Opening with the beautiful scenery of the north tower clock windowed from the Seine, the roof of the city and Montmartre, pause for a moment that realigns the viewer entirely within the Impressionists were making their own. Edouard Manet’s “Dejeuner sur l’herbe”, a Paris studio to paint plein air with strong connotations of the old separated on the first floor, taking its rightful place, and it seems monumental and visionary better. During the Impressionist galleries, open ceilings, cathedral style, structural beams, nodding to the Orsay reveal aesthetic industry, and also for the ingenious blend of natural and artificial lighting that captures beautiful, lustrous gray lavender walls to allow the effects of bright sunlight a soft . Musée d’Orsay new palette allows us to appreciate, like a white wall is never done, the depth and range of color and the second Impressionist renewed loyalty and profound difference between the master, their predecessors and contemporaries, something that is driven by thought provocative and often persuasive, The new grouping of famous works. Auguste Rodin’s life-size bronze statue of St. John the Baptist, for example, one of the most powerful naked figures of his age, looks over one of the following gallery of paintings to the end of August Renoir bathers, and not only establish the primacy naked in modernist art, but a number of the approaches are included.
Although the new square footage added during the renovation Orsay, the paintings of the fifth floor, surprisingly, a solid mounted, and also hanging low in the stream, gathering light overhead, circulatory problems before the museum-goers remain the most popular floor. Respite provided, however, vitreous “Water Block” Japanese designer Tokujin Yoshioka contemporary banks, which seem to float in their luminous sky, and the Café de l’Horloge luxury, a Jules Verne-inspired fantasy by Campana Brazil team that fills the main floor of the tower.
The paintings of the Post-Impressionists, including Vincent van Gogh and Paul Gauguin, which previously hung in the gallery, claustrophobia Bellechasse column now spoiled one floor into a small, elegant midnight blue, a gallery dedicated to the late scholar Françoise Cachin, who served as director The first museum. Exhibited for the first time here under artificial light, in a departure from the aesthetic impressionism plein air, they hang in close and revealing symbolic art. But in the next gallery, devoted to the moody “nocturnal,” Manet once again called into a heady mixture, indicating that the museum is not only sterile white-box gallery of the past, but the teleological interpretation of art history left In both subtle and monumental manner, . Historic Orsay has grown into a dynamic expression of our time