For the first time in history, the Chateau de Fontainebleau will exceptionally loan 170 works of arts, furniture and objects evoking the life of Napoléon III and Eugénie and their living space at Fontainebleau, highlighting the eclectic character of late XIXth century style, still underappreciated today. Many of these works, never before seen by the public, will be restored for the occasion and displayed at Fontainebleau following the Bordeaux exhibition.

Samya Ramdane / samya@claudinecolin.com

Throughout his career, Richard Serra has made drawings as an immediate and fundamental line of investigation in parallel with his sculptures. Using black paint stick or oil stick, heated to a viscous and sometimes fluid state, he creates elemental, strongly tactile forms, acting directly on the paper and encouraging the medium to accrete on the surface. These self-referential drawings do not imply surface and weight; rather, they are surface and weight.

We know Rodin the sculptor, but do we know Rodin the draftman? This exhibition presents a spectacular collection of 300 drawings of his last thirty years when drawing was the artist’s predominant form of expression. This late period of Rodin’s career demonstrates the extraordinary tension between the naturalism of a drawing, capturing a gesture, a movement in all its immediacy, and the increasing independence of line and color in the artist’s work. Rodin’s freedom in drawing contributed to opening an immense space for the artists of the 20th century.

Gagosian Gallery is pleased to announce the representation of William Eggleston in Los Angeles with an exhibition of photographs selected from the Election Eve series of 1976. These photographs have never been printed or exhibited before.

This fall, the Petit Palais will present an exhibition dedicated to the theme of woman in India, questioning how have their roles has evolved over the past years? How the feminization of Indian society brings changes to the rest of the continent? Sponsored by BNP Paribas and organised in collaboration with Magnum photos, this exhibition commemorates 150 years of operations in India (1860-2010). The exhibition will be presented in Paris, after having been shown in India, Italy, Belgium and England

Albane Champey/ albane@claudinecolin.com

In conjunction with the exhibition Capturing the model. Rodin 300 drawings 1890-1917, to be held at the Musée Rodin between November 18th 2011, and February 26th 2012, a selection of about thirty drawings by Paul-Armand Gette will be presented on the first floor of the Hôtel Biron.

Ingrid Cadoret / ingrid@claudinecolin.com

This fall, the Magasin will present a major solo exhibition dedicated to the Swiss artist Mai-Thu Perret. A rising artist in Europe and the US, Perret has created a complex oeuvre which combines radical feminist politics with literary utopian texts, homemade crafts and 20th century avant-garde aesthetics. This exhibition will show the wide range of multi-disciplinary practice in her work, encompassing sculpture, painting, video and installation as well as new specially created pieces.

For this exhibition, FRAC Lorraine invites you into an exploration of your inner sensations stimulated by retinal and auditory waves and vibrations. The selected works “materialize” in the form of prepara- tory or hypothetical sketches of meditative spaces (Tania Mouraud, Yazid Oulab, Ian Wilson); musical and colorful writing (Craigie Horsfield); “visual, nomadic propositions” (Ann Veronica Janssens); manifestations of a mental state (Marina Abramovic); and spaces inviting tocontemplation (Susanna Fritscher).

Gagosian Gallery is pleased to present an exhibition of Brazilian art from the late modern period, featuring works by Sergio Camargo, Lygia Clark, Amilcar de Castro, Helio Oiticica, Lygia Pape, and Mira Schendel.

Dorelia Baird-Smith / dorelia@claudinecolin.com

Gagosian Gallery Paris is pleased to present an exhibition of painting and sculpture by Robert Rauschenberg.

Rauschenberg stands as one of the most inventive artists in American art, arguably the first of his generation to chart a viable course out of Abstract Expressionism towards the formal integration of art and the mess of life. His approach to making art using discarded materials, everyday objects and appropriated images eviscerated the distinctions between medium and genre, abstraction and representation, while his “flatbed picture plane” created an enduring change in the relationship between artist, image, and viewer. From the outset, the incidental, the immediate, and the perception of a presence greater than his own artistic virtuosity drove Rauschenberg’s creative energies.

Dorelia Baird-Smith / dorelia@claudinecolin.com