PRESS KIT - Musée Jacquemart

Transcription

PRESS KIT
Contents
Introduction by Bruno Monnier, President of Culturespaces
Press release
Itinerary of the exhibition
The curators
Excerpts from the exhibition catalogue
Hubert Le Gall, scenographer
Visitor information tools
The partners
The patron of the exhibition
The Musée Jacquemart-André
The Institut de France
Culturespaces, producer and director of the exhibition
Visuals available for the press
Practical information
Claude Monet
(1840-1926)
La Rue de l’Épicerie à Rouen
Around 1892
93 x 53 cm, oil on canvas
Collection particulière. Courtesy Fondation Pierre Gianadda, Martigny (Suisse)
© Claude Mercier photographe
Press Kit I The Open-Air Studio I
3
Introduction by bruno monnier,
president of culturespaces
Camille Pissarro
(1830-1903)
Avant-port de Dieppe, après-midi, soleil, 1902
53,5 x 65 cm, oil on canvas
Dieppe, Château-Musée
© Ville de Dieppe - B. Legros
Following the exhibition devoted to the Caillebotte brothers in 2011, and Eugène Boudin
in 2013, the Musée Jacquemart-André is once again delighted to welcome the masterpieces
of the Impressionist Masters, which provide us with a pertinent account of the era in which
Édouard André and Nélie Jacquemart lived. This exhibition is the first to privilege a broader
chronology of the pictorial revolution that was Impressionism, through the history of the decisive
encounters, exchanges and discussions on a free and experimental approach to painting in the
Normandy region.
I would firstly like to express my gratitude to Claire Durand-Ruel Snollaerts, a specialist
on Pissarro, and to Jacques-Sylvain Klein, co-founder of the Normandie Impressioniste Festival.
Their expertise and rigorous approach have resulted in the selection of some forty exceptional
works coming from prestigious international institutions, as well as a dozen or so loans very
generously donated from private collectors. Their extensive knowledge of the subject will
provide visitors with an insight into the importance of artists such as Richard Parkes Bonington,
Barthold Jonkind, Eva Gonzalès, Charles Pécrus, Charles Angrand and Louis Anquetin in the
development of open-air landscape painting.
I sincerely hope that this carefully designed, intelligent and detailed exhibition will
transport each of our visitors to the winding roads of the Normandy coastline, revealing the
artistic concerns of an era turned towards modernity, yet nevertheless dubious of new forms
of expression. I encourage them to discover the fate of these artists, who in their quest for the
perfect picture would scour the lush and verdant countryside, climb sheer cliffs and explore
sandy or pebbly beaches in all weather conditions, with little regard for the tides, their easel
under their arm.
I would like to extend my warm thanks to Mr Laurent Fabius, president of the
Constitutional Council, vice-president and longstanding friend of the festival Normandie
Impressioniste, who along with Jacques-Sylvain Klein approached us with the aim of
establishing a fruitful and mutually rewarding collaboration within the context of this springtime
exhibition.
Finally, I would especially like to thank Mr Nicolas Sainte Fare Garnot, honorary curator
of the Musée Jacquemart-André, who has played an important role in this project.
Bruno Monnier
CEO and Founder of Culturespaces
5
press release
Claude Monet
Etretat, la porte d’Aval, bateaux de pêche
sortant du port, around 1885
Dijon, Musée des Beaux-Arts
© Musée des beaux-arts de Dijon
Photo François Jay
THE OPEN-AIR STUDIO
The Impressionists in Normandy
18 March - 25 July 2016
This spring, the Musée Jacquemart-André
is proud to present an ensemble of some
fifty or so prestigious artworks—from both
private collections and major American and
European museums—that retrace the history
of Impressionism, from the forefathers of the
movement to the Great Masters.
The 19th century saw the emergence of a new pictorial
genre: ‘plein-air’ or outdoor landscape painting. This
pictorial revolution, born in England, would spread
to the continent in the 1820s and over the course of
a century, Normandy would become the preferred
destination of many avant-garde painters.
The region’s stunning and diverse landscapes,
coupled with the wealth of its architectural heritage,
had much to please artists. Furthermore, the growing
fashion for sea-bathing attracted many wealthy
individuals and families who could easily access
Normandy by either boat or stage-coach, and later
by train. Its popularity was also increased due to its
enviable location—halfway between London and Paris,
the two art capitals of the period.
Following the end of the Napoleonic Wars, British
landscape artists such as Turner, Bonington, and
Cotman travelled to Normandy, with their boxes of
watercolours, while the French—Géricault, Delacroix,
Isabey—made their way to London to discover the
English school.
From these exchanges, a French landscape school
was born, with Corot and Huet at the helm.
In their wake, another generation of painters would in
turn explore the region (Delacroix, Riesener, Daubigny,
Millet, Jongkind, Isabey, Troyon), inventing a new
aesthetic.
This artistic revolution truly began to take form at the
beginning of the 1860s, the fruit of lively discussions
and exchanges at the Saint-Siméon Farm in Honfleur
on Normandy’s Flower Coast, increasingly popular
with the crème de la crème of this new school of
painting.
These included Boudin, Monet and Jongkind—an
inseparable trio—but also their friends: Courbet,
Daubigny, Bazille, Whistler, and Cals...
And of course, Baudelaire, who was the first to
celebrate in 1859, the ‘meteorological beauties’ of
Boudin’s paintings.
Not far away, in the hedgerows and woodlands of the
Normandy countryside, Degas painted his first horse
races at Haras-du-Pin and Berthe Morisot took up
landscape painting, while at Cherbourg, Manet would
revolutionize seascapes.
For several decades, Normandy would be the
preferred outdoor or ‘plein-air’ studio of the
Impressionists. Monet, Degas, Renoir, Pissarro, Sisley,
Boudin, Morisot, Caillebotte, Gonzales, and Gauguin
would all experiment with their art here in a constant
quest for originality and innovation.
The aim of this exhibition is to evoke the decisive
role played by Normandy in the emergence of
the Impressionist movement, through exchanges
between French and British landscape painters, the
development of a school of nature and the encounters
between artists at Saint-Siméon.
From a historical to a geographic approach, the
exhibition then shows how the Normandy landscape,
especially the quality of its light, were critical in
the attraction that the region had on the Great
Impressionist Masters.
itinerary of the exhibition
William Turner
(1775-1851)
Lillebonne, 1823
Watercolour, gouache, brown and black ink
13,4 x 18,5 cm
Oxford, The Ashmolean Museum.
