The Home Of Impressionist Art: The Many Lives Of The Musée D'Orsay | Perspective

[Music] at the heart of paris the musee d'orsay is an extraordinary monument this large stone facades actually hide a massive metal heart the whole metal structure is huge they used 12 000 tons of metal 12 000 tons of metal is more than one and a half times the eiffel tower and this groundwork superstructure with his knave 32 meters high has seen many metamorphoses today osei is one of the most famous museums in the world but as the 20th century began it was a legendary orsay station a revolutionary railway station completed for the great exposition universal of 1900 it's a modern station of a type never before seen rail travel was the high-tech symbol of the age the colossal construction project was completed in a record two years with immense constraints on a plot that was far too narrow jose is in the city center surrounded by buildings there's no possibility of overflow the engineers had to design an innovative configuration with 15 underground tracks and also build one of the very first tunnels within paris tunnel is a real engineer's challenge abandoned after the second world war the monument was a temporary home to ex-pows and deportees who returned from germany a theater and even a parking lot before finally being transformed into a museum in the early 1980s once again great efforts were required to provide the museum's treasures with top security in this extensive volume of meters the museum really was at the cutting edge of technology when it opened only 42 meters from the sun the works of art require protection from the floods that had already ravaged the station in 1910 but also creating innovative walls to counter the vibrations of the rer trains which continued to pass through the building's basement building a museum in a station is from every point of view a bold move from station to museum how has the building been able to constantly adapt to a difficult environment and innovate for almost 120 years this is the story of the multiple metamorphoses of a monument unique in the world [Music] [Applause] [Music] [Music] at the heart of paris on the banks of the sen the musee d'orsay is one of the most iconic monuments of the french capital its environment is just as grandiose it faces former royal residences the louvre and the tulare we're at the heart of paris of monumental parrots and at the same time the heart of mythical paris around the same from the inside is even more striking with its imposing nave 138 meters long by 32 meters high almost as high as the nave of notre dame which reaches 33 meters the volume is absolutely colossal it's a real shock when you enter [Music] you can tell you're in a special museum you can see it you can feel it jose is indeed the only great museum in the world in a former bella park railway station built at the turn of the 20th century and this exceptional station hides an astonishing structure in the nave what we see are the 35 000 square meters of glass and the 1600 staff coffers that decorate the vault on the outside we see wide facades carved from stone in the pure french tradition but if we could remove one by one the stones that make up these facades we discover an impressive metal heart hidden in the rock [Music] from the outside it looks like a stone building but in fact its whole structure is metallic [Music] we're no longer in a conventional technology where facades are connected by beams and we put in floors and a roof no it's an entirely metal structure inside the museum the pillars and the wrought iron decorations still testify to this colossal framework it took no less than 12 000 tons of metal to build will say a significant figure given that the eiffel tower itself only required 7 300 tons the orsay railway station was in fact completed in 1900 the heyday of metal construction just 11 years after the eiffel tower more modern than it seems the design of the orsay superstructure resembles those of the first american skyscrapers of the late 19th century with stone playing a purely decorative role [Music] the structural load-bearing role is played by the metal framework to seek out the secrets of this exceptional station we must examine the event that caused it to be built the paris exposition of nineteen hundred [Music] with its wide avenues and unique monuments the face of modern day paris was largely crafted in the 19th century and in 1900 the french capital was at its zenith [Music] in 1900 paris is a city of light radiating throughout europe and the world from april to november 1900 paris further boosted its prestige by holding the new exposition universal [Music] a spectacular event dedicated to the glory of human genius only 11 years after the one that inaugurated the eiffel tower and the 1900 paris exposition beat all records with more than 50 million visitors 1900 was to be the big expo france was rich very rich so for the paris exposition the city fathers decided to remodel paris some 112 hectares of prestigious facilities were built for the occasion right at the heart of paris with spectacular superstructures like the grand palais or great technological innovations like the first line of the paris metro [Music] the exposition universal is very important it's about showing the whole world the reality of a country's industrial power the paris orlean railway company which owned the second longest rail network in france sees this unique opportunity to welcome the exposition's millions of visitors in style it proposed to build a grandiose station the orsay station [Music] the railway symbolized the high-tech prosperity of the time if what was needed was a beautiful station beautiful and also remarkable or say wouldn't be a simple station it must be a temple to rail monumental futuristic a laboratory of railway innovation worthy of the exposition universal it's a modern station of a type never before seen but in central paris it was hard to find a suitable location for such an