CANALETTO - Musée Jacquemart

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Page 3
Press release
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Introduction by Bruno Monnier, CEO of Culturespaces
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A journey through the exhibition
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Visuals available for the press
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The team
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Visitor aids
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Publications
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Culturespaces, producer and director of the exhibition
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GDF Suez, patron of the exhibition
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The Culturespaces Foundation
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The Jacquemart-André Museum
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The partners of the exhibition
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Practical information
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CANALETTO - GUARDI
The two masters of Venice
Jacquemart-André Museum
14 September 2012 – 14 January 2013
The Jacquemart-André Museum is devoting an exhibition to the two leading lights of veduta: Canaletto –
Guardi, the two masters of Venice. The exhibition is the first of its kind in France. Bożena Anna Kowalczyk,
internationally renowned specialist in paintings of 18 th century Italian views, has brought together
around fifty masterpieces for the exhibition. The selection of works pays tribute to Venice and includes a
number of canvases that have never before been shown in temporary exhibitions.
The exhibition uses the main masters of veduta, particularly the two dominant figures, Canaletto and
Francesco Guardi, to reveal the movement in all its diversity, from its beginnings to the period when it
flourished and then peaked. Other artists featured are Gaspar van Wittel, Luca Carlevarijs, Michele
Marieschi and Bernardo Bellotto.
This Jacquemart-André Museum event has been made possible thanks to the support of leading European
and American museums, including the Frick Collection (New York), Philadelphia Museum of Art
(Philadelphia), British Museum (London), National Gallery (London), Louvre (Paris), Alte Pinakothek
(Munich) and Thyssen-Bornemisza Museum (Madrid), among others. It is also indebted to prestigious
collections such as the British Monarchy’s Royal Collection, which includes a number of Canaletto canvases
that beautifully complement the works from Edouard André and Nélie Jacquemart’s permanent collection.
The genre, particularly popular with the public, has been collected mainly by royal courts and wealthy
Italian, English and German collectors. The British monarchy owns the largest collection of paintings and
drawings by Canaletto. Dr Bożena Anna Kowalczyk, curator of the exhibition at the Jacquemart-André
Museum, has succeeded in negotiating the loan of eight exceptional works, graciously accorded by Her
Majesty Queen Elizabeth II, which will be exhibited for the first time in Paris.
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An encounter between vedutisti
Bożena Anna Kowalczyk’s theatrical and informative staging of the exhibition creates a dialogue between
the vedutisti’s canvases and, in particular, brings out the link between Canaletto and Guardi. The
comparisons developed by the Jacquemart-André Museum illustrate how certain views of Venice painted
by Canaletto in his youth influenced Guardi, as well as Bellotto and Marieschi. The exhibition helps the
visitor appreciate the differences in style and methods used by different artists to render perspective, light
and architecture. An especially enjoyable aspect of Canaletto’s painting is his quest for intense luminosity
and the almost scientific rigour in his rendering of details and architectural elements. The JacquemartAndré Museum is also paying homage to Guardi to mark the three hundredth anniversary of his birth,
presenting several masterpieces by an artist who glorified Venice with his extraordinary artistic sensibility
and freedom of style.
The Jacquemart-André Museum reveals the full splendour of the Serenissima in all its facets, from the
campi to the lagoons, not forgetting the city’s legendary festivals and ceremonies, magnificently illustrated
by Canaletto in his spectacular masterpiece, Regatta on the Grand Canal (on loan from the Bowes
Museum, Barnard Castle).
But visitors will also discover a lesser-known aspect of the vedutisti’s works of art: the capricci.
Recognisable elements of classical architecture emerge from fantastical landscapes in the midst of
overgrown ruins. The reality of Venice is thus broken down and pieced together again through the prism of
these imaginary and poetic views.
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Culturespaces organises and produces exhibitions at the Jacquemart-André Museum, staying faithful to the
sophisticated and eclectic tastes of the museum’s illustrious founders. Prominent 19th century art
collectors, Nélie Jacquemart and Edouard André were won over by the charms of Venice, immortalised in
the 18th century on the canvases of Antonio Canal, known as Canaletto, and Francesco Guardi.
The artists embodied the two main movements in the art of painting views, known as veduta. Canaletto
developed a scientific approach to perspective and a strong sense of detail. Guardi, on the other hand,
chose to immerse the city in a dreamlike universe, his capricci creating an imaginary, fantastical and
seductive Venice.
