The Museum in motion

In a large museum, changes are orchestrated by the movement of artworks. With new displays, recent acquisitions, returning loans, restorations, new combinations and deposits, small adjustments or major transformations, the presentation of the collections is continually evolving. On this page you will find regularly updated information on the principal changes in the Musée d'Orsay galleries, and on new discoveries to be made.

New acquisition: Vuillard’s "Family Lunch"

In her will, Lucie Kléné, the adopted daughter of Jos and Lucie Hessel - friends and patrons of Vuillard - bequeathed a painting of choice to the Musée d’Orsay from a selection of eight works by Bonnard and Vuillard from her inherited collection. The Chairman, Guy Cogeval, chose an exceptional painting by Vuillard: Le déjeuner en famille [Family Lunch] also known as Le Déjeuner Hessel [The Hessel Lunch].

The Hessel Lunch will be joining the paintings displayed in room 10 and will supplement the largest French collection of Vuillard’s works, following the announcement of the Hays donation and ahead of the presentation of the entire Zeineb and Jean-Pierre Marcie-Rivière collection.

 

This painting is exceptional in more than one way, through its autobiographical subject, its composition and its characteristic workmanship of Vuillard’s Nabis period. The scene depicts the painter’s close family, whom he constantly represented in his works throughout the 1890s.

In the centre of the painting is the figure of the artist’s mother, to the right his sister Marie holding her daughter Annette in her arms. Opposite them sits Marie’s husband and the baby’s father, the painter Ker-Xavier Roussel who is shown absorbed in his newspaper.

 

The panoramic view of The Hessel Family at Table allows the eye to move within the composition and revel in the details. Vuillard immerses the viewer in the vibrations of colours while presenting a meticulously geometric composition.

His handling of the space is also sophisticated, with an opposition between the enclosed room and the opening created by the paintings hung on the walls. These paintings, hung in white or natural wood frames, open up new perspectives through a mise en abyme of painting within a painting. The painting in the centre, above the artist’s mother, could be an unmarked street scene by Bonnard, while the one on the right, representing a family meal, could also be by Bonnard.

Now on display Room 10.

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Restoration of a Cabanel painting

A major restoration has been made in 2015 on Cabanel’s paintingThe Death of Francesca da Rimini and Paolo Malatesta.

The irregular and dirty layer of varnish that covered the painting had previously been selectively reduced privileging the central scene. The latest restoration consisted in thinning the remaining layers of varnish, ameliorate the disaccorded repaints and completing missing parts.
These interventions have alllowed a better reading of this true story that inspired Dante with one of the circles of Inferno in his Divine comedy. Regularising the layer of varnish not only restitutes the pictorial space with the proper succession of plans but also the somptuous colours of the composition.

The restored painting is now to be seen on the ground floor of the Musée d’Orsay

Read the work in focus.

Salon Painting

Henri GervexMeeting of the Jury© RMN-Grand Palais (Musée d'Orsay) / DR
Galerie Seine
By the second half of the 19th century, the Salon, created in 1699, had become the official and highly popular exhibition where artists could establish their reputations. A Session of the Painting Jury by Gervex demonstrates the importance of this event and shows the reactions of the jury awarding the prizes and the critics writing for their newspapers. The official taste of the establishment is reflected in the Musée d’Orsay collections as, when the Salon closed, the State would acquire many paintings for the Musée du Luxembourg, which specialised in the art of the period.

Although the Salon has long been considered a champion of Academism, it did in fact bring together a variety of artistic experiments. Artists, such as Elie Delaunay, who took subjects from Antiquity or from the Bible, revitalised traditional conventions through style and composition, whilst others, like Jean-Paul Laurens, favoured literary subjects or great French historical events. These paintings thus echoed the innovations of the avant-garde painters, and, in their presentation, heralded the cinema of the following century.

The Luxembourg Rooms

Musée d'Orsay - Salle 1© Musée d'Orsay / Sophie Boegly
The first rooms in the museum tour, which have just been renovated, are now called "Luxembourg Rooms", after a museum that played a key role in the artistic life of France in the 19th century: the Museum of Living Artists, located in the Luxembourg Palace and its Orangerie (Paris).

Between 1818 and 1937, when the Museum of Modern Art was established in the Palais de Tokyo, this institution housed paintings, sculptures and, later, drawings bought or commissioned by the state from artists who were still living or had died in the previous 10 years, as well as privately donated works.

It was the world’s leading contemporary art museum, with prestige and influence to match, and many artists - French only until 1861, when the intake was gradually broadened to include foreigners - dreamed of seeing their work exhibited there. Indeed, acceptance by the Luxembourg allowed them to hope that they might even find a posthumous place in the artists’ true pantheon - the Louvre.

Musée d'Orsay - Salle 4© Musée d'Orsay / Sophie Boegly
Some of the artists who helped to reform the art scene (e.g. Delacroix, Ingres, Rodin, and Gustave Moreau) were admitted relatively early, but the Museum’s courage did not stretch to all the avant-garde movements of the time, and Courbet, Millet, Manet, Lautrec and Van Gogh were among those who never graced its walls in their lifetime.
In the 1870s, it was increasingly accused of turning its back on the innovators, and backing only “official” and “academic” artists. Gauguin, one of the excluded, denounced it as a “vast prison and obligatory brothel”, where only those prepared to prostitute their talent could expect to find a welcome.

It should be remembered, however, that it also had enlightened directors, like Philippe de Chennevières and Léonce Bénédite, as well as great donors, like Gustave Caillebotte, Isaac de Camondo, Etienne Moreau-Nélaton and Alfred Chauchard, who filled gaps by bringing in the Barbizon painters, Manet and the Impressionists, housed in the Jeu de Paume Museum from 1947 to 1986 - and so played a major part in laying the foundations of the Musée d’Orsay’s present collection.

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Gauguin's Paintings on Glass


Paul GauguinTahitian Woman in a Landscape© RMN-Grand Palais (musée d'Orsay) / Daniel Arnaudet
There are two works in the Musée d'Orsay collection that, ever since it opened in 1986, the museum has never been able to exhibit. These are paintings on glass that could not be shown because of their condition, and because there was no suitable space to accommodate them. Today, after a long restoration process, and presented in new display cases made specifically for them, visitors can enjoy them at last.

Floral and Plant Motifs and Tahitian Woman in a Landscape, date from 1893 when Gauguin moved to Paris after his first visit to Polynesia. At that time he was continuing the decorative research that he had embarked on in the late 1880s when he decorated the windows of Marie Henry's inn at Le Pouldu, and which he pursued again in Tahiti in 1892, painting the glass panes in the window of a house.
Paul GauguinFloral and Plant Motifs© RMN-Grand Palais (musée d'Orsay) / Daniel Arnaudet

Wishing no doubt to create his own exotic decor on his return to Paris, on this occasion he chose the glass panes of the doors of his studio in rue Vercingétorix as a support, and composed these two landscapes. They remained in situ when the artist left for his last trip in 1895 and were only placed on deposit in 1905. In the end it was the widow of the American painter Harold English, their last owner, who gave them to the French National Museums in 1958.

This presentation is therefore quite an event, as these works from the reserve collections demonstrate one of Gauguin's principal concerns, as he stated in a letter to his friend Daniel de Monfreid: "Painted glass which attracts the eye with its groupings of colours and forms, is still the best".

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