contents - Musée Jacquemart

CONTENTS
Page 3
Press release
Page 4
Introduction by Bruno Monnier, Founder and chairman of Culturespaces
Page 5
A journey through the exhibition
Page 9
Chronology of Perugino
Page 11
Biography of Raphael
Page 12
The curatorial team and the exhibition’s scientific committee
Page 13
Scenography of the exhibition
Page 14
Visitor aids
© Per gentile concessione della Soprintendenza BSAE dell'Umbria-Perugia (Italy)
Page 15
Publications
Page 16
Institutional partners
Page 17
Media partners
Page 21
The Musée Jacquemart-André
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L’Institut de France
Page 23
Culturespaces, producer and director of the exhibition
Page 24
Visuals available for the press
Page 28
Practical information
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Musée Jacquemart-André
Paris
Pietro Perugino,
Master of Raphael
Musée Jacquemart-André
12 September, 2014 – 19 January, 2015
After the success of the Fra Angelico et les Maîtres de la lumière (Fra Angelico and the Masters of Light)
exhibition in 2011, visitors to the Musée Jacquemart-André will be able to rediscover another master of the
Italian Renaissance, Pietro Perugino. Known for his influence on the young Raphael, Pietro Perugino was
primarily an innovative painter whose fortune – considerable throughout Italy for the early 16th century –
was to have a particular echo in France right up to the contemporary era. Entitled “Le Pérugin, Maître de
Raphaël” (Pietro Perugino, Master of Raphael), the exhibition consists of around fifty artworks.
Considered by his contemporaries as one of the greatest painters in Italy, Perugino (1450-1523) pioneered a
new style of painting during the last decades of the 15th century and the first two of 16th century, which
profoundly influenced the period. His crystal-clear art, made of translucence, harmonious colours and
theatrical lighting, aroused a great deal of interest, and the original impressions of grace and seduction which
he developed make him one of the best representatives of the Italian Renaissance. The refinement of his
works, attention devoted to the harmony of colours and modelling of bodies reflect Perugino’s immense
technical capability. The inventor of new rules for composition, he created a pictural language, the influence
of which extended beyond frontiers. Pietro Perugino was the leader of an international artistic style which
would spread throughout the rest of Europe thanks to the young Raphael (1483-1520), one of Perugino's
students, whose works met with great success.
More than just a chronological study of the artistic career of Perugino and his contemporaries, the exhibition
will highlight the vital contributions these paintings made to the art and culture of their time. In this
perspective, the fifty or so works assembled for this occasion will trace the main stages of Perugino’s career,
from his training, marked by Florentine painting in the second half of the 15th century, to his major successes in
Rome and Perugia.
An important as well as original artistic figure, Perugino was to have considerable influence over his
contemporaries, Raphael in particular, 10 works of whom will exceptionally be on show in the exhibition. This
will demonstrate how Perugino developed and refined to perfection an artistic language that young Raphael
then made his own with significant sensitivity.
The exhibition has been prepared in partnership with the Superintendency for the Historical, Artistic and
Ethno-anthropological Heritage of Umbria under the sponsorship of His Excellency Mr. Giandomenico
Magliano, Italian Ambassador to France and with the support of the Italian Cultural Institute. The Deruta
Pinacoteca Comunale (Deruta district art gallery) has exceptionally agreed to loan a detached fresco
representing Saint Romano, Saint Roch and a view of Deruta. Other outstanding institutions in Italy, including
the Florence, Rome, Perugia, Naples and Urbino Superintendencies, have also granted exceptional loans for
the exhibition, together with major international museums such as the Royal Collection Trust and National
Gallery in the United Kingdom, the Washington National Gallery of Art, the Louvre, among others.
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INTRODUCTION BY BRUNO MONNIER, CHAIRMAN OF CULTURESPACES
The affection of Nélie Jacquemart and Édouard André for the works and artists of Italy in the fourteen
hundreds is well known. The Jacquemart-André Museum is thus the perfect setting to pay homage to the
artists of this period, such as the great painter Pietro Vannucci, known as Perugino.
Celebrated by his contemporaries who, in the words of the banker and patron Agostino Chigi, regarded him
as "Italy’s greatest master", Perugino is nowadays less familiar in France than his illustrious disciple Raphael. It
is for this reason that we wanted to dedicate a retrospective to him in order to underline the importance of
his work, its refined aesthetics and the influence that he exerted over an entire generation of artists. On this
occasion, we felt it important to take stock of the delicate question of the influence of Perugino on the young
Raphael.
The exhibition follows Perugino from Florence to Perugia, from Rome to Venice, highlighting the fundamental
contributions made by this innovative artist. As attentive to the accuracy of drawing and perspective as to the
harmony of colours, Perugino developed a new pictorial language and distinguished himself at the greatest
decorative sites in Italy, including the Sistine Chapel. Not only was he able to captivate the most prestigious
patrons of his time, such as Pope Sixtus IV and Lorenzo de Medici, but he also continues to delight us today
with the elegance of his compositions, the chromatic subtlety of his landscapes and the soft languor of his
Virgin and Child paintings.
I would like to thank Mme Vittoria Garibaldi, general curator of the exhibition, who, thanks to her work, her
expertise and the support of the scientific committee that she convened, was able to assemble a rigorous
selection of some fifty works. I also wish to thank Mr. Nicolas Sainte Fare Garnot, curator of the JacquemartAndré Museum and organiser of the exhibition, and Mr. Tom Henry, professor of the history of art at the
University of Kent and an expert on Raphaël. The exhibition’s masterpieces offer a new insight to the art of
Perugino and are drawn from the finest collections in Italy and around the world - in particular from the
Special Superintendence of historical, artistic and ethno-anthropological heritage and the Polo Museale
Fiorentino (Association of Florentine State Museums), directed by Cristina Acidini Luchinat, to whom we
express our sincere gratitude.
I also offer special thanks to Mr. Fabio De Chirico, Superintendent of the historical, artistic and ethnoanthropological heritage of Umbria, our partner, who joined forces with our project in order to enable the
French public to rediscover this grand master of the Renaissance.
I wish to thank His Excellency Mr. Giandomenico Magliano, Italian ambassador to France, for his patronage,
and the Italian cultural services for their support: they have contributed to the renown of Italian artists as
emblematic as Perugino.
Finally, I wish to express my gratitude to Mr. Gabriel de Broglie, Chancellor of the Institute of France, and Mr.
Jean-Pierre Babelon, member of the Institute of France and President of the Jacquemart-André Foundation,
for their unwavering support of this remarkable project.
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TOUR OF THE EXHIBITION
Pietro Vannucci, known as Perugino, (circa 1450-1523), was one of the principal figures of the Italian
Renaissance: for more than a quarter century, from approximately 1480 to 1505, his talent rivalled that of
major artists in Florence and Perugia. He was even considered by some as "Italy’s greatest master", in the
words of Agostino Chigi, a rich Sienese banker and a grand patron of the era.