ambitious station that had to handle 150 trains per day the exposition universel was held near the eiffel tower on the banks of the sen in an already highly urbanized area fortunately there remained a strategic site just 700 metres from the planned entrance to the expo the ruins of a former palace the palais d'orsay this monument had been built in 1830 to house the court of audit [Music] on the orsay site stood the court of audit a grand institution that checks the state's books etc but the pale d'orsay would last only 41 years it was torched in 1871 during the paris commune [Music] much of it and remained a ruin for 30 years they didn't know what to do with it on this land miraculously available in the centre of paris they'd be able to build a new station this colossal project involved raising the ruins of the pale d'orsay and building in its place from scratch a high-tech station in a record time of two years it would have to be done very quickly as it was a key deadline the exposition universal all large urban stations are very difficult stations to make that's why most stations open after a considerable delay [Music] so how would they manage to build this exceptional station in just two years the engineers would indeed find themselves faced with a major challenge to build a monumental station on a plot that was far too small and to have railway lines arrive in the heart of paris without destroying everything around it the palais d'orsay site was chosen for its strategic location but it didn't suit the construction of a large station right in the center of paris only 42 meters from the sun [Music] jose is in the city center surrounded by buildings there's no possibility of overflow there was an awful lot of urban growth which hindered the project the available space was also far too small even after acquiring a neighboring plot the buildable area was only 13 000 square meters a rectangle 173 meters long by 75 meters wide an engineering review at the time estimated that 25 to 30 000 square meters were needed more than double [Music] on this limited site the paris audio engineers must find room for a station in a vast 370 room hotel to achieve this feat they must devise a monument with an innovative configuration that optimizes each available square meter it was tricky because the building was needed the traveler needs his space so they took advantage of the small plot maximizing some things as well as compressing the hotel these constraints explain the monument's unique configuration almost stuck to the neighboring building [Music] on the other side the large glass tympanum where the clock hangs is also enclosed behind the front of a building on two sides the hotel frames the nave of the station spreading its 370 rooms over five stories the hotel which extends over several levels would totally mask the rear of the station [Music] the station meanwhile should have 15 lines but the monument isn't wide enough the engineers would find the space needed by digging down five metres all around the monument [Music] imagine these underground lines that would arrive in the station itself [Music] some tracks were slightly hidden under the kedorsei others nearer the hotel the design of orsay station made the most of the available space but they must also find a way to bring the railway to the station in the middle of paris once again the solution would be found underground as they built or say station they also of course built the tunnel linking it to austerlitz station [Music] before the construction of its orsay station the paris orleans company's terminus was osterlitz in the east of paris the tracks must therefore be extended to the new orsay terminus and to connect the two stations a tunnel some 3 650 meters long must be dug across the historic heart of the french capital this tunnel is a real engineering challenge because it must run alongside the same there are bridge abutments and there's the same digging in in every direction a tunnel that follows the course of the seine is vulnerable to flooding [Music] work began on the tunnel in april 1898 his course must be perfectly judged and as shallow as possible to avoid seepage from the sen we used the shield technology which allowed us to dig with mechanical diggers it removes the rock while building up the tunnel masonry the tunneling shield was the ancestor of the tunnel boring machine a metallic structure mounted on ten hydraulic cylinders which could advance up to nine meters per day at the front was a beak under which the workers cleared away the rock at the rear the body of the shield served as a support to build the vault of the tunnel this technology was used in the metro except that the gauge was wider to fit trains 3.1 meters down the tunnel the paris orlean company designed one of the largest shields ever made a structure 9 meters wide equipped with an innovative lateral guidance system to draw curves and flawlessly circumvent obstacles thanks to this extraordinary project which mobilized 300 workers the tunnel was completed in just 16 months and this exploit also involved another major innovation the use of electricity when we built orsay station we knew trains would arrive with electric locomotives so as not to spread smoke in the tunnels if we kept steam locomotives the passengers would have ended up smoked like kippers but in france at the turn of the 20th century all the trains were steam powered so trains at austerlitz station would have to change locomotives just to pass through the tunnel these were the first electric locomotives in france especially designed for also station electric traction began in 1900 in orsay in france in this regard the station appears to be experimental a station of the future [Music] visitors to the musee d'orsay today don't always notice it but just below the entrance you can spot a few relics of the old station platforms [Music] here we are at the lower level which is where the trains arrived we can imagine how the platforms were thanks to