February 13th
July 6th
2014
Press contact:
Claudine Colin Communication
Victoria Cooke
28 rue de Sévigné – F-75004 Paris
Tel : +33 (0)1 42 72 60 01
[email protected]
www.claudinecolin.com
Impressionnist
Works from
Private Collections
100 Masterpieces
Bazille, Boudin, Caillebotte, Cassatt, Cézanne, Corot, Degas
Gonzales, Guillaumin, Jongkind, Manet, Monet, Morisot
Pissarro, Renoir, Rodin, Sisley
Gustave Caillebotte, Les dahlias, jardin du Petit-Gennevilliers, 1893 – © Brame & Lorenceau
Musée
Marmottan
Monet
conte nts
03
I - Foreword
Patrick de Carolis,
Director of the Musée Marmottan Monet
04
I I - Homage to Collectors
Claire Durand-Ruel Snollaerts
and Marianne Mathieu, Exhibition curators
06 III - Press release
08 IV - Tour of the exhibition
11 V - Visuals available for the press
13 VI - Publications
14 VII - The curatorial team
15 VIII - The Musée Marmottan Monet
17 IX - Practical information
Musée Marmottan Monet – Impressionnist Works from Private Collections
Press Kit
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I
for ewor d
For many art lovers, acquiring art is more than a pleasure: it is
a passion, a deep and sincere commitment, part of what makes
them who they are. In the early 20th century, several of them were
determined that the masterpieces they had patiently assembled
should not be dispersed after their death, destroying their life’s
work. They chose to bequeath their precious collections to the
community, in order that they could be kept in their home. So
it was that a number of collector’s museums opened in Paris,
bearing the names of their founders: Henri Cernuschi, Camondo,
Édouard André and Nélie Jacquemart, Ernest Cognacq and
Marie-Louise Jay, for example. This is also true of our Musée Marmottan Monet. Acquired
by Paul Marmottan, a man with a passion for the Empire period, the townhouse in rue
Louis-Boilly entered the possession of the Académie des Beaux-Arts in 1932, after his death,
and opened to the public as a museum on June 21, 1934.
The museum began life with an exceptional heritage, and was progressively enriched.
Doubling its collections over barely eight decades, it has also extended to Impressionism.
From Victorine Donop de Monchy it obtained Impression, soleil levant and the collection of
her father, Dr Georges de Bellio. Michel Monet chose the Marmottan as his universal legatee,
making the institution the assign of Claude Monet and guardian of the world’s largest collection of his works. Berthe Morisot’s descendants showed similar generosity: through the
Fondation Denis et Annie Rouart and the Thérèse Rouart bequest, the museum is also home
to the leading public collection of her art.
The exhibition “Impressionist Works from Private Collections, 100 Masterpieces” brings
together key works held by private owners which include paintings, drawings and sculptures
by Corot, Boudin, Jongkind, Manet, Bazille, Monet, Renoir, Degas, Morisot, Sisley, Pissarro,
Guillaumin, Cassatt, Gonzalès and Rodin, offering a panorama of Impressionism. These
works are worthy of inclusion in the most prestigious museums. We would like to express
our sincerest gratitude to the fifty-one lenders who joined this project and helped make this
a unique event. Their enthusiasm and unfailing support were on a par with their generosity.
All were ready to denude their walls, letting their finest artworks leave them for the duration
of our exhibition. During those months, the Musée Marmottan Monet will be their home.
And, for the next eighty years, it will remain the museum of great collectors.
Patrick de Carolis
Director of the Musée Marmottan Monet
Musée Marmottan Monet – Impressionnist Works from Private Collections
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II
homag e to collectors
The history of Impressionism is the story of a group of young artists who, in 1874, rejected
by the official bodies who declared themselves the sole arbiters and guarantors of “good
artistic taste” in France, decided to exhibit their works in the premises lent to them by the
photographer Nadar at 35, boulevard des Capucines, Paris. These artists went by the names
of Monet, Renoir, Pissarro, Degas, Sisley, Berthe Morisot, Guillaumin and Cézanne. Their
leading light was Manet, although he never actually exhibited with them. The public was
shocked, the critics outraged. And yet, despite this mortifying failure, nothing could shake
the faith of these artists who, supported by a handful of visionary dealers and collectors,
steadfastly pursued the greatest aesthetic revolution of their time. From the outset, then,
Impressionism was a private adventure. If the Impressionist painters did eventually enjoy
acclaim and success, and establish their position in the history of art, it was down to the
daring, courage and perspicacity of this pioneering generation.