Presented by John Ruskin, 1861
© Ashmolean Museum, University of Oxford
Gustave Courbet
(1819-1877)
L’Embouchure de la Seine also known as Vue prise des hauteurs
de Honfleur, 1859
43,5 x 65 cm, oil on canvas
Lille, Palais des Beaux-Arts
© RMN-Grand Palais / Jacques Quecq d’Henripret
room 1
The Open-Air Studio
The Impressionists in Normandy
For a long time, the history of Impressionism has been
understood as having a relatively short chronology,
beginning in 1863 with the Salon des Refusés and
ending in 1886 with the 8th Exposition Impressioniste.
This approach assigned a crucial role to Paris and the
Île-de-France region but very little to other areas of
France and to foreign influences.
Research carried out over the past thirty or so years
has led us to reconsider the history of the movement
and to situate it within a longer time frame which puts
the origins or roots of Impressionism at the beginning
of the 1820s. This new approach also underlines the
influence of the English School in the birth of a French
Landscape School and assigns Normandy a decisive
role in the emergence of the Impressionist movement
(Turner, La Seine près de Tancarville et Lillebonne, The
Ashmolean Museum, Oxford).
Several factors may explain why Normandy was the
birthplace of Impressionism :
• its geographical location, half-way between
London and Paris, the two artistic epicentres
of the time (Courbet, L’Embouchure de la
Seine also known as Vue prise des hauteurs de
Honfleur, Palais des Beaux-Arts, Lille).
• the region’s rich architectural heritage at a
time when artists played an active role in its
preservation and promotion (Corot, Jumièges,
Smith College Museum of Art, Northampton) ;
in 1820 Isidore Taylor published his Voyages
pittoresques et romantiques dans l’ancienne
France, with the first two volumes devoted to
Normandy. In 1825, Victor Hugo published an
essay on the preservation of French patrimonial
monuments entitled Guerre aux démolisseurs.
• the fashion for sea-bathing, imported from
England, which became popular in Dieppe
circa 1820, before spreading along the Channel
coastline.
• the beauty and diversity of the region’s
landscapes, as well as the subtlety and versatility
of the light, in an era when landscape painting
became a genre in its own right and when
painters began to leave their studios to paint
nature as they saw it, outdoors and in natural
light (Monet, La Charrette. Route sous la neige
à Honfleur avec la ferme Saint-Siméon, Musée
d’Orsay, Paris).
• ease of access by river and later by train. Railway
lines between Paris and the Normandy coast
were amongst the first to be created, facilitating
the growing popularity of seaside resorts.
7
Rooms 2 & 3
Beaches, leisure and society life
The coastline was traditionally the preserve or
domain of fishermen. This was where they unloaded
their cargo or mended their nets, or where their
wives would wash laundry or collect shellfish
(Boudin, Marée basse à Trouville, pêcheurs de
crevettes, Association Peindre en Normandie,
Caen). With the fashion for sea-bathing, the
coastline was transformed into a beach, a place
now shared between the workers of the sea and
summer holidaymakers at seaside resorts (Monet,
Sur les planches de Trouville, hôtel des Roches
noires, collection particulière). On the one hand,
there existed a working class that was increasingly
sidelined, and on the other hand, an aristocracy
and upper middle class who came to the Normandy
coast to take advantage of the fresh air and seabathing, with a social life akin to the capital’s. Hence
the creation of promenades (the famous wooden
boardwalks in Trouville and Deauville); race tracks
(Degas, Course de gentlemen. Avant le départ,
Musée d’Orsay, Paris); bandstands where concerts
were held; casinos for betting, and attending
operettas or plays. Soon tennis clubs based on the
English model would open up all along the coast.
All of these venues were places of conviviality and a
means of social segregation.
Under the Second Empire (1852 – 1870), a period
of industrialization during which many families
amassed large fortunes, the concept of summer
holidays became hugely popular. New seaside
resorts sprung up all along the Flower Coast (Côte
Fleurie) between Deauville and Cabourg. The
emergence of a ‘lifestyle of leisure’ chronicled by
the painters of the time was a godsend to many
artists who had previously struggled to sell their
‘seascapes’ and who could now command high
prices for their ‘beach scenes’. This genre, invented
by Eugène Boudin in 1862 would be imitated by
all of his Impressionist friends (Boudin, Crinolines à
Trouville, collection particulière).
Claude Monet
(1840-1926)
Sur les planches de Trouville, hôtel des Roches noires, détail
1870
Collection particulière
© Christie’s Images / Bridgeman Images
the exhibition continued
Paul Gauguin
(1848-1903)
Le Port de Dieppe, around 1885
60,2 x 72,3 cm, oil on canvas
Manchester, Royaume-Uni, Manchester City Galleries
© Manchester Art Gallery, UK / Bridgeman Images
room 4
From ports to cliffs - Dieppe
The coastline of the English Channel, with its
tumultuous tides and impressive storms, had long
inspired a romantic vision of the sea, as skilfully
depicted in the work of both Eugène Isabey and
William Turner. However as seaside resorts grew,
painters devoted themselves to a new vision of their
marine environment. They became less interested
in the sea itself and more in its natural and human
environment (Pissarro, Avant-port de Dieppe, aprèsmidi, soleil, Château-Musée de Dieppe). With its
ports teeming with boats, stretching from Tréport
to the bay of Mont-Saint-Michel, and its sheer cliffs,
where the whiteness of the chalk contrasted with
the verdant grass covering, the Channel coastline
offered an infinite variety of subjects and motifs to be
painted (Gauguin, Le Port de Dieppe, Manchester
City Galleries).
Dieppe, which was the first seaside resort to be
created in the 1820s, attracted many of the leading
figures of this new style of painting (Monet, Renoir,
Degas, Boudin, Pissarro and Gauguin) following the
War of 1870, as well as artists Blanche, Gervex and
Helleu, referred to as ‘society painters’ (one should of
course pay little heed to such artificial classifications).
It also attracted other unclassifiable artists like Eva
Gonzalès, Manet’s only student and last but not least,
a large number of Anglo-Saxon artists
9
Claude Monet
(1840-1926)
Falaises à Varengeville also known as Petit-Ailly, Varengeville, plein soleil,1897
64 x 91,5 cm, oil on canvas
Le Havre, Musée d’art moderne André Malraux
© MuMa Le Havre / Charles Maslard 2016
room 5
From ports to cliffs - The Alabaster Coast
For artists in search of subject matter to paint,
Normandy’s Alabaster Coast provided plenty of
examples of stunning natural architecture: immense
panoramas, a rugged coastline of estuaries and
valleys, and huge white chalk cliffs, eroded by the sea
and the wind. Maupassant would compare the natural
cliff arches of Manneport d’Étretat to an ‘enormous
cave through which a ship with all its sails unfurled
could pass’ and the Porte d’Amont to ‘the huge figure
of an elephant’s trunk plunged into the waves’.
