Permanent Collection

Alberto Giacometti, Femmes de Venise, 1956, bronze (photo prise en 1964) The Women of Venice, 1956 In 1956 France invited Alberto Giacometti to the Venice Biennale. He accepted, and exhibited a feminine figure. This was cast by his brother Diego at different moments of the creation process: ten women of Venice came into being. Five […]

Alexander Calder, Trois soleils jaunes, 1965, mobile Les trois soleils jaunes (Three Yellow Suns) Alexander Calder is known for his “mobiles” and “stabiles”. Before him, no one knew that a “mobile” was a sculpture in motion. We owe the term to Marcel Duchamp. Calder recounted the scene as follows: “There was an object with three

Marc Chagall, Devant le tableau, 1968-1971, huile sur toile, 116 x 89 cm Devant le tableau This painting is a major work of Chagall’s “late” period, and surprises through the modernity of its composition and by the powerful use of black. An artist with a donkey’s head, on the left, is painting a painting in

Georges Braque, Bassin Braque, 1964, Mosaïque, 460 x 1214 cm Les Poissons Le grand bassin en mosaïque de la Fondation Maeght, Les Poissons (1963), de Georges Braque est une des œuvres importantes et ultimes de l’artiste, qui allie la simplicité d’un matériau traditionnel, à des formes élémentaires et des couleurs retrouvées. Il s’inscrit ainsi dans

Marc Chagall, Les Amoureux (détail), 1963 – 1965, Mosaïc, 300 x 285 cm Les Amoureux (The Lovers) Set on an external wall of the Fondation’s bookshop, this mosaic was the first work created by Chagall with this material (1964-65). Mosaicists Heidi and Lino Melano collaborated on making it. Dedicated to Aimé and Marguerite Maeght, the

Marc Chagall, La Vie, 1964, Huile sur toile, 296 x 406 cm La Vie (Life) When Marguerite and Aimé Maeght set up the Fondation, they commissioned Chagall to make a large painting for the room that would be devoted to him. Chagall came up with La Vie (1964, oil on canvas, 296 x 406 cm).

Pierre Bonnard, L’Été, 1917, Oil on canvas, 260 x 340 cm Summer This Mediterranean-inspired composition was initially intended for one of the studies at the Winterthur residence of the Hahnlosers, Swiss collectors and friends of the painter. Bonnard made a mistake over the dimensions required for the panel. Too big, the composition was returned to