In its eighty years of existence, the Musée Marmottan Monet, housed in the former residence of Jules and Paul Marmottan, has gradually become one of the great centers for
Impressionism. This, indeed, was the place chosen by the painters’ descendants, and their
first admirers, as the setting for their family collections.
In 1957, Victorine Donop de Monchy bequeathed the works by Monet, Pissarro, Sisley, Renoir,
Morisot and Guillaumin inherited from her father, the friend and doctor of the Impressionists,
Georges de Bellio, with, at their center, Impression, soleil levant. This painting which gave its
name to Impressionism anchored the museum’s collections in this area and became their
symbol. In 1966, the establishment inherited the world’s leading collection of works by Claude
Monet through his son, Michel. And in 1996, through the Fondation Denis et Annie Rouart and
the Thérèse Rouart bequest, Berthe Morisot’s grandchildren brought the biggest public collection of her works into the museum, along with art by her circle of friends.
The daughters and sons of the artists and their supporters chose the Musée Marmottan
Monet to honor the memory of their parents and to conserve their work. How could they forget
their lifelong commitment and their struggle, beginning in the early 1870s, when they were
the only ones to champion a form of painting that met with mockery and contempt? By
bequeathing their collections to the Musée Marmottan Monet, their descendants were
entrusting to it part of their history, their childhood reminiscences, and the duty of preserving
Gustave Caillebotte, Intérieur,
femme à la fenêtre, about 1880
Private collection
Auguste Rodin, Étude pour
Le Penseur, about 1880
Private collection
Camille Pissarro,
Paul-Émile Pissarro
peignant, 1898
Private collection
its memory.
How many paintings, watercolors and pastels were never sold, because they were simply too fraught with personal memories, and made as tokens of friendship or love? Like
Monet’s portraits of his first wife Camille Doncieux and their two sons, Jean and Michel.
Musée Marmottan Monet – Impressionnist Works from Private Collections
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u ho m ag e
to co l l ector s
Or the portrait of Victorine de Bellio, the future Mme Donop de Monchy, painted by Renoir,
or the picture of her husband, Eugène Manet, painted by Berthe Morisot on their honeymoon in 1875. Or, finally, the portraits of their only daughter, Julie, who became her mother’s
favorite subject. Their descendants could have kept such works in the family, but they
preferred to donate them.
Consequently, many of the works that constitute the collections of the Musée Marmottan
Monet are not just masterpieces of Impressionism. Many of them also have a personal,
domestic value. Each painting bears the stamp of a family’s involvement and engagement
with art and the legatee’s desire that they continue to exist in a house, the townhouse of
Jules and Paul Marmottan, which is now their museum.
This exhibition retraces the history of private acquisitions through a rigorous selection of works
from longstanding and recent collections around the world. For while the first collectors of
Impressionist works were French, this art soon spread abroad and became an international
adventure. The quality of the pieces is on the same level as that of the works in France’s
leading institutions. It bears witness to the taste and prescience of their owners. Yesterday’s
and today’s collectors come together in their passion for this painting. All appreciate its
main characteristics, its choice of subjects from everyday life, its clear, luminous and colorful
vision, free of the bituminous and earthy tones of academic painting, its attentive study of
the effects of light on bodies and objects, and its use of accumulated, small and commalike
brushstrokes as the best way of capturing the vibrations of the atmosphere. All these
elements are manifest in the selection of works shown in this exhibition.
All the lenders generously and enthusiastically agreed to part with some of their greatest
treasures for the duration of this celebration of the Musée Marmottan Monet’s eightieth
anniversary, in order to share them with the public. Like the first collectors of Impressionist
works, these are men and women who see art as a natural and necessary condition of their
existence. They live with their works, not for the sake of egotistical enjoyment, but in order
to appreciate their beauty and communicate their passion. We owe them an immense debt
of gratitude. The townhouse that is the Musée Marmottan Monet is the ideal setting for such
an exhibition. When visiting it, we can imagine ourselves exploring the private residence of
one single collector.