Room 1 - The early years: Perugia, Florence (before 1470 – up to 1476)
During the second half of the 15th century, the city of Perugia was a dynamic urban municipality, which
devoted large sums of money to the fulfilment of important artistic commissions. In this climate began the
career of Perugino, who belonged to one of the wealthiest families of Città della Pieve, a small town near to
Perugia.
Little is known about Perugino’s initial training, which was almost certainly influenced by the art of Piero della
Francesca, particularly in the treatment of space and figures (Nativity of the Virgin, Liverpool, Walker Art
Gallery, and Miracle of the snow, National Trust). We know however that the young Pietro left early for
Florence and that this sejourn was decisive, as demonstrated by the output of his youth. He was a pupil of the
famous painter Andrea del Verrocchio, in whose studio he met such prestigious artists as Leonardo da Vinci
and Botticelli, of whom he was the disciple. It is here that Perugino acquired the technical mastery that
characterised his entire career (Pièta, Galleria Nazionale dell'Umbria, Perugia).
Probably returning to Perugia from Florence in the early 1470’s, the young artist brought with him the new
artistic language he had learned in the city of the Medicis: his works are distinguished by a close attention to
the depiction of movement and expression, but also by the proficiency of modelling the human body and the
vivacity of the colours (Saint Romain, Saint Roch and view of Deruta, Pinacoteca Comunale di Deruta). It was
at this time that Perugino received a commission from the Franciscan order in Perugia, which marked a
turning point in his career: the "Saint Bernardino niche", dated 1473 and intended to decorate an oratory. If
the conceptual paternity of the project most likely belongs to Bartolomeo Caporali, who at the time owned
the most active studio in Perugia, several artists worked on its creation. The panels painted by Perugino
reveal a great mastery of composition and herald a modernised vision of landscapes (San Bernardino cures an
ulcer of the daughter of Giovanni Antonio da Rieti Petrazio, and San Bernardino, after his death, restoring the
sight of a blind person, Galleria Nazionale dell'Umbria, Perugia).
Room 2 – The Madonnas, the great art
Drawing most of his subjects from the religious repertoire, Perugino was particularly fond of the Madonna
and Child theme to which he tirelessly returned throughout his career. Whereas in Perugia, the last embers of
the early Renaissance style still glowed with Bartolomeo Caporali (Virgin and Child accompanied by six angels,
Galleria Nazionale dell'Umbria, Perugia), the young Perugino, marked by his apprenticeship in Florence,
disseminated the new stylistic models that had made the Verrocchio studio so successful, such as the
Madonna del davanzale or Madonna at the window (Virgin and Child, Museo Nazionale del Bargello,
Florence).
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A Virgin and Child series, produced by the greatest artists of the time, illustrate how Perugino introduced a
new artistic language to Umbria: compared to Bartolomeo Caporali’s golden backgrounds, Perugino prefers
landscape backdrops that give more depth to his compositions. His Virgin and Child paintings gradually strip
away decorative elements to focus on the expression of tenderness uniting the mother and her child, paying
particular attention to the sweetness of the faces and density of the colours (Galleria Borghese, Rome). His
figures of Madonnas, young, elegant and refined, inspired the greatest names in Umbrian painting, such as his
pupil Pinturicchio who in turn adopted this pictorial model (Virgin and Child in a landscape, National Gallery,
London).
The delicate languor of Perugino’s figures, which became a major feature of his art, ensured him of great
renown. Commissions followed one after another, and on the strength of his early successes, Perugino was
called upon to coordinate the decoration of the Sistine Chapel in Rome.
Room 3 - The Roman successes, the Sistine Chapel (circa 1480-1482)
Perugino’s fame was such that in 1479 he was called to Rome to paint the decoration of the chapel of the
Conception at St. Peter's, now disappeared. The work of Perugino captivated Pope Sixtus IV, who entrusted
the artist with the decoration of the Sistine Chapel, in collaboration with a team of Florentine painters
including Botticelli, Ghirlandaio and Rosselli. In this extraordinary site, they were given the task of adorning
the chapel walls: supported by their respective studios and staff, they exchanged ideas and artistic processes,
giving rise to one of the most beautiful decors of the Eternal City.
Of all these painters, Perugino, despite his young age, was one of the most appreciated, on account of the
innovative character of his art. This vast decorative project included the depiction of scenes from the Old and
New Testaments and one of the most important parts was entrusted to Perugino: the placement of scenes
from the life of Moses and life of Christ.
This intense period of creativity in Perugino’s career was marked by a series of portraits celebrating the artists
who participated in this great project, such as Botticelli (Portrait of a young boy, Galleria Palatina, Florence)
and Rosselli. These paintings also allow the theme of the portrait to be highlighted, one of the most
fascinating of the time and in which Perugino excels. The technical mastery and the power of Umbrian
master manifest themselves in portraits of great intensity, such as Francesco delle Opere (Galleria degli Uffizi,
Florence). In this "extremely vivid" effigy, in the words of Vasari, Perugino not only meticulously depicts the
physiognomy of the person, but also portrays his psychology, by means of a subtle play of light and shade.
Rooms 4 and 5 - From Florence to Venice, the years of maturity (circa 14851500)
In the years that followed, Perugino perfected his art and gave a prominent place to the human figure, which
he treats in a language of assured classicism. This new style finds its full expression in his portrayals of the
figures of saints. His paintings of the penitence of St. Jerome (Royal Collection Trust, London and
Kunsthistorisches Museum, Vienna) are distinguished by their elegant drawing, the clarity of forms and the
play of light that envelops the body, as in the great Saint Sebastian of the Galleria Borghese (Rome).
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These mature works bear witness to Perugino’s new predilection for elaborating colours by the superposition
of transparent glazes.
From 1493 onwards Perugino preferred residing in Florence. In these years the master enjoyed such success
that his reputation surpassed that of the most fashionable artists in the city, such as Botticelli, Filippino
Lippi and Ghirlandaio. This growing success is due in part to manner in which Perugino knew how to adapt
his painting to the language of worship, simple and unadorned, which was then disseminated by the
preaching of Savonarola, in the uncertain social climate following the death of Laurent de Médicis. The works
of Perugino, of a harmonious and serene beauty, satisfied the needs of Florentine society, which in art sought
contemplation and peace.
In August 1494, Perugino spent time in Venice, at a period when Carpaccio and Bellini were at the summit of
their art. This voyage had a major influence on Perugino’s painting, as much in the construction of his
compositions and the demeanour of his characters as in the elaboration of the light. The diptych representing
the Virgin and Christ crowned with thorns (private collection) and the Madeleine (Galleria Palatina, Florence)
bear witness to the magisterial way in which he has taken over the codes of Venetian painting.