the pillars that are still here as they carry the entire structure more than 200 cast iron pillars are distributed underground at platform level they support the ground floor of the station and in particular the entire metal frame of the monument the whole metal structure is immense we know that the pillars at certain structural points can take up to 600 tons of load but what are the secrets of this gigantic metal frame so well hidden in the stone the station's architect came up with an amazing superstructure whose construction techniques are reminiscent of those of the eiffel tower to build the orsay station the paris orlean company chose a well-known architect victor lalu victor was already known at the time he entered the orsay station competition he was working on the one at tour station architecture with one eye on the past but with the new techniques of our time rather academic in style lelou was also a modernist and a great connoisseur of metal construction of which this was the golden age in 1900 the thinking was that a three-dimensional metal structure was a passport to anything it made possible to skyscrapers that were shooting up in new york and chicago victor leloux planned to use all of the possibilities of metal in particular its solidity especially as the station was only 42 meters from the zen the foundations were difficult to build as the ground was very boggy to build the station on solid foundations they had to begin by raising the ruins of the palais d'orsay the first phase of the work began in april 1898 at the same time as a tunnel [Music] for the 30 000 cubic metres of stone from the former palace ten thousand was reused to build blocks of masonry five meters below the ground floor at future platform level these blocks provide a powerful bedrock for 200 metal pillars which themselves support 41 rows of transverse beams this network of metal beams forms a powerful floor upon which the entire framework of the station can rest [Music] we have a metal floor system that allows for wider spans which limits the support points and that's what's interesting we therefore built a huge structure entirely in metal with rounded metal ribs for the ceilings [Music] the solidity of the floor made it easy to create an unobstructed interior space with a huge nave 40 meters wide by 32 meters high and a succession of seven domes all along the great hall for this precision work victor lulu used the same metal as the eiffel tower huddled the iron iron was widely used from 1850 it's a technology that takes pig iron and creates a wrought iron that is more malleable the construction techniques of the metal structure of orsay were also fairly close to those of the eiffel tower with parts prefabricated in the workshop they were then assembled on site with rivets [Music] we see these rivets which really are the signature of this technology and which ensure resistance and real durability thanks to these optimized techniques and also to the use of powerful mechanical devices like this 32 meter crane the job would be completed within two years but victor leloux would also hide his modern metal structure the better to blend into the orsay environment there was no question of leaving the metal structure visible where the station walks in the center of paris facing the louvre this is more than just a technological space the challenge is to design a monumental station on three of the four sides of the monument lelou thus designed large facades in the purest french tradition composed of 8 000 cubic meters of sculpted stone but these facades are but an imposing decoration created with the same techniques as american skyscrapers we already have skyscrapers 200 meters high in new york for example metal structures with stone cladding you'll say facades are in reality only simple stone walls two meters thick they are just placed on the metal structure below and on the side and are retained by anchors metal bars embedded in the stone the station is simply cladding stone it's like we built a wall to finally shut out metal architecture it's above the nave in the attics of the monument that we notice the load-bearing role of this metal framework this is what's known as orsay's second skin a very ordered network of metal beams along the entire length of the nave [Music] it's a forest of metal which underpins the stability of the work and of the vault especially [Music] the double skin affords access to the vault through these openings cut in the glass roof in harness 20 meters up [Music] rope access technicians are restoring part of the nave 1600 staff coffers or cases [Music] coffering decorated with rosettes embedded in the metal structure designed by victor lulu to give his station an antique look directly inspired by the baths of caracalla which were roman baths of considerable volume [Music] architect la lu can allow himself the luxury of interior decoration and gilding [Music] very refined the orsay station from its opening in 1900 was a real technological gem to accommodate up to 150 trains per day engineers used innovative equipment to ensure optimum comfort for passengers station was a laboratory for railway innovation for electricity everything ran on electricity [Music] ahead of its time the station was entirely lit by electricity it also boasted one of the very first monumental electric clocks with a diameter of four and a half meters but above all this new energy powered a revolutionary luggage system [Music] the fact that there were two flaws posed handling problems and that's why we created elevators don't forget that in 1900 elevators aren't widespread really is an innovation with electricity this new energy vector allows at this time the station's 12 elevators enabled luggage to be raised and lowered at a speed of one meter per second another innovation enabled by electricity these inclined allofiber conveyor belts hoist luggage eight meters above the platforms to a dedicated space behind the clock [Music] people collect their