathedral, from Victor Hugo to Viollet-le-Duc, is scheduled for 2020. is also possible. The visitor is taken back in time to those days which www.crypte.paris.fr were so crucial to the liberation of Paris. www.museesleclercmoulin.paris.fr Palais Galliera, musée de la Mode de la Ville de Paris Petit Palais, musée des Beaux‑Arts de la Ville de Paris

RE-OPENING

Located on the Colline de Chaillot, the Neo-Renaissance Palais Galliera houses the Musée de la Mode de la Ville de Paris – the fashion museum of Paris. The museum displays its priceless and fragile collections The Petit Palais was built for the 1900 Paris Exposition and completely in temporary exhibitions, either monographic or thematic, which reflect refurbished in 2005. It provides a sweeping overview of art, from classical the creative genius of fashion from the 18th century to the present day. antiquity to the beginning of the 20th century, with classical In the spring of 2020, the Palais Galliera will, for the first time, be able and mediaeval collections, precious Renaissance art objects, icons, to host a permanent exhibition of its collections thanks to its new 17th century Flemish and Dutch paintings, 18th century furniture galleries. New services will also be available: a bookshop, an open-air café and tapestries, and 19th century French paintings and sculptures, and an educational workshop. including works by Ingres, Géricault, Delacroix, Courbet, Carpeaux, www.palaisgalliera.paris.fr Monet, Degas, Cézanne, and Vuillard, as well as Art Nouveau pieces. The Petit Palais has also gained great prestige from the major exhibitions that it has presented regularly for more than a hundred years. www.petitpalais.paris.fr

24 Maisons de Victor Hugo Paris – Guernesey Musée Zadkine

RE-OPENING

LA MAISON PARISIENNE DE VICTOR HUGO, PLACE DES VOSGES A few short steps from the Jardin The apartment occupied by Victor Hugo from 1832 to 1848 du Luxembourg, hidden away in the Place des Vosges, which, at the time, was called the Place Royale, in the lush greenery of its own garden, chronicles the writer’s entire life through the three major periods stands the Musée Zadkine, a museum which, in Deeds and Words (), he described as: Before Exile, of great charm which occupies the house During Exile, and After Exile. F Founded by in 1902, and the studios of Russian-born sculptor who donated his collections to the City of Paris, the Maison Victor Hugo and major figure in the School of Paris, boasts a large collection of drawings, paintings, photographs and sculptures. Ossip Zadkine (1890‑1967), who lived Refurbishment work to embellish the house and improve visitor comfort and worked here from 1928 to 1967. In 2012, was begun in 2019. The House will re-open in the spring of 2020. after thirty years of existence, the museum was renovated to make it accessible to all visitors. , THE HOUSE OF VICTOR HUGO IN EXILE ON GUERNESEY It re‑opened after a year with a presentation Purchased in 1856 thanks to the success of , and given of the collections that had been re-thought to the City of Paris in 1927 by Victor Hugo’s descendants, the poet’s house in order to focus on materials – creating in exile was described by his son Charles as a “veritable three‑storey a dialogue between wood and carved stone, autograph, a poem in several bedrooms”. Drawing on all the power terracotta and polychrome plaster casts. of the ocean, the writer-decorator wrote Les Misérables, The Legend of the Ages, and in his “Look‑Out” with its view right www.zadkine.paris.fr across Saint Peter Port. A major restoration of Hauteville House was carried out recently and the house was re-opened to the public in April 2019. www.maisonsvictorhugo.paris.fr Musée de la Vie romantique

Located in the romantic district known as “La Nouvelle Athènes” (New Athens), this atmospheric residence, with its courtyard, garden and two artists’ studios, has retained all the charm of the Restoration period during which it was built. The painter Ary Scheffer played host here to the artistic and intellectual elite of Paris, which included Delacroix, Rossini, George Sand, Chopin, Gounod, Turgenev, and Charles Dickens. The museum is a magnificent setting for the George Sand memorabilia (furniture, objets d’art, jewellery and paintings) and also for paintings by Scheffer and his contemporaries. A tea house was added in 2018. www.museevieromantique.paris.fr 25 CULTURAL PROGRAMME OF THE CITY OF PARIS MUSEUMS

All the museums actively and constantly promote their collections and temporary exhibitions. These artistic projects are designed to complement the curatorial work. Paris Musées encourages the cross-fertilisation of disciplines, with thoughtfully combined programming to extend the range of the museum experience and to reach out to a wider public. Music, , readings, screenings – all these art forms are to be found in the museums of the City of Paris, in programmes aimed especially at young people and families.

