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Museum Exhibitions / Paris 2026 S2
Paris enters autumn with an unusually dense season, moving easily between historical reassessment and contemporary practice. Cézanne’s extraordinary afterlife unfolds at the Grand Palais; Mary Cassatt and Eva Gonzalès receive overdue reconsiderations; Warhol is approached through drawing rather than celebrity; and the Louvre places Zurbarán beside the visceral polychrome sculpture of seventeenth-century Spain. Elsewhere, Kerry James Marshall arrives in Paris for his first major French exhibition, the Bourse de Commerce takes photography’s bicentenary as a point of departure, and the Fondation Louis Vuitton reconstructs the remarkable double life of Gustave Fayet as collector and artist.
Frédéric-Auguste Bartholdi, Thiébaut frères, Liberté, 1889 © Musée d’Orsay, Dist. RMN-Grand Palais / Patrice Schmidt
Auguste Bartholdi: Liberty Enlightening the World
Musée d’Orsay
September 15 – January 31, 2027
Rather than treating the Statue of Liberty simply as an icon, the Musée d’Orsay returns to the ambitions, technical challenges and political symbolism behind Bartholdi’s most famous project. Timed to the 250th anniversary of American independence, the exhibition situates Liberty Enlightening the World within the sculptor’s broader nineteenth-century practice and the complicated history of Franco-American cultural diplomacy. A virtual-reality component extends the exhibition beyond the surviving sculptures, studies and documentary material.
Musée d’Orsay
September 15 – January 31, 2027
Rather than treating the Statue of Liberty simply as an icon, the Musée d’Orsay returns to the ambitions, technical challenges and political symbolism behind Bartholdi’s most famous project. Timed to the 250th anniversary of American independence, the exhibition situates Liberty Enlightening the World within the sculptor’s broader nineteenth-century practice and the complicated history of Franco-American cultural diplomacy. A virtual-reality component extends the exhibition beyond the surviving sculptures, studies and documentary material.
Andy Warhol, Self-Portrait, 1978, acrylic and silkscreen ink on linen, 101,6 x 101,6 cm, The Andy Warhol Museum, Pittsburg © 2026 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by ADAGP, Paris 2026
Andy Warhol: Line and Image
Musée du Luxembourg
September 16, 2026 – January 10, 2027
Warhol without the Factory mythology is a surprisingly productive proposition. Bringing together nearly 150 drawings alongside paintings, photographs, silkscreens and archival material, the exhibition follows drawing from his early commercial career through to the Last Supper works of the 1980s. Rather than presenting drawing as preparatory or secondary, it reveals the line as one of the continuities beneath Warhol’s constant shifts in technique, subject and public persona—and offers a more intimate counterpoint to an artist almost overwhelmed by his own image.
Musée du Luxembourg
September 16, 2026 – January 10, 2027
Warhol without the Factory mythology is a surprisingly productive proposition. Bringing together nearly 150 drawings alongside paintings, photographs, silkscreens and archival material, the exhibition follows drawing from his early commercial career through to the Last Supper works of the 1980s. Rather than presenting drawing as preparatory or secondary, it reveals the line as one of the continuities beneath Warhol’s constant shifts in technique, subject and public persona—and offers a more intimate counterpoint to an artist almost overwhelmed by his own image.
© Kerry James Marshall Courtesy de l'artiste et Jack
Shainman Gallery, New York Photo : M. Sean Pathasema
Shainman Gallery, New York Photo : M. Sean Pathasema
Kerry James Marshall: The Histories
Musée d’Art Moderne de Paris
September 18, 2026 – January 24, 2027
The first major French exhibition devoted to Kerry James Marshall brings together around seventy works, including eight new paintings. Marshall’s project has long been both painterly and historiographic: his monumental Black figures enter genres from which they were largely excluded—history painting, portraiture, landscape, the domestic interior—without relinquishing the pleasures or technical complexity of painting itself. Seen across several decades, the work becomes less an argument about representation alone than a sustained rewriting of who may inhabit the pictorial traditions inherited from Western art history.
Musée d’Art Moderne de Paris
September 18, 2026 – January 24, 2027
The first major French exhibition devoted to Kerry James Marshall brings together around seventy works, including eight new paintings. Marshall’s project has long been both painterly and historiographic: his monumental Black figures enter genres from which they were largely excluded—history painting, portraiture, landscape, the domestic interior—without relinquishing the pleasures or technical complexity of painting itself. Seen across several decades, the work becomes less an argument about representation alone than a sustained rewriting of who may inhabit the pictorial traditions inherited from Western art history.
