Palazzo Bonaparte presents "Munch: The Inner Cry", a major retrospective exhibition, with 100 works from the Munch Museum in Oslo dedicated to Edvard Munch.

An exhibition of masterpieces from the field of Art Nouveau, in which flowers play the leading role.

The exhibition brings together a hundred objects that are characteristic of Art Nouveau in all its variants: from Spain (Modernisme), from France and Belgium (Art Nouveau), from Germany (Jugendstil), and from Austria (Sezession). Two monographic rooms are also dedicated to the designers Josef Hoffman and Peter Behrens

The Musée d'Orsay's first exhibition devoted to the spectacular development of the illustrated poster in colour in the late nineteenth century.

Including a unique set of works by the masters of poster art, the display shows how this medium was elevated "to the rank of mural painting", as the Nancy art critic Roger Marx once put it. This dive into the golden age of the illustrated poster also focuses on the rise of mass consumption and mass culture, of which poster art was both a vector and a symptom. Drawings, works of art, photographs and paintings all evoke the effervescent world of the street as a stage during the Belle Époque, whose image was in part shaped by these posters.

On show from 18 March to 6 July 2025, the exhibition "Art Is in the Street" is organised in collaboration with the Bibliothèque nationale de France. It is co-curated by Élise Dubreuil, Chief Curator of Decorative Arts at Musée d'Orsay, and Sandrine Maillet, in charge of poster collections at the Bibliothèque nationale de France, as well as Anne-Marie Sauvage, general library curator, and Clémence Raynaud, Chief Curator of Architecture at Musée d'Orsay.

The exhibition "Times of Change" weaves together biographical and artistic elements, focusing on the ruptures and transformations in Egon Schiele's "late works" from 1914 to 1918, a period that has received comparatively little attention until now. During this time, Schiele gradually abandoned the radical formal experiments of 1910 to 1914 and developed a more realistic style characterized by deeper empathy. His linework became calmer, more fluid, and organic, and the figures he depicted gained greater physical fullness. The exhibition also offers new insights into this pivotal period by incorporating contemporary archival materials, such as the previously unpublished diary of Edith Schiele.

Through twenty-four works by Ignacio Zuloaga (1870-1945) and twelve by Hermen Anglada-Camarasa (1871-1959), this exhibition lets us enjoy the coincidences and differences between these two painters. In their works, they both depicted the themes so in vogue in the Paris of the times, such as gypsies, Madrid's maja cultural costumes, and landscapes. Despite both artists having a strong and highly similar influences from Impressionism and Post-Impressionism, the divergences between their painterly languages and individual focuses were quite clear.

The exhibition, described as the world's largest presentation of works by Archibald Knox, features over 200 works by the Manx artist from collections across the British Isles, including pieces of silverware, pewter and jewellery, alongside rarely seen paintings, sketches, manuscripts, ceramics, textiles and furniture.

Jointly curated by Manx National Heritage and the Archibald Knox Forum, the show offers visitors the unique experience of delving into the artistic creation of the leading exponent of the ?British Celtic Revival' design style of the late 19th and early 20th centuries, while exploring his home country of the Isle of Man, to which Knox's work was intimately attached.  

The opening of the exhibition will be marked by a seminar on 5 and 6 April at the Manx Museum. The event will feature keynote speeches by Stephen Martin and Anthony Bernbaum, two of the world's leading experts on Archibald Knox's life and work. The seminars will explore the artist's Cymric style and the mythical and symbolic influence of Manx culture and history on his work.