To mark the three hundredth anniversary of Francesco Guardi’s birth, Culturespaces is paying special
homage to an artist inextricably linked to the veduta movement, as well as to Canaletto, who preceded and
inspired him. The exhibition explores their artistic journeys while giving them their rightful place among the
other leading exponents of veduta in the 18th century, including Gaspar van Wittel, Luca Carlevarijs,
Michele Marieschi and Bernardo Bellotto. All these artists turned Venice into a poetic, mythical and
theatrical object, from St Mark’s Square to the Grand Canal and from the city’s majestic palaces to its
mysterious alleyways. Venice is a hymn to the sublime, with the delicate lines of its architecture, subtle
colours of the sky and water, shifting expanse of the lagoon and flamboyant festivities on the Grand Canal
with its countless boats.
Curatorship of the Canaletto – Guardi, two masters of Venice exhibition at the Jacquemart-André Museum
has been entrusted to Bożena Anna Kowalczyk. An internationally recognised specialist in veduta, she
guides our viewing experience so that we can recognise the interpretive qualities specific to each painter in
this genre. Thanks to the renewed support of leading international museums and collections, over fifty
remarkable masterpieces have been brought together for the exhibition, opening the doors to the Venice
of the past.
Bruno Monnier
CEO of Culturespaces
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Dedicated to the leading veduta painters, with a special focus on Canaletto and Guardi, the exhibition is the
first of its kind in France. Travellers’ accounts and writers’ texts in France throughout the 18 th century bear
witness to a great admiration for Canaletto, while Guardi’s reputation grew in the second half of the 19th
century, when he was compared to the impressionists. International interest in this painting of cityscapes,
known as veduta, has remained so strong over the last two centuries that the Jacquemart-André Museum
decided to pay tribute to the two artists. Dr Bozena Anna Kowalczyk, exhibition curator and renowned
veduta specialist, has carefully selected more than fifty masterpieces to explore the history of the veduta
movement in the light of scientific discoveries of the time.
Venetian veduta painting is an artistic and cultural phenomenon that continues to fascinate and surprise.
The great Venetian masters, from Luca Carlevarijs to Canaletto and Francesco Guardi, worked hard
throughout the 18th century to satisfy the constant demand from prominent European patrons of the arts
who wanted to take home souvenirs of Venice in the form of representations of the Serenissima’s
monuments and festivals. Unlike most Italian artists of the time, the vedutisti whose work is on display at
the Jacquemart-André Museum succeeded in appropriating the Enlightenment culture and making use of
the latest scientific discoveries and sophisticated optical instruments. But they all also retained their artistic
originality, creating their own visions of the same places in Venice: visions of universal beauty. These views
of Venice, masterpieces of 18th European art that display a modern yet poetic creativity, provide us with
precious illustrations of a city that is unique in the world.
ROOM 1: the birth of veduta and Canaletto’s youth
The exhibition opens with an introduction to the leading Venetian masters, Canaletto’s fellow artists when
he started out as a vedutisti. By highlighting the links with Canaletto’s illustrious antecedents, the exhibition
shows that he was part of a pictoral tradition that developed throughout the 18th century.
Gaspar van Wittel (1652/3-1736), who discovered Venice in the late 17th century, was the initiator of the
veduta genre. He made a key contribution and his technical teachings, linking the use of camera obscura
with the methodical execution of preparatory sketches, strongly influenced the other vedutisti. Luca
Carlevarijs (1663-1730) adopted this scientific approach and enriched it with his passion for representing
figures.
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The paintings Canaletto (1697-1768) produced in his youth illustrate the feeling for perspective, style and
preference for figures that were already marking out the artist at the start of his career. Canaletto’s
virtuosity breathed new life into veduta, which then flourished to reach unprecedented heights. While
continuing to work on the art of composition and perspective, as his elders did, the young Canaletto
placed special importance on light and atmospheric effects, as seen in Venice: the Grand Canal with S.
Maria della Salute towards the Riva degli Schiavoni (Museum of Grenoble).
