Le Syndrome de Bonnard (Bonnard Syndrome), will reveal the evolving and open nature of artworks. Through reworkings, reactivations and recycling, the works continue to evolve after entering collections.

Les dessins au fusain, au pastel et au crayon de couleur de Lucile Boutin sont des compositions minutieuses et lentes qui oscillent entre des représentations d’un travail manuel et des visions oniriques…

Le Syndrome de Bonnard (Bonnard Syndrome), will reveal the evolving and open nature of artworks. Through reworkings, reactivations and recycling, the works continue to evolve after entering collections.

Avec ”Premières vues”, le Domaine régional de Villarceaux s’associe au Frac Île-de-France pour confier le commissariat d’une exposition à celles et ceux qui le font vivre au quotidien : l’équipe du domaine.

Figurines, livres, photos chéries, objets trouvés ou rapportés sont autant d’éléments qui peuvent constituer des collections personnelles et trouver leur place dans nos espaces intimes…

As part of this new volume of Temps d’art, the public is invited to perform a similar gesture using stencils that echo, among other things, the police anecdote of the 1965 theft of a Pierre Bonnard painting from the Menier collection—the former owners of the château that preceded the museum.

A group of students from Romain Bernini’s studio at the École des Beaux-Arts de Paris rounds out their training by collaborating with the Frac to design a series of workshops where their brushes meet those of the public in the outpatient department.

Musical works are, by their very nature, subject to interpretation and reinterpretation. This is less often the case in the visual arts, where the value and preservation of the unique and original work are central to institutional concerns.

As part of this new volume of Temps d’art, the public is invited to perform a similar gesture using stencils that echo, among other things, the police anecdote of the 1965 theft of a Pierre Bonnard painting from the Menier collection—the former owners of the château that preceded the museum.

As part of this new volume of Temps d’art, the public is invited to perform a similar gesture using stencils that echo, among other things, the police anecdote of the 1965 theft of a Pierre Bonnard painting from the Menier collection—the former owners of the château that preceded the museum.

Le Syndrome de Bonnard (Bonnard Syndrome) reveals the shifting and open nature of the works. Between reworkings, reactivations, and recycling, they continue on their own trajectory beyond their entry into collections.

In Splash collection, the works become the protagonists of a story inspired by the worlds of manga and comic strips. Among them is Le décalage by Marc-Antoine Matthieu.