100 masterPieCes Musée Marmottan Monet Press contact: Claudine Colin Communication
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| Bazille, Boudin, CailleBotte, Cassatt, Cézanne, Corot, degas gonzales, guillaumin, Jongkind, manet, monet, morisot Pissarro, renoir, rodin, sisley 100 masterPieCes Musée Marmottan Monet Press contact: Claudine Colin Communication Victoria Cooke 28 rue de Sévigné – F-75004 Paris Tel : +33 (0)1 42 72 60 01 victoria@claudinecolin.com www.claudinecolin.com February 13th July 6th 2014 G
ta ve C ail le bo tt e, L es d ah lia s, j ar di n d u P et it- G en ne vi lli er s, 18 93 – © B ra m e & L or en ce au
ImpressIonnIst prIvate ColleCtIons Bazille, Boudin, CailleBotte, Cassatt, Cézanne, Corot, degas gonzales, guillaumin, Jongkind, manet, monet, morisot Pissarro, renoir, rodin, sisley 100 masterPieCes Works from ImpressIonnIst prIvate ColleCtIons Musée Marmottan Monet – Impressionnist Works from Private Collections Press Kit 2 contents
03 I - Foreword Patrick de Carolis, Director of the Musée Marmottan Monet 04 II - Homage to Collectors Claire Durand-Ruel Snollaerts and Marianne Mathieu, Exhibition curators
Musée Marmottan Monet – Impressionnist Works from Private Collections 3
a passion, a deep and sincere commitment, part of what makes them who they are. In the early 20th century, several of them were determined that the masterpieces they had patiently assembled should not be dispersed after their death, destroying their life’s work. They chose to bequeath their precious collections to the community, in order that they could be kept in their home. So it was that a number of collector’s museums opened in Paris, bearing the names of their founders: Henri Cernuschi, Camondo, Édouard André and Nélie Jacquemart, Ernest Cognacq and Marie-Louise Jay, for example. This is also true of our Musée Marmottan Monet. Acquired by Paul Marmottan, a man with a passion for the Empire period, the townhouse in rue Louis-Boilly entered the possession of the Académie des Beaux-Arts in 1932, after his death, and opened to the public as a museum on June 21, 1934. The museum began life with an exceptional heritage, and was progressively enriched. Doubling its collections over barely eight decades, it has also extended to Impressionism. From Victorine Donop de Monchy it obtained Impression, soleil levant and the collection of her father, Dr Georges de Bellio. Michel Monet chose the Marmottan as his universal legatee, making the institution the assign of Claude Monet and guardian of the world’s largest col- lection of his works. Berthe Morisot’s descendants showed similar generosity: through the Fondation Denis et Annie Rouart and the Thérèse Rouart bequest, the museum is also home to the leading public collection of her art. The exhibition “Impressionist Works from Private Collections, 100 Masterpieces” brings together key works held by private owners which include paintings, drawings and sculptures by Corot, Boudin, Jongkind, Manet, Bazille, Monet, Renoir, Degas, Morisot, Sisley, Pissarro, Guillaumin, Cassatt, Gonzalès and Rodin, offering a panorama of Impressionism. These works are worthy of inclusion in the most prestigious museums. We would like to express our sincerest gratitude to the fifty-one lenders who joined this project and helped make this a unique event. Their enthusiasm and unfailing support were on a par with their generosity. All were ready to denude their walls, letting their finest artworks leave them for the duration of our exhibition. During those months, the Musée Marmottan Monet will be their home. And, for the next eighty years, it will remain the museum of great collectors.