But above all what Courbet, Monet, Renoir and
Berthe Morisot sought in this section of the coast
were the incredible chromatic variations of the sea
and the sky, connected to the ebb and flow of the
tides, the passing wind and the clouds, and the sea
spray. These continuous atmospheric changes were
for them a powerful stimulus to work quickly, without
getting too bogged down in detail, so as to be able
to render the smallest nuances in the light (Monet,
Falaises à Varengeville also known as Petit-Ailly,
Varengeville, plein soleil, Musée d’art moderne André
Malraux, Le Havre).
The central place given to the treatment of the light
would bring Courbet, in 1869, to experiment with the
process of making series of paintings, depicting for
example the cliffs at Étretat in different light (Courbet,
La Falaise d’Étretat, Van der Heydt-Museum,
Wuppertal). In the 1880s and 1890s, Monet would
also use this process, painting numerous depictions
of cliffs, from those at Petites-Dalles in Fécamp to
ones at Étretat, Varengeville, Porville and Dieppe
(Monet, Étretat. La Porte d’Aval, bateaux de pêche
sortant du port, Musée des Beaux-Arts, Dijon).
Berthe Morisot
(1841-1895)
La Plage des Petites-Dalles, around 1873
Richmond, Virginie, Virginia Museum of Fine Arts,
Collection of Mr and Mrs Paul Mellon
© Virginia Museum of Fine Arts/Katherine Wetzel
room 6
The railroad
Towards the middle of the century a new means of
transport appeared: the train, which would completely
revolutionize travel. Railway lines between Paris and
the Normandy coast were amongst the first to be
created. The Paris-Rouen line was opened in 1843,
extended to Le Havre in 1847, to Dieppe the following
year, and in 1856 to Fécamp. In the 1860s, trains
stopped at Deauville-Trouville and all the other seaside
resorts along the Flower Coast. In their advertising
campaigns, railroad companies highlighted the
fact that travellers could reach the coast in two to
three hours. There were even special trains running
for certain events, such as the naval battles of the
American Civil War fought off the coast of Cherbourg,
attended by Manet in 1864.
The train was not only used by Parisian artists
(Morisot, Degas, Manet, Caillebotte, etc.) seeking
to leave the capital and to soak up the fresh sea air
at the coast in their quest for new subject matter to
paint. It was also used by painters from Normandy
(Boudin, Monet, Dubourg, Lépine, Lebourg, etc.) who
travelled to Paris to exhibit their work at the Salon,
visiting exhibitions, meeting with fellow artists, as well
as art dealers and collectors during their stay.
11
Claude Monet
(1840-1926)
Barques de pêche, Honfleur, around 1866
46 x 55 cm, oil on canvs
© Collection particulière
Berthe Morisot
(1841-1895)
L’Entrée du port de Cherbourg, around 1871
New Haven, Connecticut, Yale University Art Gallery, Bequest of
Paul Mellon, B.A. 1929, L.H.D.H. 1967
© Photo courtesy of Yale University Art Gallery
room 7
From ports to cliffs - From Le Havre to Cherbourg
Like the Alabaster Coast, the ports and coastline
stretching from Le Havre to Cherbourg would
equally captivate Boudin, Monet and Pissarro, as
well as Berthe Morisot, Degas, Signac, Seurat and
many other landscape artists. Amongst them, was
a practically unknown painter: Charles Pécrus,
converted by his friend Boudin to the art of landscape
painting and whose very lively port scenes would
owe a lot to Boudin’s influence (Pécrus, Le Port de
Honfleur, Association Peindre en Normandie, Caen).
Towards the end of his life, Boudin would adopt an
even brighter palette and an even bolder and freer
brushstroke. Pursuing his passionate quest for light,
he would focus on the shimmering reflections of the
water, the vibrations of the air, and the clouds as they
raced across an enormous sky (Entrée du port du
Havre par grand vent, Collection particulière, Courtesy
Galerie de la Présidence, Paris).
This sensitive, delicate art is completely removed
from the vigorous representations—heralding the
Expressionist and Fauvist movements—which
Monet, at the beginning of his career, would produce
of fishing boats moored in the port of Honfleur
(Barques de pêche, collection particulière, et Bateaux
de pêche, Muzeul National de Arta al României,
Bucarest).
To capture the comings and goings of the boats and
the strollers, Pissarro and Berthe Morisot preferred
to make use of slightly plunging perspectives, from
an elevated viewing point. Berthe was especially
interested in the effects of perspective, which she
skilfully mastered (L’Entrée du port de Cherbourg,
Yale University Art Gallery), while Pissarro attempted
to capture the passage of time and atmospheric
variations, delivering a superb series of port views of
Le Havre which form part of his artistic legacy (L’Anse
des Pilotes et le briselames est, Le Havre, aprèsmidi, temps ensoleillé, Musée d’art moderne André
Malraux, Le Havre).
Camille Pissarro
(1830-1903)
Le Pont Boieldieu, Rouen, effet de pluie,1896
Karlsruhe, Staatliche Kunsthalle
© BPK, Berlin, Dist. RMN-Grand Palais / Image
Kunstsammlung Nordrhein-Westfalen
Louis Anquetin
(1861-1932)
La Seine près de Rouen, 1892
© Collection particulière / Tom Haartsen
room 8
Along the Seine, from Rouen to Giverny
If throughout the course of the 19th century, Rouen
attracted so many landscape painters from Turner,
Boninton and Corot to Monet and Pissarro, it was
because of the town’s remarkable architectural
heritage. Rouen was celebrated by Victor Hugo as the
‘city of a hundred bell towers’ and was immortalized
by Monet (La Rue de l’Épicerie à Rouen, Collection
particulière, courtesy of the Fondation Pierre
Gianadda, Martigny). The destination was made even
more attractive due to its topography, which Flaubert
compared to an amphitheatre.
Nestled between the river and the surrounding
hills, the town not only offered ‘the most splendid
landscape that a painter could ever dream of’
(Pissarro) but above all, the effects of fog and rain and
the constant atmospheric variations proved to be a
source of great pleasure to all those in search of the
ephemeral.
The liveliness of the port and its industrial landscape,
where the tall factory chimneys on the left bank
echoed the bell towers on the right bank, would draw
Pissarro to make this enthusiastic comparison: ‘It’s as
beautiful as Venice’ (Le Pont Boieldieu, Rouen, effet
de pluie, Staatliche Kunsthalle, Karlsruhe, room 7).