During this period of great successes, Perugino added a new dimension to his Virgin and Child paintings,
which express a more intimate vision of the bonds between a mother and her son. At the end of the 15th
century, Perugino produced many variations on this theme which was dear to him: he painted masterpieces
of refinement and tenderness, which are characterised by the elegance of their composition and their range
of colours (Madonna of Consolation, Galleria Nazionale dell'Umbria, Perugia). Perugino was definitively
converted to classicism and demonstrated the full measure of his talent (Madonna and Child, National Gallery
of Art, Washington), which is also expressed in the decoration of the Collège del Cambio at Perugia, one of
the greatest achievements of his maturity.
Room 6 - From the sacred to the profane
In the 1490’s, Perugino turned to profane subjects, which remain rare in his output. He painted Apollo and
Daphnis (Louvre, Paris) for Laurent de Médicis, whose features may perhaps be discerned in the face of
Daphnis. In this panel, Perugino resorts to more diffuse lighting effects and his landscapes lose their
roughness, giving way to rolling hills. In this sophisticated work, with a more restricted range of colours,
Perugino succeeded in creating an intimate atmosphere of a deep intensity, at the same time giving a new
place to the landscape.
In the early 1500’s, at the height of his fame, Perugino worked for greatest patrons throughout Italy. In 1503,
the Marchioness Isabella d'Este commissioned an allegorical painting from him, for her study (Studiolo) at the
Ducal Palace in Mantua, to act as a complement to paintings by Mantegna: the Battle of Love and Chastity
(Louvre museum, Paris). The complexity of the iconographic program, inspired by the humanist taste of
Marchioness, constrained the master, who was used to painting religious subject for large altarpieces, to a
more intimate format, with an unusual profane content. If the composition may appear to be profuse, the
charm of this painting comes above all from the magnificent landscape within which the allegorical struggle is
depicted.
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Rooms 7 and 8 - Perugino, Raphael's teacher?
Perugino played a major role in Italian painting at the watershed between the 15th and 16th centuries and his
work influenced some of the greatest artists of the time. The last part of the exhibition is devoted to a study
of the relationship between Perugino and Raphael, between whose works exists a great stylistic similarity.
Although it is clear that Raphael knew the work of Perugino very well, the question of whether he was his
direct pupil is still debated by art historians. Some believe that it was only by being a frequent visitor to
Perugino’s studio that the young Raphael was able to acquire the characteristic features of the Umbrian
master’s art, as found in the predella of the Oddi Altarpiece (Vatican Museum): the delicacy of the figures, the
subtle play of light and the mastery of the folds in cloths. The kinship between the work of Raphael and
Perugino’s San Pietro Polyptych in any case confirms the adherence of the young artist to the aesthetics of his
illustrious predecessor. The panels composing this winged altarpiece (Museum of Fine Arts in Nantes and
Rouen) testify to the summits attained by the Umbrian master in the last decade of the fifteenth century, and
constitute one of the emblematic examples of his classical period. Perugino attains a plenitude of forms that
prefigures some of Raphael’s finest achievements.
According to most of the historians, the elements of the St. Nicolas of Tolentino Altarpiece which have been
exceptionally reunited for this exhibition (Pinacoteca Tosio Martinengo, Brescia, Museo di Capodimonte,
Naples, Louvre, Paris) also illustrate, as does the preparatory drawing (Palais des Beaux-Arts, Lille ), the strong
influence of Perugino on the art of Raphael. The delicate strokes, the studied poses and the heavily folded
cloths act as yet another reminder of Perugino’s graphic art.
Presented at the end of the itinerary are two large panels originating from the great polyptych undertaken by
Perugino for the Sant'Agostino church in Perugia, from 1500 until his death in 1523 (Galleria Nazionale
dell’Umbria, Perugia and Musee des Augustins , Toulouse). Despite his age, the Umbrian master once again
demonstrated the perfection of his art: the monumental figures and the classicism of the drawing, probably
inspired by Raphael, demonstrate the cross-influence between these two major artists of the Italian
Renaissance. In the twilight of his life, Perugino could still spring a surprise with his "free and supple painting,
with its tender harmony, already quasi-crepuscular" (Scarpellini, 1984).
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CHRONOLOGY OF PERUGINO
Around 1450
Pietro Vannucci, known as Perugino, was born at Città della Pieve, close to Perugia.
1465–1470
Possibly after having carried out an initial apprenticeship, in Perugia, at the polyvalent
workshop of Bartolomeo Caporali, he encountered Piero della Francesca.
1472
He was registered as an independent painter at the Compagnia di San Luca in Florence,
where he was a frequent visitor to the prestigious studio of Andrea del Verrocchio.
1473
At Perugia, he contributed to the creation of the niche representing the Miracles of Saint
Bernard of Sienna, one of the most mysterious and intriguing works of the second half of
the Italian fourteen hundreds.
1478
He signed and dated the frescoes in the parish church of Cerqueto, near to Perugia, where
a beautiful painting of Saint Sebastian may be found. Its strong similarities with the
detached Deruta fresco representing Saint Romain, saint Roch with view of Deruta dated
1476, with the Adoration of the Magi at the Galleria Nazionale dell’Umbria and with the
«Fuligno» Last Supper conserved in Florence, show that all these works are by the same
hand and date back to the same period.
1481–1482
Together with Sandro Botticelli, Domenico Ghirlandaio and Cosimo Rosselli, he worked for
Pope Sixtus IV on the decoration of the Sistine Chapel, at St. Peter's Basilica, the Vatican.
There he painted Scenes from the Life of Moses and from the Life of Christ, including the
Baptism and the famous Delivery of the keys to Saint Peter.
1482–1500
He travelled constantly between Rome, Città della Pieve, Florence and Perugia. Between
1494 and 1498, he simultaneously directed separate studios, located in the last two towns
above. Undoubtedly the young Raphael was one of his employees at Perugia.
1483
He took part in Lorenzo the Magnificent’s ambitious program for the decoration, now lost,
of the Spedaletto villa near Volterra, and collaborated in this occasion with the finest artists
of the time: Botticelli, Ghirlandaio and Filippino Lippi.
1489–1499
He was especially active at Florence, whilst often visiting the Umbrian capital. In 1491, at
Rome, he worked for Cardinal Giuliano della Rovere at the Santi Apostoli palace. For the
inner chapel he painted a triptych that is now part of the Albani Torlonia collection. Several
of his masterpieces date from this period : the Annunciation Altarpiece painted for Fano
(1489); the Vision of Saint Bernard (1489–1490); Apollo and Daphnis painted for Lorenzo
the Magnificent (1490); the panel for the church of San Domenico de Fiesole (1493); the
portrait of Francesco delle Opere (1494); the panel for the church at Saint Agostino of
Cremona (1494); the Lamentation over the dead Christ for the nuns of Santa Chiara (1495);
the Crucifixion fresco at the church of Santa Maria Maddalena dei Pazzi, in Florence (1495–
1496).
