Muse de Orsay: An Unleashed platform

Musee d’Orsay Unsuitable for modern trains, its deserted platforms finally closed in 1979. Plans to demolish it in 1970 were overturned just in time and it became a listed building.

There is no draught in this train station, just art and light! Inaugurates during the Exposition Universelle of 1900, the Muse de Orsay train station resembled a fine arts palace to the painter Edouard Detaille ….which was what it was to become 86 years later.

Its immense volume was transformed into a museum whose canopy, nave, cupolas, pillars, iron girders, and stucco decors draws unanimous praise.

 Buoyant ambience of MO

The huge clock in the glass roof of the central alley dominates a chronological layout over three main levels, focusing on the major artistic movement in western art from 1848 to 1914: painting, sculpture, graphic arts and art object, as well as furniture, architecture, and photography,

The period was so productive, the collections so rich in wonderful works (and in -ism: expressionism, fauvism,etc.)that it seems impossible to cite one unique masterpiece.

La Vie (Zervos I 179)

is a 1903 oil painting by Pablo Picasso. It is widely regarded as the pinnacle of Picasso’s Blue Period.[

La Vie (Zervos I 179) is a 1903 oil painting by Pablo Picasso

The painting is in the permanent collection of the Musée d’Orsay .

La Vie (The Life) was painted in Barcelona in May 1903. It is 196.5 by 129.2 centimetres (6.45 ft × 4.24 ft) and portrays two pairs of people, a naked couple confronting a mother bearing a child in her arms.

 In the background of the room, apparently a studio, there are two paintings within the painting, the upper one showing a crouching and embracing nude couple, the lower one showing a lonesome crouching nude person very similar to Sorrow by Vincent Van Gogh.

With this Picasso repainted another motif, a birdman who attacks a reclining naked woman, traces of which are visible to the naked eye.

An important example of expressionism, La Vie was Picasso’s memorial tribute to his close friend Carlos Casagemas (1881-1901), a fellow Spanish art student who had accompanied him on his first trip to Paris (October 1900), where they established themselves temporarily in the Montmartre studio of Isidre Nonell (1872-1911), a friend from Barcelona.

A moody individual with a taste for Nietzsche and a tendency to depression, Casagemas fell in love with an artist’s model called Germaine Pichot (1880-1948).

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