ROOMS 2, 3 and 4: Canaletto and Guardi, two views of Venice
Guardi (1712-1793) began painting at a time when Canaletto was already very successful. Where Canaletto
focused increasingly on perspective and almost scientific precision in transcribing the real world throughout
his career, Guardi chose to return to the preference for atmospheric effects that Canaletto cultivated when
he was setting out (Canaletto, La Piazza San Marco in Venice, oil on canvas, Madrid, Thyssen-Bornemisza
Museum). Canaletto and Guardi, each in their own way, represented the most accomplished expression of
veduta art. This is why the exhibition has chosen to look at the major works from the two masters together:
to illustrate the deep-reaching links that unite them, but also the areas where they differ.
In each of the three rooms, 2, 3 and 4, works by the two artists are put side by side on a theme-by-theme
basis: St Mark’s Square, the Grand Canal, the campi and the Venetian canals. The encounter between
their paintings and drawings reveals a strong relationship as well as real differences and seeks to get to
the heart of their personal interpretations. In rooms 3 and 4, two other leading vedutisti join the
encounter: Michele Marieschi (1710-1743) and Bernardo Bellotto (1722-1780), Canaletto’s nephew and
disciple, who both played a major role in the spread and growth of veduta. Each of these artists has a
strong identity and offers his own distinctive image of Venice. The Serenissima is the unfailing theme of
their work, but inspires an infinite number of variations and versions, becoming a poetic object for the
artists and channel for their creativity.
Aware of Canaletto’s masterful approach to perspective and his sense of staging, Francesco Guardi often
found inspiration in the compositions created by his celebrated predecessor. However, he also chose to
introduce subtle differences: Canaletto’s quest for natural light and the close attention he pays to detail
find a contrast in Guardi’s sense of fantasy and his sensibility. Considered to be the greatest vedutisti,
Canaletto and Guardi also embody the two main movements in veduta art: on the one hand, Canaletto’s
scrupulously scientific meticulousness and, on the other, Guardi’s quest for emotion.
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ROOM 5: Guardi’s triumph
This room has been given over to the display of some of Francesco Guardi’s most emblematic works. The
skies in the paintings, overcast or bathing in the golden light of sunset, illustrate the full extent of the
artist’s skill. His touch is more forceful, the buildings stand out more clearly against the sky and water. The
elegant facades of the embassies rub shoulders with a more picturesque Venice where the washing is
hanging out to dry in the windows (cf. Guardi, View on the Cannaregio canal, with the Palazzo SurianBellotto, French embassy, oil on canvas, New York, The Frick Collection). The scientific approach, inspired by
the Enlightenment, that characterised Canaletto’s paintings gave way to a quest for emotions and
impressions in Guardi’s work.
ROOM 6: the allure of the lagoon
A key element in the Venice of the imagination, the lagoon inspired all the vedutisti. However, it was
Canaletto and Guardi who created the most poetic images of the body of water. Canaletto’s views of the
lagoon feature delicate compositions where the huge expanse of the sky mingles with the expanse of water
to create the most subtle of landscapes.
Inspired by Canaletto’s drawings, Francesco Guardi also chose the lagoon as one of his favourite themes,
creating a series of paintings that number among the most beautiful of the works he produced in his youth.
Like Canaletto, his aim was not so much to describe Venice as to honour the vast skies hanging over the
shifting waters of the lagoon. The artist plays with atmospheric effects to underscore the importance of
light, with views that vary from light and full of colour (cf. Guardi, View of the Guidecca Canal and Zattere,
oil on canvas, Madrid, Carmen Thyssen-Bornemisza Collection), to dark and hazy.
ROOM 7: the splendour of Venetian festivals and ceremonies
The rich European travellers who made up the vedutisti’s main clientele saw Venice primarily as a city of
festivities. Events such as religious ceremonies and the arrival of prominent ambassadors produced the sort
of splendid celebrations that the Serenissima became so famous for (cf. Canaletto, Regatta on the Grand
Canal, oil on canvas, Burham, The Bowes Museum).
For Canaletto and Guardi, these ceremonies also provided ideal opportunities to paint highly decorative
monuments and architectural elements in the midst of large and colourfully dressed crowds. With their
views of the city’s squares, churches and canals, Canaletto and Guardi immortalised the incomparable
enchantment and elegance of 18th century Venice.
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ROOM 8: the capricci, an imaginary Venice
The meticulously detailed vision of 18th century Venice and its iconic sites is characteristic of veduta art.