Many of the Impressionist masters (Monet, Pissarro,
Sisley, Gauguin) would stay in Rouen. This, coupled
with the presence of several important collectors
(François Depeaux, Léon Monet, Eugène Murer)
would favour the birth of a Rouen School to cite the
expression of art critic, Arsène Alexandre.
Monet in Giverny
Claude Monet lived for 43 years in his house in
Giverny from 1883 to 1926. Passionate about
gardening, he designed his gardens as veritable
paintings. In 1893, he put in a pond which he had
covered with lily pads and created a Japanese-style
garden ‘for the pleasure of the eye but also with the
intention of providing subject matter for painting’. Until
his death, his garden proved to be his most fertile
source of inspiration. Indeed, he once said :
‘My most beautiful masterpiece is my garden’.
Monet began painting waterlilies in 1895 and his
Japanese bridge would be the object of some fifty
canvases. Taking out the horizon and the sky, he
narrowed his focus on the bridge, the water and
the reflections. From 1918 onwards, the pictorial
elements or details would give way to an explosion
of colours, with the density of the brushstrokes
bordering on abstraction. The water and the sky
seem to merge and under these fireworks of colour,
the bridge appears little by little, providing a landmark
or a point of reference to the composition.
As Daniel Wildenstein, author of the catalogue
raisonné of the artist, would say, the exceptional
series of the Pont japonais represents the culmination
of Monet’s oeuvre where the vibration of the colour is
enough to evoke a world of sensation and powerful
emotion (Pont japonais, Collection Larock-Granoff,
Paris).
13
the curators
Art historian, and an authority on Camille Pissarro,
CLAIRE DURAND-RUEL SNOLLAERTS researched
and wrote the catalogue raisonné of the artist.
She was the co-curator of the following exhibitions :
Les Impressionnistes en privé at the Musée Marmottan
Monet in 2014, Pissarro dans les Ports : Rouen,
Dieppe, Le Havre at the MUMA, Le Havre in 2013, and
Berthe Morisot at the Musée Ordrupgaard, Copenhagen
in 2012.
She is the author of the following works : Pissarro,
Patriarche des Impressionnistes published by
Découvertes Gallimard (2013), Camille Pissarro Rouen, Peindre la ville published by Point de Vues,
Paul Durand-Ruel, Le marchand des impressionnistes
published by Découvertes Gallimard (2014) and Les
Impressionistes, Loisirs et Mondanités published by
Editions Des Falaises (2016).
Art historian, JACQUES-SYLVAIN KLEIN has published
numerous works, including : La Normandie, berceau de
l’impressionnisme (1996) published by Editions OuestFrance and Lumières normandes, les hauts-lieux de
l’Impressionnisme (2013) published by Point de vues.
His latest work L’Impressionnisme se lève en
Normandie 1820-1886, published in 2016 by Editions
Ouest-France.
He contributed to the film Le Scandale impressioniste
(RMN / Arte) as historical advisor and was the general
curator of the first edition of the festival Normandie
Impressioniste in 2010.
PIERRE CURIE is chief curator of heritage. Specialist of
Italian and Spanish painting of the XVIIth century, he also
worked on the French painting of the XIXth century at
the Musée du Petit Palais, where he started his career.
Then in charge of the painting at the General Inventory,
he has co-authored and led the Vocabulaire typologique
et technique de la peinture et du dessin (published in
2009). Appointed head of the painting sector of the
restoration department of the Centre de recherche
et de restauration des Musées de France in 2007, he
coordinated and followed some major restorations of
paintings of the national museums (Leonardo da Vinci,
Titian, Rembrandt, Poussin ... ). Currently director of
the Revue de l’Art, Pierre Curie is curator of the Musée
Jacquemart-André since January 2016.
excerpts from the exhibition catalogue
NORMANDY,THE CRADLE OF IMPRESSIONISM
By Jacques-Sylvain Klein, curator
• THE INFLUENCE OF THE ENGLISH AVANT-GARDE
• THE GROWING FASHION FOR SEA-BATHING
English landscape painters travelled the length and
breadth of the region and would have a significant
influence on their French peers.
Turner visited Normandy on five occasions between
1821 and 1845, bringing back with him a multitude of
sketches and watercolours, which he then used for
his etchings and well-known compositions. Crossing
the Channel in reverse, Géricault, Delacroix, and
Isabey set off to discover this English avant-garde
that so fascinated them, to the extent that within
the space of a decade or so, a trip to London had
replaced the artist’s traditional voyage to Rome. Back
in France, they became vocal advocates of a form
of landscape art which the English had elevated to a
genre in its own right.
In the 1820s, Normandy witnessed the growing
fashion for sea-bathing, begun in Brighton in 1750.
Dieppe became France’s first seaside resort after the
Duchesse de Berry started the fad for sea-bathing
here. Seaside resorts of the day were popular places
with socialites and the elite, where one came to swim
and breathe the clean sea air, as well as to attend
glittering social occasions. This fashion soon spread
throughout the Alabaster Coast : Fécamp, Étretat,
Veules-les-Roses, extending across the Seine to
Honfleur and Trouville.
Across the Channel
• THE WEALTH OF THE NORMANDY HERITAGE
A heritage under threat
The 1820s were marked by the large-scale
rediscovery of France’s architectural heritage, which
the previous centuries had left in a poor state of
neglect. Victor Hugo and Isidore Taylor played an
important role in drawing attention to the deteriorating
conditions of many medieval monuments and
buildings, which had been much maligned through
the use of terms such as ‘barbarian’ or ‘Gothic’.
Some of the best artists, engravers and lithographers
of the period, including Géricault, Bonington and
Isabey would go on to produce one of the most
significant testimonies of the spirit of Romanticism.
• THE EMERGENCE OF PLEIN-AIR PAINTING
Normandy’s appeal
For those artists in search of new motifs and
impressions, Normandy was an idyllic spot, with its
550 km of coastline, rich variety of landscapes and
its stunning natural beauty. It also boasted lively ports
and fashionable bathing resorts, Gothic churches and
medieval castles. Perhaps yet another reason for the
region’s strong appeal were the infinite atmospheric
variations, caused by the tide and the wind, perfectly
accentuating the contrast in colours between the
chalk cliffs, stony valleys and lush green meadows,
as well as the constantly changing hues of the
sky, clouds and the sea. In addition to all of these
elements was the omnipresence of water, surging
in waves on the shores of the English Channel, or
flowing along the serpentine bends of the Seine.
