The Fondation Cartier pour l'art contemporain presents the first major retrospective in Europe of Olga de Amaral, a key figure on the Colombian art scene and of Fiber Art. The exhibition brings together some 90 works created between the 1960s and today, many of which have never been shown outside Colombia. In addition to the vibrant gold leaf creations for which the artist is renowned, the exhibition reveals her earliest textile research and experimentation, as well as her monumental pieces.

With the curators of the exhibition

Olga De Amaral

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The Musée des Arts Décoratifs will take you on a fascinating journey into the heart of our inner sanctum through a history of privacy, from the 18th century to the present day. 470 works, including paintings and photographs, as well as decorative art objects, reveal how the private sphere has evolved. From the bedroom as seen by Henri Cartier-Bresson or Nan Goldin and 19th-century wrought-iron beds to the “lit-clos” of the Bouroullec brothers’, from the commode chair to the urinal for women, from waterless hygiene products to the bathroom, from aristocratic beauty to mass consumption, from licentious books to sex toys, from the Walkman to social networks and influence, through the tools of surveillance and protection, the exhibition shows how privacy came to be, and the profound changes it has undergone since then. The increasingly blurred and porous boundaries between private and public have sparked much debates.

With Christine Macel, directrice du musée des Arts décoratifs alongside the exhibition curator, Fulvio Irace, historien du design et de l’architecture

Private Lives, from the Bedroom to Social Media

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International Circle

Acquisition Group for Design

Acquisition Group for Photography

Acquisition Group for Contemporary Art

 Acquisition Group for the French Scene from the 1950s to the 1980s

Mission Recherche

The term trompe-l'œil was first used by Louis Léopold Boilly (1761-1845) as a caption to a work exhibited at the Salon of 1800. The term was adopted thirty-five years later by the Académie française. Although the term was coined in the 19th century, the origins of trompe-l'œil can be traced back to a much earlier account by Pliny the Elder (c.23-79 AD), who relates in his Natural History how the painter Zeuxis (464-398 BC), in a competition with the painter Parrhasius, depicted grapes so perfectly that birds flew around them. Over the centuries, trompe-l'œil has evolved through a variety of mediums, revealing itself to be plural. It plays with the viewer's gaze, winking at the traps set by our own perceptions. While certain themes of trompe-l'œil are well known - such as vanitas, hunting trophies, letter carriers and grisailles - other aspects will be explored in this exhibition, such as decorative variations (furniture, earthenware, etc.) and the political significance of this pictorial genre from the revolutionary era to modern and contemporary versions.

With exhibition curators, Sylvie Carlier, conservatrice du musée Marmottan Monet, and Aurélie Gavoille, attachée de conservation au musée Marmottan Monet

Trompe-l'œil from 1520 to the present day