1494-1497
In 1494, he visited Venice for the first time, returning there the following year, and again,
probably in 1497. At Perugia, he painted the Decemviri Altarpiece (1495) for the Chapel of
the government municipality in the Palazzo dei Priori, the polyptych for the Benedictine
order of San Pietro and the Resurrection Altarpiece (1499).
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1498–1500
He painted the frescoes in the Audience Chamber of the Collegio del Cambio (bankers’
college) in Perugia; this cycle, which is of considerable interest, is one of the finest
achievements in the whole of Italian painting. On one of the pillars separating the
Individual paintings, Perugino left a self-portrait in trompe-l’œil.
1502–1507
He undertook one of his rare secular paintings, the Battle of Love and Chastity, for the small
private office of d’Isabelle d’Este, Marchioness of Mantua.
1503–1504
He painted the Marriage of the Virgin for the chapel of the Holy Ring in the Cathedral of
Perugia. By this time he had taken up permanent residence in Umbria.
1505–1507
The Annunciation Polyptych, the last of his commissions in Florence, received a mixed
welcome.
1502–1523
For the Augustinian order in Perugia, he created a grandiose, double-sided altarpiece
structure comprising thirty two painted panels enriched with gold mosaic decorations. He
produced numerous frescoes at Città della Pieve, Corciano, Foligno, Fontignano,
Montefalco, Panicale, Spello, Santa Maria degli Angeli and Trevi.
1523
He died of the plague, in February, in the town of Fontignano, near Florence.
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BIOGRAPHY OF RAFFAELLO SANZIO, known as RAPHAEL (1493-1520)
Born in 1483 in Urbino, an important artistic centre, Raphael was the son of Giovanni Santi (1435-1494),
official painter to the court of Duke Frederico III of Montefeltro. He began his apprenticeship in his father’s
studio and, following the death of the latter in 1494, he probably joined Perugino’s studio in
Perugia. Whether or not he was the pupil of the Umbrian master, it is clear that the young Raphael
completely absorbed his style and adhered to his aesthetics, and this would be decisive in his artistic
evolution.
In 1504 Raphael left Perugia for Florence where he discovered the art of Leonardo da Vinci and
Michelangelo. Under the influence of these two masters, he perfected his training. Inspired by their artistic
methods, he created a series of graceful Madonnas at this time and became familiar with the painting of
nudes.
Summoned by Pope Julius II, who commissioned him to decorate his apartments, Raphael went to Rome in
1508. To successfully complete the grand project of the Pope’s Stanze ("Chambers"), Raphael employed
numerous collaborators. On the death of Julius II in 1513, his successor, Pope Leo X, turned once again to
Raphael to entrust him with new responsibilities: he was assigned to direct the work at the new St. Peter’s
basilica. The remainder of his career was marked by intense activity, but Raphael, suffering from a malignant
fever, died when he was only 37 years old, leaving behind him a vast output, characterised by its grace and
harmony.
Considered by his contemporaries as the greatest artist who ever lived, Raphael raised his painting to such a
level that Vasari devoted the following epitaph to him in his “Lives”: “When Raphael died, painting
disappeared with him. When he closed his eyes, it became blind.”
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THE CURATORIAL TEAM
Vittoria Garibaldi,
general curator of the exhibition.
Director of the Perugia Galleria Nazionale of Umbria from 1988 to 2011, Vittoria Garibaldi has held various
positions of responsibility in the Italian cultural administration. General Director of Cultural Heritage in
Umbria (2006-2007), then Campania (2007-2008), she was Superintendent for the Historical, Artistic and
Ethno-anthropological Heritage of Umbria from 2008 to 2011.
Vittoria Garibaldi is the author of numerous publications on Pietro Perugino. She has also been the curator of
important exhibitions such as Perugino, il divin pittore (2004 – Perugia, Galleria Nazionale of Umbria),
Pintoricchio (2008 – Perugia, Galleria Nazionale of Umbria; Orvieto, Libreria Alberi; Città di Castello,
Pinacoteca cominale) or Luca Signorelli “de ingegno et spirto pelegrino” (2012 - Galleria Nazionale of Umbria,
Perugia). She is now Director of the Diagnosis Laboratory for the cultural heritage of Spoleto.
Nicolas Sainte-Fare Garnot, curator of the exhibition.
An art historian specialising in seventeenth-century French painting, Nicolas Sainte-Fare Garnot has been
curator at the Musée Jacquemart-André since 1993. Since his appointment, he has reorganised the
distribution of the collections according to the original programme and has initiated various restoration and
inventory campaigns.
THE EXHIBITION’S SCIENTIFIC COMMITTEE
The exhibition’s scientific committee consists of eminent Italian art specialists:
• Cristina Acidini Luchinat, Superintendent for the Historical, Artistic and Ethno-anthropological Heritage
and Museum Sector of Florence
• Fabio De Chirico, Superintendent for the Historical, Artistic and Ethno-anthropological Heritage of Umbria.
• Vittoria Garibaldi, General Curator of the Exhibition, art historian
• Tom Henry, Art historian and Professor of History of Art at the University of Kent.
• Antonio Paolucci, Director of the Vatican museums
• Daniela Porro, Superintendent for the Historical, Artistic and Ethno-anthropological Heritage and Museum
Sector of Rome,
• Nicolas Sainte Fare Garnot, Curator of the Jacquemart-André Museum and exhibition curator
• Gennaro Toscano, Director of Studies for the Department of Curators and Research and Scientific
Relations Director for the National Heritage Institute, Paris
• Maria Rosaria Valazzi, Superintendent for the Historical, Artistic and Ethno-anthropological Heritage of
the Marches
• Fabrizio Vona, Superintendent for the Historical, Artistic and Ethno-anthropological Heritage and Museum
Sector of Naples
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SCENOGRAPHY OF THE EXHIBITION
In order to retrace the path of Perugino, from Perugia to Florence and from Rome to Venice, Hubert le Gall
has devised a scenography poised between shadows and light, evoking all the richness of Italy’s
architecture and landscapes.