The beginning of leisure pursuits
Circa 1860, even more fashionable resorts were
created in Deauville, Houlgate, and Cabourg, boasting
casinos, bathhouses, theatres and racetracks. Drawn
by the mild climate and sandy beaches, the English
played an important role in the growing popularity of
these seaside resorts, building Anglo-Norman style
villas along the coast, where they would spend much
of the summer. For them, Normandy had the same
appeal as the French Riviera would have for their
descendants. The presence of a cosmopolitan and
wealthy population on the Normandy coast attracted
many artists.
Eugène Boudin, who lived in Honfleur in conditions
of extreme poverty, followed Isabey’s advice to paint
beach scenes, a genre that quickly proved profitable
and which would inspire many other painters,
including Monet, Degas and Manet.
• EASE OF ACCESS BETWEEN LONDON AND PARIS
By boat and later by train
If Normandy proved so popular with painters, it was
because it was a crossing point between England
and France, located between two artistic epicentres
of the time: London and Paris. Artists crossed the
Channel, via shipping lines from Dieppe to Brighton,
or Southampton to Le Havre. By the middle of
the century, the proliferation of railroads would
revolutionize travel. Railway lines between Paris and
the Normandy coast were amongst the first to be
created. The Paris-Rouen line was opened in 1843,
and extended to Le Havre in 1847, to Dieppe the
following year, and in 1856 to Fécamp.
(excerpts from the exhibition catalogue)
15
THE HISTORY OF IMPRESSIONISM : THE HISTORY OF MEN AND WOMEN
By Claire Durand-Ruel Snollaerts, curator
• THE AVANT-GARDE ON THE NORMANDY COAST
Towards Impressionism
Dieppe, Honfleur, Le Havre, Trouville-Deauville,
Étretat, Rouen and many other Normandy seaside
towns are symbolic of a particular and intense period
of creation in the history of painting, and of the
growing movement of plein-air landscape painting.
All of the Impressionists, without exception, went to
Normandy to paint at different moments in their lives
and careers. In the 1820s, a large group of artists
gathered here, exchanging ideas, working together
and above all, honing their style. They were the future
Impressionists, united in their desire to break away
from tradition.
This was the birth of the avant-garde on the
Normandy coast.
• SAINT-SIMÉON FARM IN HONFLEUR
A charming location for many artists
Honfleur holds a special place in the attraction of the
Normandy coast for painters. Thanks in part to the
reputation of a certain inn: the Saint Siméon farm, and
hostess, mother Toutain.
Opened in 1825, on the road from Honfleur to
Villerville, for a long time this farm attracted a clientele
of sailors. It gradually became a guest house for
artists, writers, and musicians, making Saint-Siméon
an epicentre of artistic creation.
From 1854 onward, Eugène Boudin made a habit of
crossing the Seine estuary to stay in this peaceful and
bucolic location, ‘40 francs a month, bed and board’,
he wrote. Here he would rub shoulders with a string
of painters such as Corot, Jongking, Courbet and
Monet.
• EUGÈNE BOUDIN, AN INFLUENTIAL PAINTER IN LE HAVRE
The most famous Normandy artist from the 19th
century
Born in 1824, the son of a sailor, and an eternal lover
of the sea and its coastline, Boudin would devote all
of his life to this pictorial subject, and the Normandy
coast in particular.
At twelve years of age, his father placed him in a
papermaker-frame maker’s for an apprenticeship. At
this early age, his passion for drawing was already
beginning to emerge. At twenty, he founded his own
paper mill, where he exhibited his first attempts. Over
the course of his encounters, Boudin became the
fulcrum, or point of connection between the Romantic
painters—the so-called masters of the 1830s—and
the future Impressionists.
• THREE IMPRESSIONISTS IN ROUEN
Monet, Pissarro, Gauguin
The largest river port in France, in the 19th century
Rouen was also famous for the beauty of its
landscapes and its rich architectural heritage.
Monet was the first to paint views of the Seine, in
1872 and 1873 during visits with his brother Léon.
Following Monet’s advice, Pissarro visited in 1883,
in search of new motifs. This first visit was a pictorial
shock. He would return on three occasions, painting
series depicting the passage of boats from the
vantage point of his hotel window, fascinated by the
atmospheric variations.
Gauguin, following in the footsteps of his master
Pissarro, spent most of 1884 in Rouen. He looked
beyond the river and the city centre, to focus his gaze
on the surrounding countryside.
In Rouen, as in Le Havre, Honfleur, Trouville, Dieppe,
etc., the artists, united by bonds of friendship,
would often share tips and recommendations about
locations and sites.
For example, they would meet up in Honfleur, or they
would stay there at different periods, as in Rouen.
They knew each other’s work intimately, influenced
each other, but never copied, each interpreting the
landscape according to his personality. All of these
Impressionist stays would set in motion a dynamic
that would continue into the next generation.
(excerpts from the exhibition catalogue)
hubert le gall , scenographer
Hubert Le Gall designed the scenography for this exhibition as a promenade in the footsteps of the
Impressionist painters in Normandy, playing upon the subtlety of colours and making use of photographic
enlargements.
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 :
2015 – Musée Jacquemart-André, Paris – Florence, Portraits at the Court of the Medicis
2015 – Hôtel de Caumont Centre d’Art, Aix-en-Provence – Canaletto, Rome - London - Venice
2015 – Musée Jacquemart-André, Paris – From Giotto to Caravaggio, the passions of Roberto Longhi
2015 – Musée d’Orsay, Paris – Pierre Bonnard. Painting Arcadia
2015 – Musée du Luxembourg, Paris – The Tudors
2014 – Musée Jacquemart-André, Paris – Perugino, Master of Raphael
2014 – Musée Jacquemart-André, Paris – From Watteau to Fragonard, les fêtes galantes
2013 – Musée Jacquemart-André, Paris – Désirs & Volupté, Victorian Masterpieces Collection Pérez Simón
2013 – Musée de l’Orangerie, Paris – Frida Khalo / Diego Rivera. Art in fusion
2013 – Musée Jacquemart-André, Paris – Eugène Boudin
2013 – Musée d’Orsay, Paris – Masculine / Masculine. The Nude Man in Art from 1800 to the Present Day.