The Courtauld Institute of Art, Londres © Courtauld Paul Cezanne, La Montagne Sainte-Victoire au grand pin, vers 1887, huile sur toile, 66.8 x 92.3 cm
Cézanne and Us
Grand Palais
September 23, 2026 – January 17, 2027
Instead of another monographic Cézanne retrospective, the Grand Palais asks the more interesting question of what happened after Cézanne. Nearly 180 works trace his extraordinary influence across generations—from Gauguin, Matisse and Picasso to Mondrian, Joan Mitchell, Bridget Riley and Peter Doig. The exhibition positions Cézanne less as the solitary “father of modern art” than as a persistent problem for other artists: how to reconcile sensation and structure, the visible world and the autonomy of painting. His legacy emerges not as a style to imitate but as a question repeatedly reopened.
Grand Palais
September 23, 2026 – January 17, 2027
Instead of another monographic Cézanne retrospective, the Grand Palais asks the more interesting question of what happened after Cézanne. Nearly 180 works trace his extraordinary influence across generations—from Gauguin, Matisse and Picasso to Mondrian, Joan Mitchell, Bridget Riley and Peter Doig. The exhibition positions Cézanne less as the solitary “father of modern art” than as a persistent problem for other artists: how to reconcile sensation and structure, the visible world and the autonomy of painting. His legacy emerges not as a style to imitate but as a question repeatedly reopened.
Claude Monet, Le Bassin aux nymphéas, harmonie verte, 1899, Musée d'Orsay, Legs comte Isaac de Camondo, 1911 © GrandPalaisRmn (musée d'Orsay) / Stéphane Maréchalle
Monet, Painting Time
Musée de l’Orangerie
September 30, 2026 – January 25, 2027
Marking the centenary of Monet’s death, the Orangerie approaches his work through one of its most fundamental but elusive subjects: time. Beginning with Impressionism’s attempt to seize the instantaneous and moving through the serial paintings of haystacks, cathedrals and poplars, the exhibition culminates naturally in the late Nymphéas. Here repetition no longer simply records changing atmospheric conditions; painting becomes a way of stretching, layering and eventually dissolving time itself. Installed beside Monet’s great decorative cycle, it should offer one of the season’s most coherent historical exhibitions.
Musée de l’Orangerie
September 30, 2026 – January 25, 2027
Marking the centenary of Monet’s death, the Orangerie approaches his work through one of its most fundamental but elusive subjects: time. Beginning with Impressionism’s attempt to seize the instantaneous and moving through the serial paintings of haystacks, cathedrals and poplars, the exhibition culminates naturally in the late Nymphéas. Here repetition no longer simply records changing atmospheric conditions; painting becomes a way of stretching, layering and eventually dissolving time itself. Installed beside Monet’s great decorative cycle, it should offer one of the season’s most coherent historical exhibitions.
Mary Cassatt, Jeune fille au jardin, entre 1880 et 1882, Musée d'Orsay, Legs Antonin Personnaz, 1937 © RMN-Grand Palais (musée d'Orsay) / Franck Raux
Mary Cassatt: Being Independent
Musée d’Orsay
October 6, 2026 – January 31, 2027
Remarkably, France’s national museums have never before devoted a major exhibition to Mary Cassatt. Around eighty paintings, pastels and prints retrace the career of an American artist who spent six decades in France and became one of the most committed members of the Impressionist circle. Cassatt’s familiar scenes of women and children reward a more attentive reading: beneath their apparent intimacy lies an acute investigation of looking, autonomy and the restricted spaces available to women in modern life. The centenary exhibition aims, appropriately, to return Cassatt to the centre rather than the margins of Impressionism.
Musée d’Orsay
October 6, 2026 – January 31, 2027
Remarkably, France’s national museums have never before devoted a major exhibition to Mary Cassatt. Around eighty paintings, pastels and prints retrace the career of an American artist who spent six decades in France and became one of the most committed members of the Impressionist circle. Cassatt’s familiar scenes of women and children reward a more attentive reading: beneath their apparent intimacy lies an acute investigation of looking, autonomy and the restricted spaces available to women in modern life. The centenary exhibition aims, appropriately, to return Cassatt to the centre rather than the margins of Impressionism.
