Robert Ryman

The Musée de l'Orangerie, home to Claude Monet's ultimate masterpiece, the Water Lilies, is the perfect venue for this re-reading. Ryman, who rejected the notion of influence or the idea of exhibiting in dialogue with another artist, is nevertheless part of the history of painting, questioning each of its aspects and foundations. Like Monet before him, he focuses his research, almost obsessively, on the specific characteristics of his medium, questioning the notions of surface, the limits of the work, the space into which it is integrated, the light with which it plays, and the duration in which it unfolds.