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Ouverture d'un booster Magic the gathering Lorwyn eclipsed au musée d'Orsay @Musée d’Orsay #magicthegathering #mtg #packopening #magic #museeorsay

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The work is also known as "Les trois grâces (The Three Graces)," a title that invites comparison with the classical trio of female beauty, charm, and harmony. French artist Marie Bracquemond translates that old theme into modern life.

Three women stand closely together outdoors beneath two open parasols, their bodies arranged in a shallow frieze against sky and foliage. At left, a woman with light skin wears a lavender-gray patterned dress and raises a vivid coral-pink parasol behind her shoulder. Her face turns inward, giving her a reflective, slightly reserved presence. In the center, a dark-haired woman with medium-light skin faces forward and meets us directly. Small red flowers ornament her hair, and she wears a warm brown dress over a pale bodice, her hands gathered neatly at her waist. At right, a fair-skinned red-haired woman in a pale cream dress tilts her head gently while holding a white parasol that catches the light. The paint is loose and luminous, with blue sky, green leaves, and sunlit fabric broken into fresh, flickering strokes. The parasols form a rhythm of color above the women, echoing both protection and grace.

These are not idealized mythological nudes but clothed contemporary women, poised and self-contained. Their closeness suggests companionship and mutual presence rather than performance for us. The central woman’s direct gaze is especially important, grounding the image with calm intelligence and making the group feel psychologically alive. 

Painted around 1880, when Bracquemond was forging her place within the Impressionist milieu, the canvas shows her commitment to ambitious figure painting at a time when women artists were often pushed toward smaller, more private subjects. Light here does more than describe atmosphere. It elevates ordinary feminine experience into something monumental, modern, and quietly radical.

The work is also known as "Les trois grâces (The Three Graces)," a title that invites comparison with the classical trio of female beauty, charm, and harmony. French artist Marie Bracquemond translates that old theme into modern life. Three women stand closely together outdoors beneath two open parasols, their bodies arranged in a shallow frieze against sky and foliage. At left, a woman with light skin wears a lavender-gray patterned dress and raises a vivid coral-pink parasol behind her shoulder. Her face turns inward, giving her a reflective, slightly reserved presence. In the center, a dark-haired woman with medium-light skin faces forward and meets us directly. Small red flowers ornament her hair, and she wears a warm brown dress over a pale bodice, her hands gathered neatly at her waist. At right, a fair-skinned red-haired woman in a pale cream dress tilts her head gently while holding a white parasol that catches the light. The paint is loose and luminous, with blue sky, green leaves, and sunlit fabric broken into fresh, flickering strokes. The parasols form a rhythm of color above the women, echoing both protection and grace. These are not idealized mythological nudes but clothed contemporary women, poised and self-contained. Their closeness suggests companionship and mutual presence rather than performance for us. The central woman’s direct gaze is especially important, grounding the image with calm intelligence and making the group feel psychologically alive. Painted around 1880, when Bracquemond was forging her place within the Impressionist milieu, the canvas shows her commitment to ambitious figure painting at a time when women artists were often pushed toward smaller, more private subjects. Light here does more than describe atmosphere. It elevates ordinary feminine experience into something monumental, modern, and quietly radical.

"Trois femmes aux ombrelles" (Three Women with Parasols) by Marie Bracquemond (French) - Oil on canvas / c. 1880 - Musée d’Orsay (Paris, France) #WomenInArt #WomensArt #WomanArtist #WomenArtists #MarieBracquemond #Bracquemond #artText #art #arte #MuseeOrsay #Muséed’Orsay #MuséeOrsay #Impressionism

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Video

DC’s #phillipscollection #Renoir has arrived at the #museeorsay in Paris for the first time in decades ! @washingtonpost.com @popville.bsky.social

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Black-and-white photograph of the upper portion of the large ornate clock inside the Musée d’Orsay in Paris. Behind the glass panels above the clock face, two human shadows are visible, creating contrast between the intricate ironwork and the soft silhouettes in motion.

Black-and-white photograph of the upper portion of the large ornate clock inside the Musée d’Orsay in Paris. Behind the glass panels above the clock face, two human shadows are visible, creating contrast between the intricate ironwork and the soft silhouettes in motion.

Permanent face.
Passing shadows.

Musée d’Orsay, Paris.

#ClassicMono
#UrbanGaze
#Paris
#MuseeOrsay
#BlackAndWhitePhotography
#WhatsNext

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The museum (Musée d’Orsay) also records the work under the alternate title “Mademoiselle S…,” hinting at a private identity held just out of reach so this portrait is both revelation and discretion. Painted around 1913 and acquired from the artist that same year, the image balances a polished, Salon-ready finish with an intimate tenderness via a careful costume and composed stance that suggests social training, while a half-smile and forward-falling braids keep her unmistakably childlike. 

