Bold claim: Notre Dame’s new stained-glass designs are set to redefine the cathedral’s silhouette, despite ongoing protests and controversy. From tomorrow, the Grand Palais in Paris will stage the display of six fresh windows intended to replace the monochrome panes installed in the 19th century by architects Eugène Viollet-le-Duc and Jean-Baptiste Lassus. Remarkably, the original glass survived the cathedral fire that ravaged the spire five years ago, prompting experts, architects, and art historians to argue that replacement would breach established cultural guidelines.
Inside the Grand Palais, three levels of circular stairs open onto a quiet corridor where life-size ink-on-paper maquettes showcase the proposed windows. Claire Tabouret, the French artist behind the project, reflects on the wider dialogue surrounding new artistic interventions in historic urban spaces: “Whenever a historic area in Paris encounters a new artistic intervention, controversy follows, and it’s fascinating to be part of that history.” She adds that changes should be approached with care, and describes this project as notably cautious, gentle, and harmonious—an attempt to blend renewal with respect for the past.
Tabouret, 44 and currently based in Los Angeles, was selected from more than 100 submissions. The brief set by the competition centers on the Pentecost—the moment when the Holy Spirit filled a large gathering and touched every soul. “I’m not religious,” she explains, “but it’s a story about community and celebration.”
Known for figurative painting, Tabouret nevertheless crafts a sequence of imagery that moves between human gatherings and dramatic landscapes—think a turbulent sea or wind-swept trees—creating a dynamic, cinematic progression. She intends the glass colors to originate from her painting palette, predicting vibrant reds, greens, and blues that echo the hues found in traditional religious art.
The project partners with Atelier Simon-Marq, renowned stained-glass artisans who previously collaborated on windows for Joan Miró and Raoul Dufy. At the same time, Tabouret remains attentive to Viollet-le-Duc’s legacy, aiming to weave references to the earlier windows into the new designs. “I quote Viollet-le-Duc in the background ornamentation of every scene,” she notes, highlighting geometrical motifs that nod to the cathedral’s historic glass.
Exhibit: Claire Tabouret, In a Single Breath, Grand Palais, Paris. On display through March 15.