2012 – Musée Jacquemart-André, Paris – Canaletto – Guardi, the two masters of Venice
2012 – Musée Jacquemart-André, Paris – The Twilight of the Pharaohs
2012 – Musée Maillol, Paris – Artemisia
2011 – Musée Jacquemart-André, Paris – Fra Angelico and the Masters of Light
2011 – Musée Maillol, Paris – Pompeii, an art of living
2011 – Musée Jacquemart-André, Paris – The Caillebotte brothers’ private world. Painter and photographer
2011 – Musée Maillol, Paris – Miró sculpteur
2011 – Galeries nationales du Grand Palais, Paris – Odilon Redon, prince of dream
2011 – Galeries nationales du Grand Palais, Paris – Aimé Césaire, Lam, Picasso
Press Kit I The Open-Air Studio
17
visitor information tools
GUIDED VISIT ON IPHONE / IPAD AND ANDROID
This application, available in both French and English, provides a video presentation of the
exhibition, including a special focus on some twenty artworks, as well as practical information
allowing visitors to make the most of the exhibition.
The varied content (video, audio, images) and smooth Cover Flow navigation make this app an
indispensable tool for an in-depth tour of the exhibition.
The high-definition iPad version allows users to observe the artworks in detail thanks to its
exceptional zoom depth. The app can be downloaded on-site and does not require a 3G
connection thanks to the Wi-Fi access exclusively devoted to downloads from the Apple App Store
or Google Play. This on-site download is also available to users of an iPod Touch, as well as foreign
visitors at no extra cost to their data roaming charges.
The application costs €1.99 for the low resolution version and €3.99 for the HD version.
AUDIO GUIDE
An audio guide presenting a selection of major works is available in both French and English, at a
cost of €3.
FOR YOUNGER VISITORS: GAMES-BOOKLET
Provided free of charge to our younger visitors (aged 7-12 years), this booklet serves as a guide,
allowing children to experience and enjoy the exhibition through a variety of fun games and puzzles.
THE CATALOGUE
A beautifully illustrated 192-page catalogue, published by Culturespaces and the Fonds Mercator,
presents the ensemble of works on display as part of the exhibition The Open-Air Studio.
Written by the curators of the exhibition, the introductory essays and notes provide a new insight
into the important role played by Normandy in the emergence of the Impressionist movement.
On sale in the bookstore-gift shop of the Musée Jacquemart-André for €32 and online at
http://boutique-culturespaces.com
SPECIAL EDITION ISSUE OF CONNAISSANCE DES ARTS
This special edition issue of Connaissance des Arts evokes the early stages of the Impressionist
movement in Normandy, as well as the sudden birth and popularity of seaside holidays. With
special features on the major works of the exhibition, it highlights some of the preferred themes of
the Impressionist painters when painting in the open-air.
On sale in the bookstore-gift shop of the Musée Jacquemart-André for €9.50 and online at
Étretat
Dans tOus
ses États
La BaLLaDe
Des POrts
nOrmanDs
page 4
page 8
PrOust au
GranD HôteL
De CaBOurG
Le journal de l’expo
5€
page 13
Musée Jacquemart-André • Du 18 mars au 25 juillet 2016
Collection particulière © Christie’s Images / Bridgeman Images
Une si longue
énigme…
CLauDe mOnet Sur les planches de Trouville, Hôtel des Roches noires, 1870, huile sur toile, 50 x 70 cm
l’atelier en plein air
Les impressionnistes en Normandie
S’ancrant dans un temps long qui remonte jusqu’au début du XIXe siècle,
l’exposition montre combien la genèse du mouvement pictural a été étroitement liée
à la région, de Cherbourg au Tréport, de Honfleur à Giverny.
Sans la Normandie, aurions-nous eu le même impressionnisme ?
Q
u’est-ce que la Normandie vers 1850 ?
Une province qui a
perdu de sa grandeur.
Rouen n’est plus la
seconde ville de France, son port est
hautement concurrencé par celui du
Havre. En ce début de XIXe siècle, les
peintres anglais William Turner et
Richard Parkes Bonington, en quête
de motifs pittoresques, les peintres
romantiques français, Eugène
Delacroix, Léon Riesener, s’intéressent aux ruines normandes de
Jumièges, aux villes anciennes comme
Honfleur ou Le Havre. Sous le
Second Empire, la Normandie
devient à la mode grâce à l’avènement du chemin de fer et à la vogue
des pratiques balnéaires. Oubliée la
mer mangeuse d’hommes…
Dès les années 1850, Dieppe, Granville, Cabourg, Houlgate, Trouville
puis Deauville sous l’impulsion du
duc de Morny, beau-frère de l’Empereur, attirent une clientèle parisienne
et internationale avec leurs grands
hôtels et leurs casinos à quelques
heures de Paris. La côte normande
devient le point de ralliement des premiers vacanciers et des riches oisifs.
Les loisirs se développent aussi côté
Seine, avec la mode des activités nautiques, comme les régates de canots
ou de voiliers et les flâneries sur l’eau.
Les impressionnistes, Caillebotte en
tête, qui pratique l’aviron avec passion, vont s’emparer de ces thèmes.
Ils adoptent la Normandie. Grâce à
l’invention du tube de couleur et du
chevalet portatif, répète-t-on à l’envie… Oui, enfin peindre en plein air,
sur le motif, bien sûr. Mais il y a aussi
cette lumière transparente et changeante, qui faisait dire à Monet
qu’une séance de peinture là-bas en
Normandie, où, jeune, il suivait déjà
son maître Boudin sur le littoral, ne
pouvait excéder sept minutes. Vent,
nuages, reflets fugaces… Sur la Seine,
dans son bateau atelier, inspiré par
Daubigny qui possédait une embar-
cation de ce type, il peint au ras de
l’eau. L’impressionniste porte un
regard neuf sur le paysage, s’autorise
liberté d’improvisation, notation
rapide, presque aussi immédiate
qu’une prise de vue photographique.
Il retranscrit les effets de la nature
dans une vision subjective, douée de
sensations changeantes, de couleurs
aux vibrations inconnues. C’est la
lumière qui attire et retient les
peintres en Normandie. Seurat se
rend sur la côte pour « se laver l’œil
des jours d’atelier ».
Dans la décennie 1870, Monet et Pissarro connaissent des années difficiles ; le loyer en région parisienne est
trop élevé. Cette école du plein air a
bien du mal à se faire accepter en
dépit du soutien inconditionnel du
marchand Durand-Ruel. Ces
« tachistes » s’installent à la campagne, beaucoup moins coûteuse, où
ils pourront donner libre cours à leur
passion du paysage. Monet a vécu
enfant au Havre, Pissarro, qui vit à
Pontoise, prend pied dans un hôtel de
Rouen pour peindre une architecture
métallique à trois arches reliant le
quai de Paris au quai Saint-Sever, disparue dans les bombardements de
1940. Surtout, il représente les quais
débordant d’activité, la foule, les
bateaux à vapeur, et, au loin, les silhouettes des usines textiles. Les
impressionnistes ne se cantonnent
pas aux ciels agités ou aux petites
fleurs ; la vie industrielle qui se développe le long de la Seine ou dans les
ports les fascine. La vie réelle. Les
collectionneurs normands ?
