Galerie Boquet

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10/10/2026

ARCHIVE • OFF SITE • Apollinaire, le regard du poète, Musée de l’Orangerie

The Orangerie Museum held a major retrospective in 2016 around Guillaume Apollinaire’s role in noticing, supporting, and connecting the emergent avant-garde of the XXth century.

“Poet, critic, discoverer of African art, and friend to artists, Apollinaire emerged as a central figure in the aesthetic revolution that gave rise to modern art. As Breton declared in 1950, Apollinaire had “once and for all defined the trajectory of a Matisse, a Derain, a Picasso, a Chirico (...) using instruments of mental surveying the likes of which had not been seen since Baudelaire.” The aim of this exhibition is to restore a sense of the importance that the gaze of this poet-critic could have held for his time, much as Baudelaire’s or Mallarmé’s had in theirs.

The exhibition seeks to explore Apollinaire’s intellectual and aesthetic world through a thematic journey: from Le Douanier Rousseau to Matisse, Picasso, Braque, and Delaunay; from Cubism to Orphism and Surrealism; from academic sources to modernity; and from so-called “primitive arts” to popular art. Particular attention will be given to the poet’s relationship with Picasso in a dedicated section.“

(Excerpt of the exhibition’s press release)

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Image 1, 2, 4 : Installation view, Apollinaire, le regard du poète, Musée de l’Orangerie, Paris, April 6–July 18, 2016. Curated by Cécile Girardeau, Laurence des Cars, and Claire Bernardi.
Image 3 : Marie Laurencin, (Detail) Portrait de Guillaume Apollinaire, huile sur carton. © Musée de l’Orangerie, dist. RMN-Grand Palais / Patrice Schmidt

© Musée de l’Orangerie, “Apollinaire, le regard du poète“, 2016, Paris.

08/10/2026

ON VIEW • LES ROSES de Guillaume Apollinaire

This constellation of prints and sketches, spanning a wide range of techniques and styles, reveals something of the intimacy of Guillaume Apollinaire and his collection: his relationships with artists, as well as the connections woven between different artistic worlds and mediums. This is particularly evident in the portrait of the poet Max Jacob by François Angiboult, one of the pseudonyms used by Hélène d’Oettingen — also known as Léonard Pieu and Roch Grey — herself an enigmatic and multifaceted figure of the avant-garde.

The exhibition LES ROSES de Guillaume Apollinaire brings together several works that once belonged to the poet: some were gifts from the artists, while others reflect his steadfast support for their research and experimentation. Marie Laurencin’s woodcuts are thus placed in dialogue with Jean-Émile Laboureur’s drypoint, whose almost opposite treatment highlights the diversity of graphic experimentation at the time.

Mikhail Larionov’s paintings, meanwhile, were intended as illustrations for Pomada, an avant-garde poetry collection by Aleksei Kruchenykh. These exchanges between painting, printmaking, poetry, and illustration embody the creative richness of the avant-garde, where disciplines intersect, influence one another, and continually push beyond their own boundaries.

On view until November 9, 2026

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Galerie Boquet
20, rue Visconti
75006 Paris

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Image 1 : Installation view
Image 2 : ROGER DE LA FRESNAYE, Jeune homme accoudé, pensif, circa 1920
Image 3 : MARIE LAURENCIN, Tête, 1908
Image 4 : MARIE LAURENCIN, Jeune Fille tenant une fleur, 1909
Image 5 : MARIE LAURENCIN, Vase de fleurs, circa 1907
Image 6 : MIKHAÏL LARIONOV, Marchande de Fruit (Illustration for Pomada, avant-garde poetry book by Aleksei Kruchenykh), 1913
Image 7 : MIKHAÏL LARIONOV, Palmiers (Illustration for Pomada, avant-garde poetry book by Aleksei Kruchenykh), 1913
Image 8 : JEAN-ÉMILE LABOUREUR, Portrait, 1917
Image 9 : ROGER DE LA FRESNAYE, Cuirassier, 1911
Image 10 : FRANÇOIS ANGIBOULT, Portrait de Max Jacob, 1920

📷 Yosuke Kojima

06/10/2026

FOCUS • Honoré Auclair (1855 – 1920)

Honoré Gleizes, who adopted the pseudonym Auclair in the early 1910s, first developed a landscape practice close to Impressionism before moving towards an increasingly personal visual language. In ‘Paysage cubiste aux arbres’, the forest is structured through the simplification and stylization of vegetation: the trunks rhythmically divide the composition, while the dark masses of the trees stand out against a landscape of cool tones, giving the scene an almost fantastical, slightly unsettling atmosphere.