Director of the Musée Marmottan Monet I foreword
Press Kit Musée Marmottan Monet – Impressionnist Works from Private Collections 4
by the official bodies who declared themselves the sole arbiters and guarantors of “good artistic taste” in France, decided to exhibit their works in the premises lent to them by the photographer Nadar at 35, boulevard des Capucines, Paris. These artists went by the names of Monet, Renoir, Pissarro, Degas, Sisley, Berthe Morisot, Guillaumin and Cézanne. Their leading light was Manet, although he never actually exhibited with them. The public was shocked, the critics outraged. And yet, despite this mortifying failure, nothing could shake the faith of these artists who, supported by a handful of visionary dealers and collectors, steadfastly pursued the greatest aesthetic revolution of their time. From the outset, then, Impressionism was a private adventure. If the Impressionist painters did eventually enjoy acclaim and success, and establish their position in the history of art, it was down to the daring, courage and perspicacity of this pioneering generation. In its eighty years of existence, the Musée Marmottan Monet, housed in the former resi- dence of Jules and Paul Marmottan, has gradually become one of the great centers for Impressionism. This, indeed, was the place chosen by the painters’ descendants, and their first admirers, as the setting for their family collections. In 1957, Victorine Donop de Monchy bequeathed the works by Monet, Pissarro, Sisley, Renoir, Morisot and Guillaumin inherited from her father, the friend and doctor of the Impressionists, Georges de Bellio, with, at their center, Impression, soleil levant. This painting which gave its name to Impressionism anchored the museum’s collections in this area and became their symbol. In 1966, the establishment inherited the world’s leading collection of works by Claude Monet through his son, Michel. And in 1996, through the Fondation Denis et Annie Rouart and the Thérèse Rouart bequest, Berthe Morisot’s grandchildren brought the biggest public col- lection of her works into the museum, along with art by her circle of friends. The daughters and sons of the artists and their supporters chose the Musée Marmottan Monet to honor the memory of their parents and to conserve their work. How could they forget their lifelong commitment and their struggle, beginning in the early 1870s, when they were the only ones to champion a form of painting that met with mockery and contempt? By bequeathing their collections to the Musée Marmottan Monet, their descendants were entrusting to it part of their history, their childhood reminiscences, and the duty of preserving its memory. How many paintings, watercolors and pastels were never sold, because they were sim- ply too fraught with personal memories, and made as tokens of friendship or love? Like Monet’s portraits of his first wife Camille Doncieux and their two sons, Jean and Michel. homage
to
collectors II Gustave Caillebotte, Intérieur, femme à la fenêtre, about 1880 Private collection Auguste Rodin, Étude pour Le Penseur, about 1880 Private collection Camille Pissarro, Paul-Émile Pissarro peignant, 1898 Private collection
Press Kit Musée Marmottan Monet – Impressionnist Works from Private Collections Press Kit 5 u
hom age to collectors Or the portrait of Victorine de Bellio, the future M me Donop de Monchy, painted by Renoir, or the picture of her husband, Eugène Manet, painted by Berthe Morisot on their honey- moon in 1875. Or, finally, the portraits of their only daughter, Julie, who became her mother’s favorite subject. Their descendants could have kept such works in the family, but they preferred to donate them. Consequently, many of the works that constitute the collections of the Musée Marmottan Monet are not just masterpieces of Impressionism. Many of them also have a personal, domestic value. Each painting bears the stamp of a family’s involvement and engagement with art and the legatee’s desire that they continue to exist in a house, the townhouse of Jules and Paul Marmottan, which is now their museum. This exhibition retraces the history of private acquisitions through a rigorous selection of works from longstanding and recent collections around the world. For while the first collectors of Impressionist works were French, this art soon spread abroad and became an international adventure. The quality of the pieces is on the same level as that of the works in France’s leading institutions. It bears witness to the taste and prescience of their owners. Yesterday’s and today’s collectors come together in their passion for this painting. All appreciate its main characteristics, its choice of subjects from everyday life, its clear, luminous and colorful vision, free of the bituminous and earthy tones of academic painting, its attentive study of the effects of light on bodies and objects, and its use of accumulated, small and commalike brushstrokes as the best way of capturing the vibrations of the atmosphere. All these elements are manifest in the selection of works shown in this exhibition. All the lenders generously and enthusiastically agreed to part with some of their greatest treasures for the duration of this celebration of the Musée Marmottan Monet’s eightieth anniversary, in order to share them with the public. Like the first collectors of Impressionist works, these are men and women who see art as a natural and necessary condition of their existence. They live with their works, not for the sake of egotistical enjoyment, but in order to appreciate their beauty and communicate their passion. We owe them an immense debt of gratitude. The townhouse that is the Musée Marmottan Monet is the ideal setting for such an exhibition. When visiting it, we can imagine ourselves exploring the private residence of one single collector.
