Paris has erupted with Federico fever this fall, with a "Tutto Fellin!" event jointly organized by the Cinémathèque Française, the Italian Cultural Institute, and the Jeu de Paume. The latter’s contribution is this multidisciplinary exhibition, which sets for itself the ambitious task of providing us with a new reading of Fellini’s oeuvre through an examination of the context in which it was created. Influences of all kinds — history with a capital H, important events in his own life, and borrowings from fiction, as well as faits divers and anecdotes that tickled him — will be evoked through photographs, sketches by Fellini himself, film posters, contemporary magazine articles, and, of course, extracts from some of his now mythic films.

"Bruegel, Memling, Van Eyck … The Brukenthal Collection," Musée Jacquemart-André, Sept. 11, 2009–Jan. 11, 2010

A favorite of the Austrian empress Maria Theresa, Samuel von Brukenthal (1721–1803) was an insatiable collector, amassing over 16,000 books, hundreds of objets d’art, and more than 1,200 paintings. In 1777, he became governor of his native Transylvania, where, in present-day Sibiu, Romania, he built a palace to house his collections that became a museum after his death. For the first time in France, about 50 major works from the Muzeul National Brukenthal are being shown. The curators’ selection highlights the Flemish paintings, dating from the 15th to the 17th centuries, which were much sought after in mid-18th-century Vienna. Besides the quartet mentioned in the exhibition title (for there were two Pieter Bruegels, father and son), artists such as Jacob Jordaens, David Teniers II, and Titian also feature in the show. Key works include Bruegel the Younger’s copy of his father’s Massacre of the Innocents in Bethlehem (Elder’s: circa 1567; Younger’s: circa 1586–90), Van Eyck's Man in a Blue Turban (circa 1430), and Titian's Ecce Homo (1560).