Quelques-uns vont les aider : les
riches armateurs du Havre, les bourgeois de Rouen comme François
Depeaux, qui a fait fortune dans le
charbon, le pâtissier Eugène Mürer,
propriétaire d’un grand hôtel. Monet,
en son sanctuaire de Giverny, mourra
entouré de vénération et l’impressionnisme deviendra le plus célèbre
mouvement de l’art moderne…
Claude pommereau
C’est un mystère sur lequel on
ne cesse de s’interroger, un siècle
et demi plus tard : comment
l’impressionnisme, sauvagement
brocardé par les critiques
de l’époque, a-t-il fini par devenir
le mouvement artistique
le plus populaire au monde ?
De l’amérique profonde (dès
1886, l’american art association
l’applaudissait) à l’exotique Japon,
il touche de manière universelle.
Peut-être parce qu’il place au cœur
de sa pratique l’émotion simple
devant la nature, l’émerveillement
devant les jeux de la lumière,
du vent et de l’eau. une honnêteté,
une sincérité – mais aussi
une religion ou une mystique ! – qui
peuvent être comprises partout.
L’exposition les met bien en relief
en décrivant les balbutiements
de l’impressionnisme. Petits
tableaux brossés dans les embruns
et les éclairages mouillés
du littoral, qui conservent parfois
quelques grains de sable dans
leur pâte épaisse… même si loin
des débuts, on peut encore faire
des découvertes intéressantes,
préciser la topographie – confirmer
que ce Dieppe de Berthe morisot
est en fait un Cherbourg ! – ou
accrocher côte à côte deux tableaux
de barques honfleuroises
par monet – ce qui n’avait pas été
fait depuis… 1866 ! À n’en pas
douter, il faut une dose d’empathie,
de passion pour se plonger
dans l’impressionnisme alors qu’on
croit tout en connaître, s’en aller
dénicher des tableaux cachés
dans des collections privées ou des
musées des antipodes.
Les deux commissaires en sont
dotés. Jacques-sylvain Klein a
été le créateur en 2010 du festival
normandie impressionniste.
Quant à Claire Durand-ruel, elle
descend en droite ligne
du plus grand marchand
des impressionnistes. Bon sang ne
saurait mentir… rafael pic
THE EXHIBITION JOURNAL – BEAUX ARTS MAGAZINE
As the ‘exhibition journal’, Beaux Arts Magazine focuses on the lively dialogue or exchange
between French and British artists at the time, and its role in the genesis of the Impressionist
movement. The magazine also examines the birth of tourism in Normandy. Special features
spotlight the sources of inspiration of the Impressionists and allow readers to rediscover several
major Normandy painters.
SOMMaire
1. naissance d’une école
L’impressionnisme,
une histoire anglo-normande
pOrtFOliOS
Étretat, l’aiguille dans tous ses états
Le littoral, les lumières normandes
2. Découverte d’un territoire
La ballade des ports
2
4
6
8
plein CaDre
Régates à Trouville,
de Gustave Caillebotte
10
3. loisirs & mondanités
Bains de mer, la nouvelle vogue
12
pOrtFOliOS
Ombrelles, promenades & belles toilettes 14
Boudin, roi de la plage
16
4. le retour des petits maîtres
Des impressionnistes oubliés
18
5. analyse d’œuvre
Baignade à Étretat d’Eugène Le Poittevin 20
1
On sale in the bookstore-gift shop of the Musée Jacquemart-André for €5 and online at
THE EXHIBITION BROCHURE
Available in the entrance area of the Museum, this brochure allows visitors to make the most of
their visit by following the exhibition step by step. A general presentation is provided on the themes
and works on display in each room. On sale at the Museum ticket desk for €1
the partners
19
the patron of the exhibition
Crédit du Nord would like to thank Culturespaces and especially its president Bruno Monnier, for their trust
in us as sponsors of the exhibition The Open-Air Studio - The Impressionists in Normandy. Crédit du Nord is
delighted to once again lend its support to Culturespaces, a longstanding partner, with whom we have forged
ties based on our respective professional expertise and the value we both place on human relations.
The arrival of spring always fills us with a desire for fresh air, open spaces, beautiful nature. Thanks to this
magnificent exhibition, the Musée Jacquemart-André takes us on a journey to a Normandy accentuated by
flashes of colour and the unique light of the Impressionist painters. This artistic movement, a veritable pictorial
revolution at the time, echoes the indispensable sense of innovation that any company must demonstrate in
order to adapt to new and changing environments. Without the courage of our teams, we would not be able to
keep abreast of the major evolutions and changes of our age.
Philippe Aymerich
General Director of the Crédit du Nord Group
© C. Recoura
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.