Hubert Le Gall, born in 1961, is a French designer, creator and sculptor of contemporary art. He was elected
“Creator of the year” at Maison& Objet 2012. His work has formed the subject of numerous exhibitions
throughout Europe. Since 2000 he has produced original scenographies for exhibitions, including:
2014 Musée Jacquemart-André, Paris - From Watteau to Fragonard, les fêtes galantes
2013 Musée Jacquemart-André, Paris – Désirs & Volupté, Victorian Masterpieces
2013 Musée de l’Orangerie, Paris – Frida Khalo / Diego Rivera
2013 Musée d’Orsay, Paris – Masculin / Masculin
2013 Musée Jacquemart-André, Paris – Eugène Boudin
2012 Musée Jacquemart-André, Paris - Canaletto – Guardi, the two masters of Venice
2012 Musée Jacquemart-André, Paris - The Twilight of the Pharaohs
2011 Musée Jacquemart-André, Paris – Fra Angelico and the Masters of Light
2011 Musée Jacquemart-André, Paris – The Caillebotte brothers’ private world. Painter and photographer
2011 Galeries nationales du Grand Palais, Paris – Odilon Redon, prince of dream
2011 Galeries nationales du Grand Palais, Paris – Aimé Césaire, Lam, Picasso
2010 Galeries nationales du Grand Palais, Paris – Monet
2010 Galeries nationales du Grand Palais, Paris – France 1500, from the Middle Ages to the Renaissance
2010 Musée Jacquemart-André, Paris – Rubens, Poussin and the 17th century artists
2010 Musée d’Orsay, Paris – Crime and Punishment
2010 Musée Jacquemart-André – From El Greco to Dalí. The great Spanish masters. The Pérez Simón
collection
2009 Musée Jacquemart-André, Paris – Bruegel, Memling, Van Eyck… The Brukenthal collection
2009 Musée Jacquemart-André, Paris – The Italian Primitives. The Altenburg collection
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VISITOR AIDS
The exhibition website : www.expo-leperugin.com
- Clear and detailed descriptions of major works.
- Large-format images to appreciate works in the tiniest detail.
- The opportunity to learn more about the exhibition through audio podcasts and photo reports.
- Regular quizzes to win catalogues and tickets for the exhibition
Tour commentary on iPhone/iPad and Android
This tour guide, available in French and English, offers a full introduction, audio commentary
on selected works and exclusive audio bonuses that look behind the scenes of the exhibition
(bonuses are present only on the French version). The variety of content (video, audio, image)
and smooth “cover flow” navigation make this an indispensable tool for a detailed tour of the
exhibition. The Musée Jacquemart André offers on-site downloading facilities without the
need for a 3G connection thanks to Wi-Fi access dedicated exclusively to downloads from App
Store and Android Market. This on-site downloading facility is also accessible to foreign visitors
at no extra charge for roaming data.
Audio guide
An audio guide describing a selection of major works is available in 2 French and English and
costs 3€.
Visitor’s booklet
Available at the entrance to the museum, this booklet takes you around the exhibition
Step by step, with a general presentation of each room and detailed commentary on the
major works to enhance your visit. On sale at the museum ticket office for 2,50€.
For the little ones: the activity booklet
Offered free of charge to every child (between 7 and 11 years old) who visits the
exhibition, this booklet is a guide for young children that explains the main works of art in
the exhibition in an entertaining way through different mystery words and various puzzles
to be solved.
14
PUBLICATIONS
The catalogue
Publisher : Fonds Mercator / Culturespaces
224 pages, € 39
The introductory essays, written by the preeminent experts on the period, remind us of
Perugino’s decisive role in the renewal of Italian art during the Renaissance and they
explore his complex relationships of influence on the young Raphael.
On sale at the bookshop of the museum and online on www.boutique-culturespaces.com
Connaissance des Arts – special edition
This special edition of Connaissance des Arts retraces the principal milestones of
Perugino’s career and underlines the leading role he played in Renaissance art. It also
provides a review of the major works of the exhibition and looks at how Perugino fared in
France.
On sale in the museum gift shop and online on www.boutique-culturespaces.com at €
9,50.
The "Journal de l’expo" – Beaux Arts magazine
The "Journal de l'expo" evokes the very special context of the Renaissance in which
Perugino’s art flourished and the influence he had on the young Raphael. The selection of
paintings sheds light on the favourite themes of this great master of Italian painting.
On sale at the bookshop of the Musée Jacquemart-André and online on www.boutiqueculturespaces.com at € 5.
15
INSTITUTIONAL PARTNERS
An exhibition realised
under the sponsorship of
His Excellency Mr. Giandomenico Magliano, Italian Ambassador to France,
with the support of
The National Gallery of Umbria
The National Gallery of Umbria is located in the upper floors of the Palazzo dei Priori in
Perugia. Its origins are linked to the Drawing Academy of Perugia, founded in 1573 by
the painter Orazio Alfani and the architect Raffaello Sozi. A part of their works, which for
the Academy constitutes a rich heritage for educational purposes, is still visible today.
To this first group of articles have been added donations from individuals and those
works acquired after the suppression of religious orders, during Napoleon’s government
and after the unification of the Italian State. The great number and value of these works
prompted the city of Perugia to create a civic Art Gallery in 1863 which they named in
honour of Pietro Vannucci, Perugino. The collections were installed on the third floor of
the Palazzo dei Priori in 1878 and the Art Gallery was officially opened in 1907. In 1918
it was sold to the Italian state and took the name of Regia Galleria Vannucci, and
subsequently the Galleria Nazionale dell 'Umbria.
The museum, which was redesigned in 2006, offers a chronological discovery of the
works. The itinerary also includes monographic sections devoted to Umbrian fabrics,
gold and silverware, 15th to 17th century bronzes, and topography. The collection
includes masterpieces from the Middle Ages to the 19th century. The forty rooms
contain exhibitions of such important artists as the Master of San Francesco, Arnolfo di
Cambio, Nicola and Giovanni Pisano, Duccio di Buoninsegna, Gentile da Fabriano, Fra
Angelico, Piero della Francesca, Pinturicchio, Orazio Gentileschi, Pietro da Cortona, JeanBaptiste Wicar, not to mention numerous works by Perugino.
The Italian Cultural Institute
The Italian Cultural Institute is an agency of the Italian Ministry of Foreign Affairs, with
responsibility for disseminating and promoting the Italian language and culture. Among
its principal objectives are the organisation of courses on the Italian language and culture,
and the creation of cultural initiatives whose theme is Italy, its cultural, artistic and
scientific life.
16
MEDIA PARTNERS
France 3 is proud to be associated with the Musée Jacquemart-André for this new exhibition, Pietro
Perugino, Master of Raphael.
The ambition of the public group France Télévisions is to bring culture to life and make it accessible and
intelligible to the masses while satisfying the curiosity and wishes of all audiences.
Committed to this ambitious policy, France 3, its local channel, is endeavouring more than ever to promote
cultural diversity and above all the rich French and European artistic heritage. A supporter of all culture,
France 3 carries out its mission through many regular and overarching programmes such as the "Des racines
et des ailes" series, but also “Midi en France” explores the treasures of the heritage and culture of each
French town or city - not forgetting filmed operas, shows, plays or the cultural news featured in the national
and regional news bulletins (“12/13”, “19/20”).
