1890 -1939 · Batignolles, Ventimiglia and lounges between street and interior

Vuillard paints Paris from its thresholds: square seen from above, chestnut trees behind the glass and apartment opening onto the city make the urban landscape an extension of intimacy.

For Édouard Vuillard, Paris is less a series of monuments than a network of apartments, streets and inhabited windows. He grew up in the capital, attended the Condorcet high school then the Académie Julian and joined the Nabis in 1889. The first interiors of rue des Batignolles and rue Truffaut mixed the maternal sewing workshop with the surrounding neighborhood. A window, a balcony or a landing is enough to bring the city into painting. The Marronniers, rue Truffaut, filter the street through the foliage; Madame Vuillard sewing connects domestic work to a real address. Around 1908, the artist moved to Place Ventimiglia, today Place Adolphe-Max. He observes regularly the central garden, traffic, facades and, in the distance, the Sacré-Cœur. Instead of a topographical view, he builds a mobile space made of curtain, railing, branches and colorful plans. Place Ventimiglia even becomes a vast five-panel screen, recalling the importance of decor in his work. The Hessel salons on rue de Rivoli or rue Saint-Florentin even show another Paris, that of collectors and artistic sociability. At Vuillard, rue et piece show another Paris, that of collectors and artistic sociability. At Vuillard, rue et piece respond to each other: the modern spectacle remains seen from a personal place, and each address preserves the memory of those who occupied it. At Vuillard, rue et piece respond to each other: the Hessel salons on rue de Rivoli or rue Saint-Florentin show another Paris, that of collectors and artistic sociability. At Vuillard, rue et piece respond to each other: the modern spectacle remains seen from a personal place, and each address preserves the memory of those who occupied it. At Vuillard, rue et piece respond to each other: the modern spectacle remains seen from a personal place, and each address preserves the memory of those who occupied it. At Vuillard, rue et piece respond to each other: the modern spectacle remains seen Sacré-Cœur seen from the artist's apartment, Place Ventimiglia and La Place Ventimiglia. His reading favors details.

Vuillard's Paris begins on a window sill: the city can be seen through the curtains, the trees and the memory of the room.