Note: if this text will make you want to visit Paris — here is our guide, to make sure you are covered!

What is your first thought when someone says  — “the city of Paris”? 

Fashion, cuisine, and… culture! Of course, a great deal of our favourite French stereotypes are about food — croissants, baguettes, wine, cheese, pâté. But it is fair to say, whenever Paris is in the centre of the discussion, the talk is about the museums — Louvre, Muśee d’Orsay, Musée de l'Orangerie, Centre de Pompidou and many more. 

We already have a lovely bite of this cultural centre in the UAE, under the one-of-a-kind roof of Louvre Abu Dhabi. But the current exhibition is simply something else… This October, Louvre Abu Dhabi in partnership with France Muséums and Musée d’Orsay has brought Paris to the UAE. 

The current exhibition titled Post-Impressionism: Beyond Appearances has not only brought together one of the greatest pieces from Muśee d’Orsay, like Bedroom in Arles (1888) and The Siesta (1889–1890) by Vincent van Gogh; Portrait of Madam Cézanne (1885–1890) and Still Life with Onions (circa 1896–1898) by Paul Cézanne; works by Paul Gauguin, Georges Seurat, Maurice Denis, Henri de Toulouse-Lautrec, and other legends. 

But it also showcases unique works that influenced the artistic marvels, like Plum Estate, Kameido, from the series One Hundred Famous Views of Edo (1857) by Utagawa Hiroshige, to provide the viewer with a holistic experience of art history and educate any mind. 

According to the website Cambridge Dictionary, there are at least 17 synonyms for the word “breathtaking” and I am not even sure the power of these 17 words would be enough to describe the delight, rapture and awe of the experiences going through the corridors of this exhibition. This exhibition tells the story of a generation of artists who broke away from tradition and sought new ways of seeing the world. The collection is open to the public from October 16, 2024 and will be with us until February 9, 2025. So, an advice early in the text — book your trip to Louvre Abu Dhabi this weekend.  

Taken outside of its usual European context, the curatorial team had an opportunity to approach the legendary collection in an original way, finding new perspectives. In pursuit to expand the canons and put on a map non-european artists of the chosen time period, two paintings by Egyptian artist Georges Hanna Sabbagh are also on display — The Artist and His Family at the Church of La Clarté (1920, loan from Centre Pompidou) and The Family: The Sabbaghs in Paris (1921, loan from Musée de Grenoble).

Another lovely detail would be the importance of interpersonal connections in this exhibition. Not only the curatorial team managed to source the very pallets by artists they have placed together, but the scenography of the space allowed the team to personalise the stories about famous masters. Walking around the collection, one could see the representation of the artist's work with chosen pieces, then his pallet, and the correlations between themes, messages and techniques highlighting the close-knitted artistic community of Salon des Refusés. 

Such a large-scale project, covering 99 artworks, many on a loan from Muśee d’Orsay, was meticulously crafted throughout two whole years, with transportation process taking up to three months, including flights and acclimatisation of paintings and other artefacts. 

Having a chance to speak with some people, who made it happen, let us get to know the curatorial team a little better.

— What inspired you to approach the famous artworks in a new way for this exhibition?

Jérôme Farigoule, Chief Curator at Louvre Abu Dhabi: The goal was to rediscover these famous artworks and exhibit them from a fresh perspective. Typically, museum spaces are static, with rooms that rarely change. But with this unique scenography, we had to find new relationships between the pieces, seeing how they interact with each other. It was both challenging and rewarding.

— Your team mentioned repositioning the paintings several times. How do you envision visitors engaging with the exhibition?

Jérôme: There is no "perfect path" to explore this exhibition. It is designed to allow visitors to create their own experience. The central room has nine doors, each leading to a different part of the exhibition. Visitors can choose whichever path attracts them. We wanted to highlight that these artists, though contemporaries, each had their own approach. It is not just a story of influence but a celebration of diversity.

Aisha Al Ahmadi, Curatorial Assistant at Louvre Abu Dhabi: One key element that felt new to us was the exhibition’s scenography. There have been many exhibitions on Post-Impressionism, but we wanted to explore it through a fresh lens, using the exhibition's design. The scenography allows visitors a free-flow experience, highlighting something we kept discussing throughout the planning phase: the idea of these artists as a constellation. They were different individuals, but they orbited one another, exchanging letters, influencing each other, forming friendships — and sometimes, falling out of them.

— So, when visitors stand at the centre of the exhibition, can they see these relationships reflected?

Aisha: Exactly. Standing at the centre, you can visually see these connections. It brings to life how intertwined their stories were. To connect this to the MENA region, we included two paintings by Georges Hanna Sabbagh at the end of the exhibition. Sabbagh, born into an affluent family, initially studied law, but he chose to dedicate his life to art. He studied under Maurice Denis and Paul Sérusier, who are also featured in the exhibition. We wanted to show that when people think of Post-Impressionism, they often think of artists like Van Gogh and Gauguin. But their influence reached beyond Europe, creating a two-way exchange with artists like Sabbagh, who worked alongside them rather than just being influenced by their work from a distance.

— Why have you decided to include also the artists’ palettes? What does this add to the exhibition?