Exhibition curators Musée Marmottan Monet – Impressionnist Works from Private Collections 6
100 Masterpieces The Musée Marmottan Monet From February the 13th – July the 6th 2014
The Musée Marmottan Monet will present from February 13 - July 6, 2014 an exhibition entitled: Impressionnist Works from Private Collections. 100 Masterpieces, showing works only from private collections. The art historian Claire Durand-Ruel Snollaerts and Marianne Mathieu, deputy director of Musée Marmottan Monet are the curators for this special exhibition. Fifty lenders joined with enthusiam for this project and have provided loans from France, the United States, Mexico, Switzerland, Great Britain and Italy. This exhibition offers a unique opportunity for the public to discover paintings which for the most part have never been seen by the public eye. One hundred impressionist masterpieces will be exceptionally shown together. Eighty paintings and twenty graphic works by Jean-Baptiste-Camille Corot, Eugène Boudin, Johan Barthold Jongkind, Edouard Manet, Frédéric Bazille, Claude Monet, Pierre- Auguste Renoir, Edgar Degas, Camille Pissarro, Alfred Sisley, Gustave Caillebotte, Berthe Morisot, Armand Guillaumin, Paul Cezanne, Mary Cassatt, Eva Gonzales and Auguste Rodin allow the viewer to trace the history of Impressionism through a collection of unpublished works. press
III Eugène Boudin, Bénerville. La Plage, 1890 Private collection Berthe Morisot, Jeune fille à la potiche, vers 1889 Private collection Press Kit
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press rele a se The exhibition starts with the premicise of Impressionism. It continues into 1874 and the years 1880-1890 when the Impressionist group broke up, giving way to the creative genius of each of its members. Finally, the last part of the exhibition shows the works of masters such as Pierre-Auguste Renoir, Camille Pissarro, Alfred Sisley and Claude Monet, who in many respects go beyond Impressionism, opening a window onto modern art and bringing us to the end of the exhibition. The exhibition is chronological, starting with the landscapes of Jean-Baptiste-Camille Corot, Johan Barthold Jongkind and Eugène Boudin, showing the latter’s Bénerville. La plage, in an unfamiliar format. A version of Edouard Manet’s Le Bar aux Folies Bergères and La Terrasse from Méric de Frédéric Bazille conclude the first part of the exhibt. Each impressionist is then represented through a dozen paintings spanning his or her entire career. Sur les planches de Trouville, hôtel des Roches Noires from Claude Monet (1870), Meule from Camille Pissarro (1873) and Le Jardin de Maubuisson, Pontoise by Paul Cézanne (c. 1874), are some shining examples of the section devoted to the 1870s. Le Tournant du Loing à Moret, printemps from Alfred Sisley (1886), Les Jeunes filles au bord de la mer by Auguste Renoir (vers 1890), the double portrait Pagans et le père de l’artiste by Edgar Degas (vers 1895) and Les Dahlias, le
the late nineteenth century. As well as these paintings, the exhibition reveals two exceptional sculptures, La Petite danseuse de 14 ans by Edgar Degas and Étude pour Le Penseur, in terracotta by Auguste Rodin, representing a selection worthy of the greatest museums. This exhibition both unique and compelling is a testament to the presence and enthusiasm still alive in the private collections of the Impressionist Masters. Alfred Sisley, La Seine à Bougival, 1872 Private collection 8 1 The origins of Impressionism The precursors of lmpressionism are Jean-Baptiste Corot, Eugène Boudin and Johan Barthold Jongkind. Their exploration of light and their predilection for painting after nature and in the open air all anticipate the working methods of the lmpressionists. They were also good edu- cators, and were chosen by many members of the group as their teachers. However, the true leader of the new movement was Manet, the first artist to dare defy official bodies by exhib- iting scandalous paintings such as Le Déjeuner sur l’herbe and Olympia as of 1863. The modernity of his subjects and the boldness of his rebellion against academicism opened the path to the new generation of artists. ln this section Manet and the young Frédéric Bazille put down in the flower of youth by the war of 1870 – are represented by two legendary paintings: the former by his study for Bar aux Folies Bergère, the latter with the spectacularly large- format La Terrasse de Méric. 2 Impressionism in around 1874 ln 1874 a group of artists in revolt against the taste imposed by the Académie des Beaux-Arts organized its first exhibition on the premises of the photographer Nadar at 35 Boulevard des Capucines, Paris. Among them were Monet, Renoir, Pissarro, Degas, Sisley, Berthe Morisot, Guillaumin and Cézanne. The name they were given, “Impressionist”, was inspired by Monet’s painting Impression, soleil levant, a masterpiece now in the collection of the tour
