Paris's Maillol Museum was founded in 1995 by Dina Vierny, a model and close associate for 19th and 20th-century sculptor Aristide Maillol. It is currently showing the works of Swiss artist Alberto Giacometti, along with several works by artists such as Maillol, Aguste Rodin and Germaine Richier. Interesting to compare. To listen to Rosslyn Hyams's radio report click on the arrow in the top right hand of the photo.
Alberto Giacometti spent a lot of time in Paris, in his studio in Montparnasse, and his works have been more or less fashionable over the years since his death in 1966.
Today he is considered as one of the most important sculptors of his generation.
The exhibition at the Musée Maillol in association with the Giacometti Foundation, is laid out to enable an exploration of Giacometti's sculptures and drawing.
In bright white spaces, the delicate heads in glass cubes look all the more vulnerable.
How thin can a person be? Giacometti saw the human figure as frail, even cast in a solid metal like bronze. His rough-edged shapes contrast with the roundness and fullness of Maillol's works. Although Giacometti himself went through a period of more classical creation before formulating the style he is best-known for..
The Giacometti Foundation has picked pieces for this exhibition which show how Giacometti played with ancient art from North Africa, particularly Egypt, and Africa south of the Sahara, which corresponded to his times and remains strikingly adapted to tastes today.
The exhibition runs till March 2019.
Paris exhibition maps out post-WWI turmoil in the east
An exhibition that is part of the French centenary commemorations for the end of World War I provides a fascinating historical and geographical eye-opener, centred on the peace treaties signed after the war and what came next in central and eastern Europe, as well as in the Middle East.
The Museum of the Armies, set in Paris's imposing Invalides complex built in the 17th century under Louis XIV, has brought together rare documents and artefacts, parts of uniforms or weapons, propaganda tools like posters from some 20 collections in France and Europe, east and west.
The museum's film department has joined Gaumont-Pathé in digging out and restored some rarely seen footage.
As part of the many events being organised in France this year for the centenary of the end of World War I, on 11 November 2018, the exhibition sheds light on the lesser known consequences of the devastating war on countries west of France and Italy.
Without ignorng the suffering of the soldiers and their families in the Flanders fields, the exhibition, put together by military historians and geographers, looks at what happened after the fall of four great empires, the Russian, Ottoman, Austro-Hungarian and German.
It shifts the historical emphasis to the east and reveals that after the signing of the Treaty of Versailles on 28 June 1919 conflict and crises were not over.
Geographically, the show moves from the treaty room on to Germany, Poland and the Baltic States and Russia. It pursues its course in Mitteleuropa, Austria, Hungary, Romania, Czechoslovakia, Bulgaria, the Kingdom of the Serbs, Croats, Slovenes and Albania.
The last room's focus is on the Levant, on Greece, Turkey, Syria and Lebanon (including Sykes-Picot sketches and a costume worn by TE Lawrence, known as Lawrence of Arabia).
Visitors can take in European border changes in the first room, since the 13th century. Then they can contemplate the question of nationalities and borders, revolutions, counter-revolutions, civil wars and civilian casualties. Finally they can examine the role of France, a country which emerged as a military power to be reckoned with, whose ambassadors and soldiers were highly influential in reestablishing stability.
Central and east Africa and other hotspots in photos in Bayeux
Rosslyn Hyams visits powerful exhibitions of photos taken in central and east Africa, mainly of refugees and internally displaced people near and on the borders of the Democratic Republic of Congo, where long-awaited elections are slated for December 2018.
Films ‘Shock Corridor’ and ‘Day of the Outlaw’ adapted on stage
At the National Drama Centre in Montreuil, a suburb east of Paris, director Mathieu Bauer's double-bill Nuit Américaine adapts two US movies for the stage. Bauer says it's like "diving into the history of cinema and of the US" at the same time.
Click on the arrow in the top right-hand of the photo to listen to the RFI English Culture in France broadcast on 17 October 2018, and hear actors Clément Barthelet and Rémi Fortin talk about their experiences in the plays.