Thanks to Culturebox, Internet users can access videos about all the cultural and artistic events around France
and share comments and their favourites.
France 3 will be at the event at the Musée Jacquemart-André to pay tribute to the quality and richness of this
exhibition which it is happy to partner with. www.francetelevisions.fr
Established 35 years ago, the Figaro Magazine is at the crossroads of information and pleasure. A magazine
with a strong personality, established at the crossroads of information and pleasure, Figaro Magazine
combines high-quality writing with the beauty of photography. Directed by Guillaume Roquette, every Friday,
the Figaro Magazine editorial team proposes various articles on subjects in the news, via the opinions of its
renowned columnists (Eric Zemmour, Frédéric Beigbeder, Philippe Tesson, etc.), large format features, an
exceptional selection of photos.
A keyword galvanises each of the journalists of Figaro Magazine: freedom. Freedom to think, to choose, to
love, to criticize, to celebrate.
Le Figaro Magazine also contains the “Quartiers libres” guide, devoted solely to Culture and the Art of Living,
and its pages on art, the cinema, the theatre and music assert its legitimate right to stand as a benchmark in
the field of culture. One of the magazine’s priorities is to make as many people as possible aware of often
little known artistic treasures.
By partnering with the exhibition Perugino, Master of Raphael, to be held at the Jacquemart-André Museum
from 12th September 2014 to 19th January 2015, the Figaro Magazine is pleased to invite you to discover or
rediscover one of the greatest painters of the Italian Renaissance via fifty of his works, seemingly like
windows open to the light. Celebrated and vilified in his lifetime, forgotten then rediscovered by his
successors, this contemporary of Leonardo da Vinci invented a style whose modernity continues to impress
500 years later. His portraits, in particular, attain the rank of masterpieces of formal composition and visual
power.
In the context of this partnership, Le Figaro Magazine is devoting a 9-page feature to the exhibition in its 5
September issue. Le Figaro Magazine is on sale on Fridays, together with Le Figaro Quotidien, Madame Figaro
and TV Magazine.
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Le Parisien has always supported major cultural events; the newspaper reviews all the latest cultural news in
its pages “Leisure and Entertainment”, covering music, exhibitions, cinema, theatre and literature.
Le Parisien tackles every subject simply and objectively, giving everyone the keys to understanding today’s
world. Its goal is to inform, entertain and provide a service. Le Parisien has ten local editions with editorial
teams in Ile-de-France and Oise. Each edition covers the latest news from across Paris and the towns and
neighbourhoods of its particular département, looking at political, social and cultural events and providing
practical information.
Once again, the leading Ile de France daily, Le Parisien, has joined forces with the Musée Jacquemart André to
partner this exhibition Pietro Perugino, Master of Raphael.
Le Parisien today in France: key figures
In 2014, circulation figures for Le Parisien (the number of newspapers sold daily) reached over 400,000,
representing 2,5 millions readers every morning. Its site, FB Le Parisien.fr, is the leading information site on
Facebook with more than 1 million fans. www.leparisien.fr
Press contact Le Parisien : France Pabst / [email protected] / 00 33 (0)1 40 10 33 70
L‘Oeil, has been THE leading magazine since 1955 for news of the arts in Paris, the French regions and
worldwide. Every month, L‘Oeil enthusiastically analyses and criticises more than a hundred exhibitions for
its 100,000 readers, ranging from Antiquity to more contemporary creations, with a viewpoint open to all
the arts: painting, drawing, installations, photography, architecture and design, etc.
L’Oeil offers a fresh and in-depth look at what’s happening in the art world, with a team of art-loving
journalists and critics assembled by editor Fabien Simode.
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Leading French distributor of leisure tickets and show tickets, every year Fnac offers more than 60,000
events in France, Belgium and Switzerland: museums, exhibitions, monuments, concerts, festivals, great
shows, theatre, comedy, dance, classical music, opera, cinema, sport, trade shows/fairs, leisure parks,
restaurants, leisure activities, etc. With 113 shops in France, its website, its telephone platform, its mobile
website and its Tick&live application for iPhone, Samsung Bada and Android, Fnac allows you to book and
obtain your tickets immediately. Fnac is also a place where the public meets the artists: throughout the year,
it organises cultural meetings, debates and mini-concerts in its own Forums and outside its walls. It
associates itself with numerous events, thereby fulfilling its role as cultural player.
By being a partner of the Musée Jacquemart-André, which is hosting the Pietro Perugino, Master of Raphael
exhibition, Fnac confirms its commitment to artistic creativity and its determination to defend the right of
everyone to access all types of culture.
www.fnac.com
With the Pietro Perugino, Master of Raphael exhibition, the Musée Jacquemart-André is offering the
Parisian general public and visitors to the capital an exceptional exhibition, which the UGC Group is
delighted to support. The paintings assembled for this exhibition are a magnificent reflection of the
architectural art of the 19th century and are on show in a prime setting where visitors can discover or
rediscover them in prestigious conditions.
By supporting the Musée Jacquemart-André once again, UGC is continuing its commitment to foster access
to the wealth of culture available by as many people as possible. This partnership is part of UGC’s global
approach to encourage art and culture which, for the past four years, has also been reflected in the field of
opera with Viva l’Opéra (Long live Opera) – showing of a selection of major operas in its cinemas - and, since
2 years, by direct broadcasts of operas and ballets from the Opéra national de Paris season, of which UGC is
a partner.
This approach is directly within the spirit of the policy that UGC is continuously striving to establish in its
cinemas by offering its spectators the full diversity of French and international cinema and by supporting
talent in the cinema industry with the production, distribution and showing of their films.
Created in 1971 through the association of various regional networks of cinemas, UGC underwent a rapid
development, becoming one of the largest European groups of cinemas present today in all fields of the
sector (screening, distribution and production). UGC has 393 cinemas in France and 43 cinemas in Belgium.
They screened close to 690 films in 2013 and attracted 30 million cinema-goers.
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The Italian National Tourism Board (ENIT) is responsible for promoting Italian tourism abroad and for
supporting commercial initiatives on the international marketplace.
In order to enhance Italy’s cultural image, ENIT at Paris is partnering with the Jacquemart André Museum to
present the exhibition Perugino, Master of Raphael.
The French are deeply attached to Italy, a country in which they associate the richness of its heritage to the
art of living. Cities steeped in art, large and small, such as Florence, Rome, Venice or Perugia, occupy a
special place in their hearts. But it is also with infinite delight that they discover the landscapes and places
that inspired the great masters of Italian painting.
It is precisely this beauty and charm, made ​of light, softness and harmony which permeate the work of
Perugino, which visitors come to seek in Italy.
It was therefore very natural that ENIT wished to become the Jacquemart Museum’s partner for this
exhibition dedicated to the "Master of Raphael”.
