Museum Exhibitions / Paris 2026 S1
Paris enters the season with steady confidence. The market remains resilient, especially for best in class Modern, while institutions set a clear pace: Matisse’s late years at the Grand Palais, the twin Renoir chapters at the Musée d’Orsay, Nan Goldin’s immersive cycle, Leonora Carrington’s long-overdue survey, Henri Rousseau at the Orangerie, Hilma af Klint in depth, and Martin Parr at the Jeu de Paume. What follows is a clean, opening order snapshot - concise descriptions, dates, and direct links - built to set your calendar and sharpen your eye.
© Martin Parr
Martin Parr: Global Warning
Jeu de Paume
January 30 – May 24, 2026

A sharp, five‑decade panorama of Parr’s satirical eye tracks mass tourism, consumption, and the everyday theater of leisure across 180 works. Curated by Quentin Bajac, the exhibition reframes the apparent lightness of Parr’s images as a sustained critique of contemporary excess. Archival material and recent series underline how form, colour, and sequencing build a critical narrative as much as a photographic style.

Leonora Carrington, Artes 110, 1944 © 2026 Estate of Leonora Carrington / ADAGP, Paris
Leonora Carrington
Musée du Luxembourg
February 18 – July 19, 2026

The first major French retrospective devoted to Carrington’s visionary surrealism brings together paintings and drawings spanning Europe and Mexico. Themes of metamorphosis, myth, and esotericism are treated with a painterly intelligence that feels both intimate and expansive. Contextual materials reposition Carrington within a wider network of women artists who reshaped the movement’s language.

Pierre-Auguste Renoir (1841-1919) Jeune femme penchée sur un balcon, dit aussi La Loge, 1879 © 2023 Fondation Bemberg / Mathieu Lombard
Renoir Drawings
Musée d’Orsay
March 17 – July 5, 2026

The first exhibition dedicated to Renoir’s works on paper shows how drawing underpinned his transitions beyond Impressionism. Around one hundred sheets reveal process, material experiment, and the intimacy of line in studies, portraits, and figure compositions. The selection clarifies how draftsmanship sustained Renoir’s pursuit of light, contour, and touch throughout his career.

Pierre-Auguste Renoir (1841-1919) , La Promenade, 1870 © Image courtesy of the J. Paul Getty Museum
Renoir and Love: Happy Modernity (1865–1885)
Musée d’Orsay
March 17 – July 19, 2026

A major loan exhibition reconsiders Renoir’s scenes of sociability, desire, and modern life across two decades. Masterworks return to Paris to reassess how pleasure and looking became central, modern subjects rather than diversions. Dialogue with international collections sharpens a view of Renoir that is formal, social, and unabashedly modern.

Nan Goldin, Self-portrait in blue bathroom (détail), London 1980 © Nan Goldin
Nan Goldin: This Will Not End Well
Grand Palais
March 18 – June 21, 2026

Goldin is presented as a filmmaker through six landmark slide‑film works installed as an immersive, village‑like environment. The presentation expands her cartography of intimacy, memory, and survival into a spatial experience that unfolds over time. Sound, projection, and sequencing emphasize photography’s capacity to hold community and grief within a living archive.

Henri Matisse, Nu bleu II, 1952 © Centre Pompidou, MNAM-CCI
Matisse. 1941–1954
Grand Palais
March 24 – July 26, 2026

More than 230 works chart Matisse’s late reinvention—from the studio wall to the cut‑out—toward a distilled language of colour and form. Paintings, drawings, and maquettes frame the cut‑outs not as an endnote but as a major recalibration of pictorial thought. The exhibition makes a clear case for the period’s unity and its influence on post‑war abstraction and design.

Henri Rousseau, La Charmeuse de serpents, 1907, Musée d'Orsay, Legs Jacques Doucet, 1936 © Musée d’Orsay, dist. GrandPalaisRmn / Patrice Schmidt
Henri Rousseau: L’ambition de la peinture
Musée de l’Orangerie
March 25 – July 20, 2026

Co‑produced with the Barnes Foundation, this monograph reassesses Rousseau beyond anecdote to consider method, material, and reception. Exceptional loans anchor a reading of his pictorial ambition across landscapes, portraits, and the so‑called ‘jungle’ scenes. A focused display argues for Rousseau’s quiet radicalism within the pre‑ and post‑1900 Parisian context.

Hilma af Klint, Les Dix Plus Grands, No.7, L’âge adulte, Group IV, 2 octobre - 7 décembre 1907 © Hilma af Klint Foundation / The Moderna Museet, Stockholm
Hilma af Klint
Grand Palais (in collaboration with Centre Pompidou)
May 6 – August 30, 2026

A landmark French presentation foregrounding the Temple Paintings and related cycles as foundations of abstract art. The exhibition situates spiritual inquiry alongside radical formal invention, clarifying chronology and intention. Careful installation underscores scale, rhythm, and series, giving the work the contemplative space it requires.

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