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The Association of Friends of the Petit Palais, Geneva Musée Marmottan Monet – Impressionnist Works from Private Collections Press Kit
Musée Marmottan Monet – Impressionnist Works from Private Collections Press Kit Musée Marmottan Monet. What shocked critics at the time, and explains its success since, were precisely the movement’s defining characteristics: an interest in subjects taken from modern life, the light and lumi- nous palette, and the attentive study of the effects of light and atmosphere on people and landscapes. These artists particularly favoured locations along the Seine (La Seine à Bougival, Sisley) and the beaches of Normandy (Sur les Planches de Trouville, hôtel des Roches noires, Monet). Cézanne’s lmpres- sionist period lasted a decade (1872-1882). Towards the end of the 1870s he became increas- ingly interested in the study of form and volumes (Le Jardin de Maubuisson, Pontoise), and less in changing light. In 1882 he settled in Provence, and did not exhibit with the group again. 3 Caillebotte Born into a wealthy family, Gustave Caillebotte was the only lmpressionist painter who was able to pursue his passions – sailing and gardening as well as painting – without financial constraints. Rich and also gener- ous, he supported his friends by acquiring their works, becoming one of their first and most important patrons. When he died, in 1894, he had collected sixty-seven works by his confreres. He bequeathed the ensemble to the French state, which was more than a little discomfited, not knowing what to do with this collection of artists its representatives deemed decadent. ln the end, thirty eight works entered the Musée du Luxembourg in 1896. These pieces by Degas, Monet, Renoir, Pissarro, Sisley and Cézanne are now among the treasures of France‘s national collections. As for Caillebotte‘s own painting, it is noteworthy for its remarkable views of Paris (Rue Halévy, vue du sixième étage), depictions of the flowers in his gardens (Les Dahlias, jardin du Petit Gennevilliers), and regattas on the Seine. 4 Impressionism in around 1880 ln the 1880s the lmpressionists had to fight hard for artistic acceptance while also struggling with real finan- cial hardship. Despite the failure of their first exhibition in 1874, the group refused to give up and continued holding such events until 1886. The eighth, final exhibi- tion showed them losing cohesion. From now on, the ties of friendship notwithstanding, each painter followed the path of his or her own creative genius. Monet moved 9 u tour of the exhibition Paul Cézanne Le Jardin de Maubuisson, Pontoise, about 1877 Private collection, Dallas, Texas
Private collection, Dallas, Texas
Private collection Musée Marmottan Monet – Impressionnist Works from Private Collections Press Kit 10 u
tour of the exhibition to Giverny, Renoir to Cagnes, Pissarro to Eragny-sur-Epte, and Sisley to Moret-sur-Loing, while Caillebotte settled in Le Petit-Gennevilliers, and Degas and Morisot stayed in Paris. Their work was enriched by new influences as their styles grew more distinct and confident, giving their sensibility free rein.
His choice of themes – history painting, dance, horses, women at their toilette and portraits – make Degas the odd man out among the lmpressionists. This did not prevent him from being one of the group’s staunchest champions right from the early days in 1874, even as he was establishing an original body of work quite distinct from that of his friends. What they had in common, above all, was the freedom with which they approached painting. A great admirer of Ingres and Delacroix, Degas learned from their mas- tery of drawing and colour, striving to balance these two poles in bold compositions such as Pagans et le père de Degas and La Toilette après le bain. An accomplished draughtsman, endlessly inquisitive about artistic techniques, he also produced some remarkable prints and sculptures. La Petite Danseuse de quatorze ans is a remarkable example of the latter.