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THE MUSÉE JACQUEMART-ANDRÉ
Owned by the Institut de France, the Musée Jacquemart-André has been developed and managed by
Culturespaces since 1996.
The Musée Jacquemart-André, the home of collectors from the late 19th century, offers the public, in this
temple of art, numerous works of art bearing the most famous signatures of:
▪ Italian Renaissance art: Della Robbia, Bellini, Mantegna, Uccello, etc.
▪ Flemish painting: Rembrandt, Hals, Ruysdaël, etc.
▪ French painting of the 18th century: Boucher, Chardin, Fragonard, Vigée-Lebrun, etc.
together with significant items of furniture, indicative of Édouard André and Nélie Jacquemart’s taste for the
decorative arts.
This collection, unique in terms of both its quality and the diversity of the works it contains, boasts
exceptional visitor facilities which makes it accessible to everyone. With more than 2 million visitors since it
reopened in March 1996, the Musée Jacquemart-André is one of the top museums in Paris.
The André mansion very quickly became the Jacquemart-André mansion, so great was the role which Nélie
Jacquemart was able to play in its evolution and development. This mansion and its collections appear today
as the legacy which this wealthy and childless couple, who dedicated their lives to the finest aspects of art,
wished to leave to posterity.
The beneficiary of this asset, the Institut de France, has since strived to ensure that Nélie Jacquemart’s wishes
are respected and to introduce her lovingly compiled collections to as many people as possible.
Today there are fifteen magnificent exhibition rooms, the most intimate of reception rooms, still exquisitely
decorated, occupying almost 1,000 m², which are open to visitors to the Musée Jacquemart- André.
The restoration and renovation work undertaken in 1996, with a view to reopening to the public, was
intended to make, as far as possible, the mansion feel like a home, so that visitors would find themselves
surrounded by the warmth of a living, welcoming, rather than educational, setting.
Art, the lifeblood of Édouard and Nélie André, enabled this pair of collectors to gather, in just a few decades,
almost 5,000 works, many of which are of exceptional quality. To satisfy their eclectic tastes, the Andrés were
able, with rigour and determination, to call on the greatest antiques dealers and traders, travel the world in
search of rare objects, spend considerable sums of money on masterpieces, sacrifice second-rate pieces - and
sometimes even return them to the seller - in order to be true to their criteria of excellence, which makes the
Jacquemart-André mansion a top international museum.
Like the Frick Collection in New York, the Musée Jacquemart-André combines presenting an exceptional 19th
century collectors’ house with visitor facilities which meet the expectations of people today.
21
L’INSTITUT DE FRANCE
Created in 1795 in order to contribute on a non-profit basis to the renown of the Arts, Sciences and
Humanities, the Institute de France (French Institute) groups together five academies: the French Academy,
the Academy of inscriptions & belles-lettres, the Academy of sciences, Academy of fine arts and the Academy
of moral & political sciences.
At the same time, it is one of the oldest and most prestigious institutions practicing philanthropy and
administering donations and legacies. For two centuries, it has housed foundations and awarded prizes that
play an unparalleled role in modern philanthropy. Created by individuals or companies, the Institute’s
foundations and prizes benefit from the experience of this secular institution in the areas of sponsorship and
philanthropy, as well as from the proficiency of academicians in their fields of expertise.
The Institute also owns an important artistic heritage, consisting of residences and exceptional collections of
that have been bequeathed to it since the late 19th century; in particular: the Château de Chantilly, the Musée
Jacquemart-André, the Abbey de Chaalis, the chateau de Langeais, the manoir de Kerazan as well as the villa
Kérylos.
www.institut-de-france.fr
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CULTURESPACES,
PRODUCER AND MANAGER OF THE EXHIBITION
Culturespaces produces and manages, with an ethical and professional approach, monuments, museums
and prestigious historic sites entrusted to it by public bodies and local authorities. These include the Musée
Jacquemart-André in Paris, the Ephrussi de Rothschild and Kerylos Villas on the French Riviera, the Roman
Theatre of Orange, the Château des Baux-de-Provence, the Carrières de Lumières, the Nîmes Arena, the
National Automobile and Train Museums in Mulhouse.
It is thanks to these management methods, approved by AFNOR, that Culturespaces has been awarded ISO
9001 certification for the quality of the services it provides and its successful management of cultural
heritage. Culturespaces welcomes thus more than 2 millions visitors each year.
In 20 years, in close collaboration with curators and art historians, Culturespaces has organised many
temporary exhibitions of international standing in Paris and in the regions. Culturespaces manages the
whole chain of production for each exhibition, in close collaboration with the public owner, the curator and
the exhibition sponsor: programming, loans, transport, insurance, set design, communications, partnership
and sponsorship, catalogues and spin-off products.
Today Culturespaces works with some of the most prestigious national and international museums in the
world.
Recent exhibitions organised at the Musée Jacquemart-André :
2014 From Watteau to Fragonard, les fêtes galantes – 120,455 visitors
2013 Désirs & Volupté, Victorian masterpieces from the Perez Simon collection – 140,260 visitors
2013 Eugène Boudin – 225,000 visitors
2012 Canaletto – Guardi, the two Masters of Venice – 240, 000 visitors
2012 The Twilight of the Pharaohs – 139 ,000 visitors
2011 Fra Angelico ans the Masters of Light – 250,000 visitors
2011 The Caillebotte brothers’ private world. Painter and photographer – 220,000 visitors
2010 Rubens, Poussin and 17th century artists – 150,000 visitors
2010 From El Greco to Dalí. The great Spanish masters. The Pérez Simón collection – 200,000 visitors
2009 Bruegel, Memling, Van Eyck… The Brukenthal Collection – 240,000 visitors
2009 The Italian Primitives. Masterpieces of the Altenbourg Collection – 160,000 visitors.
2008 Van Dyck – 200,000 visitors
2007 Fragonard – 200,000 visitors
2006 The Thracians’ Gold – 150,000 visitors
2005 David, intimité et grandeur – 150 ,000 visitors
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VISUALS AVAILABLE FOR THE PRESS
Important notice : the RMN displays – visuals n°13 and 14 - can be reproduced as a quarter-page., with this
mention “S.P.” Reproductions in a larger format are subject to the payment of reproduction rights. For payment of
reproduction rights, please contact Marine Sangis : [email protected].
1. Pietro Vannucci, known as Perugino
(circa 1450-1523)
Virgin and Child
Circa 1500
Oil on wood
70,2 x 50 cm
Washington, National Gallery of Art, Samuel H.