Jérôme: It is the first time we have gathered the artists' palettes together. They offer a unique insight into the creative process. For instance, you can see how Seurat used small, deliberate dots of colour, while Van Gogh applied energetic strokes. These palettes give a sense of the artists' presence. Often, we only have the last palette an artist used, as many cleaned theirs regularly. It adds a historical layer to the exhibition.

— The curation is very selective. How did you decide which works to include? Have you had any new narratives in mind?

Jérôme: We aimed to choose both the best works and those that represent different phases of each artist's career. For instance, with Van Gogh, we included still lifes, portraits, and landscapes. With Gauguin, we have pieces from Brittany and Tahiti to capture the breadth of his work. It was about being exhaustive, showing different expressions and approaches. We included only a few Impressionist pieces, like Camille Pissarro, to highlight their connections with the Post-Impressionists.

— I am still amazed by the scale of the project. You mentioned managing the logistics of transporting the artworks. With 99 pieces here, that must have been quite the challenge! How did it go?

Dr. Guilhem Andre: Scientific, Curatorial and Collection Management Director of Louvre Abu Dhabi: It was definitely a complex task. Managing so many artworks being shipped at the same time requires careful coordination. Everything came from Paris, from the Musée d’Orsay, by air, and then it was transported by truck to the Louvre Abu Dhabi. Our storage facilities, which are hidden beneath the museum, cover 3,500 square metres — large enough to receive these crates and unpack them in the right conditions.

Once the artworks arrive, they acclimate for two days before we open their crates and do condition reports. This involves checking every detail of the artworks to ensure they weren’t damaged during transportation. Then, we carefully move them to their designated spots in the exhibition. Each step is meticulously planned with tight deadlines.

— It sounds almost like caring for living things!

Dr. Guilhem: In many ways, it is even more complex than that! Every artwork has unique needs, especially those on sensitive materials like paper. We monitor the climate very closely, particularly the light levels. For works on paper, we can’t exceed 500 lux (a unit of light measurement), and we limit the total hours they are exposed. It is a delicate balance.

— Are there any particular pieces that are harder to maintain than others — perhaps due to their technique, like pointillism?

Dr. Guilhem: Yes, definitely. The most challenging pieces are those on sensitive materials like paper, which require very strict environmental controls. For these works, we monitor not just the light levels but also how long they are exposed each day, and throughout the exhibition. We carefully track all of this to make sure the artworks remain in optimal condition.

— Do you have a favourite part of the exhibition?

Jérôme: The Van Gogh room is a personal favourite. His works are incredibly powerful, and he had such a rich connection with other movements, like Neo-Impressionism and Japanese prints. He wrote so many insightful letters to his brother, revealing his thoughts on art, both past and modern. He had a genuine love for both famous artists and those less known, which I find very endearing.

Dr. Guilhem: My favourite is also the room with Van Gogh’s Bedroom in Arles and The Siesta. It is such a privilege to bring these masterpieces together. Even at the Musée d’Orsay, it is rare to have these works displayed side by side, because they are often loaned out to different places. So, having them here is a major achievement. It is especially rewarding because it allows audiences in the UAE and the broader Arab world to access these iconic works without needing to travel to Paris.

Aisha: Well, my favourite pieces are definitely the ones by Sabbagh, but that last room stands out to me for another reason. As we discussed, with a background in art history, you develop a deeper connection to the artists. The more research you do, the more familiar they become, almost like old friends. I spent a lot of time studying Cézanne, not just for this exhibition but even before. That room speaks to me — each piece tells a story, like his many portraits of his wife, despite their strained relationship. He kept returning to that subject, almost obsessively. And his mountain paintings — over 80 of them — became more abstract as he evolved.

— The story of Cézanne and his unfinished portrait of the critic Gustave Geffroy is fascinating too.

Aisha: Yes, it is a great example of those complex relationships. They met through Monet at a dinner, and Geffroy was one of the first critics to write a positive review of Cézanne. He was so impressed that he commissioned a portrait from Cézanne, but things didn't go smoothly. They had different views on everything from religion to art, and the disagreements became so intense that Cézanne left the portrait unfinished — only the hands and face are incomplete. Despite this, it became an influential piece, especially for the Cubists.

— What do you hope visitors, whether local, art experts, or newcomers, will take away from this exhibition?

Aisha: I hope they experience that same sense of awe you and I did — like a jaw-dropping moment. The idea that you can walk into the Louvre in the UAE and see iconic works like Van Gogh’s Bedroom in Arles is incredible. To have access to these masterpieces without needing to travel to Paris is a privilege. It is an opportunity for our audience to see these renowned artists in a new context, right here in the region.

Jérôme: I hope they feel a sense of freedom and the importance of experimentation, both in colour and form. It is about finding your own way while staying connected to others. This exhibition highlights the synergy and collaboration among the artists. I also hope visitors appreciate the Japanese prints in a new context, as they add a stunning, rich dimension to the experience.

Missing out on the coolest events in Dubai? We know where you’ll be in November: The Crowd Test Festival — the very first Art and Music Festival by The Sandy Times. 

The lineup is incredible: Mainline Magic Orchestra from Spain, Eden Burns from New Zealand, and a lot of your favourite DJs like Hani J, Hassan Alwan, Bazzzuk, and more.

Mark your calendar, snag your tickets, and get ready: November 16, 2024, from 5 PM to 3 AM at Monkey Bar, Dubai.