Claire Durand-Ruel Snollaerts and Marianne Mathieu
Exhibition curators
Musée Marmottan Monet – Impressionnist Works from Private Collections
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III
pr e ss r e le ase
Impressionnist Works from Private Collections
100 Masterpieces
The Musée Marmottan Monet
From February the 13th – July the 6th 2014
Eugène Boudin,
Bénerville. La Plage, 1890
Private collection
Berthe Morisot, Jeune fille
à la potiche, vers 1889
Private collection
Opened for the first time to the public in 1934, the Musée Marmottan Monet will celebrate
its 80th birthday in 2014. In less than a century, the museum has benefited from bequests
and donations of an unparalleled scale making it the largest collection worldwide of the
works by Claude Monet and Berthe Morisot. Without the generosity of private collectors and
descendants of the artists, it would not have been possible to become the centre of Impressionism that it is today. Respectful of this heritage, the museum begins it’s birthday celebrations
paying tribute to private collections.
The Musée Marmottan Monet will present from February 13 - July 6, 2014 an exhibition entitled:
Impressionnist Works from Private Collections. 100 Masterpieces, showing works only from
private collections. The art historian Claire Durand-Ruel Snollaerts and Marianne Mathieu,
deputy director of Musée Marmottan Monet are the curators for this special exhibition.
Fifty lenders joined with enthusiam for this project and have provided loans from France, the
United States, Mexico, Switzerland, Great Britain and Italy. This exhibition offers a unique
opportunity for the public to discover paintings which for the most part have never been seen
by the public eye. One hundred impressionist masterpieces will be exceptionally shown
together. Eighty paintings and twenty graphic works by Jean-Baptiste-Camille Corot, Eugène
Boudin, Johan Barthold Jongkind, Edouard Manet, Frédéric Bazille, Claude Monet, PierreAuguste Renoir, Edgar Degas, Camille Pissarro, Alfred Sisley, Gustave Caillebotte, Berthe
Morisot, Armand Guillaumin, Paul Cezanne, Mary Cassatt, Eva Gonzales and Auguste Rodin
allow the viewer to trace the history of Impressionism through a collection of unpublished works.
Musée Marmottan Monet – Impressionnist Works from Private Collections
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u pr e s s
rele ase
Alfred Sisley,
La Seine à Bougival, 1872
Private collection
The exhibition starts with the premicise of Impressionism. It continues into 1874 and the years
1880-1890 when the Impressionist group broke up, giving way to the creative genius of each
of its members. Finally, the last part of the exhibition shows the works of masters such as
Pierre-Auguste Renoir, Camille Pissarro, Alfred Sisley and Claude Monet, who in many respects
go beyond Impressionism, opening a window onto modern art and bringing us to the end of
the exhibition.
The exhibition is chronological, starting with the landscapes of Jean-Baptiste-Camille Corot,
Johan Barthold Jongkind and Eugène Boudin, showing the latter’s Bénerville. La plage, in an
unfamiliar format. A version of Edouard Manet’s Le Bar aux Folies Bergères and La Terrasse
from Méric de Frédéric Bazille conclude the first part of the exhibt. Each impressionist is then
represented through a dozen paintings spanning his or her entire career. Sur les planches de
Trouville, hôtel des Roches Noires from Claude Monet (1870), Meule from Camille Pissarro
(1873) and Le Jardin de Maubuisson, Pontoise by Paul Cézanne (c. 1874), are some shining
examples of the section devoted to the 1870s. Le Tournant du Loing à Moret, printemps from
Alfred Sisley (1886), Les Jeunes filles au bord de la mer by Auguste Renoir (vers 1890), the
double portrait Pagans et le père de l’artiste by Edgar Degas (vers 1895) and Les Dahlias, le
jardin du Petit-Gennevilliers by Gustave Caillebotte (1893) however, are typical of the work of
the late nineteenth century. As well as these paintings, the exhibition reveals two exceptional
sculptures, La Petite danseuse de 14 ans by Edgar Degas and Étude pour Le Penseur, in
terracotta by Auguste Rodin, representing a selection worthy of the greatest museums.
This exhibition both unique and compelling is a testament to the presence and enthusiasm
still alive in the private collections of the Impressionist Masters.
