The visit follows a thematic pattern, thus allowing the grouping of works of various periods in the same room to facilitate assessment and appreciation of the artist's evolution. On the ground floor, the first gallery serves as a representation of the artist's atelier, including his easel and palette, as well as objects which served as models in his compositions. This room also displays a nude "Le Reflet" ("The Reflection", 1973), and then large still life "La Nature Morte Espagnole" ("The Spanish Still Life", 1939). The ensemble is completed by "L'Atelier des Baux au Paysage ("The Atelier at Les Baux landscape", 1976). The visitor then enters a gallery dedicated to important examples of Brayer's work in engraving, etching , and lithography. On the staircase walls there are Aubusson tapestries created after Yves Brayer's cartoons. As the visitor reaches the first floor, a showcase displaying hats from Brayer's famous collection will be seen. The first gallery presents a collection of youthful apprentice-works from the early 20s. The next gallery is dedicated to Spain, where from 1927 on, Brayer sojourned and painted on several occasions. The strong influence of Spanish paintings on Brayer's style is shown in "L'enterrement en Espagne ("Funeral In Spain, 1931"), "La duègne et la fille ("The Chaperon and the Girl, 1929"). Two other paintings, "Le village de Dénia" ("Denia village") and "Marbella" evoke his 1955 trip. Among other works produced on later journeys, there is the grand composition, "Le Tage à Tolède" ("The Tagus at Toledo", 1970), which represents his often overlooked attraction for very large paintings. There is, of course, a gallery dedicated to Provence and Camargue, where the painter sojourned regularly from 1945 on. Here his palette becomes brighter, blessed with the lights of the Midi and a gamut of greens, light and color that had not appeared in his prior cityscapes. In succession are displayed the impressive "Sanglier endormi" ("Boar Asleep", 1959), and landscapes such as the "Village des Baux" (1963) or "Le champ d'amandiers" ("The Almond Tree Field", 1967), "L'allée de pins de Saint-Paul de-Mausole à Saint-Rémy" ("The Alley of Pine at Saint-Paul de-Mausole, Saint-Rémy", 1946) and "Manade de chevaux dans les marais" ("Herd of Horses in the Marshes, Camargue", 1970). A true witness of his epoch, Yves Brayer was inspired by his immediate surroundings. From his stay in the Albigeois, he brought back the superb "Tarn rouge à Albi" ("Red Tarn in Albi", 1938). "La rixe ("The Fight", 1929) evokes the atmosphere of the Spanish cabarets in that period. "La rue de l'harmonie" ("Harmony Street, Paris", 1929) depicts the long since vanished Vaugirard slaughterhouses. From his Russian voyage, he pictured the epitome of Russian monument, "La basilique St-Basile à Moscou" ("Saint Basil Cathedral in Moscow", 1974). The next gallery bears the hallmark of Italy. After being awarded the Prix de Rome, Brayer lived in Rome from 1930-1934. The Roman atmosphere of the time and the magnificence of the Vatican made a strong impression on him. He divided his work between compositions such as "Les Séminaristes Allemands" ("The German Seminarians", 1932) or "En Wagon" ("In the Carriage", 1933) and testimonies of everyday life such as "La promenade Villa Borghese" ("The Walk in Villa Borghese", 1932) or "Le départ du Palio" ("The Start of the Palio Race", 1932). One may see foreshadowing of his later fascination with landscapes in the free-style treatment of architectures: "L'escalier du Capitole" ("The Capitol Staircase", 1934). In the next small gallery, a collection of works remind the visitor of Brayer's visit to Morocco in 1928 ("La Fantasia"). Wood-panel copies after Le Greco, made in the Prado in Madrid, establish the date of his discovery of Spanish paintings in 1927. On the second floor, a gallery pays tribute to the Corrida (the Bullfight) with works ranging from the early "Le taureau renversant un picador" ("The Bull Upsets the Picador", 1927) to the much later "Arènes d'Arles" ("The Arles Arenas", 1957). To complete this ensemble of homages to Tauromachy, there are series of drawings done on-site and during the Corridas. Yves Brayer traveled a great deal in Mediterranean countries. Later in his life, he journeyed to Egypt, Mexico, Greece, the USA, Portugal, the Canary Islands, Russia, Japan, and other countries. This gallery provides an overview of watercolors produced on the spot with great skills and mastery: "La mosquée" ("The Mosque, Iran", 1967), the "Via Appia à Rome" ("The Appian Way in Rome", 1970), the "Arcades à Cholula, Mexique" ("Arcades at Cholula, Mexico", 1963), le "Lever de soleil sur San Giorgio, Venise" ("Sunrise on San Giorgio, Venise", 1970). The last gallery displays watercolours from Provence and the Camargue, Yves Brayer's two favourite places. "Les amandiers en fleurs aux Baux", ("Almond Trees in Blossom at les Baux", 1980), "Les cerisiers en fleurs à Oppède" ("Cherry Trees in Blossom at Oppède", 1982), "La haie de vieux cyprès aux Baux" ("The Hedge of Old Cypress Trees at Les Baux", 1982), "la Manade de Chevaux en Camargue" ("Herd of Horses in the Camargue", 1960) , are among the most famous landscapes painted by the artist.
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