However, the vedutisti also had a penchant for poetical caprices, a penchant that produced imaginary
views of the city (cf. Guardi, Venetian caprice with portico, gouache on paper, Paris, Jacquemart-André
Museum, Institut de France).
Venice is transformed under the strokes of their brushes. Squares and streets decorated in dramatic and
fantastical style appear, along with large landscapes where ruins sit in the midst of luxuriant vegetation (cf.
Canaletto, Architectural Capriccio, oil on canvas, private collection, Switzerland). These compositions with
their invented architectural elements paint a different portrait of veduta, as fanciful as it is seductive
(Bellotto, Capriccio with a triumphal arch on the banks of the lagoon, oil on canvas, Asolo, Museo Civico).
These too little known works from the vedutisti make up an important part of their output; the capricci
gave them the freedom to express a romantic and creative exuberance. Giovanni Panini was a pioneer in
the capricci genre, and the Jacquemart-André Museum owns a remarkable example of his work, on display
in the Music Room.
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The RMN displays can be reproduced as a quarter-page. Reproductions in a larger format are subject to the payment of
reproduction rights. For payment of reproduction rights, contact Mrs Vladana Jonquet at: [email protected]. For
Internet sites: the rate for use of low-definition visuals (72 dpi) for promoting the exhibition is €56.
The works affected by this measure are the following: 3, 6 and 7.
1. Canaletto (Antonio Canal, known as)
Piazza San Marco, looking East,
1723
Oil on canvas
141,5 x 204,5 cm
Madrid, Museo Thyssen-Bornemisza
© Thyssen-Bornemisza Museum, Madrid
2. Canaletto (Antonio Canal, known as)
The Grand Canal with the Church San Geremia, the
Palazzo Labia and the entrance to Cannaregio
1726-1727
Oil on canvas
46 x 78.4cm
London, The Royal Collection,
lent by her Majesty Queen Elizabeth II
Supplied by Royal Collection Trust
© HM Queen Elizabeth II 2012
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3. Francesco Guardi
The Grand Canal with the Church San Geremia, the
Palazzo Labia and the entrance to Cannaregio
Circa 1769
Oil on canvas
71.5 x 120cm
Münich, Dauerleihgaben der HypoVereinsbank München
an die Bayerischen Staatsgemäldesammlungen - Alte
Pinakothek
© BPK, Berlin, Dist. RMN - © image BStGS –
Sammlung HypoVereinsbank, Member of UniCredit
4. Francesco Guardi
The Giudecca Canal and the Zattere
Circa 1758
Oil on canvas
72,2 x 119,3 cm
Madrid, Carmen Thyssen-Bornemisza Collection,
on deposit at the Thyssen-Bornemisza Museum
© Colección Carmen Thyssen-Bornemisza
en depósito en el Museo Thyssen-Bornemisza,
Madrid
5. Canaletto (Antonio Canal, known as)
The Campo Santi Giovanni e Paolo
Circa 1738-1739
Oil on canvas
46,4 x 78,1 cm
London, The Royal Collection
lent by her Majesty Queen Elizabeth II
Supplied by Royal Collection Trust
© HM Queen Elizabeth II 2012
6. Francesco Guardi,
The Campo Santi Giovanni e Paolo
Circa 1765
Oil on canvas
73 x 121 cm
Paris, Louvre Museum, department of
Paintings
Donation by Madame Deutsch de la
Meurthe, in accordance with her
husband’s wishes, 1919
© RMN (Musée du Louvre) / Stéphane
Maréchalle
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7. Francesco Guardi
The Doge in the Bucentaur leaving for Lido
port on Ascension Day
1775-1780
Oil on canvas
66 x 101 cm
Paris, Louvre Museum, department of Paintings
Confiscated during the revolution from the Count
Pestre de Seneffe’s collection, 1797.