Cross-fertilisation of the disciplines: Paris Musées Off Since it began in 2015, Paris Musées Off has been organising unusual free events across the network of the City’s 14 museums. These events mix styles, art forms, techniques and periods relating to the collections and exhibitions, which are visited before the performances. Whether you are a connoisseur or just curious, these new ways of approaching artworks offer a unique and offbeat shared experience. The programming is in line with a policy that was introduced in 2013 to reach a new and, in particular, young public. Since its first edition, the museums have been host to, among others: Kiddy Smile at the Musée Bourdelle, Pauline Croze and Swinging London at the Petit Palais, the Margiela / alliera evening with Mode-F at the Palais Galliera and Juliette Armanet at the Musée de la Vie Romantique.

Family weekend – a new way to discover the City of Paris Museums On 7 and 8 December 2019, young and old alike are invited to a fun and festive weekend in the City of Paris Museums. There are a host of unusual, free activities for families – including dramatised exhibition visits, drawing workshops, modelling, engraving and writing –, all designed to get the creative juices flowing.

Les Paris de l’Art, , illustrated by works in the City of Paris Museums For a year now, Paris Musées has been running lectures in art history for enthusiasts, lovers of art and lovers of Paris. The cycle for the first year featured 17 chronologically themed sessions (in French) focusing on art in Paris. For this second year, 25 sessions have been scheduled. The lectures, which are given in French, will equip participants with the basics of the discipline and the tools necessary to understanding works of art. The lectures are given by curators and art historians, drawing in particular on the collections in the City of Paris museums. 26 Children’s workshop at the Petit Palais Kiddy Smile at the Musée Bourdelle DIGITAL CARTE PARIS PARIS MUSÉES MUSÉES Paris Musées’s digital policy is being intensified with the implementation There is a Paris Musées season ticket of ever more optimal and renewed tools to help (re)discover (La Carte Paris Musées). The carte is valid the exceptional collections of the 14 museums and sites, which house for one year and gives unlimited, no‑queue around one million works, from archaeology to contemporary art: access to the temporary exhibitions online or in situ, Open Content, GigaPixel and 3D printing are now in the 14 City of Paris museums. * part of the Paris Musées toolkit. Holders also benefit from special rates for activities (lecture visits, workshops, performances, art-history lectures, and so on), reductions in the boutiques and bookshops, and in the café-restaurants. They also receive advance notice of museum news and events. Choose the season ticket that suits your needs or circumstances: . The individual carte (carte individuelle) costing € 40 . The two-person carte (carte duo) costing € 60 (valid for the holder + 1 guest of their choice) . The Young Person’s carte (carte jeune) costing € 20 (under 26 years old) Season tickets can be bought at museum ticket offices or online at: www.parismusees.paris.fr Today, the museums of the City of Paris attract more than three million visitors a year. Our objective is to maintain this dynamic by developing and expanding our public, and by paying particular attention to education, especially for those who are isolated from culture. In addition, we are laying greater emphasis on facilities for visitors and mediation, particularly through digital innovations, which are at the heart of the Paris Musées strategy

Improving access to the collections is one of the key factors in achieving these objectives. Today, more than 300,000 works are available online through the collections portal. With the Open Content programme, the City of Paris museums are planning to make high definition images of 100,000 reproductions available free of charge and without restriction.

Another innovation from Paris Musées is the GigaPixel programme. Over a hundred works can be scrutinised on line in high definition: the tiniest details, right down to the brushstrokes, can be examined in a way that could never be done before.

It is now possible to handle reproductions of works from the collections using 3D printing based on 3D digitalisation. This is particularly useful for people who are visually handicapped.

