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Guide
Le musée est ouvert tous les jours, sauf les lundis et mardis, de 10 heures 30 à 18 heures. Il est fermé les 1er janvier, 1er mai, 8 mai, Ascension, 14 juillet, 15 août, 1er novembre, 11 novembre, 25 décembre. La bibliothèque et le service de documentation proposent au public trois rendez-vous hebdomadaires, les mercredi, jeudi et vendredi de 14 heures à 17 heures 45. Le service culturel assure des visites - ateliers, des visites commentées pour les groupes, ainsi que des visites organisées pour les malentendants et les malvoyants. Renseignements et inscriptions au 04 72 10 17 56, de 9 heures 30 à 12 heures 30. Activités pédagogiques : programme disponible à l'accueil ou sur demande au 04 72 10 17 56. Musée des Beaux-Arts Lyon Palais Saint-Pierre 20 Place des Terreaux 69001 Lyon Tél. 04 72 10 17 40 Fax 04 78 28 12 45 Serveur Web : http : //www.mairie-lyon.fr
Le Musée des Beaux-Arts de Lyon
La rénovation exceptionnelle du musée dans la dernière décennie du XXe siècle a totalement bouleversé l'image de l'institution lyonnaise, l'élevant au rang des plus grands musées européens. Installé depuis 1803 dans le bâtiment d'un ancien couvent, le musée abrite des antiquités, des objets d'art du Moyen Age et de la Renaissance, des peintures, sculptures et dessins de toutes les époques.
The Vence Chapel
Completing this invaluable record, the correspondence between Matisse and Father Marie-Alain Couturier, the Dominican priest at the forefront of the post-World War II movement to commission works of religious art from leading modern painters and sculptors, details the creation of the Chapel's most remarkable feature - Matisse's bold stained-glass windows. The numerous letters he and the artist exchanged are in themselves a fascinating exchange on the art and the significance of modern stained glass.
Worlds in a Museum
Held on the occasion of Louvre Abu Dhabi’s first anniversary, the symposium Worlds in a Museum addressed the topic of museums in the era of globalisation, exploring contemporary museology and the preservation and presentation of culture within the context of changing societies. Departing from the historical museum structure inherited from the Enlightenment, leading experts from art, cultural, and academic institutions explore present-day achievements and challenges in the study, display and interpretation of art, history, and artefacts. How are “global” and “local” objects and narratives balanced – particularly in consideration of diverse audiences? How do we foster perspective and multiculturalism while addressing politicised notions of centre and periphery? As they abandon classical canons and categories, how are museums and cultural entities redefining themselves beyond predefined concepts of geography and history? This collection of essays arises from the symposium Worlds in a Museum organised by Louvre Abu Dhabi and École du Louvre.
Survage
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Pioneering Modern Painting
Catalog of an exhibition held at the Museum of Modern Art, June 26-Sept. 12, 2005, the Los Angeles County Museum of Art, Oct. 20, 2005-Jan. 16, 2006, and the Musée d'Orsay, Paris, Feb. 27-May 28, 2006.
Impressionism
Defining an artistic era or movement is often a difficult task, as one tries to group individualistic expressions and artwork under one broad brush. Such is the case with impressionism, which culls together the art of a multitude of painters in the mid-19th century, including Monet, Cézanne, Renoir, Degas, and van Gogh. Basically, impressionism involved the shedding of traditional painting methods. The subjects of art were taken from everyday life, as opposed to the pages of mythology and history. In addition, each artist painted to express feelings of the moment instead of hewing to time-honoured standards. This description of impressionism, obviously, is quite broad and can apply to a wid...
Image of the Sea
This book explores the unprecedented surge or oceanic feeling in the aesthetic expression of the romantic century. As secular thought began to displace the certainties of a sacral universe, the oceans that give life to our planet offered a symbol of eternity, rooted in the experience of nature rather than Biblical tradition. Images of the sea permeated the minds of the early Romantics, became a significant ingredient of romantic expression, and continued to emerge in the language, literature, art, and music of the nineteenth century. These pages document the evidence for this oceanic consciousness in some of the most creative minds of that century.
Corinne, Or, Italy
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