luggage from a bench where it's displayed just like in an airport today [Music] but this pioneering station soon became obsolete with the increase in traffic the monument again came up against its original problem the lack of space when it was built it was fine it was big vast but it soon became too cramped in 1912 just 12 years after its inauguration the paris orlean company were looking to extend the osei station it states that during busy periods the station wasn't up to the task of handling traffic flows the cost of the work needed to extend the station was estimated as 16 million old francs a colossal sum equal to around 64 million euros today they considered extending downwards but it was impossible they'd have to dig under buildings again mammoth works faced with these difficulties the paris orlean company chose to gradually abandon its prestigious orsay station just before the second world war they decided to halt the main nine trains so the station only lived for 30 years and it would be a long sleep for the sleeping beauty even if some suburban trains continue to run the station was forgotten and the sumptuous nave gradually deteriorate [Music] here we are with the building of significant scale and the question is what do we do with the vessel the story of orsay however was far from over a new chapter commenced for this unique monument between 1945 and 1980 usa had several different lives in 1945 it acted as a reception center for former prisoners of war and deportees returned from germany when abe pierre called in the winter of 1954 it was used as a donation center to help the homeless brave one of the harshest winters paris had ever seen in the 1970s a big top was installed at one end of the nave with theater performances given by the renault-barrel company several things happen it becomes a parking lot so there are absolutely amazing photos where you see cars instead of passengers [Music] it was in the 1980s that orsay would finally rise from the ashes thanks to the fabulous project of installing a museum with the finest works of the 19th century it was a very good idea imagining a 19th century museum but the hard part was imagining how it would fit inside a former station after the construction of a mythical station on the site of a former ruined palace the monument was gearing up for another metamorphosis the transformation into a great museum unique in the world jose station became an extraordinary object one which heralded a shift in the way people saw museums since its opening in 1986 the musee d'orsay has seen almost 100 million visitors come and go with his masterpieces by van gogh and by golga it is one of the most famous museums in the world the musee d'orsay was an artistic creation during the second half of the 19th century and the beginning of the 20th in all its forms painting sculpture the decorative arts impressionist masterpieces cinema too how is this former station transformed into a high-tech monument worthy of the treasures it protects [Music] it was a bold gamble for in the 1970s usa was an abandoned monument [Music] the spaces were very dirty very damaged it was an abandoned station [Music] at that time there was absolutely no awareness of any architectural interest in the station itself it was seen as old-fashioned belonging to the 19th century but in 1972 the idea of an entirely new museum took shape at the direction of musee de france it would exhibit works of art from the late 19th and early 20th centuries this station typical of la bella poc would establish itself as a showcase of choice we're really dealing with a fairly unique case on the museum scene home and abroad there is a total harmony between the building a station built for the paris exposition of 1900 and the collections an architectural competition was launched in 1978 contrary to expectations the winning project is that of a team of three young architects pierre colbock renault baldwin and jean-paul philippo when you win a competition like that and you're young you're on a little cloud and then you think we'll have to deliver [Music] the team was extremely smart and said let's start from the station's qualities in particular this big nave station then became not something cumbersome to be accommodated but on the contrary mainstream of the museum the strength of the young architects project was to reinterpret the station while respecting its structure the work began in 1980 and more than 80 years after its construction the monument's fabulous metal structure was once again laid bare the building had to be totally stripped back they obviously kept its structure but took everything off to ensure that the new museum would be perfectly solid and appropriate many elements that were too badly damaged were restored to their original state like the god mercury who overlooks the large glass roof or the paintings of the dawn the ceilings of the reception spaces [Music] the cell fete was re-gilded in gold leaf to give the monument all of its 1900 lustre [Music] but other elements at the station would be completely rethought the biggest challenges obviously concerned our position in relation to the station what do we keep what don't we keep to make a museum out of the station the first thing required was to work on the monuments foundations which had already shown their weakness only 10 years after the building of the station in 1910 10 years after the station was built we had the biggest flood paris had ever seen it would be remembered as the flood of the century in january 1910 the level of the sun rose eight meters hundreds of streets and close to twenty 000 buildings were flooded as for the station only 42 meters from the river and with underground tracks it was engulfed by the rising waters [Music] due to the pressure of the saiyan huge amounts of water leaked in orcis station was like a swimming pool thanks to the pumps provided to evacuate the water the station was able to resume its activity without too much damage but for the new