A girl with fair skin stands in a quiet interior, turned three-quarters toward us with an easy, self-possessed posture. Her long brown hair is parted and braided into two thick plaits that fall past her waist, emphasizing both youth and careful grooming. She wears a vivid red dress with black trim around short sleeves, the dress yoke, and a wide hem. Its fabric is softly pleated and painted with delicate vertical strokes that suggest weight and movement. A large, cream-colored hat with a floral crown and deep navy decorations frames her face. Its brim casts a gentle shadow over her forehead while leaving her bright eyes and small, knowing smile clearly visible. Her right hand rests lightly on the top rail of a dark wooden chair with turned spindles and a worn, olive-toned seat. Her touch is casual, as if she has just paused mid-step. Black socks and polished black shoes anchor her on a pale floor with hints of color. Behind her, greenish wallpaper and parts of two framed paintings create a muted, domestic backdrop, letting the warm red dress and her calm gaze hold the center.

French artist Henry d’Estienne was academically trained in Paris and known as a portraitist often linked to Orientalist circles. He brings a classical steadiness to the girl’s presence, yet the emotional temperature stays warm, familial, and immediate. Seen on the eve of World War I, her bright red dress feels like a moment of girlhood held still before history accelerates.

The museum (Musée d’Orsay) also records the work under the alternate title “Mademoiselle S…,” hinting at a private identity held just out of reach so this portrait is both revelation and discretion. Painted around 1913 and acquired from the artist that same year, the image balances a polished, Salon-ready finish with an intimate tenderness via a careful costume and composed stance that suggests social training, while a half-smile and forward-falling braids keep her unmistakably childlike. A girl with fair skin stands in a quiet interior, turned three-quarters toward us with an easy, self-possessed posture. Her long brown hair is parted and braided into two thick plaits that fall past her waist, emphasizing both youth and careful grooming. She wears a vivid red dress with black trim around short sleeves, the dress yoke, and a wide hem. Its fabric is softly pleated and painted with delicate vertical strokes that suggest weight and movement. A large, cream-colored hat with a floral crown and deep navy decorations frames her face. Its brim casts a gentle shadow over her forehead while leaving her bright eyes and small, knowing smile clearly visible. Her right hand rests lightly on the top rail of a dark wooden chair with turned spindles and a worn, olive-toned seat. Her touch is casual, as if she has just paused mid-step. Black socks and polished black shoes anchor her on a pale floor with hints of color. Behind her, greenish wallpaper and parts of two framed paintings create a muted, domestic backdrop, letting the warm red dress and her calm gaze hold the center. French artist Henry d’Estienne was academically trained in Paris and known as a portraitist often linked to Orientalist circles. He brings a classical steadiness to the girl’s presence, yet the emotional temperature stays warm, familial, and immediate. Seen on the eve of World War I, her bright red dress feels like a moment of girlhood held still before history accelerates.

“Portrait de fillette” (Portrait of a Little Girl) by Henry d’Estienne (French) - Oil on canvas / c 1913 - Musée d’Orsay (Paris, France) #WomenInArt #MuseeOrsay #HenrydEstienne #dEstienne #art #artText #PortraitofaGitl #FrenchArt #FrenchArtist #arte #artfrançais #artistefrançais #Muséed’Orsay #1910s

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#streetphotography #Paris #people #museeOrsay

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a little girl is sitting on an orange slide and the words ok bye are above her ALT: a little girl is sitting on an orange slide and the words ok bye are above her

Le thread s'achève ici, à vous de vivre l'aventure ! 🏁

Musée d'Orsay
Esplanade Valéry Giscard d'Estaing
75007 Paris

Pour plus d'actualités!🗞

Blog💻 : renoiramour.blogspot.com
Instagram📸 : @renoir_lamour
Facebook📱 @RenoirLamour

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#RenoirEtLamour #ExpoParis #Culture #MuseeOrsay

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French Israeli artist Nathanaëlle Herbelin presents a gentle dialogue with French artist Pierre Bonnard’s painting "Woman with a Cat" from 1912, long housed at Musée d'Orsay in Paris, but swaps nostalgia for a present-tense, female gaze. Here, the cat’s mischievous agency eclipses its human (now more motif than muse) while the everyday rituals of eating, caretaking, and sharing space with an animal become the drama.

The square canvas frames a quiet, domestic scene. A young woman, the artist's sister Emmanuelle, with long straight brown hair sits at a small dining table draped in a pale cloth as wooden chair back peeks at the edge. Her posture is soft but alert, gaze lovingly lowered toward a flamboyant cat, Efi, poised like a tiny monarch at table height. A used plates, cupsof coffee, and a jar of honey sit near a bowl of milk with a spoon and an hard-boiled egg holder that might be the cat’s true quarry. Lighting is even and close, flattening perspective so tabletop, wall, and body read as adjoining planes. Herbelin's brushwork is tender and economical as warm earths and chalky whites mingle with midnight accents, recalling Nabi palettes while feeling entirely contemporary. The gray and white tabby cat’s arched neck and contentment with have her ears scratch becomes the liveliest line in the room, pulling the viewer’s attention across the table’s quiet geometry to this intimate exchange of appetite, affection, and routine.