The materiality of the work also contributes to the strangeness of the landscape: built up in thickness and relief, the oil paint is mixed with a sandy preparation that enhances the texture of the surface and gives it a tactile presence as well.

The work reflects the curiosity of an artist who engaged with the experiments of his time without fully aligning himself with a single movement. In 1912, Auclair exhibited at the Section d’Or alongside several major figures of Cubism. His nephew, Albert Gleizes, whose early steps in painting he helped encourage, would himself become one of the movement’s leading figures.

On view until November 9, 2026

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Galerie Boquet
20, rue Visconti
75006 Paris

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📷 Yosuke Kojima

05/10/2026

ON VIEW • LES ROSES de Guillaume Apollinaire

The exhibition is on view at the gallery Wednesday through Saturday, from 2 to 7 pm, until November 9, 2026.

Come discover the artists, works, and ideas that shaped Apollinaire’s avant-garde world.

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Galerie Boquet
20, rue Visconti
75006 Paris

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📷 Yosuke Kojima

03/10/2026

ON VIEW • LES ROSES de Guillaume Apollinaire

A period of questioning, experimentation, and creative exploration, the years surrounding Apollinaire’s manifesto L’Antitradition futuriste (1913) saw a wide variety of styles, visual languages, and mediums coexist.

On the left, a preparatory study for Pierre Roy’s Les Filles sauvages (1913). Here, the artist still constructs the scene according to the conventions of academic perspective and anatomy, before simplifying the forms in the final version, which becomes more naïve, geometric, and distilled.

On the right, Auguste Herbin’s Nature morte à la cruche (1909) belongs to this same moment of transition. Everyday objects are no longer represented solely for their own sake: they become the starting point for an exploration of colour, volume, and the organisation of space. The work thus stands between the Fauvist experiments of Herbin’s early years and the Cubist research he began to develop from 1909 onwards, when he moved to the Bateau-Lavoir and came into contact with artists including Picasso and Braque.

Presented in Les Roses de Guillaume Apollinaire, these works reflect the new ways of constructing the image being explored by avant-garde artists at the time, under Apollinaire’s attentive gaze.

On view until November 9, 2026

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Galerie Boquet
20, rue Visconti
75006 Paris

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📷 Yosuke Kojima

01/10/2026

EDITION • LES ROSES de Guillaume Apollinaire

À l’occasion de l’exposition, nous avons le plaisir de vous présenter la dernière édition de la galerie : LES ROSES de Guillaume Apollinaire. Rédigé par l’autrice et chercheuse Laurence Campa, biographe de Guillaume Apollinaire, l’essai prolonge l’esprit de l’exposition à travers l’univers du poète et ses flâneries parisiennes.

Un grand merci à Juliette Bailly pour la conception graphique et éditoriale du catalogue, dont le regard et le travail ont épousé l’univers de l’exposition LES ROSES de Guillaume Apollinaire.

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On the occasion of the exhibition, we are pleased to present the gallery’s latest publication: LES ROSES de Guillaume Apollinaire. Written by author and researcher Laurence Campa, biographer of Guillaume Apollinaire, the essay extends the spirit of the exhibition through the poet’s world and his wanderings through Paris.

Our warmest thanks to Juliette Bailly for the catalogue’s graphic and editorial design, whose vision and work so closely embraced the world of LES ROSES de Guillaume Apollinaire.

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Galerie Boquet
20, rue Visconti
75006 Paris

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📷 Yosuke Kojima
Graphic designer : juliette bailly

30/09/2026

FOCUS • Marie Laurencin

Diane à la chasse (I), Diane à la chasse (II), and Apollinaire jouant du cor, circa 1910.

We are delighted to present these three embroideries by Marie Laurencin. These pieces reveal a lesser-known aspect of the artist’s practice while also telling an intimate story: we recognize Laurencin herself, as well as her then-lover Guillaume Apollinaire, portrayed as a musician. They were most likely embroidered by Marie Laurencin’s mother, who was herself an embroiderer, and remained in the artist’s collection throughout her life.

Marie Laurencin was a remarkably versatile artist who, as the exhibition demonstrates, worked across painting, embroidery on silk and cotton, and woodcut. From one medium to another, she adapted her visual language, compositions, and use of texture without ever losing the singularity of her vision. This diversity reflects less a fixed style than a consistent sensibility, capable of reinventing itself through different supports and techniques.

