MUSEUM

Crime and Punishment, from Goya to Picasso

Musée d'Orsay

Opening : From the 2010-03-15 to the 2010-06-27
Timing : open from 9.30am to 6pm
daily, except Mondays
late night on Thursdays until 9.45pm
last tickets sold at 5pm (9pm Thursdays)
museum cleared at 5.30pm (9.15pm Thursdays)
group visits, pre-booked only, Tuesday to Saturday, 9.30am to 4pm (Thursdays until 8pm)
closed on Mondays, on 1 January, 1 May and 25 December

The exhibition Crime and Punishment, from Goya to Picasso looks at a period of some two hundred years: from 1791, when Le Peletier de Saint-Fargeau called for the abolition of the death penalty, to 30 September 1981, the date the bill was passed to abolish it in France. Throughout these years, literature created many criminal characters. The title of the exhibition is itself taken from a work by Dostoyevsky. In the press, particularly the illustrated daily newspapers, the powerful fantasy of violent crime was greatly increased through novels. At the same time, the criminal theme came into the visual arts. In the work of the greatest painters, Goya, Géricault, Picasso and Magritte, images of crime or capital punishment resulted in the most striking works. The cinema too was not slow to assimilate the equivocal charms of extreme violence, transformed by its representation into something pleasurable, perhaps even into sensual pleasure.

It was at the end of the 19th century that a new theory appeared purporting to establish a scientific approach to the criminal mind. This tried to demonstrate that the character traits claimed to be found in all criminals, could also be found in their physiological features. Theories like these had a great influence on painting, sculpture and photography. Finally, the violence of the crime was answered by the violence of the punishment: how can we forget the ever-present themes of the gibbet, the garrotte, the guillotine and the electric chair?

Beyond crime, there is still the perpetual problem of Evil, and beyond social circumstances, metaphysical anxiety. Art brings a spectacular answer to these questions. The aesthetic of violence and the violence of the aesthetic - this exhibition aims to bring them together through music, literature and a wide range of images.

---

Masks, from Carpeaux to Picasso

Musée d'Orsay

Opening : From the 2008-10-22 to the 2009-02-01
Timing : Open from 9:30 am to 6pm
Tuesday, Wednesday, Friday, Saturday and Sunday
9:30am to 9:45pm on Thursday
ticket sales up to 5pm, 9pm on Thursday
evacuation from 5:30pm, 9:15pm on Thursday
Groups accepted by appointment only Tuesday through Saturday from 9:30 am to 4pm to 8pm on Thursday
Closed on Mondays and 1 January, 1 May and 25 December
Rates : Full price: 9.50 €uro
Reduced: 7 €uro
Less than 18 years, members: Free

Revealing while concealing, serving both religion and worldly pleasure, the mask goes back to the dawn of time. In the late 19th century, when the principles of Naturalism were being confronted, it saw a massive, inventive and somewhat disconcerting revival, benefiting from the interest at the time in ancient Greece, Japan and close-up photographic portraits.

All the arts contributed to the revival of the mask, from painting to avant-garde theatre. Some of the most creative artists of the time, throughout the whole of Europe — Ensor, Munch, Vallotton, Böcklin, Klinger, Gauguin and Picasso — added their names and their aesthetic to this strange fashion.

---

Konrad Klapheck / Gustave Moreau

Musée d'Orsay

Opening : From the 2008-06-03 to the 2008-09-14
Timing : Opening 9:30 AM - 6:00 PM

Tuesday, Wednesday, Friday, Saturday and Sunday

from 9:30 AM to 9:45 PM on Thursday

ticket sales until 5:00 PM , 9:00 PM on Thursday

evacuation from 5:00 PM , 9:00 PM on Thursday

groups by reservation only admitted Tuesday to Saturday from 9:30 AM to 4:00 PM
to 8:00 PM on Thursday

open on Easter Sunday and July 14, 1 and November 11, except Mondays

Closed every Monday and 1 January, May 1 and December 25

Born in 1935 in Düsseldorf, Konrad Klapheck discovered the Gustave Moreau
Museum in 1957. He was seduced by this "too literary" painter, at a
time when he was trying to make his own painting as literary as possible.

