ALAÏA in Musee Galliera
from September 28th, 2013 to January 26th, 2014
(from Tuesday to Sunday – 10am to 6pm)
no results
Chapel of our Lady of the Miraculous Medal
In this chapel, the Blessed Virgin appeared to Saint Catherine Laboure, a Seminary Sister (novice) in the Daughters of the Charity in 1830, in order to offer the world a medal.
Heaven descended to earth…From July to December 1830 Sister Catherine, a young novice of the Daughters of Charity, received the extraordinary favour of conversing on three occasions with the Virgin Mary.
The Salon du Chocolat – Paris Porte de Versailles
An even-more gourmet edition from 30 October through 3 November
(open from 10am to 7pm)
Georges BRAQUE in Grand Palais
From September 18th, 2013 to January 06th, 2014
(10am till 8pm Sundays and Mondays – 10am till 10pm from Wednesdays to Saturdays)
Masculine – Masculine. The Nude Man in Art from 1800 to the Present Day. Orsay Museum
From September 24th, 2013 to January 02nd, 2014
(From 9:30am to 6:00pm from tuesday to sunday – till 9:45pm on thursday)
“The Parisienne” – The Champ-de-Mars will host the 17th edition of the Parisienne, a sporting event exclusively for women.
This year, 30,000 candidates have registered to participate in the 17th edition of the Parisienne, a running race of 6 km in the middle of Paris and reserved for women.
Pompidou Center : Roy Lichtenstein exhibition
From 3rd July to 04th November 2013
(from 11 am to 9pm, until 11 pm every thursdays)
Today Roy Lichtenstein is regarded as one of the stars of the pop art movement as well as a great master of American painting. And yet, having been at the avant-garde of pop art for several years, Lichtenstein went much further. As soon as he began to reference artists and styles from art history in his works, he was very quickly perceived as a postmodern artist. Then, in the last years of his life, returning to the classic genres of the nude and the landscape, he became almost a traditional painter. So that Roy Lichtenstein is, today, a “classic” artist. Yet the power of his art is also an amused distance, critical without becoming cynical, that he applied to both himself and to art, from early on to the end of his life, the importance of which must be recognised. In one of his last interviews, Lichtenstein did not deny the interviewer’s first question: “Are you sure that you have never created a work completely devoid of all trace of malice, humour or irony?”