Marie de Rabutin-Chantal, Marquise de Sévigné (1626-1696), Lefèbvre, Claude, (1632-1675)

At the Carnavalet Museum, the exhibition Madame de Sévigné, Parisian Letters restore all her modernity to the great letter writer of the 17th century. Through often unpublished works, manuscripts, letters, portraits and objects from public and private collections, the exhibition shows how keen an observer of her time Sévigné was, almost a chronicler before her time.

Exhibition Madame de Sévigné, Parisian lettersCarnavalet Museum, Paris

Born in the Marais district and deeply attached to Paris, Madame de Sévigné transformed the letter into a space for information, style, and freedom, navigating between court life, literary salons, and political gossip. This key figure of the Grand Siècle lived for many years in the Marais, then one of the most refined neighborhoods in the capital.

She frequented the great literary salons and the most brilliant circles of the French nobility. While the court of Louis XIV shone from Versailles, Madame de Sévigné remained deeply attached to Parisian intellectual life, of which she was one of the most admired figures, refusing to permanently leave the Marais for the pomp of the court.

Marie de Rabutin-Chantal, Marquise de Sévigné (1626-1696), Lefèbvre, Claude, (1632-1675)

The exhibition also highlights the role of women in the circulation of ideas, long underestimated by historiography. A young, independent, and brilliant widow, Madame de Sévigné, a kind of blogger of her time but eminently educated, embodies an intelligence of the world made up of curiosity, detachment, and elegance.

The exhibition also highlights the intense, sometimes tender, sometimes demanding relationship that Madame de Sévigné maintained with her daughter, the Countess of Grignan, whom she wanted to be as independent as herself. Her letters, written to bridge the distance, became a living link between Paris and Provence, a dialogue nourished by trust, advice, and emotion. They express both maternal love and the desire to share news of the world with a privileged reader. This reader, in turn, would circulate the letters after copying all or part of them.

Françoise Marguerite de Sévigné, oil painting attributed to Pierre Mignard (circa 1669), Carnavalet Museum, Paris
The exhibition also reveals the diversity of its recipients: relatives, friends, court figures, and readers past and present. Among the previously unseen items are films: she appears in François Truffaut's *The 400 Blows*, and two others. Objects or products bearing her name or image appear on boxes from La Maison du Chocolat, a wine merchant, Louis Vuitton (with a bag bearing her name), the porcelain manufacturer Atwood & Sawyer (a brooch), a clock manufacturer, and the Sèvres porcelain factory (a cup with Madame de Sévigné's image). Finally, the desk wrongly attributed to Sévigné is particularly noteworthy. This intimate and almost familiar piece of furniture evokes the workspace of a woman who made writing an everyday art, a blend of pen, paper, and her observations of the world.

Carnavalet Museum
Madame de Sévigné, Parisian letters
23, rue de Sévigné, 75003 Paris
Tuesday to Sunday from 10 a.m. to 18 p.m.
Closed on Monday.
Tel: 01 44 59 58 58

Text: Katia Barillot

01.06.26

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