Photographer's Note

For those who think that all musea are immutable places of culture, imbued with philosophy and habits closer to fossilisation than the perpetual motion theory, time has come to reconsider your point of view. Because, on this subject as on the journalese routines or the height of the heels of shoes for women, trends are on the move.

Trends dealing with appearance which, for example, instill some "last strokes of genius before permanent closure and demolition” atmosphere, acknowledge commercial sponsorship as a legitimate art piece and favor tacky light effects (with its lastest exhibs, the Palais de Tokyo, in Paris, has become a more than real caricature of such extremities!).
And trends fortunately more structuring, too, as two new requirements seem to shake up "serious" establishments: massive loans, ideally abroad, and confrontation with contemporary art.

Barter, public image strategies and perspectives of consequent endowments often condition artistic round-trips: the Rodin museum let go of Camille Claudel's sculptures for one year, Masterpieces of the musée d'Orsay are displayed in Moscow, Caillebotte's paintings in Germany, operation Louvre in Atlanta is scheduled until 2009, Vincent's bedroom in Arles and some 200 other works will spend some time in Tokyo and Kobe, next year...

The incursion of modernity also comes and goes, often sidling among visitors who seldom came for it (like the supermarket peddler who offers you to taste a yoghourt with an exquisite taste and a special composition to strengthen the calcium of your bones, or something like that, whereas you're just looking for a frozen pizza).
The tendency of the moment aims at exploring various “temporary recurring” options: successive propositions by different artists confronted to the statues of Antoine Bourdelle (inside the museum by the same name) or, under the impulse of new presidencies, Counterpoint in the Louvre and Correspondences in Orsay museum, launching its fifth edition with this stylistic "dialog" between Paul Gauguin and Robert Mangold. The sunbeam was just passing by, unexpectedly...

Obviously, capacity to see “in the flesh” what you forecasted and wished for becomes less and less obvious and reactions towards the parallel offers you may receive can be quite trickier.
Organizing your expectations, satisfying all your desires, being wary of what you don't know nor want to understand, even with the help of a dictionary...
Isn't there any alternative? ;-)

Lens distorsion correction and slight crop

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Additional Photos by Dominique Monrocq (dom_inik_m) Gold Star Critiquer/Gold Star Workshop Editor/Gold Note Writer [C: 215 W: 131 N: 469] (1717)
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