Emmanuelle’s profile and the spare tabletop distill the scene into shapes and pulses of color. Made for Herbelin’s 2024 Orsay contemporary exhibition “Être ici est une splendeur,” where her canvases were shown alongside the Nabis, the work typifies her approach of intimate interiors, pared-down drawing, and a chromatic hush that feels like memory held in the hand. Born in Israel in 1989 and trained at the École des Beaux-Arts de Paris, Herbelin's paintings live in the present, mapping tenderness, kinship, and care onto contemporary life.

French Israeli artist Nathanaëlle Herbelin presents a gentle dialogue with French artist Pierre Bonnard’s painting "Woman with a Cat" from 1912, long housed at Musée d'Orsay in Paris, but swaps nostalgia for a present-tense, female gaze. Here, the cat’s mischievous agency eclipses its human (now more motif than muse) while the everyday rituals of eating, caretaking, and sharing space with an animal become the drama. The square canvas frames a quiet, domestic scene. A young woman, the artist's sister Emmanuelle, with long straight brown hair sits at a small dining table draped in a pale cloth as wooden chair back peeks at the edge. Her posture is soft but alert, gaze lovingly lowered toward a flamboyant cat, Efi, poised like a tiny monarch at table height. A used plates, cupsof coffee, and a jar of honey sit near a bowl of milk with a spoon and an hard-boiled egg holder that might be the cat’s true quarry. Lighting is even and close, flattening perspective so tabletop, wall, and body read as adjoining planes. Herbelin's brushwork is tender and economical as warm earths and chalky whites mingle with midnight accents, recalling Nabi palettes while feeling entirely contemporary. The gray and white tabby cat’s arched neck and contentment with have her ears scratch becomes the liveliest line in the room, pulling the viewer’s attention across the table’s quiet geometry to this intimate exchange of appetite, affection, and routine. Emmanuelle’s profile and the spare tabletop distill the scene into shapes and pulses of color. Made for Herbelin’s 2024 Orsay contemporary exhibition “Être ici est une splendeur,” where her canvases were shown alongside the Nabis, the work typifies her approach of intimate interiors, pared-down drawing, and a chromatic hush that feels like memory held in the hand. Born in Israel in 1989 and trained at the École des Beaux-Arts de Paris, Herbelin's paintings live in the present, mapping tenderness, kinship, and care onto contemporary life.

"Emmanuelle et Efi" by Nathanaëlle Herbelin (French-Israeli) – Oil on canvas / 2024 – Musée d’Orsay (Paris, France) #WomenInArt #art #artText #artwork #MuseeOrsay #WomanArtist #NathanaelleHerbelin #NathanaëlleHerbelin #Herbelin #WomensArt #LesNabis #Muséed'Orsay #IsraeliArtist #CatArt #WomenArtists

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Paris : un chef d'œuvre de Courbet exposé au musée d'Orsay pour la première fois depuis dix-sept ans Le célébrissime tableau de Gustave Courbet, "Le Désespéré", est exposé à partir de ce mardi 14 octobre 2025 au musée d'Orsay à Paris. Une rare opportunité de voir ce chef-d'œuvre.

😍 Le célébrissime tableau de Gustave Courbet, "Le Désespéré", est exposé à partir de ce mardi 14 octobre 2025 au musée d'Orsay à Paris. Une rare opportunité de voir ce chef-d'œuvre ⤵️
#MuseeOrsay #Courbet
actu.fr/ile-de-franc...

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Back to one of my second homes… 😉

For two months, I felt vulnerable and feared being too far from home. Isn’t that weird?

#museeorsay

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Horloge d’Orsay 🕰️
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#paris #tourism #architecture #museeorsay #visitparis #parisjetaime #parismaville #paristourisme #photography #photo #explore_paris #super_france #photographer #france_regards #francetourisme #mavilleenfrance #visitfrance

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À la rencontre de personnages historiques dans la nef ✨

#museeorsay #art #musee

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#cuadrodeldía Hotel des Roches Noires (Trouville), 1870 (Claude Monet 1840-1926) #MuseeOrsay París #art En la costa normanda situó Proust el imaginario Balbec, compendio de sitios como Deauville y Trouville. Este hotel real, con vista al mar, fue su inspiración #FelizMiércoles

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Devant La Nuit étoilée, dite aussi La Nuit étoilée sur le Rhône de Vincent van Gogh, une femme le prend en photo.
Derrière elle, un homme qui veut prendre en photo le tableau, se retrouve avec la coiffure de la femme devant lui sur la majeure partie du tableau.