© RMN (Louvre Museum)/ Béatrice Hatala
8. Canaletto (Antonio Canal)
The Doge in the Bucentaur leaving for Lido on
Ascension Day
1766
Pen and brown ink, grey wash and white lead
(oxidised) over crayon, outlined with pen and
ruler
39 x 55 cm
Londres, The British Museum
© The Trustees of the British Museum
9. Canaletto (Antonio Canal)
A Regatta on the Grand Canal
Circa 1732
Oil on canvas
149,8 x 218,4 cm
Durham, The Bowes Museum, Barnard Castle,
England
© The Bowes Museum, Barnard Castle,
County Durham, England
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10. Francesco Guardi
The Canale di Cannaregio, with the Palazzo Surian-Bellotto, seat
of the French embassy
Circa 1778-1780
Oil on canvas
48,9 x 77,5 cm
New York, The Frick Collection, Gift of Miss Helen Clay Frick, 1984
© The Frick Collection
11. Canaletto (Antonio Canal, known as)
Entrance to the Grand Canal with Santa Maria della Salute and
the Giudecca Canal, seen from the western edge of The Mole
1722
Oil on canvas
194 x 204 cm
Grenoble, Museum of Grenoble
© Musée de Grenoble
12. Francesco Guardi
Capricci with a venetian campiello
Circa 1778-1780
Gouache on paper
55,5 x 38 cm
Paris, Jacquemart-André Museum - Institut de France
© Studio Sébert Photographes
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13. Canaletto (Antonio Canal, known as)
Capriccio with ruins
Circa 1742
Oil on canvas
53 x 66,7 cm
London, The Royal Collection,
lent by her Majesty Queen Elizabeth II
Supplied by Royal Collection Trust
© HM Queen Elizabeth II 2012
14. Canaletto (Antonio Canal, known as)
Architectural capriccio
1723
Oil on canvas
178 x 322 cm
Private Swiss Collection
© Raccolta Privata Svizzera
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15. Bernardo Bellotto
Capriccio with a triumphal arch in
ruins on the lagoon banks
1743
Oil on canvas
40.5 x 49cm
Asolo, Museo Civico di Asolo
© Museo di Asolo
The Curatorial Team
Dr Bożena Anna Kowalczyk is the general curator of the exhibition.
Renowned specialist of the veduta of the 18th century, she made the decision to dedicate herself to
Canaletto and Bellotto when she was studying at Venice’s Ca’ Foscari University, where she produced a
doctoral thesis on “Il Bellotto italiano” (1993-1996).
A recognised authority on veduta, Bożena Anna Kowalczyk is the author of several important studies on
Canaletto and Bellotto. Her work has had a major impact on the critical approach to the two artists by
extending the catalogue of their work. Her studies are based on archive research and also cover works
by Michele Marieschi and Francesco Guardi.
She is currently working on the publication of a general catalogue of Bernardo Bellotto’s work.
Bożena Anna Kowalczyk has curated or co-curated the following exhibitions:
Bernardo Bellotto 1722-1780, Venice, Correr Museum, 2001;
Canaletto prima maniera, Venice, Giorgio Cini Foundation, 2001;
Canaletto: il trionfo della veduta, Rome, Palazzo Giustiniani, 2005;
Canaletto e Bellotto: l’arte della veduta, Turin, Palazzo Bricherasio, 2008.
Mr Nicolas Sainte Fare Garnot is the associate curator of the exhibition.
Nicolas Sainte Fare Garnot, an art historian specialising in seventeenth-century French painting, has
been curator at the Jacquemart-André Museum 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. Together with Culturespaces he has helped to create a
new dynamic within the Museum by bringing his scientific approach to bear on temporary
exhibitions whose subjects offer an opportunity to get to know the artists contained in the
permanent collections.
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The scenography
Hubert le Gall has designed an elegant setting for the paintings of the leading exponents of veduta,
which can thus display the full glory of Venice, its light and its splendour.
Hubert Le Gall, born in 1961, is a French designer, creator and sculptor of contemporary art. His
work has formed the subject of numerous exhibitions throughout Europe. Since 2000 he has
produced original scenographies for exhibitions, including:
2012 Jacquemart-André Museum, Paris - The Twilight of the Pharaohs
2012 Musée Maillol, Paris – Artemisia
2011 Jacquemart-André Museum, Paris – Fra Angelico and the Masters of Light
2011 Musée Maillol, Paris – Pompeii, a way of life
2011 Jacquemart-André Museum, 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
2011 Musée Maillol, Paris – Miró sculpteur
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 Jacquemart-André Museum, Paris – Rubens, Poussin and the 17th century artists
2010 Musée d’Orsay, Paris – Crime and Punishment
2010 Musée Jacquemart-André, Paris – From El Greco to Dalí. Les grands maîtres espagnols. La
collection Pérez Simón
2009 Musée d’Orsay, Paris – See Italy and Die. Photography and Painting in 19th Century Italy
2009 Musée du Luxembourg, Paris – Louis Comfort Tiffany. Colors and Light
2009 Jacquemart-André Museum, Paris – Bruegel, Memling, Van Eyck… The Brukenthal collection
2009 Jacquemart-André Museum, Paris – The Italian Primitives. The Altenburg collection
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The exhibition website : www.canaletto-guardi.com
- Clear and detailed descriptions of major works.