All these tools are accessible via specialised applications or through the ambitious Collections Portal, which is in a state of constant development. www.parismuseescollections.paris.fr 27 3-D print of Love and Fidelity * Except the Catacombs of Paris, and the Archaeological Crypt of the Île de la Cité OMBES RIS ■ LES CATAC EN DE E DE PA E■ DEMAIS L’ÎLO STOIR ARISU AVAL ET – HI LEH ÉOLOGIQDE P DELERC LA – ■ YPTE ARCL ÉRAL LEE C ■ SÉE CARN E C DER LA VI E DE L’ÎL ÉE MU Q-JAYDERN ÉOLOGIQSÉE DU GÉUN ■ IERA,MUS DELLE RTGNA MOC U e SEYGAL L E BOUR ■ SÉEE D’ CAO ■ YPTERIS ARC – MH ■ P LAISE T ■ MUSÉ RISX-MUS MUÉ ISN DE CR PA RISIII – GUERNA ÉE AVALJEANE AC AU ÉRATIRO T DU XAV ■ N Z SÉELE DES DE BEA P MBESB DE PA OR HUGOÛ P MISSÉE - MU CARS ■ Q- N DE BAL L ■ RU RIS ■ O LAIS,IE DE M LAU VI ■ CATACSÉE DEO LA LI Q-JAY, LET GO DELLEN DE PA GNAC MAIS RIS M ONS DE VIC O ■ SÉE COA RIS ■ IT PAS IS U ■ MAIGNAC ■ EÉRATI BOUR MLE DE P A TSPE TDE L’A E DE RPA ■ SÉE CO S MUSÉB LU ER E DE P RISS AR TOILE DER PA MURIS AC E DERIS LA VI ■ M SÉEN DE RT MOD N LE SÉEDE P DAE T,A HIVISL RISE DE PA Z LEER DEN PA DELLE ÉRATIUO E D’ L U AVALE DEE L LE DE PAL ■ LOCQUEN DE BAL ET DE LART LI MOLD B S ■ MUS A E DEUSCHI, LA VI M ND TS LDE LA VIL MAISCO EIE D’ DEA LA VI ■ ESÉE BOU DER LA LI ONSE DE É ERE CERN ■ SÉE CAR X-AR RIS ■ MUSÉS ■ MUS MÉU ■ MAISÉES D RT■ MUS MODÉ N SÉE MU DE LA MO IE DEU LA VI E LERCDE PA DE HAUTEKINETS DE L’A AC RIS RIS U E D’ISA LLI RA,DELLE MU TSSÉE DE DES L’A BEAS ÉRALER LEN C SÉE DEDS AR LE DEZ PA E DEN USCHI,PA M ISZAC MUSDEÉ PAR E BOUER S ARU RT MOD ■ M SÉE ZA NA DE VI LBAL ■ E LCER N DE BALR ■ ■ MUSLAISÉ GA LAIS,E M E D’ N UU ■ MAISE DEO L MUSÉ ■ LE DE PA AC P ■ ITSÉE PA D ■■ SÉE DUA GÉ USCHI, M D TSÉ DE LA VIL MAISA VILO IE A PETU IS MMUSU É OME CERNTIQUEN RIS X-ART ERIS DE L ■ MU ÉES DELA BAL CITÉZ ULINUSCHI, M KINER ■ MUSÉ A LE SÉEDE PDEA LA MO DEU LA CI E DE PDA TS DE SL’A E CERN ■ LE DE PAD IS R E ER S AR ■ O M SÉE ZA RA,L MU SÉEE DE DES L’ÎL BEA SÉED DE NLA MO SÉEOR D HUGOE RTLE É SÉE MUS JEANÉ M A VIUL ■ ÉE DER LA VIE E DELLI LAE VI U RTU MO T E D’A VIL CIMU NTIQUEE DE L MBES MU SDE PA ■ ERLAIS GA ÉOLOGIQLAIS, M U ■ IERA,E D’A M ON DE VICU E DE L A T OM D P N ■ IT P GALMUSLÉ ■ MAIUSCHI, M X-MUSÉ A ■ OR HUGOO RT MODA PE HA e ■ LAI E CER N S D TS SÉE DE LAR MO LEST CATAC E D’A ■ULIN C YPTE ARCT PKINEA S ■ MUSULINÉ SÉE DE LAU MO X-AR M DE LA VIE RIS EÉ DE LA CITÉ IS R ■ SÉEIII ZAD IS O SÉE DES BEA MBESU DE U ■ E DEON PA DE VIC E DEX-MUS L’ÎL R O T DU M XV ÉE JEANR M RA, MU ■ CATAC O TOI MAIR S UU MBESSÉE DE JEAN PA M NTIQUEÛ U ISMBES - 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