From February 18 to May 25, 2025, the Musée national Picasso Paris presents its new temporary exhibition: "'Degenerate'" art. Modern art on trial under the Nazis". The first exhibition in France devoted to so-called "degenerate" art, it explores and puts into perspective the Nazi regime's methodical attack on modern art.

As a historical landmark and an immense treasure chest where the world's aesthetics converge, the Louvre inspires many creative worlds. It is to the world of fashion, which is so fond of looking to art, that it has opened its doors for an exhibition in the form of a dialogue.

To maintain a certain coherence without getting lost in the immensity of the Louvre's collections, it was decided to approach the subject through the lens of the history of decorative styles, crafts and ornamentation. Thus, the Louvre Couture exhibition unfolds in the galleries and rooms of the Objets d'art department. Here, fashion is brought to life in 65 contemporary silhouettes and some thirty accessories. The story unfolds from Byzantium to the Second Empire, and the pieces on loan from the great couture houses of Paris and beyond, both ancient and contemporary, are brought into dialogue with the objects and ornaments from which they are inspired, and to which they echo.

Louvre Couture aims to highlight the links between two worlds, as well as the participation of men and women of the fashion world, from Jacques Doucet to Madame Carven, whose generosity has contributed to the development of the department's collections. Finally, it is an opportunity to take a fresh look at the museum's objets d'art, as well as at the creations of the great names in contemporary fashion.

For the first time in the history of the Musée du Louvre, Cenni di Pepo, known as Cimabue, a major painter of the pre-Renaissance period in Italy, is the focus of an exhibition devoted entirely to his work. Considered as one of the most influential artists of the 13th century, the Italian painter and his unique pictorial vision revolutionized Western painting. By seeking to represent the world, objects and bodies as they exist, and emotions as they manifest themselves, Cimabue contributed to the renewal of Christian painting, departing from Byzantine art and introducing into his works a naturalism that was surprising for its time.

Entitled "Revoir Cimabue" ("A New Look at Cimabue"), this new retrospective presents some forty works based around two paintings, Maestà and Christ Mocked.

The second is a panel rediscovered in France in 2019, restored and then classified as a national treasure. It is now in the collections of the Louvre.

The first, restored in 2024, symbolizes Cimabue's renewal of religious iconography. Its restoration has made it possible to rediscover and highlight the variety and subtlety of the colors, from the blue of the Virgin's dress to the gold of the halos, which reflect light like a mirror.

The exhibition explores part of the work of Duccio di Boninsegna, a Sienese painter strongly influenced by Cimabue, of whom he is said to have been a student. The presentation of Cimabue's dyptique - a first - enables us to better identify the influences that guided Duccio's hand in the creation of his own Maestà, commissioned by the city of Siena at the dawn of the 14th century.

Finally, the presentation of the Saint Francis of Assisi receiving the stigmata by Giotto, a talented disciple of Cimabue, fully reveals the legacy left by the master. Originally intended to occupy the same location as the Maestà in the Louvre - the tramezzo of Pisa's San Francesco church - this painting is a manifesto of Cimabue's influence on Western painting, marking and inspiring a new generation of artists long after his death in 1302.

As a preview of the reopening of all its galleries in June 2025, the Grand Palais is presenting an exhibition dedicated to the poetic and sensitive work of Japanese artist Chiharu Shiota.

Born in Osaka in 1972 and now living in Berlin, Chiharu Shiota is world-renowned for her monumental installations of interlacing wool yarn. These giant canvases often envelop objects from her everyday life and invite the viewer on a majestic, dreamlike journey. Her protean creations explore the notions of temporality, movement and dreams, demanding a dual engagement from the viewer, both mental and physical.