The collections hold more than two thousand paintings, with the broad chronological spectrum reflecting the rich history of Beaux-Arts de Paris.

Jean-Nicolas Servandoni, Ruines de monuments antiques, av. 1731, Huile sur toile, 260 x 195 cm

Jacques Louis David, La douleur et les regrets d’Andromaque sur le corps d’Hector, son époux, 1783, Huile sur toile, 275 x 203 cm

Jean Auguste Dominique Ingres, Romulus vainqueur d’Acron, 1812, Détrempe sur toile, 275 x 533 cm

Hippolyte Jean Flandrin, Thésée reconnu par son père, 1832, Huile sur toile, 115 x 146 cm

Henri Alexandre Georges Regnault, Thétis apporte à Achille les armes forgées par Vulcain, 1866, Huile sur toile, 113 x 146 cm

Georges Henri Rouault, Coriolan chez Tullus, roi des Volsques, 1894, Huile sur toile, 46 x 38 cm

Hyacinthe Rigaud, Saint-André, 1689, Huile sur toile, 153 x 106 cm

Jean Auguste Dominique Ingres, Torse, 1800, Huile sur toile, 102 x 80 cm

Madeleine Georges Charlotte Lavanture, Tu gagneras ton pain à la sueur de ton front, 1938, Huile sur toile, c. 115 x 147 cm

Maître de Dunois, La Trinité souffrante entourée de chanoines de Notre-Dame de Paris, XVe siècle, Pigment sur panneau de chêne, 68 x 179 cm

The collection includes a number of objects whose disparate nature reflects the diversity of sources of inspiration brought together for the young artists. The objets d’art and furniture mainly come from the furnishings of the Royal Academy, or from the donation made by the decorator Claude-Aimé Chenavard.

Torchère de l'Académie royale de peinture et de sculpture, seconde moitié du XVIIe siècle, Bois doré, 175 x 53 cm

Giovanni Altieri,Maquette du portique du temple de Saturne (Rome), 1773, Liège, 71 x 70 x 49 cm

Guglielmo della Porta, Le Banquet des dieux, XVIe siècle, Bronze, 13,6 x 24,5 cm

Pierre Amédée Durand, Ulysse reconnu par son chien, 1810, Cire, 3,6 x 0,7 cm

Jules Clément Chaplain, Bacchus faisant boire une panthère, 1863, Plâtre, 6,5 x 0,6 cm

Coffre de l’Académie royale de peinture et de sculpture, Maroquin estampé, laiton, 19,8 x 54,3 x 43 cm

Coffre de messager, XVe siècle, Cuir, métal, estampe, 25 x 15 x 11 cm

Le Trois Cinq Friedland - a cultural program signed by Sisley - gives carte blanche to Alexandre Lenoir, a graduate of the Beaux-Arts de Paris in 2016, represented since last March by the Almine Rech Gallery. The artist's paintings are characterized by large formats that suggest a physical relationship in their realization as much as in their perception. The event is part of the "OFF" Program of the FIAC 2020.

 

Beaux-Arts de Paris - National Higher School - Public institution, under the tutelage of the ministry of Culture

A team of 210 agents including 70 professors whose primary mission is to train 650 students for high-level artistic creation. An integrated preparatory course, Via Ferrata, prepares students from diverse backgrounds for entrance competitions at renowned art institutions.

Contemporary Art Library

With 65,640 documents in all (including 51,396 books) and a range of periodicals, Beaux-Arts de Paris library is one of the top French contemporary art libraries. It offers up-to-date documentation on creativity and its context - history of Western and non-Western art, human and social sciences - in order to support students in their learning and artistic projects.  It is also open to a wider public, upon request.

Salle Dorette Karaiossifoglou

Salle Stratis Andreadis

Salle Stratis Andreadis

Salle Stratis Andreadis

Undergraduate degree (1st cycle)

This degree includes an examination of the student's educational file, the presentation of a selection of significant artistic works from their three years of study and an interview with the jury. The degree jury is made up of a Beaux-Arts de Paris teacher and two external examiners. Admission to the fourth year is conditional upon obtaining the undergraduate degree.

Students are assessed in the courses in which they are enrolled, and it is their responsibility to update their enrolments with the Registrar's Office.

 

All UE (unités d’enseignements) are assessed on a half-yearly basis.

 

The assessment methods used for each unit largely take into account course attendance and most often include continuous assessment.

 

Exchange students are subject to the same assessment requirements.

 

Assessment of artistic practice in the studio changes throughout the course.

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