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IV
tour of the e x hibition
Frédéric Bazille,
La Terrasse de Méric, 1867
The Association of Friends
of the Petit Palais, Geneva
1
The origins of Impressionism
The precursors of lmpressionism are Jean-Baptiste Corot, Eugène Boudin and Johan Barthold
Jongkind. Their exploration of light and their predilection for painting after nature and in the
open air all anticipate the working methods of the lmpressionists. They were also good educators, and were chosen by many members of the group as their teachers. However, the true
leader of the new movement was Manet, the first artist to dare defy official bodies by exhibiting scandalous paintings such as Le Déjeuner sur l’herbe and Olympia as of 1863. The
modernity of his subjects and the boldness of his rebellion against academicism opened the
path to the new generation of artists. ln this section Manet and the young Frédéric Bazille put
down in the flower of youth by the war of 1870 – are represented by two legendary paintings:
the former by his study for Bar aux Folies Bergère, the latter with the spectacularly largeformat La Terrasse de Méric.
2
Impressionism in around 1874
ln 1874 a group of artists in revolt against the taste imposed by the Académie des Beaux-Arts
organized its first exhibition on the premises of the photographer Nadar at 35 Boulevard
des Capucines, Paris. Among them were Monet, Renoir, Pissarro, Degas, Sisley, Berthe
Morisot, Guillaumin and Cézanne. The name they were given, “Impressionist”, was inspired
by Monet’s painting Impression, soleil levant, a masterpiece now in the collection of the
Musée Marmottan Monet – Impressionnist Works from Private Collections
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u tou r
o f t h e e x h i b i t ion
Musée Marmottan Monet. What shocked critics at the
time, and explains its success since, were precisely
the movement’s defining characteristics: an interest in
subjects taken from modern life, the light and luminous palette, and the attentive study of the effects
of light and atmosphere on people and landscapes.
Paul Cézanne
Le Jardin de Maubuisson,
Pontoise, about 1877
Private collection,
Dallas, Texas
These artists particularly favoured locations along the
Seine (La Seine à Bougival, Sisley) and the beaches of
Normandy (Sur les Planches de Trouville, hôtel des Roches noires, Monet). Cézanne’s lmpressionist period lasted a decade (1872-1882). Towards the end of the 1870s he became increasingly interested in the study of form and volumes (Le Jardin de Maubuisson, Pontoise), and
less in changing light. In 1882 he settled in Provence, and did not exhibit with the group again.
3
Caillebotte
Born into a wealthy family, Gustave Caillebotte was the
only lmpressionist painter who was able to pursue his
passions – sailing and gardening as well as painting
– without financial constraints. Rich and also generous, he supported his friends by acquiring their works,
becoming one of their first and most important patrons.
Gustave Caillebotte,
Rue Halévy, vue du
sixième étage, 1878
Private collection,
Dallas, Texas
When he died, in 1894, he had collected sixty-seven
works by his confreres. He bequeathed the ensemble
to the French state, which was more than a little discomfited, not knowing what to do with
this collection of artists its representatives deemed decadent. ln the end, thirty­eight works
entered the Musée du Luxembourg in 1896. These pieces by Degas, Monet, Renoir, Pissarro,
Sisley and Cézanne are now among the treasures of France‘s national collections. As for
Caillebotte‘s own painting, it is noteworthy for its remarkable views of Paris (Rue Halévy,
vue du sixième étage), depictions of the flowers in his gardens (Les Dahlias, jardin du Petit­
Gennevilliers), and regattas on the Seine.
4
Impressionism in around 1880
ln the 1880s the lmpressionists had to fight hard for
artistic acceptance while also struggling with real financial hardship. Despite the failure of their first exhibition
in 1874, the group refused to give up and continued
holding such events until 1886. The eighth, final exhibition showed them losing cohesion. From now on, the ties
Berthe Morisot,
La Seine à Bougival,
about 1884
Private collection
of friendship notwithstanding, each painter followed
the path of his or her own creative genius. Monet moved
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u tou r
o f t h e e x h i b i t ion
to Giverny, Renoir to Cagnes, Pissarro to Eragny-sur-Epte, and Sisley to Moret-sur-Loing,
while Caillebotte settled in Le Petit-Gennevilliers, and Degas and Morisot stayed in Paris.
Their work was enriched by new influences as their styles grew more distinct and confident,
giving their sensibility free rein.
