Musée d'Orsay: Black models: from Géricault to Matisse

Black models: from Géricault to Matisse

Jean-Léon GérômeEtude d'après un modèle féminin pour "A vendre, esclaves au Caire"© Photo courtoisie Galerie Jean-François Heim - Bâle
Taking a multi-disciplinary approach that combines the history of art and the history of ideas, this exhibition explores aesthetic, political, social and racial issues as well as the imagery unveiled by the representation of black figures in visual arts, from the abolition of slavery in France (1794) to the modern day. Designed to provide a long-term perspective, the exhibition looks more particularly at three key periods: the era of abolition (1794-1848), the new painting era up to the Matisse’s discovery of the Harlem Renaissance and the early 20th century avant-garde movement and the successive generations of post-war and contemporary artists.

The exhibition primarily focuses on the question of models, and therefore the dialogue between the artist who paints, sculpts, engraves or photographs and the model who poses. It notably explores the way in which the representation of black subjects in major works by Théodore Géricault, Charles Cordier, Jean-Baptiste Carpeaux, Edouard Manet, Paul Cézanne and Henri Matisse, as well as the photographs of Nadar and Carjat, evolved.


Cécile Debray, chief heritage curator, director of the Musée de l'Orangerie
Stéphane Guégan, scientific advisor to the president of the Musées d’Orsay et de l’Orangerie
Denise Murrell, Ford Foundation Postdoctoral Research Scholar at the Wallach Art Gallery
Isolde Pludermacher, chief curator at the Musée d'Orsay

First stage: Wallach Art Gallery of Columbia University in the City of New York, from 24 October 2018 to 10 February 2019. Last stage at the ACTe Memorial, Pointe-à-Pitre, from 13 September to 29 December 2019.

Exhibition organized by the Musée d'Orsay and the Musée de l'Orangerie, Paris, The Miriam and Ira D. Wallach Art Gallery, Columbia University, New York and the ACTe Memorial, Pointe-à-Pitre, with the exceptional contribution of the Bibliothèque nationale de France

With the generous support of Ford Foundation

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