- Large-format images for appreciating 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 Jacquemart-André Museum offers on-site downloading facilities without the need for a 3G
connection thanks to Wi-Fi access dedicated exclusively to downloads from App Store.
Audio guide
An audio guide describing a selection of major works is available in 2 languages
(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€.
For the little ones: the activity booklet
Offered free of charge to every child 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.
Produced by: Au clair de ma plume.
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The catalogue
A 240-page catalogue has been produced for the exhibition by the JacquemartAndré Museum and the publisher Fonds Mercator. The catalogue is by Boźena
Anna Kowalczyk, a leading specialist in this key 18th century artistic movement.
It provides a detailed description of each work on display as well as a range of
illustrations. In-depth introductory essays give visitors the chance to broaden
their knowledge of the veduta masters.
On sale at the Jacquemart-André Museum’s cultural gift shop for € 39.
Connaissance des Arts – special edition
The special edition of Connaissance des Arts devoted to the exhibition depicts
the leading lights of veduta and their critical success. In particular, it trains the
spotlight on the links between Canaletto and Guardi and the major artistic
movements they represented.
On sale at the Jacquemart-André Museum’s cultural gift shop for € 9,5.
The "Journal de l’expo" – Beaux Arts magazine
Using a number of portfolios, the Journal de l’expo presents the major themes
that feature in Canaletto and Guardi’s work. It also takes a look at the technical
secrets of the veduta masters and at the glories of 18th century Venice.
On sale at the cultural gift shop for € 4,8.
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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 Jacquemart-André Museum 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 and the
Waterloo Battlefield.
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 Jacquemart-André Museum:
2012 The Twilight of the Pharaohs
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
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As one of the Jacquemart-André Museum’s major patrons, GDF SUEZ is very pleased and proud to support
Canaletto – Guardi, the Two Masters of Venice. This is one of the first major exhibitions of veduta to be held
in France. It features a number of exceptional works loaned by leading American and European institutions,
including London’s National Gallery, the British Royal Collections, the Thyssen-Bornemisza museum in
Madrid and the Paris Louvre.
Our role as sponsor means that we can help a wide-reaching project such as this to come to fruition. The aim
is to make culture as accessible as possible while also promoting our cultural heritage, actions that express
our commitment to social responsibility. Every year, GDF SUEZ celebrates Christmas with not-for-profit
organisations, enabling many young people to enjoy a major exhibition.
There are many areas in which the business and art worlds can work together; I’m thinking in particular of
shared expertise and locations.
In 2011, we were pleased to be able to offer an innovative skills sponsorship programme. The Energy
Services branch at GDF SUEZ renovated the air conditioning systems for the museum’s exhibition spaces. This
meant that its premises offered the best conditions for conserving and exhibiting works of art, and allowed
us to harness our expertise in the service of fine art.
In Europe, Italy is a key country for GDF SUEZ. Through our Cofely subsidiary, we are the number one
energy services company in Italy and the third largest supplier of electricity and natural gas, with over 1.2
million clients. SUEZ ENVIRONNEMENT is another strong presence in Italy, with over 2.74 million people
using its environmental services.
Working together, sharing new perspectives
Canaletto “universally stuns”: so wrote his contemporary Marchesini. He was one of those artists who looked
at the city with new eyes, offering a vision with new depth, full of perspective. What he applied to the
cityscape was the same magic as that conjured up by the spectacular paintings created for the theatre and its
scenery: illusion created through perspective, sightlines cleverly aligned, persuading viewers that they are
seeing palaces, streets, gardens and canals peopled with real characters; the world as theatre. His vision,
with its matchless luminosity, devised a whole grammar of forms.
Looking anew at the city is our challenge today as we go about our business in the energy and environmental
services sectors. GDF SUEZ provides solutions for the modern city, solutions that promote sustainability. This
is the proudest accomplishment of our 220,000 colleagues around the world.