Most of the lmpressionist painters began to enjoy long- due success and recognition in the 1890s. For Berthe Morisot, who died from a severe bout of influenza in 1895, this was too late. Sisley died in 1899 in a state of great financial uncertainty, leaving an important set of paint- ings of the scenery around Moret sur-Loing (L’Église de
of the group, actively supported by their dealer Paul Durand-Ruel, who showed their work to collectors around the world, and also championed by the Bernheim broth- ers and Ambroise Vollard, entered the 20th century in a relatively serene cast of mind. Pissarro’s final years are notable for his series of urban views (Le Pont Corneille à Rouen, brume du matin and
1919. Wracked by rheumatism, he spent his final years tirelessly painting his entourage (Léontine et Coco (Claude Renoir)). Monet was the longest-lived. Before his death in 1926, at the age of eighty-six, he continued to innovate in works like Leicester Square (Londres), la nuit and Hémérocalles au bord de l’eau, going well beyond lmpressionism to the verge of abstraction. Edgar Degas, Pagans et le père de Degas, about 1895 Private collection of Isabelle and Scott Black
Collection Larock-Granoff, Paris
Musée Marmottan Monet – Impressionnist Works from Private Collections Press Kit 11
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Edgar Degas – Petite danseuse de quatorze ans – 1879-1881 – Bronze – 98 cm c. base 49 x 50 cm – Inscribed with the signiture, numbered and stamped by the foundation “Degas
A.A. HEBRARD CIRE PERDUE I ” (on the base) Private european collection – © Studio Guespin Frédéric Bazille – La Terrasse de Méric 1867 – Oil on canvas – 97 x 128 cm Signed and dated lower right : F. Bazille 1867 Association des Amis du Petit Palais, Geneva © Studio Monique Bernaz, Geneva Eugène Boudin – Bénerville. La Plage 1890 – Oil on canvas – 90 x 130 cm Signed and dated lower right : E. Boudin 90 Private collection Edgar Degas – Pagans et le père de Degas c. 1895 – Oil on canvas – 81,3x83,8cm not signed – Collection of Isabelle Scott Black Photo Courtesy of Museum of Fine Arts, Boston
Gustave Caillebotte – Intérieur, femme à la fenêtre – About 1880 – Oil on canvas 116 x 89 cm – Signed and dated lower right: G. Caillebotte 1880 – Private collection, © Comité Caillebotte, Paris Paul Cézanne – Bosquet au jas de Bouffan c. 1875-76 – Oil on canvas – 54,3 x 73,7 cm not signed – Collection of Isabelle and Scott Black Paul Cézanne – Les grands Baigneurs about 1896-1898 – Colour lithograph on blank paper – sheet 49 x 61,5 cm Signed and dated lower right: P. Cézanne Private collection Jean-Baptiste Camille Corot – Le Cavalier sur la route – 1860-1865 – Oil on canvas 40 x 56,5 cm – Signed lower right : Corot Collection Pérez Simón, Mexico – ©Arturo Piera Eva Gonzalès – Le Moineau – between 1865-1870 – Pastel on paper mounted on canvas – 63x51,5cm – Signed upper right: Eva Gonzalès – Private collection These visuals are available for the press in the unique setting of the promotion for the exhibition Les Impressionnistes
required. The museum’s name, the title of the exhibition and the dates should be given in any article containing these visuals. Any image will be used in addition to the photo credit and caption, the words Press Service / Marmottan Monet.
Musée Marmottan Monet – Impressionnist Works from Private Collections Press Kit 12 Camille Pissarro, Vue de Bazincourt, temps clair – 1884 – oil on canvas – 54,3 × 64,8 cm signed and dated lower right: C. Pissarro. 84 Mexico City, Pérez Simón Collection Alfred Sisley, Pommiers en fleur à Louveciennes 1873 – oil on canvas – 50,8 × 73 cm – signed and dated lower right: Sisley 73, Dallas, Texas – private collection Armand Guillaumin, Quai de la Rapée 1873 – oil on canvas – 60 × 73 cm – signed and dated lower left: Guillaumin – private collection Pierre-Auguste Renoir,
oil on canvas – 64,8 × 54 cm – signed lower right: Renoir – Switzerland, Nahmad Collection Alfred Sisley, Une cour à Chaville – c. 1879 oil on canvas – 46 × 55,5 cm – signed lower right: Sisley – Curtin Family Collection Johan Barthold Jongkind, Voilier dans le port de Honfleur – 1863 – oil on paper mounted on canvas – 25 × 35 cm – signed lower right: Jongkind and dated lower left: Honfleur 25 Sept 63 private collection, courtesy Brame & Lorenceau Auguste Rodin,
base, lower right: A. Rodin – private collection Claude Monet,
lower left: Claude Monet – private collection, lent through the intermediary of Galerie Bernheim-Jeune, Paris Claude Monet,
24 × 16 cm – signed lower right: O. Monet private collection Berthe Morisot, Paysage – c. 1867 watercolor on paper – 14,5 × 22,7 cm – signed lower left: Berthe Morisot – private collection Édouard Manet, Un bar aux Folies Bergère c. 1881 – oil on canvas – 47 × 56 cm – unsigned private collection, Rouart and Wildenstein u
ava il a ble for the press Musée Marmottan Monet – Impressionnist Works from Private Collections Press Kit 13 publications VI 1 Publications Exhibition catalog co-edited by the musée Marmottan Monet and Hazan Editions. Under the direction of Marianne Mathieu, Deputy Director in charge of collections and communication of the museum and Claire Durand-Ruel Snollaerts, art historian, the exhibition curators Paperback, 22 x 28,5 cm 120 illustrations, 232 pages. Price : 29 € ISBN : 9782754107389
44 pages Price : 9,50 e ISBN: 978-2-7580-0517-9 Children’s book: Monet, Renoir, Degas... La grande aventure des impressionnistes RMN Editions, Musée Marmottan Monet) Version FR : ISBN 9782351740194 Version GB : ISBN 9782351740187 2 Educational workshops On Wednesdays and during school holidays, children can discover the museum and its collections by attending educational workshops “Les P’tits Marmottan”. Age : from 4 – 15 years old Duration : 1h15 (thematic tour and workshop) Price : 9€/per child Information and reservations: Camille Pabois – Tel : 01 44 96 50 41 atelier@marmottan.com
Musée Marmottan Monet – Impressionnist Works from Private Collections Press Kit 14
Marianne Mathieu is the joint director in charge of the collections at the Musée Marmottan Monet. She has curated heritage exhibitons for over 10 years. Exhibitions that she has recently worked on include : “Raoul et Jean Dufy, complicité et rupture” (2011), “Berthe Morisot“ (2012) at the Musée Marmottan Monet, “Le jardin de Monet à Giverny” at The National Gallery of Victoria in Melbourne (2013).