5
Degas
His choice of themes – history painting, dance, horses,
women at their toilette and portraits – make Degas
the odd man out among the lmpressionists. This did
not prevent him from being one of the group’s
staunchest champions right from the early days in
1874, even as he was establishing an original body of
work quite distinct from that of his friends. What they
had in common, above all, was the freedom with
Edgar Degas, Pagans et le
père de Degas, about 1895
Private collection of Isabelle
and Scott Black
which they approached painting. A great admirer of
Ingres and Delacroix, Degas learned from their mastery of drawing and colour, striving to balance these two poles in bold compositions such as
Pagans et le père de Degas and La Toilette après le bain. An accomplished draughtsman,
endlessly inquisitive about artistic techniques, he also produced some remarkable prints
and sculptures. La Petite Danseuse de quatorze ans is a remarkable example of the latter.
6
Beyond Impressionism
Most of the lmpressionist painters began to enjoy longdue success and recognition in the 1890s. For Berthe
Morisot, who died from a severe bout of influenza in 1895,
this was too late. Sisley died in 1899 in a state of great
financial uncertainty, leaving an important set of paintings of the scenery around Moret­sur-Loing (L’Église de
Moret, le soir and Lisière de forêt). The other members
of the group, actively supported by their dealer Paul
Durand-Ruel, who showed their work to collectors around
the world, and also championed by the Bernheim broth-
Claude Monet,
Leicester Square (Londres),
la nuit, about 1900-1901
Collection Larock-Granoff,
Paris
ers and Ambroise Vollard, entered the 20th century in a
relatively serene cast of mind. Pissarro’s final years are
notable for his series of urban views (Le Pont Corneille à Rouen, brume du matin and
Le Louvre, soleil d’hiver, matin) before his death in 1903. Degas died in 1917 and Renoir in
1919. Wracked by rheumatism, he spent his final years tirelessly painting his entourage
(Léontine et Coco (Claude Renoir)). Monet was the longest-lived. Before his death in 1926,
at the age of eighty-six, he continued to innovate in works like Leicester Square (Londres),
la nuit and Hémérocalles au bord de l’eau, going well beyond lmpressionism to the verge
of abstraction.
Musée Marmottan Monet – Impressionnist Works from Private Collections
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V
visuals available for the press
These visuals are available for the press in the unique setting of the promotion for the exhibition Les Impressionnistes
en privé at the Musée Marmottan Monet from February the 13th, until July the 6th, 2014. Captions and credits are
required. The museum’s name, the title of the exhibition and the dates should be given in any article containing these
visuals. Any image will be used in addition to the photo credit and caption, the words Press Service / Marmottan Monet.
Frédéric Bazille – La Terrasse de Méric
1867 – Oil on canvas – 97 x 128 cm
Signed and dated lower right : F. Bazille 1867
Association des Amis du Petit Palais, Geneva
© Studio Monique Bernaz, Geneva
Eugène Boudin – Bénerville. La Plage
1890 – Oil on canvas – 90 x 130 cm
Signed and dated lower right : E. Boudin 90
Private collection
Gustave Caillebotte – Intérieur, femme
à la fenêtre – About 1880 – Oil on canvas
116 x 89 cm – Signed and dated lower right:
G. Caillebotte 1880 – Private collection,
© Comité Caillebotte, Paris
Paul Cézanne – Bosquet au jas de Bouffan
Paul Cézanne – Les grands Baigneurs
about 1896-1898 – Colour lithograph on blank
paper – sheet 49 x 61,5 cm Signed and dated
lower right: P. Cézanne Private collection
Jean-Baptiste Camille Corot – Le Cavalier
sur la route – 1860-1865 – Oil on canvas
40 x 56,5 cm – Signed lower right : Corot
Collection Pérez Simón, Mexico – ©Arturo Piera
Edgar Degas – Petite danseuse de quatorze
Edgar Degas – Pagans et le père de Degas
Eva Gonzalès – Le Moineau – between
c. 1875-76 – Oil on canvas – 54,3 x 73,7 cm