museum such a flood would be catastrophic because these aren't underground trains they're works of art [Music] in the 80s architects and engineers thought about the best way to protect a monument containing works as in their initial program we already had our reserves in the basement [Music] in the case of a museum it is crucial to keep the work safe even if hassan one and a half meters below the level of the tracks they poured an apron of concrete a huge layer on average 80 centimeters thick molded the whole basement of the station under the museum's reserves to guarantee the stability of the infrastructure 1236 micropiles were planted in the slab and fixed in the limestone of the basement which have made it possible to impart stability to the whole structure and to guard against the pressures water can bring especially when in flood [Music] in addition to the foundations the museum architects would also review the configuration of the monument to manage the influx of people in the station's time the traveler entered by the facade on the sen and left behind the clock by the arrival canopy [Music] entering a museum from the river on this very broad facade in the wind seemed out of the question so we simply invert the operating system instead of entering on the riverside we enter by the arrival canopy so that was probably one of the strong points you can feel it today it's great to have that perspective enhanced by this new configuration the nave would truly be at the heart of the museum in place of the tracks the architects created an interior street lined with mezzanines climbing upward in successive steps [Music] progress like this slowly seeing works on either side we had these walls re-emerged symbolically if you will in the direction of the tracks [Music] design at these new walls was entrusted to a bold interior designer guy aulenti she designed geometric shapes that stand out from the rest of the station thanks also to the material used waxy stone an amber yellow limestone produced in burgundy [Music] the eye knows immediately thanks to the materials and the colours used what is from 1900 and what was from the 1980s [Music] the entire space of the nave and the great hall is thus transformed into exhibition rooms but once again in its history the monument lacked space the station floors represented an available surface of thirty thousand meters squared an extra thirteen thousand meters squared were required to exhibit the museum's greatest treasures the impressionist masterpieces of renoir and monet [Music] where do we put the impressionists we chose to put them in this unused attic that la lou had created above the vestibule at facade level on the send side the station's architect victor lalu had indeed created false attics to hide the great metal vessel from the eyes of passersby we recovered the station's attic in a way we put the impressionist fare and closed the smaller rooms after the architects it was the engineer's turn to face the ever more complex challenges [Music] for the station's metamorphosis to be truly successful they would need to innovate to resolve the problems linked to the superstructure itself [Music] for the station as for the museum the monument's prize asset is his vast name but this huge volume of more than a hundred thousand cubic meters also has a major drawback noise the problem of the knave is that such a large volume is very resonant there are echo effects we soon realized that we couldn't present the museum's works with hundreds and hundreds of visitors without generating an absolutely infernal noise [Music] to limit the resonance of the nave the acoustician in charge of the project would have to design forty thousand sound attenuators or mufflers to be discreetly hidden in the scenery the acoustician did a wonderful job resorted to a very old technique used in the stage walls of old theaters the technique of acoustic vases or jars is also found in medieval churches empty pottery embedded in the walls to absorb the echoes these cavities are hidden in the 1600 staff ceiling coffers which decorate the nave the ceiling coffers were eventually identically restored in the 1980s and during this phase of works the architects took the opportunity to add technique while restoring the coffers we tucked into the angles and into the rear of the coffers where it's quite invisible large volumes of plaster resonators hidden in the attic of the nave the famous double skin these sound attenuators manage to reduce visitor noise but the monument single superstructure poses yet another problem because even today under the visitors feet trains continue to run at orsay the station will never ever be closed and today it's doing very well it's still extremely active today suburban rer trains have succeeded commuter trains since 1979 a station has been located in an underground part of the monument of the 15 tracks of the former station the four closest to the sen have been conserved and converted to create this station so the place retains traces of its past when you're in the rer today you're where the station always was you can even see the cast iron pillars on the platforms just kept it sold the little modernizations here and there haven't harmed it the rer station and the museum are two parts of the same monument and are therefore linked by the same metal framework and the problem with metal is that it resonates enormously [Music] the metal framework does have a drawback the transmission of vibrations when a train passes the tracks resonate and that creates vibrations in the works of art vibrations can damage the surface of a painting for example or destabilize a fragile object or a sculpture on the ground side of the museum riverside some fifteen hundred meters squared at the exhibition space sits on top of the underground rer station and the floor that separates the two spaces is extremely thin just 12 centimeters [Music] in 2018 the problem was solved by designing innovative walls on which to hang