In his series of paintings on the theme of machines, he associates sewing machines
with the world of women. According to the artist, women tend to be arrogant, dominating
and dangerous. The sewing machine, with its metal arms and its needles, reminds
him of the preying mantis. And he finds this image of the femme fatale once more
in the paintings of Gustave Moreau.

For Konrad Klapheck, the young Thracian girl in Orpheus looks lovingly at the
head of a poet who has been savagely put to death by the Maenads – or
by the young Thracians – who were piqued by his disdain.

---

Watercolours: studio and open air

Musée d'Orsay

Opening : From the 2008-05-27 to the 2008-09-07
Timing : open daily, except Mondays
9.30am to 6pm
late night on Thursdays until 9.45pm
closed on Mondays, on 1 January, 1 May and 25 December
open Easter Sunday and Ascension Day, 14 July, 1 and 11 November, unless on a Monday
last tickets sold at 5pm (9pm Thursdays)
museum cleared at 5.30pm (9.15pm Thursdays)
group visits, pre-booked only, Tuesday to Saturday, 9.30am to 4pm (Thursdays until 8pm)

Throughout the 19th century great strides were made in the technique of watercolour
painting, and by 1900 young artists were once again showing interest. Although
the established practice of “painting with water” still had its followers,
with the development of portable equipment and the popular fashion for open air
painting came a new freedom in style.

Johan-Barthold Jongkind and Eugène Boudin, as well as Impressionist and
Post-Impressionist painters, used watercolour for studies from nature. They went
on to develop a new style, brought to its height by Paul Cézanne around
1900, freed from the conventions of academic picturesque painting.

---

First photographs on paper in Britain (1840-1860)

Musée d'Orsay

Opening : From the 2008-05-27 to the 2008-09-07
Timing : # Opening 9.30-18h
le mardi, le mercredi, le vendredi, le samedi et le dimanche Tuesday, Wednesday, Friday, Saturday and Sunday
de 9h30 à 21h45 le jeudi from 9:30 am to 21:45 on Thursday
vente des billets jusqu'à 17h, 21h le jeudi ticket sales until 17h, 21h on Thursday
évacuation à partir de 17h30, 21h15 le jeudi evacuation from 17h30, 21h15 on Thursday
groupes admis sur réservation uniquement du mardi au samedi de 9h30 à 16h, jusqu'à 20h le jeudi groups by reservation only admitted Tuesday to Saturday from 9.30am to 16h to 20h on Thursday
ouverts le dimanche de Pâques, ainsi que le 14 juillet, le 1er et le 11 novembre, lundis exceptés open on Easter Sunday and July 14, 1 and November 11, except Mondays
# Fermeture tous les lundis et les 1er janvier, 1er mai et 25 décembre Closed on Mondays and on January 1, May 1 and December 25

In 1839, when the daguerrotype appeared in France, the Englishman William Fox
Talbot invented a technique destined to have a great future as it used the principle
of the negative and printing on paper. He named his invention a calotype, "the
beautiful image". Whereas France gave the world the daguerrotype, and made
it freely available, Fox Talbot took out a patent on his calotype. So in Britain
the daguerrotype became the tool for both amateur and commercial photography throughout
the following decade. The calotype however was regarded as a cultured gentleman’s
pursuit - an activity for the leisured classes.

Chosen for their aesthetic and historical qualities, the majority of these
photographs have never been shown since the mid nineteenth century. Fox Talbot,
Roger Fenton, Benjamin Brecknell and Turner are well known, but several photographers,
like William Collie and Arthur James Melhuish, are presented in France for the
first time. As a counterpoint to the exhibition The French Daguerrotype (Musée
d'Orsay and the Metropolitan Museum of Art, 2003), The art of the English calotype
highlights a different conception of the new medium of photography and an alternative
technical, aesthetic and economic principle.