not signed – Collection of Isabelle and
Scott Black
ans – 1879-1881 – Bronze – 98 cm c. base
49 x 50 cm – Inscribed with the signiture,
numbered and stamped by the foundation
“Degas A.A. HEBRARD CIRE PERDUE I” (on the base)
Private european collection – © Studio Guespin
c. 1895 – Oil on canvas – 81,3x83,8cm
not signed – Collection of Isabelle Scott Black
Photo Courtesy of Museum of Fine Arts,
Boston
Musée Marmottan Monet – Impressionnist Works from Private Collections
1865-1870 – Pastel on paper mounted on
canvas – 63x51,5cm – Signed upper right:
Eva Gonzalès – Private collection
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11
u v i s ua ls
ava i l a b l e fo r t h e pr e s s
Armand Guillaumin, Quai de la Rapée
1873 – oil on canvas – 60 × 73 cm – signed
and dated lower left: Guillaumin – private
collection
Claude Monet, Anglais à la moustache
c. 1857 – pencil with gouache highlights
24 × 16 cm – signed lower right: O. Monet
private collection
Camille Pissarro, Vue de Bazincourt, temps
clair – 1884 – oil on canvas – 54,3 × 64,8 cm
signed and dated lower right: C. Pissarro. 84
Mexico City, Pérez Simón Collection
Johan Barthold Jongkind, Voilier dans le port
de Honfleur – 1863 – oil on paper mounted on
canvas – 25 × 35 cm – signed lower right: Jongkind
and dated lower left: Honfleur 25 Sept 63
private collection, courtesy Brame & Lorenceau
Claude Monet, Les Peupliers, automne
c. 1891 – oil on canvas – 80 × 92 cm – signed
lower left: Claude Monet – private collection,
lent through the intermediary of Galerie
Bernheim-Jeune, Paris
Pierre-Auguste Renoir, Enfant assis en robe
bleue (Portrait d’Edmond Renoir Jr.) – c. 1889
oil on canvas – 64,8 × 54 cm – signed lower
right: Renoir – Switzerland, Nahmad Collection
Alfred Sisley, Pommiers en fleur à Louveciennes
1873 – oil on canvas – 50,8 × 73 cm – signed and dated
lower right: Sisley 73, Dallas, Texas – private collection
Édouard Manet, Un bar aux Folies Bergère
c. 1881 – oil on canvas – 47 × 56 cm – unsigned
private collection, Rouart and Wildenstein
Berthe Morisot, Paysage – c. 1867
watercolor on paper – 14,5 × 22,7 cm – signed
lower left: Berthe Morisot – private collection
Auguste Rodin, Étude pour Le Penseur
c. 1880 – terracotta – 28,5 cm – signed on the
base, lower right: A. Rodin – private collection
Alfred Sisley, Une cour à Chaville – c. 1879
oil on canvas – 46 × 55,5 cm – signed lower right:
Sisley – Curtin Family Collection
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VI
public ations
1Publications
Exhibition catalog co-edited by the musée Marmottan Monet
and Hazan Editions.
Under the direction of Marianne Mathieu, Deputy Director
in charge of collections and communication of the museum
and Claire Durand-Ruel Snollaerts, art historian,
the exhibition curators
Paperback, 22 x 28,5 cm
120 illustrations, 232 pages.
Price : 29 €
ISBN : 9782754107389
Special issue Connaissance des Arts
44 pages
Price : 9,50 e
ISBN: 978-2-7580-0517-9
Children’s book:
Monet, Renoir, Degas... La grande aventure des impressionnistes
RMN Editions, Musée Marmottan Monet)
Version FR : ISBN 9782351740194
Version GB : ISBN 9782351740187
2
Educational workshops
On Wednesdays and during school holidays, children
can discover the museum and its collections by attending
educational workshops “Les P’tits Marmottan”.
Age : from 4 – 15 years old
Duration : 1h15 (thematic tour and workshop)
Price : 9€/per child
Information and reservations:
Camille Pabois – Tel : 01 44 96 50 41 [email protected]
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VII
the cur ator ial te a m
Marianne Mathieu
Marianne Mathieu is the joint director in charge of the collections at the
Musée Marmottan Monet. She has curated heritage exhibitons for over
10 years. Exhibitions that she has recently worked on include : “Raoul et
Jean Dufy, complicité et rupture” (2011), “Berthe Morisot“ (2012) at the
Musée Marmottan Monet, “Le jardin de Monet à Giverny” at The National
Gallery of Victoria in Melbourne (2013).