An artist and poet closely connected to Guillaume Apollinaire and the Parisian avant-garde, Marie Laurencin developed a distinctive visual world from an early stage, populated by slender, often androgynous female figures imbued with grace and melancholy. Her simplified forms and delicate palette, which would become characteristic of her work, allowed her to forge a singular path within Parisian modernism.

On view until November 9, 2026

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Galerie Boquet
20, rue Visconti
75006 Paris

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📷 Yosuke Kojima

Image 1 : Installation view
Image 2 : Detail, Diane à la chasse (II), circa 1910.
Image 3 : Detail, Apollinaire jouant du cor, circa 1910.
Image 4 : Marie Laurencin at her home with Suzanne Moreau, Archive Marie Laurencin

20/09/2026

FOCUS • APOLLINAIRE ET LE FUTURISME

En 1913, Apollinaire publie son manifeste de l’Antitradition futuriste, dans lequel il attribue une « Rose » aux poètes et plasticiens d’avant-garde. Parmi eux apparaissent les futuristes italiens Gino Severini et Giacomo Balla, ainsi que Félix Del Marle, peintre futuriste français qui publia lui-même un manifeste.

Les trois œuvres présentées dans l’exposition, toutes de 1913, rappellent ce moment où cubisme et futurisme s’affrontent autant qu’ils se nourrissent l’un l’autre, jusqu’à faire émerger un langage nouveau.

Après avoir défendu le cubisme en l’inscrivant dans une tradition française, Apollinaire accompagne son évolution vers une peinture nouvelle, fondée sur le mouvement, la simultanéité et la couleur.

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LES ROSES
de Guillaume Apollinaire

jusqu’au 9 nov. 2026

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1/ Les Roses de Guillaume Apollinaire, vue d’exposition, Galerie Boquet
2/ Félix Del Marle, Diane chasseresse, v. 1913, huile sur toile
3/ Guillaume Apollinaire, Manifeste de l’antitradition futuriste, 1913
4-5/ Giacomo Balla, Dynamisme d’une automobile, 1913, graphite sur papier
6/ Gino Severini, Danseuse+barque à voile = vase de fleurs, 1913, encre sur papier bleu

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15/09/2026

FOCUS • MARC CHAGALL
Study for Self-Portrait with Seven Fingers, 1912–1913

Made during Chagall’s first stay in Paris, this gouache is a preparatory study for Self-Portrait with Seven Fingers, now in the collection of the Stedelijk Museum Amsterdam, where it is currently on view.

Chagall depicts himself at work in his Paris studio, sketching the painting To Russia, Donkeys and Others (1911). Between Paris and Russia, the work becomes a bridge between the Parisian avant-garde and the Russian tradition he carried within him.

A similar dialogue lies at the heart of Apollinaire’s vision. One of Chagall’s earliest supporters, he dedicated ‘À travers l’Europe’ to the artist and described his painting as “surnatural.”

LES ROSES
de Guillaume Apollinaire

On view through November 9, 2026.

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1/ MARC CHAGALL, Study for Self-Portrait with Seven Fingers, 1912–1913, gouache and graphite on paper, courtesy Collection Alice et Henri Dupont
2/ MARC CHAGALL, Self-Portrait with Seven Fingers, 1912–1913, oil on canvas, Stedelijk Museum Amsterdam collection
3/ Exhibition view, Stedelijk Museum, July 2026
4/ MARC CHAGALL, To Russia, Donkeys and others, oil on canvas Centre Pompidou collection

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marc_chagall_officiel

12/09/2026

NOW OPEN • LES ROSES de Guillaume Apollinaire

“Geometry is to the visual arts what grammar is to the art of the writer.”

Guillaume Apollinaire in ‘Les Peintres cubistes. Méditations esthétiques’, Paris, Eugène Figuière & Cie, 1913.

An art critic, theorist, friend of artists, and draftsman himself, Guillaume Apollinaire (1880–1918) played a decisive role within the avant-garde, at the heart of the aesthetic revolution that gave birth to modern art.

On view through November 9, 2026.

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« La géométrie est aux arts plastiques ce que la grammaire est à l’art de l’écrivain. »

Guillaume Apollinaire dans ‘Les Peintres cubistes. Méditations esthétiques’, Paris, Eugène Figuière & Cie, 1913.

Critique d’art, théoricien, ami des artistes et dessinateur lui-même, Guillaume Apollinaire (1880–1918) joue un rôle déterminant au sein de l’avant-garde, au cœur de la révolution esthétique qui donne naissance à l’art moderne.

À découvrir jusqu’au 9 novembre 2026.

Galerie Boquet
20, rue Visconti
75006 Paris

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📷 Yosuke Kojima

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75006

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