Plays and literature are more often adapted to the screen rather than vice versa. French director Mathieu Bauer thinks differently. He draws all the elements of stage, not least of all illusion, to pull off an entertaining and thought-provoking double-bill.
He began with Samuel Fuller's 1963 Shock Corridor, set in a mental hospital, as a project for the students of the National Theatre School in Strasbourg (TNS) and which has matured naturally over the past three years.
The same crew work with Bauer, and his accomplices/musicians Sylvain Cartigny and Joseph Dahan, on the second show, Western. It’s an almost word-for-word adaptation of the 1959 script for The Day of the Outlaw set in the 19th century. The music score changes somewhat.
Together, the André de Toth-inspired work and Shock Corridor span almost a century of American history. Bauer chose these films for their focus on certain American social and political issues which were red hot at the time, or are still burning and simmering today. The young French actors embrace aspects of the American “un-dream” with energy and imagination, and carry spectators away with them and their youthful enthusiasm.
La Nuit Américaine, Bauer's double-bill, is going on tour in France after their last night in Montreuil on 26 October 2018. At the time of writing neither play has subtitles.
Here are the dates so far:
9 November 2018 Scène nationale de Sète et du bassin de Thau
19 January 2019 Théâtre du Gymnase, Marseille
24 - 26 January 2019 Théâtre de La Croix-Rousse, Lyon
1 February 2019 Le Granit, Scène nationale, Belfort
12 & 13 March 2019 La Comédie de Clermont-Ferrand
From James Bond to Marie Antoinette - films shot at the Vaux Le Vicomte palace
In this week's Culture in France, RFI's Rosslyn Hyams visits the Vaux le Vicomte Fait son Cinéma exhibition in the 17th Century palace and gardens near Paris. The grounds and rooms have featured in some 50 movies over the past half-century since opened to the public in 1968, a revolutionary year. Click on the arrow on the photo to hear the feature.
US director Sofia Coppola's Marie Antoinette (2005) was shot in part at Vaux le Vicomte, as was French stage and film director Ariane Mnouchkine's Molière (1977), along with at least two films directed by French veteran film maker Bertrand Tavernier, including Que la Fête Commence (1974), and Milos Forman's 1988 Valmont. More recently, Vaux le Vicomte, also popular for its Year-End decorations and festivities, hosted the shoot of Dany Boon's comedy Raid Dingue (2016), and the TV historical drama series, Versailles devised and directed by Simon Mirren and David Wolstencroft.
The exhibition, Vaux le Vicomte fait son cinéma which runs until 4 November combines 17th century French history, with the excitement of finding out how films are made, from costumes and make up to special effects.
As Vaux le Vicomte has hosted many shoots, it seemed like a good idea tothe owners, the de Vogüé family and their team who help run the site, to reveal some of the secrets of cinema.
The history of Vaux Le Vicomte is in itself intriguing. It begins with rivalry and surprises pitching powerful public figures in 17th century France, including those very close to King Louis IVXth, against the Sun King.
More discretely, in the old kitchens, under the ground floor, you can see the original storyboard for the 2016 film Raid Dingue, The series of drawings serve as a blue print for the director and his team, showing camera angles, entrances and exits and such, but are works of art in their own right.
Next door, a bluescreen adventure in a hot-air balloon basket over the palace and its gardens awaits budding actors and actresses and directors, complete with sound effects of the wind and tweeting birds.
360° virtual reality headgear and stools in the central hall of the palace puts visitors in the place of an actor at the banquet table, with the film crew looking on from behind, don't forget to swivel.
You can marvel at props and costumes used in Moonraker, one of the most popular James Bond films, made in 1979 with the late Roger Moore as 007.
The chateau is making the 50 kilometre trip from Paris even more like an amusement park day-out with the chance to win a ride in a helicopter, just like James Bond. Although the winners are not expected to pull off the same stunts as in the Moonraker aerial scenes, just sit tight and marvel at the exceptional aerial view.