---

Lovis Corinth (1858-1925)

Musée d'Orsay

Opening : From the 2008-04-01 to the 2008-06-22
Timing : open daily, except Mondays
9.30am to 6pm
late night on Thursdays until 9.45pm
closed on Mondays, on 1 January, 1 May and 25 December
open Easter Sunday and Ascension Day, 14 July, 1 and 11 November, unless on a Monday
last tickets sold at 5pm (9

The 20th century has elevated the interior designer, a personality who orchestrates
the interior design and renovation of exclusive residences, to almost iconic status.
Although very much a feature of life nowadays, this activity began in the 19th
century, with enthusiastic, independent and original ideas from people like Eugène
Lami, Antoine Zoegger and Jules Allard. At that time, the decorative artist competed
with the architect who still however remained in control of the interior decoration.

After creative designers like Percier and Fontaine, whose collaboration produced
the neo-classical Empire style, interior decoration became an issue of great importance.
The layout of the rooms, choice of colours, position of furniture and display
of objets d’art were the finishing touches in the search for social recognition
and confirmation of good taste in the eyes of the European elite.

At the end of the 19th century, the avant-garde movements emphasised the fundamental
role of interior decoration, as a basis for renewing the environment. From Félix
Duban to Henry Van de Velde, Antoine Zoegger to George Niedecken, drawings for
interior decorations, far from being incidental, made a strong contribution to
the history of taste.

---

Decorative artist and art lover. Drawings for interior decorative works

Musée d'Orsay

Opening : From the 2008-02-12 to the 2008-05-04
Timing : ouvert le mardi, le mercredi, le vendredi, le samedi et le dimanche
de 9h30 à 18h
le jeudi de 9h30 à 21h45
fermeture tous les lundis et les 1er janvier, 1er mai et 25 décembre
ouvert le dimanche de Pâques et le jeudi de l'Ascension, ainsi que le

The 20th century has elevated the interior designer, a personality who orchestrates
the interior design and renovation of exclusive residences, to almost iconic status.
Although very much a feature of life nowadays, this activity began in the 19th
century, with enthusiastic, independent and original ideas from people like Eugène
Lami, Antoine Zoegger and Jules Allard. At that time, the decorative artist competed
with the architect who still however remained in control of the interior decoration.

After creative designers like Percier and Fontaine, whose collaboration produced
the neo-classical Empire style, interior decoration became an issue of great importance.
The layout of the rooms, choice of colours, position of furniture and display
of objets d’art were the finishing touches in the search for social recognition
and confirmation of good taste in the eyes of the European elite.

At the end of the 19th century, the avant-garde movements emphasised the fundamental
role of interior decoration, as a basis for renewing the environment. From Félix
Duban to Henry Van de Velde, Antoine Zoegger to George Niedecken, drawings for
interior decorations, far from being incidental, made a strong contribution to
the history of taste.

---

Alexandre Charpentier (1856-1909) - Naturalism and Art Nouveau

Musée d'Orsay

Opening : From the 2008-01-22 to the 2008-04-13
Timing : Moins célèbre que Gallé, Guimard ou Gaudi, Alexandre Charpentier
a pourtant joué un rôle important dans l'émergence de l'Art
nouveau. Sa carrière est brève, un peu plus de vingt ans entre son
Rates : Full price : 8 €uro - Discount price : 5,50 €uro

---

Drawings by Odilon Redon (1840-1916)

Musée d'Orsay

Opening : From the 2007-10-16 to the 2008-01-06

Thanks to the donation in 1984 by Arï Redon, Odilon Redon’s son, the Musée d'Orsay has a beautiful collection of the artist’s drawings. As with all drawings, these cannot be on permanent display because of their fragile nature, so this display offers the visitor a chance to admire works from his “black period”, charcoal drawings from the 1870s and 1880s, which occupy a fundamental place in the history of European symbolism.

The four great Redon albums, fully restored in 2006, are also exhibited here, as are the studio drawings, which give a better understanding of the complex relationship between Naturalism and Symbolism.

---