Gérard MESTRALLET
GDF SUEZ Chairman and Chief Executive Officer
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To mark the exhibition “Canaletto – Guardi, the two masters of Venice”, the Culturespaces Foundation is
organising a gala dinner at the Jacquemart-André Museum on Tuesday 18 September 2012. The event will
be hosted by Bruno Monnier and Jean-Jacques Aillagon will be the guest of honour. The foundation will use
the funds raised by the gala to set up new projects to help children who otherwise would not visit cultural
events.
The Culturespaces Foundation was created in 2009 with the mission to provide all children with access to
culture. In particular, it aims to bring the arts and cultural heritage within the reach of children and
teenagers who are ill, in hospital, disabled or from disadvantaged backgrounds.
Its programmes are designed to open children’s eyes to the artistic and historical riches of their heritage by
introducing them to historical monuments and museums, such as the Jacquemart-André Museum in Paris,
Villa Ephrussi de Rothschild on the Côte d’Azur, Carrières de Lumières in Baux-de-Provence, Théâtre
Antique d’Orange, Nîmes Arena and the battlefield at Waterloo.
To ensure that it can accomplish its mission, the Culturespaces Foundation has established long-term
partnerships with childcare establishments: community centres, paediatric hospitals, care homes and notfor-profit organisations. Partners include Hôpital Necker - Enfants Malades, Apprentis d’Auteuil and the
Nîmes University Medical Centre.
The 2011 gala event that Culturespaces Foundation organised at the Jacquemart-André Museum enabled
close to 2,000 young people to take part in the foundation’s programmes this year: Come and relive history,
Heritage & holidays and Let’s go to the museum! In April it invited 300 children to watch the historical reenactment of the Great Roman Games in the Nîmes Arena. It is currently organising creative workshops
based on the multimedia project “Gauguin – Van Gogh, painters of colour”, on show in pioneering digital
arts venue the Carrières de Lumières in Baux-de-Provence.
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The Jacquemart-André Museum, 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 make it accessible to everyone. With more than 2 million visitors
since it reopened in March 1996, the Jacquemart-André Museum 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 JacquemartAndré Museum.
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 Jacquemart-André Museum combines presenting an
exceptional 19th century collectors’ house with visitor facilities which meet the expectations of
people today. Owned by the Institut de France, the Jacquemart-André Museum has been
developed and managed by Culturespaces since 1996.
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France 3 is proud to be associated with the Jacquemart-André Museum
fort the “Canaletto-Guardi, the two masters of Venice“ exhibition.
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, the 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, "Passion patrimoine", the debates on "Ce soir (ou jamais!)", filmed
operas, shows or plays - not forgetting the cultural news featured in the
national and regional news bulletins.
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 Jacquemart-André Museum to pay
tribute to the quality and richness of this exhibition which it is happy to
partner.
www.francetelevisions.fr
Following its support of “Fra Angelico and the Masters of Light” and “From
El Greco to Dalí. The great Spanish masters. The Pérez Simón collection"
exhibitions last season, France Inter continues the adventure by
supporting the new exhibition at the Jacquemart-André Museum entitled
“Canaletto-Guardi, the two masters of Venice“.
The first ever exhibition dedicated to the veduta movement and its most
illustrious representatives, Canaletto and Guardi. This highly sought-after
but under-represented artistic genre conjures up the different faces of
18th century Venice. The Jacquemart-André Museum is presenting
approximately sixty exceptional works including several that have never
before been seen in public. The exhibition is partnered by public radio
station France Inter, enabling its listeners to discover the magic and
splendour of Venice.
An event to discover, experience and explore on the airwaves of France
Inter and on www.franceinter.fr
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Paris Match has been a partner of the Jacquemart-André Museum for
many years. This loyalty to cultural commitments unites the magazine
with the teams at the Museum and at Culturespaces.
The passion for the "human adventure" is one of the values that has been
driving the editorial agenda of Paris Match for more than 60 years. The
“Canaletto – Guardi, the two masters of Venice” exhibition takes visitors
on a dazzling journey to the heart of the Serenissima, lifting the veil on
18th century Venice and its secrets.
www.parismatch.com
Le Parisien has always supported major cultural events; the newspaper
reviews all the latest cultural news in its culture pages, covering music,
exhibitions, cinema, theatre and literature.