Barbara Kruger, Untitled (Remember me), 1988/2020. Courtesy of the artist and Sprüth Magers. Pinault Collection. © Barbara Kruger.
Remember Me
Bourse de Commerce – Pinault Collection
From October 7, 2026
Photography turns two hundred, and the Bourse de Commerce marks the anniversary with considerable scale: around 700 works by more than seventy artists. Rather than attempting a straightforward history of the medium, Remember Me approaches photography through recurring questions of memory, body, gaze, landscape and materiality. Dedicated presentations of Irving Penn and Raymond Depardon sit within the wider exhibition, while Barbara Kruger’s commanding Untitled (Remember me) supplies both its title and an appropriate tension between image, command and recollection.
Bourse de Commerce – Pinault Collection
From October 7, 2026
Photography turns two hundred, and the Bourse de Commerce marks the anniversary with considerable scale: around 700 works by more than seventy artists. Rather than attempting a straightforward history of the medium, Remember Me approaches photography through recurring questions of memory, body, gaze, landscape and materiality. Dedicated presentations of Irving Penn and Raymond Depardon sit within the wider exhibition, while Barbara Kruger’s commanding Untitled (Remember me) supplies both its title and an appropriate tension between image, command and recollection.
Vincent Van Gogh, Autoportrait à l’oreille bandée, janvier 1889
Huile sur toile, 49,5 x 44,2 cm. Collection particulière. Crédit photographique : © Peter Schälchli
Huile sur toile, 49,5 x 44,2 cm. Collection particulière. Crédit photographique : © Peter Schälchli
Gustave Fayet: Collector – Creator. Icons of Modern Art
Fondation Louis Vuitton
October 9, 2026 – March 8, 2027
The Fondation Louis Vuitton turns to one of the more fascinating—and surprisingly overlooked—figures behind early modernism. Gustave Fayet was simultaneously an artist and an exceptional collector, acquiring major works by Van Gogh, Gauguin, Cézanne, Degas, Redon and Matisse at a moment when many remained far from canonical. Across the Fondation, some 250 works from his collection are placed alongside more than 300 of Fayet’s own creations. The scale should allow the exhibition to ask an unusually rich question: how does collecting alter the way an artist sees, and vice versa?
Fondation Louis Vuitton
October 9, 2026 – March 8, 2027
The Fondation Louis Vuitton turns to one of the more fascinating—and surprisingly overlooked—figures behind early modernism. Gustave Fayet was simultaneously an artist and an exceptional collector, acquiring major works by Van Gogh, Gauguin, Cézanne, Degas, Redon and Matisse at a moment when many remained far from canonical. Across the Fondation, some 250 works from his collection are placed alongside more than 300 of Fayet’s own creations. The scale should allow the exhibition to ask an unusually rich question: how does collecting alter the way an artist sees, and vice versa?
Francisco de Zurbarán, Heilige Casilda, Detail, um 1630-1635, Öl auf Leinwand, 171 x 107 cm (Museo Thyssen-Bornemisza, Madrid)
Zurbarán, 1598–1664
Musée du Louvre
October 7, 2026 – January 25, 2027
Zurbarán’s extreme stillness has always made him feel strangely modern. The Louvre’s major monographic exhibition brings together religious commissions, portraits and still lifes to reassess a painter whose austere compositions, sculptural light and extraordinary attention to material turn devotion into something almost physical. Particularly important is the decision to present the exhibition alongside Sculpting Colour, establishing a dialogue with the polychrome sculpture of seventeenth-century Spain and recovering the intensely theatrical visual environment in which Zurbarán’s paintings were originally understood.
Musée du Louvre
October 7, 2026 – January 25, 2027
Zurbarán’s extreme stillness has always made him feel strangely modern. The Louvre’s major monographic exhibition brings together religious commissions, portraits and still lifes to reassess a painter whose austere compositions, sculptural light and extraordinary attention to material turn devotion into something almost physical. Particularly important is the decision to present the exhibition alongside Sculpting Colour, establishing a dialogue with the polychrome sculpture of seventeenth-century Spain and recovering the intensely theatrical visual environment in which Zurbarán’s paintings were originally understood.
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