Devant La Nuit étoilée, dite aussi La Nuit étoilée sur le Rhône de Vincent van Gogh, une femme le prend en photo. Derrière elle, un homme qui veut prendre en photo le tableau, se retrouve avec la coiffure de la femme devant lui sur la majeure partie du tableau.

Mise en perspective #Paris #VanGogh #MuseeOrsay

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Video

Un jour au musée d'Orsay 😍

A day in Musée d'Orsay 😍

#museedorsay #museeorsay #art #museum #musee #paris #unjouraumuseedorsay #adayinmuseeorsay

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Museé d’Orsay today. Big photo dump on my FB page #museeorsay

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Une superbe exposition au #Museeorsay d’un peintre engagé ! N’hésitez pas à aller la voir 😊

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Gros plan

Gros plan

L’œuvre dans toute sa majesté

L’œuvre dans toute sa majesté

Prêt du #museeorsay au Musée Thomas Henry de Cherbourg-en-Cotentin jusqu’au 29 juin. Grand pic noir, peint en 1894 par le Finlandais Akseli Gallen-Kallela dans le cadre de l’opération « 100 œuvres pour le climat ». Œuvre illustrant la déforestation et les méfaits de la sylviculture mono-spécifique

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#urbain #urban #indeedbychris #indeedbychristophedesmottes #photography #photographie #urbanphotography #architecture #architecturephotography #noiretblanc #blackandwhite #blackandwhitephotography #museeorsay #couloir #corridor #paris #bnw #christodem @bsky.app

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#urbain #urban #indeedbychris #indeedbychristophedesmottes #photography #photographie #urbanphotography #architecture #architecturephotography #noiretblanc #blackandwhite #blackandwhitephotography #bnw #museeorsay #paris #clock #horloge #orsay #christodem @bsky.app

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Instant Parisien- 1er jour faire ce qui nous plaît Exposition « Caillebotte peindre les hommes » @museeorsay.bsky.social - 1er janvier 2025 #paris #parigi #peinture #caillebote #museeorday #pitturadarte #artpainting #museeorsay #nouvelleannee

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Instant Parisien- 1er jour faire ce qui nous plaît Exposition « Caillebotte peindre les hommes » @museeorsay.bsky.social - 1er janvier 2025 #paris #parigi #peinture #caillebote #museeorday #pitturadarte #artpainting #museeorsay #nouvelleannee

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Instant Parisien- 1er jour faire ce qui nous plaît Exposition « Caillebotte peindre les hommes » @museeorsay.bsky.social - 1er janvier 2025 #paris #parigi #peinture #caillebote #museeorday #pitturadarte #artpainting #museeorsay #nouvelleannee

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Instant Parisien- 1er jour faire ce qui nous plaît Exposition « Caillebotte peindre les hommes » @museeorsay.bsky.social - 1er janvier 2025 #paris #parigi #peinture #caillebote #museeorday #pitturadarte #artpainting #museeorsay #nouvelleannee

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Instant Parisien- 1er jour faire ce qui nous plaît Exposition « Caillebotte peindre les hommes » @museeorsay.bsky.social - 1er janvier 2025 #paris #parigi #peinture #caillebote #museeorday #pitturadarte #artpainting #museeorsay #nouvelleannee

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Instant Parisien- 1er jour faire ce qui nous plaît Exposition « Caillebotte peindre les hommes » @museeorsay.bsky.social - 1er janvier 2025 #paris #parigi #peinture #caillebote #museeorday #pitturadarte #artpainting #museeorsay #nouvelleannee

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Instant Parisien- 1er jour faire ce qui nous plaît Exposition « Caillebotte peindre les hommes » @museeorsay.bsky.social - 1er janvier 2025 #paris #parigi #peinture #caillebote #museeorday #pitturadarte #artpainting #museeorsay #nouvelleannee

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Instant Parisien- 1er jour faire ce qui nous plaît Exposition « Caillebotte peindre les hommes » @museeorsay.bsky.social - 1er janvier 2025 #paris #parigi #peinture #caillebote #museeorday #pitturadarte #artpainting #museeorsay #nouvelleannee

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Instant Parisien- 1er jour faire ce qui nous plaît Exposition « Caillebotte peindre les hommes » @museeorsay.bsky.social - 1er janvier 2025 #paris #parigi #peinture #caillebote #museeorday #pitturadarte #artpainting #museeorsay #nouvelleannee

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Instant Parisien- 1er jour faire ce qui nous plaît Exposition « Caillebotte peindre les hommes » @museeorsay.bsky.social - 1er janvier 2025 #paris #parigi #peinture #caillebote #museeorday #pitturadarte #artpainting #museeorsay #nouvelleannee

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