This year, Le Parisien is a partner of the eagerly awaited exhibition at the
Jacquemart-André Museum: Canaletto – Guardi, the two masters of
Venice. The exhibition takes visitors on a journey to the timeless charm of
18th century Venice as seen through the eyes of the two painters,
emblematic artists of the era.
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 Seine et Marne. 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.
Le Parisien today in France: key figures
In 2012, circulation figures for Le Parisien (the number of newspapers sold
daily) reached over 465,000 (source: OJD 2011 – total circulation),
representing 2,443,000 readers every morning (Audipresse One - 2011).
www.leparisien.fr
Every Thursday, France’s leading news magazine, Le Nouvel Observateur
supplies comment on the latest political, economic and cultural news. It
analyses and deciphers what happens in society and predicts the
consequences.
Its supplement, TéléCinéObs, contains the week’s TV listings, along with a
complete rundown of the latest films with rave and damning reviews
from the editors, not to mention pages of multimedia news.
And still, our new monthly supplement: Obsession. Discover all the
current trends over 150 pages. With the help of the best photographers
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and in original graphical settings you will also discover the new trendsetters from the worlds of fashion, music, cinema, contemporary art and
digital culture.
Le Nouvel Observateur is delighted to be associated with the JacquemartAndré Museum and to be a partner to this beautiful exhibition.
http://tempsreel.nouvelobs.com
Visioloisirs / Visioscène is an audiovisual production company that works
in the area of video content broadcasting in various media (Internet,
public transport, etc.) for cultural sites, entertainment and theatrical
venues. Over the past few seasons, Visioloisirs / Visioscène has been
working with Culturespaces to bring the temporary exhibitions and
permanent collections of the Museum to the notice of the general public.
www.visioloisirs.com - www.visioscene.com
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 80
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 reserve 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 both cultural player and promoter of curiosity.
By becoming a partner of the Jacquemart-André Museum, which is
hosting the “Canaletto-Guardi, the two masters of Venice “exhibition, it is
confirming its commitment to artistic creativity and its determination to
defend the right of everyone to access all types of culture.
www.fnac.com
Groupe UGC is pleased to be supporting the Canaletto - Guardi, the two
masters of Venice exhibition. With this unprecedented exhibition
dedicated to the leading lights of the veduta movement, including the
most renowned and brilliant of its exponents, Canaletto and Guardi, the
Jacquemart-André Museum is once again giving visitors the chance to
discover some of the splendid works of art that make up the richness and
diversity of our cultural heritage. The museum’s approach to the arts is in
step with the Groupe UGC’s vocation as a leading player in the French
cinema industry: to support the creation and distribution of French films.
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Groupe UGC is therefore happy to partner this unmissable event which
explores an artistic and cultural phenomenon that continues to fascinate
and surprise us today. The partnership illustrates UGC’s desire to continue
to promote access to high quality works of art to a broader public. This is
a goal it already pursues in the world of film, but also in the world of
opera; Viva l’Opéra! is now in its third season, and UGC has recently
signed an agreement with the Paris Opera, starting in September, to
broadcast five operas and three ballets.
Created in 1971 through the association of various regional networks of
cinemas, UGC underwent 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 378 cinemas in France and 43 cinemas in Belgium. They screened
close to 600 films in 2011 and attracted 34 million cinema-goers.
ENIT Agenzia, the Italian national tourist office, works to promote Italian
tourism abroad and supports its marketing activities internationally.
ENIT Paris has signed a partnership with the Jacquemart-André Museum to
support the Canaletto – Guardi, two masters of Venice exhibition. The goal is to
boost the cultural image of Italy as a tourist destination.
French people feel a deep-rooted attachment to Italy, a country they see as
combining a remarkable artistic heritage with an inimitable art of living. In this
context, they are strongly attracted to Italian cities and towns—both big and
small—where art flourishes, and Venice has a special place in their hearts. They
seek the unique charm of Venice, that mixture of culture, art and light, in every
journey they make.
It was therefore a logical move for ENIT to partner the Jacquemart-André
Museum for this exhibition dedicated to the two greatest artists of the veduta
movement—artists whose favourite subject is Venice and its timeless charm.
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OPENING TIMES AND RATES
Open 365 days a year from 10 a.m. to 6 p.m.
Open every Monday and Saturday evening until
9 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: 11€
Reduced rate: 9.5€ (students, children from 7 to
17, job-seekers)
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
Jacquemart-André Museum
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.
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