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Page 3

Press release Page 5

Introduction by Nicolas Sainte Fare Garnot, Curator of the Museum Page 6

Introduction by Serge Lemoine, Co-curator of the exhibition Page 7

A journey through the exhibition Page 11

Press images Page 18

Culturespaces, producer of the exhibition Page 19

The team Page 20

Visitor information Page 22

Publications Page 23

The Musée national des beaux-arts du Québec Page 24

Sponsor of the exhibition Page 26

Partners of the exhibition Page 30

The Jacquemart-André Museum Page 32

Practical information

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From 25 March to 11 July 2011, the Jacquemart-André Museum is presenting The Caillebotte

Brothers’ Private World. Painter and Photographer. An encounter between Impressionism and

photography, this exhibition evokes the artistic and private world of the Caillebotte brothers.

This original perspective of Gustave’s paintings and Martial’s photography invites the visitor to enter

the private world of a large Parisian family and explore the new urban lifestyle which was taking

hold at the dawn of the XXth

century. The Caillebotte brothers became witnesses of a period that

was undergoing a major urban and technological transformation, and a way of life often illustrated

by Impressionist artists.

A unique exhibition

Gustave Caillebotte’s reputation as a painter and his role as patron among his Impressionist friends is

well established. We also know that he had great affection for his brother Martial. But Martial

himself, composer, pianist and photographer, remained relatively unknown.

However, a recent study of Martial’s photographic collection has revealed a great awareness of the

subjects represented in his brother’s paintings: the views of Paris, the sailing boats, the gardens and

the river banks. This discovery has enabled the Jacquemart-André Museum to do what no other

museum has done before: compare Martial’s photographs directly with Gustave’s works.

Thanks to some exceptional loans from private and public collections, the exhibition reveals the

underlying similarities between the Caillebotte brothers, by hanging 50 paintings alongside almost

130 modern photographic for the first time. These prints were taken from Martial’s original works.

Some of the paintings, which belong to private collections, have never been shown in public

before.

A tale of family, a tale of friendship

Gustave (1848-1894) and Martial (1853-1910), and their brother René (1851-1876), were the

children of Martial Caillebotte and Céleste Daufresne. Their half-brother from a previous marriage,

Alfred Caillebotte (1834-1896) was ordained as a priest in 1858. An entrepreneur who made beds for

the military, Martial Caillebotte Senior left a large fortune to his sons upon his death in 1874. From

that moment on, Gustave devoted himself to painting, while Martial dedicated himself to music. He

composed several pieces for the piano (Airs de ballets, 1887) and some religious music, before

discovering photography.

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Gustave and Martial remained very close, having been marked by the death of their brother René in

1876 and their mother in 1878. The two brothers lived together and moved in the same circle of

artists until Martial married in 1887. Two children were born of this union: Jean in 1888 and

Geneviève in 1889. Gustave however remained a bachelor. On Gustave’s death in 1894, Martial, with

Renoir’s help, made the necessary arrangements for the state to accept the bequest of the

Impressionist paintings that his brother owned.

Shared enthusiasms

Gustave and Martial Caillebotte shared a number of passions. They became expert philatelists with

their stamp collection. When Gustave became interested in horticulture, Martial photographed him

at work in the garden or the greenhouse. Together they learned how to sail a yacht. Martial

distinguished himself in all fields, for example winning several regattas in sailing boats designed by

Gustave.

The Caillebotte brothers depicted these shared interests in their painting and photography, thereby

recreating the multiple aspects of their environment. With delicate touches, they evoke the gentle

pace that characterised their lavish lifestyle, from Haussmann’s new Paris to family leisure pursuits.

Living in the new districts designed by Baron Haussmann, Gustave and Martial were privileged

witnesses of the urban transformation which Paris underwent during this period. They were

fascinated by symbols of modernity such as bridges and railways, and the hustle and bustle of the

Parisian streets was one of their favourite themes. They were also very interested in outdoor

activities. While gardening might have attracted their attention, the two sailing enthusiasts

particularly enjoyed depicting sailing boats, boaters and bathers.