www.musee-jacquemart-andre.com
21
the 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
culturespaces , producer and director 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 and Musée Maillol in Paris, the Ephrussi de Rothschild
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 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 2,5 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 :
Recent exhibitions organised at the Musée Jacquemart-André :
2015 Florence, Portraits at the Court of the Medicis
2015 From Giotto to Caravaggio, the passions of Roberto Longhi
2014 Pietro Perugino, Master of Raphael
2014 From Watteau to Fragonard, les fêtes galantes
2013 Désirs & Volupté, Victorian masterpieces from the Perez Simon collection
2013 Eugène Boudin
2012 Canaletto – Guardi, the two Masters of Venice
2012 The Twilight of the Pharaohs
2011 Fra Angelico and the Masters of Light
2011 The Caillebotte brothers’ private world. Painter and photographer
2010 Rubens, Poussin and 17th century artists
2010 From El Greco to Dalí. The great Spanish masters. The Pérez Simón collection
2009 Bruegel, Memling, Van Eyck… The Brukenthal Collection
2009 The Italian Primitives. Masterpieces of the Altenbourg Collection
2008 Van Dyck
2007 Fragonard
2006 The Thracians’ Gold
www.culturespaces.com
23
visuals available for the press
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1 I RENOIR Pierre-Auguste (1841-1919) La Côte près de Dieppe - 1879 - Oil on canvas - 49,5 x 60,6 cm
Montclair, New Jersey, Kasser Mochary Foundation © Photo Tim Fuller © Kasser Mochary Foundation, Montclair, NJ
2 I CAILLEBOTTE Gustave (1848-1894) Régates en mer à Trouville - 1884 - 60,3 x 73 cm - Oil on canvas - Toledo, Ohio. Lent by the Toledo
Museum of Art. Gift of The Wildenstein Foundation © Photograph Incorporated, Toledo
3 I MONET Claude (1840-1926) Etretat, la porte d’Aval, bateaux de pêche sortant du port - around 1885 - Oil on canvas - 60 x 80 cm - Dijon,
Musée des Beaux-Arts © Musée des beaux-arts de Dijon. Photo François Jay
4 I RENOIR Pierre-Auguste (1841-1919) La Cueillette des moules - 1879 - Oil on canvas - 54,2 x 65,4 cm - Washington D.C., National Gallery
of Art. Gift of Margaret Seligman Lewisohn in memory of her husband, Sam A. Lewisohn © Courtesy National Gallery of Art, Washington
5 I GAUGUIN Paul (1848-1903) Le Port de Dieppe - around 1885 - Oil on canvas - 60,2 x 72,3 cm - Manchester, Royaume-Uni, Manchester
City Galleries © Manchester Art Gallery, UK / Bridgeman Images
6 I SIGNAC Paul (1863-1935) Port-en-Bessin. Le Catel - around 1884 - Oil on canvas - 45 x 65 - Collection particulière © Collection particulière
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8
9
10
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12
7 I CALS Félix (1810-1880) Honfleur, Saint-Siméon -1879 - Oil on canvas - 35 x 54 cm - Caen, Association Peindre en Normandie
© Association Peindre en Normandie
8 I BOUDIN Eugène-Louis (1824-1898) Scène de plage à Trouville - 1869 - 28 x 40 cm - Oil on panel - Collection particulière. Courtesy Galerie
de la Présidence, Paris © Galerie de la Présidence, Paris
9 I MONET Claude (1840-1926) Camille sur la plage à Trouville - 1870 - Oil on canvas - 38,1 x 46,4 cm - New Haven, Yale University Art
Gallery, Collection of Mr. and Mrs John Hay Whitney, B.A. 1926, Hon. 1956 © Photo courtesy of Yale University Art Gallery
10 I PISSARRO Camille (1830-1903) Avant-port de Dieppe, après-midi, soleil - 1902 - Oil on canvas - 53,5 x 65 cm
Dieppe, Château-Musée © Ville de Dieppe - B. Legros
11 I MONET Claude (1840-1926) L’Église de Varengeville à contre-jour - 1882 - Oil on canvas - 65 x 81,3 cm - Birmingham, The Henry
Barber Trust, The Barber Institute of Fine Arts, University of Birmingham © The Barber Institute of Fine Arts, University of Birmingham
12 I BONINGTON Richard Parkes (1802-1828) Plage de sable en Normandie - around 1825-1826 - Oil on canvas - 38,7 × 54 cm - Trustees
of the Cecil Higgins Art Gallery Bedford (The Higgins Bedford) © Trustees of the Cecil Higgins Art Gallery, Bedford
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13 I MONET Claude (1840-1926) Falaises à Varengeville also known as Petit-Ailly, Varengeville, plein soleil - 1897 - Oil on canvas - 64 x 91,5
cm - Le Havre, Musée d’art moderne André Malraux © MuMa Le Havre / Charles Maslard 2016
14 I BOUDIN Eugène-Louis (1824-1898) Entrée du port du Havre par grand vent - 1889 - Oil on canvas - 46 x 55 cm - Collection particulière.
Courtesy Galerie de la Présidence, Paris © Galerie de la Présidence
15 I COURBET Gustave (1819-1877) La Plage à Trouville - around 1865 - Oil on canvas - 34 x 41 cm - Caen, Association Peindre en
Normandie © Association Peindre en Normandie
16 I MONET Claude (1840-1926) La Rue de l’Épicerie à Rouen - around 1892 - Oil on canvas - 93 x 53 cm - Collection particulière. Courtesy
Fondation Pierre Gianadda, Martigny (Suisse) © Claude Mercier photographe
17 I ANQUETIN Louis (1861-1932) La Seine près de Rouen - 1892 - Oil on canvas - 79 x 69 cm - Collection particulière © Collection
particulière / Tom Haartsen
18 I MORISOT Berthe (1841-1895) La Plage des Petites-Dalles - around 1873 - Oil on canvas - 24,1 x 50,2 cm
Richmond, Virginie, Virginia Museum of Fine Arts, Collection of Mr and Mrs Paul Mellon © Virginia Museum of Fine Arts/Katherine Wetzel
practical information
Address
Musée Jacquemart-André
158 boulevard Haussmann, 75008 Paris
Website
Access
Metro : Saint-Augustin, Miromesnil or Saint-Philippe du
Roule
Train (RER) : Charles de Gaulle-Étoile
Bus : 22, 43, 52, 54, 28, 80, 83, 84, 93
Opening Times
Open 365 days a year from 10 a.m. to 6 p.m.
Late night opening on Mondays until 8.30 pm during
exhibitions.
Rates
Full rate : € 12 I Reduced rate : € 10
Audioguide : exhibition : € 3
Offers for families : free entry for the second child aged
7 to 17 when two adults and one child entries have been
bought. Reduced rate for children aged 7-17, students
and unemployed (on presentation of written proof).
The Café Jacquemart-André is opened from Monday to
Friday from 11.45 am to 5.30 pm (lunch from 11.45 am to
3 pm and snacks from 3 pm to 5.30 pm) and from 11 am
to 3 pm on Saturday and Sunday for brunch. Late-night
opening on Mondays and Saturdays until 7 p.m. during
exhibitions.
Contacts
Fanny Ménégaux,
Head of Communication
[email protected]
Romane Dargent,
PR and partnerships manager
[email protected]
T. +33(0)1 56 59 01 72
press contact
Claudine Colin Communication
Dereen O’Sullivan
[email protected] I
T. +33 (0)1 42 72 60 01
Visuals for the press at www.claudinecolin.com
#AtelierNormandie
Musée Jacquemart-André
facebook.com/MuseeJacquemartAndre
@jacquemartandre
twitter.com/jacquemartandre
@jacquemartandre
instagram.com/jacquemartandre
dossier de presse I L’atelier en plein air I
27
158 bd. Haussmann - 75008 Paris
Open everyday from 10 am to 6 pm
Late night opening on Mondays
until 8.30 pm during exhibitions
#atelierNormandie
Le Havre, Musée d’Art moderne André Malraux
© MuMa Le Havre / Charles Maslard 2016
PRESS CONTACT
Claudine Colin Communication
Dereen O’Sullivan
+33(0)1 42 72 60 01
[email protected]
www.claudinecolin.com
Une exposition

PRESS KIT - Musée Jacquemart

Transcription

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