"I wouldn't especially like to exclude museums, which are essential, but digital technology makes it possible to approach a work in another way", underlines Ms. Meyer.

After Vincent van Gogh's sunflowers or Gustav Klimt's gold and decorative motifs, it is the turn of the dreamlike universe of Marc Chagall (1887-1985) to come to life at the Atelier des Lumières in Paris.

Visitors on February 16, 2023 at the Atelier des Lumières in Paris on the occasion of the exhibition "Chagall, Paris - New York" © STEPHANE DE SAKUTIN / AFP

On the verge of reaching five million visitors since its opening in 2018, this place offers a dive into the heart of the paintings, projected and animated on the walls.

All the symbols dear to the painter and to his universe shrouded in the sacred -- inspired by Jewish tradition -- are present: the flying married couple, the horses, the rooster, the musicians, the circus and the cities dear to his heart.

Fireworks of colors -- he was one of the undisputed masters -- the exhibition, which runs until January 2024, opens with black and white paintings before plunging the viewer into the detail several of his works, including the fresco that adorns the dome of the Opéra Garnier.

Photo taken on February 16, 2023 at the Ateleir des Lumières in Paris on the occasion of the exhibition "Chagall, Paris - New York" © STEPHANE DE SAKUTIN / AFP

From Vitebsk (Belarus), his hometown, to Paris, which he left for New York during the Second World War, the viewer is invited on a journey.

A journey through the life and work of an artist who crossed the 20th century.

"Refractories"

The starting point of the project?

An "unusual" proposal ten years ago.

At the time, the Chagall family was approached for an immersive project at the Carrières des Lumières (Les Carrières des Baux de Provence).

Visitors on February 16, 2023 at the Atelier des Lumières in Paris on the occasion of the exhibition "Chagall, Paris - New York" © STEPHANE DE SAKUTIN / AFP

"We were all very cautious, even rather refractory" to the project, remembers Ms. Meyer, also vice-president of the Marc Chagall committee.

"Personally, I was not for it because I didn't know the product. But when I made the trip, it was absolutely sublime. I thought it was time to think about a way to collaborate with the digital".

Very quickly, the advantages of such a project were self-evident: there was no longer any need to negotiate the loan of works to the four corners of the world or to ensure the logistics: "It's much easier", says Mrs Meyer.

Visitors on February 16, 2023 at the Atelier des Lumières in Paris on the occasion of the exhibition "Chagall, Paris - New York" © STEPHANE DE SAKUTIN / AFP

So much for the form.

As far as substance is concerned, the advantages are also there.

"Digital allows you to slide the works one after the other, you can enlarge them, mirror them. It's a revolution", assures Ms. Meyer.

A "revolution" not shared, for the time being, by the major museums which refuse this kind of project, perceived as entertainment.

For Ms. Meyer, it all depends on the project in question and its scientific content.

Used wisely, technology can shed light on a work.

"Because the compositions are less rigid, it allows us to look for other elements of analysis on the techniques used, the inspirations...", she assures.

The fact remains, however, that no narrative text guides the spectator in his visit.

A project that would have pleased the painter?

"I cannot fully answer, but as a rights holder, whose mission is to ensure the reception of his work in the 21st century, we are particularly sensitive to the fact of opening up to new technologies. We cannot remain shut it all down," she says.

The only imperative: respect for "the artistic expression of the artist".

As for his grandfather, I think he would have smiled and told us that we did well to give the agreement to this product".

© 2023 AFP