Claire Durand-Ruel Snollaerts
Claire Durand-Ruel Snollaerts, Art Historian (Paris 1 – Sorbonne), and
descendant of the dealer Paul Durand-Ruel, has devoted twenty to the
research of understanding further the expertise of the painter Camille
Pissarro. She is the co-author, with Joachim Pissarro of the Catalogue
critique des Peintures, Wildenstein Institute and Skira (3 volumes), 2005.
She has contributed to the development of various exhibitions and
publications.
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VIII
the musé e m a r mot ta n monet
Musée Marmottan Monet
Vue coté jardin
The Musée Marmottan Monet was originally a hunting lodge that belonged to Christophe
Edmond Kellermann, Duke of Valmy (1802-1868). It was acquired in 1882 by Jules Marmottan,
an amateur collector of German, Flemish and Italian primitive works. His son Paul was an art
historian and avid collector, especially fascinated by the period of the First French Empire
(1804-1814) and inherited this house and made it his home. From then onwards, he added a
hunting lodge to receive his collection of art objects and paintings from the First French Empire.
At his death in 1932, he bequeathed to the Académie de Beaux-Arts all of his collections and his
mansion. The Musée Marmottan was born, and opened its doors on June the 21st, 1934.
In 1957, the museum’s collection expanded thanks to the considerable donation from Victorine
Donop de Monchy, whom had inherited a large collection from his father Dr. Georges de Bellio,
doctor to Manet, Monet, Pissarro, Renoir and Sisley . Georges de Bellio was one of the first
fans of Impressionist painting. Among the many paintings offered was the famous Impression,
Soleil Levant from Monet.
Michel Monet the second son of the painter, in turn bequeathed in 1966 to the Académie de
Beaux-Arts his property at Giverny and his personal collection inherited from his father,
specifying that it should be shown at the Musée Marmottan. He therefore helped the museum
to acquire the largest collection of works by Claude Monet. In addition to numerous paintings,
the legacy includes sketchbooks of the artist, pallets, letters, photographs, personal items,
and the collection of paintings by the painters friends that he had always kept close to him.
The architect academician and museum curator Jacques Carlu (1890-1976), then built a room
in the basement to receive the collection.
Musée Marmottan Monet – Les Impressionnistes en privé
Dossier de presse
15
u the
m u s é e m a r mot ta n mon e t
Musée Marmottan Monet
Salle Claude Monet
In 1981, Daniel Wildenstein offered the Musée Marmottan the Georges Wildenstein collection, which had belonged to his father. With over 300 French, Italian, English and Flemish
minitures this collection is one of the largest in the world. It covers a period of four centuries,
from the Middle ages to the Renaissance.
In the late 1990s, after other bequests such as Nelly Duhem in 1985 which, in addition to
works by his father Henri Duhem, includes paintings of Paul Gauguin and Auguste Renoir.
In 1993, the museum enriched its collections with works by Berthe Morisot, Edouard Manet,
Edgar Degas, Auguste Renoir and Henri Rouart, bequeathed by Annie Rouart, wife of Denis
Rouart, grandson of Berthe Morisot and Eugene Manet.
Since then, many other bequests were added to the museum’s collections and indeed
many generous sponsors also contributed to the splendor of the collections of Musée
Marmottan Monet.
Musée Marmottan Monet – Impressionnist Works from Private Collections
Press Kit
16
IX
pr actic al
infor m ation
Address
2, rue Louis-Boilly
75016 Paris
Website
www.marmottan.fr
Access
Métro : La Muette – Line 9
RER : Boulainvilliers – Line C
Bus : 32, 63, 22, 52, P.C.
Days and opening times
Open Tuesday to Sunday
From 10 am until 6 pm
Thursday evenings until 8pm
Closed on Mondays, December 25th,
January 1st and May 1st
Prices
Full Price : 10 €
Reduced Price : 5 €
Under 7 years old : free
Group bookings
Christine Lecca – Tel : 01 44 96 50 33
Educational services
Camille Pabois – Tel : 01 44 96 50 41
Audioguide
Available in French and English: 3 €
Shop
Open the same hours and days as the museum
Tel : 01 44 96 50 46
[email protected]
Musée Marmottan Monet – Impressionnist Works from Private Collections
Press Kit
17

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