paintings anti-vibration mounts we were inspired by constructions in zones of seismic activity such as italy or japan where they have buildings on springs [Music] at first glance these picture hangers look like conventional walls but in fact if you dig deep there's much more inside a complex structure equipped with springs at the top above a hull which rests on the springs it's the internal structure that moves and absorbs the vibrations the hull remains immobile as it is suspended 10 centimeters from the ground the fact of not touching the ground makes it possible to isolate the vibration that emanates from the station at the surface where the works are hung these high-tech picture rails manage to secure the works but you have to be very careful when hanging them because with their frame these pitches can weigh up to 100 kilograms today exceptionally we were able to witness the setting up of the temporary exhibition dedicated to the painter james tissot most works are protected from the front by a special glass called mirror garb which is an anti-reflective security glass rather like the windshield of your car and also from the rear with a cushioned pad of polycarbonate cladding it takes six weeks to carefully hang the 80 paintings in the exhibition [Music] for these treasures over a century old are very fragile to protect them from shocks the paintings are even equipped with integrated pads most works are protected from the front by a special glass called mirrorguard which is an anti-reflective security glass rather like the windshield of your car and also from the rear with a cushioned pad of polycarbonate cladding the musee d'orsay possesses around 6 000 paintings and many are equipped with pads but that is not enough the entire monument must guarantee an optimal environment for works the museum houses treasures so you have to control the climate you must have a stable temperature must have stable humidity that is a considerable technical challenge especially when we see the volume of the station this was really considered and thought out by the architects in the 1980s the museum really was at the cutting edge of technology when it opened since its birth in 1986 the entire operation of the museum has thus been managed in real time by computer this is to ensure the safety of the works but also that of the public in such a gigantic monument some 7000 sensors are distributed throughout the monument to detect the slightest anomaly all the spaces are controlled by probes and by readings in fact which are directly conditioned and studied at central monitoring level the surveillance unit is located in the basement of the museum here all the sensor readings are displayed on the screens they show the temperature levels but also the air conditioning the lighting and the condition of the escalators this information arrives in real time the central monitoring station is really the brain of the museum the sensitive heart of the museum these screens are the visible face of a centralized avant-garde system where everything is managed by powerful computer units automata in the museum basements they remotely control a vast network of technical installations with no fewer than 30 air conditioning units capable of ensuring an airflow of 620 000 cubic meters per hour [Music] the automaton will process this information and will make it possible to send commands for example open or close hot water valves cold water valves the computer system used in orsay is far from typical for a conventional museum it is more like that of an advanced industrial building and when it was inaugurated in 1986 the monument was already far ahead of its time we only had this installation in two places in the world here in orsay but also in kuru at the launch center for the ariane rocket especially [Music] the museum has always been technologically advanced to adapt to this huge building as well as to its monumental works [Music] today an exceptional event takes place in orsay a giant canvas measuring 6.6 meters by 3.15 is being taken from its frame it is a burial a masterpiece painted by gustav colbert in 1850 a team from the musee de france research and restoration center carries out an x-ray of this painting the extraordinary size of the canvas imposes a particular system [Music] the painting's large size forced us to carry out our mission on the spot which is relatively exceptional because most paintings come into our laboratory [Music] to achieve this without any risk the operation takes place at night with a carefully delimited security perimeter around the x-ray generator working on a large format painting requires a lot of time because you can't do a single pass you can't do an overall x-ray [Music] it took 51 shots to reconstruct the whole of this painting x-rays then make it possible to reveal the invisible the real state of the canvas or even the painters secrets we have lots of new information that we had no idea was there until we did this x-ray closer to the latest technological advances the museum is in constant flux with collections continuing to grow richer each year and a monument that constantly adapts the better to enhance them you musee d'orsay opened in 1986 it has constantly evolved and is constantly evolving like a living organism once again the musee d'orsay is not done with its multiple metamorphoses you

Channel: Perspective

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Keywords: Arts, Theatre, Full documentary, documentary, musee d'orsay documentary, paris, art, news, musee dorsay, france, musée dorsay, travel, musée d’orsay, musee dorsay paris france, claude monet, virtual tour, what to do in paris, art history, van gogh, manet, eiffel tower, tourism, paris (city/town/village), edgar degas, françois pompon, gustave courbet, painting, impressionism, paris attractions, musee dorsay clock, visit musee dorsay, best museums in paris, how to visit musee dorsay

Id: cs459mpwNOg

Length: 52min 30sec (3150 seconds)

Published: Mon Dec 13 2021