Kress Collection
© Courtesy National Gallery of Art, Washington
4. Perugino
The Resurrection (San Pietro polyptych)
1496-1500
Oil on wood
32 x 59,5 cm
Rouen, Musée des Beaux-Arts, Envoi de l’État, 1803
© C.Lancien, C.Loisel / Musées de la Ville de Rouen
2. Perugino
Saint Philippe and saint Augustine
(Saint Augustine polyptych)
1502-1512
Oil on wood
172 x 91 cm
Toulouse, Musée des Augustins
© STC Mairie de Toulouse.
3. Perugino
Saint Bernard cures the daughter of Giovanni
Antonio Petrazio da Rieti of an ulcer
1473
Tempera on wood
79 x 57 cm
Perugia, Galleria Nazionale dell’Umbria
© Per gentile concessione della Soprintendenza
BSAE dell'Umbria-Perugia (Italy)
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5. Perugino
Francesco delle Opere
1494
Oil on wood
52 x 44 cm
Florence, Istituti museali della Soprintendenza Speciale per il
Polo Museale Fiorentino - Galleria degli Uffizi
© Soprintendenza Speciale per il Patrimonio Storico Artistico
ed Etnoantropologico e per il Polo Museale della Città di
Firenze
6. Raffaello Sanzio known as Raphael(1483-1520)
and Evangelista da Pian di Meleto (vers 1460-1549)
Bust of an angel
(altarpiece of saint Nicolas de Tolentino)
1500-1501
Oil on wood transferred to canvas
31 x 26,5 cm
Brescia, Pinacoteca Tosio Martinengo
© Pinacoteca Tosio Martinengo – Brescia
7. Perugino or Raphael
The Assumption
The Fano Altarpiece, predella depicting scenes from the
Life of the Virgin
1488-1497
Tempera on wood
Overall dimensions of the predella: 28 x 261 cm (five
separate panels framed together)
Fano, Museo e Pinacoteca civica di Fano
© Soprintendenza per i Beni Storici Artistici ed
Etnoantropologici delle Marche
8. Perugino or Raphael
The Nativity of the Virgin
The Fano Altarpiece, predella depicting scenes from the
Life of the Virgin
1488-1497
Tempera on wood
Overall dimensions of the predella: 28 x 261 cm (five
separate panels framed together)
Fano, Museo e Pinacoteca civica di Fano
© Soprintendenza per i Beni Storici Artistici ed
Etnoantropologici delle Marche
25
9. Perugino
Saint Romain, saint Roch with view of Deruta
1476
Fresco painting
186 x 128 cm
Deruta, Pinacoteca Comunale
Pinacoteca comunale, Deruta. Foto Sandro Bellu.
Copyright Fototeca Regione Umbria
11. Perugino
Portrait of don Biagio Milanesi
1500
Oil on wood, 28,5 x 26,5 cm
Florence, Istituti museali della Soprintendenza Speciale per il Polo Museale
Fiorentino - Galleria dell’Accademia
Soprintendenza Speciale per il Patrimonio Storico Artistico ed
Etnoantropologico e per il Polo Museale della Città di Firenze
10. Perugino
Saint Mary Magdalene
Circa 1500-1502
Oil on wood, 47 x 35 cm
Florence, Istituti museali della Soprintendenza Speciale per il
Polo Museale Fiorentino - Galleria Palatina, Palazzo Pitti
Soprintendenza Speciale per il Patrimonio Storico Artistico
ed Etnoantropologico e per il Polo Museale della Città di
Firenze
12. Perugino
Portrait of don Baldassarre d’Angelo
1500
Oil on wood, 26 x 27 cm
Florence, Istituti museali della Soprintendenza Speciale per il Polo
Museale Fiorentino - Galleria dell’Accademia
Soprintendenza Speciale per il Patrimonio Storico Artistico ed
Etnoantropologico e per il Polo Museale della Città di Firenze
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13. Perugino
The Battle of Love and Chastity
1502-1505
Tempera on canvas
160 x 191 cm
Paris, Musée du Louvre - Department of
Paintings
© Musée du Louvre, Dist. RMN-Grand Palais
/ Angèle Dequier
15. Perugino
The Penitence of Saint Jerome
End of the 15th century
Oil on wood
29,7 x 22,5 cm
Vienna, Kunsthistorisches Museum,
Gemäldegalerie
© Kunsthistorisches Museum Vienna
14. Perugino
Apollo and Daphnis
The 1490’s
Oil on wood, 39 x 29 cm
Paris, Musée du Louvre - Department of
Paintings
© RMN-Grand Palais (musée du Louvre) /
Gérard Blot
16. Perugino
The Annunciation
Circa 1498
Oil on wood
55,5 x 42 cm
Private collection
17. Raphael
Saint Francis
1504-1505
Oil on wood
25,8 x 16,8 cm
Inv. DPG 241
Londres, By permission of the Trustees
of Dulwich Picture Gallery
By permission of The Trustees of
Dulwich Picture Gallery, London
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PRACTICAL INFORMATION
A stone’s throw from the Champs-Elysées, the Musée Jacquemart-André presents Paris’s finest private art collection
in the setting of a grand 19th century mansion. Visit this magnificent town residence, the product of the passion of
Edouard André and his wife Nélie Jacquemart, with its stunning collection, which in particular includes major works
by the great Flemish masters, paintings of the 18th century French school and others by some of the most
distinguished artists of the Italian Renaissance.
Opening times and rates
Open 365 days a year from 10 a.m. to 6 p.m.
Open every Monday and Sunday evening until 8.30 p.m.
The tea room is open every day from 11.45 a.m. to 5.30
p.m. Brunch Saturday and Sunday from 11 a.m. to 3 p.m.
Open every Monday and Saturday evening until 7 p.m.
The cultural gift and bookshop is open when the museum
is open, including Sundays.
Individuals
Full rate: 12€
Reduced rate: 10€ (students, children from 7 to 17, jobseekers)
Exhibition audio guide: 3€
Permanent collection audio guide: free
Free for children under the age of 7, members and staff of
the Institut de France, journalists and tourism
professionals.
Family Rate
Pay the admission charge for two adults and one child and
the second child gets in free (7 to 17 years).
Groups
Group visits are only subject to reservation:
[email protected].
Groups are not admitted to the exhibition rooms after
2.00 pm.
Access
R.D. 23/05/14
Musée Jacquemart-André
158, boulevard Haussmann - 75008 PARIS
Tel.: +33 1 45 62 11 59
www.musee-jacquemart-andre.com
The museum is located 400 meters from place Charles de
Gaulle-Étoile.
Metro: lines 9 and 13 (Saint-Augustin, Miromesnil
or Saint-Philippe du Roule)
RER: RER A (Charles de Gaulle-Étoile)
Bus: 22, 43, 52, 54, 28, 80, 83, 84, 93.
Car park: Haussmann-Berri
Station Velib: rue de Berri
The temporary exhibition rooms are not accessible to
people with reduced mobility. .
Managed and developed by
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