Claire Durand-Ruel Snollaerts, Art Historian (Paris 1 – Sorbonne), and descendant of the dealer Paul Durand-Ruel, has devoted twenty to the research of understanding further the expertise of the painter Camille Pissarro. She is the co-author, with Joachim Pissarro of the Catalogue
She has contributed to the development of various exhibitions and publications. the
cur atorial
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VII Musée Marmottan Monet – Les Impressionnistes en privé Dossier de presse 15
In 1957, the museum’s collection expanded thanks to the considerable donation from Victorine Donop de Monchy, whom had inherited a large collection from his father Dr. Georges de Bellio, doctor to Manet, Monet, Pissarro, Renoir and Sisley . Georges de Bellio was one of the first fans of Impressionist painting. Among the many paintings offered was the famous Impression,
Michel Monet the second son of the painter, in turn bequeathed in 1966 to the Académie de Beaux-Arts his property at Giverny and his personal collection inherited from his father, specifying that it should be shown at the Musée Marmottan. He therefore helped the museum to acquire the largest collection of works by Claude Monet. In addition to numerous paintings, the legacy includes sketchbooks of the artist, pallets, letters, photographs, personal items, and the collection of paintings by the painters friends that he had always kept close to him. The architect academician and museum curator Jacques Carlu (1890-1976), then built a room in the basement to receive the collection. the
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VIII Musée Marmottan Monet Vue coté jardin Musée Marmottan Monet – Impressionnist Works from Private Collections Press Kit 16 In 1981, Daniel Wildenstein offered the Musée Marmottan the Georges Wildenstein collec- tion, which had belonged to his father. With over 300 French, Italian, English and Flemish minitures this collection is one of the largest in the world. It covers a period of four centuries, from the Middle ages to the Renaissance. In the late 1990s, after other bequests such as Nelly Duhem in 1985 which, in addition to works by his father Henri Duhem, includes paintings of Paul Gauguin and Auguste Renoir. In 1993, the museum enriched its collections with works by Berthe Morisot, Edouard Manet, Edgar Degas, Auguste Renoir and Henri Rouart, bequeathed by Annie Rouart, wife of Denis Rouart, grandson of Berthe Morisot and Eugene Manet. Since then, many other bequests were added to the museum’s collections and indeed many generous sponsors also contributed to the splendor of the collections of Musée Marmottan Monet. u
the musée m a rmotta n monet Musée Marmottan Monet Salle Claude Monet pr actical
information IX Address 2, rue Louis-Boilly 75016 Paris
www.marmottan.fr Access Métro : La Muette – Line 9 RER : Boulainvilliers – Line C Bus : 32, 63, 22, 52, P.C. Days and opening times Open Tuesday to Sunday From 10 am until 6 pm Thursday evenings until 8pm Closed on Mondays, December 25th, January 1st and May 1st Prices Full Price : 10 € Reduced Price : 5 € Under 7 years old : free Group bookings Christine Lecca – Tel : 01 44 96 50 33 Educational services Camille Pabois – Tel : 01 44 96 50 41 Audioguide Available in French and English: 3 € Shop Open the same hours and days as the museum Tel : 01 44 96 50 46 boutique@marmottan.com Musée Marmottan Monet – Impressionnist Works from Private Collections Press Kit 17 Yüklə 114,88 Kb. Dostları ilə paylaş:
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