But they also cast a tender and sometimes amused eye on their friends and family, whose peaceful

occupations they illustrated in a private setting. The days revolved around lunches and card parties,

walks and reading: all themes that the brothers were particularly fond of.

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For almost ten years, the Jacquemart-André museum has presented temporary exhibitions focused

on a solo artist’ (David, Largillière), movements, or private collections (From El Greco to Dalí, Rubens,

Poussin and 17th

century artists). It aims to provide the public with direct access to the work of a

painter or, conversely, to study the great artistic trends which have travelled through the centuries.

These last few years, great French museums have attempted another approach, to confront a great

master with one of his contemporaries, sometimes even one of his precursors. This approach has

resulted in memorable exhibitions such as Picasso and the Masters or Manet-Velasquez.

By orchestrating a comparison of Martial and Gustave’s works, the Jacquemart-André museum is

taking this new vision of art history into account, from a unique perspective. Although the work of

the painter Gustave Caillebotte is now recognised, that of his brother Martial is nor, even less so

because he used the medium of photography. Studying the themes they explored brings out curious

analogies and allows us to juxtapose their works and examine both resemblances and differences.

Such proximity is rare in the history of art. It does not exclude the role of influences, or conversely

the independence of the work, but it is part of a more general issue that arose in the second half of

the 19th century, when photography began to compete with painting on its own ground.

The Jacquemart-André museum exhibition therefore aims to introduce a name which shall

henceforth feature in the history of photography, to indicate the notions of modern subjects as they

appeared in the eyes of artists of the impressionist generation, and to highlight the originality of

these two individuals, as close, and yet also – because of their pastimes: one a painter, the other a

photographer – as different as two brothers could be.

Nicolas Sainte Fare Garnot

Curator of the Jacquemart-André Museum

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Gustave Caillebotte is one of the most original, new, surprising and ambitious of the impressionist

painters. His large paintings do not bear any resemblance to any other artists of this period and this

movement.

Gustave Caillebotte had a brother, Martial, a composer and friend to greatest talents of his time:

Fauré, Chausson, Saint-Saëns, Debussy, but who never rose to fame himself. Martial Caillebotte was

also an amateur photographer. As all his work remained with the family, his activity in this field was

never known, or taken into account, except when used to document the life and work of his brother

with the caption “Family archives”. Studying these photographs, which was done as part of a thesis

at the Sorbonne, reveals that they are very interesting from a historic, documentary and artistic point

of view, and display many points in common with some of Gustave Caillebotte’s paintings.

On the hundredth anniversary of the death of Martial Caillebotte (1853-1910), his family wanted a

tribute paid to him; this exhibition at the Jacquemart-André museum is the response to that wish. It

displays the photographic work of Martial Caillebotte which spans over a period of ten years from

1891, showing the different subjects which interested him, and in particular, views of Paris, interior

scenes, his family, views of the landscape, means of transport and sailboats.

Given the relationship between the two brothers, Martial’s photographs are set against Gustave’s

paintings, with which they have more than just common ground. They share the same inspiration,

the same taste for the subjects illustrated. Every room in the museum is dedicated to a subject

handled by Martial Caillebotte. The exhibition presents the photographs and one or more paintings

by his brother on the same subject to best demonstrate the relationship between their works, even if

many of the photographs were taken after the untimely death of the painter in 1894.

The exhibition also gives the public the chance to study not only the works of an amateur

photographer at the end of the 19th century, but also those of the brother of Gustave Caillebotte,

that is to a say a family, a group, a set. Above all, they have the chance to study the relationship

between painting and photography, a well-debated issue often discussed in the history of art, to

which this exhibition will bring a new dimension.

A catalogue of the exhibition will present a body of texts around Gustave and Martial Caillebotte. For

the first time, the photographs of Martial Caillebotte will be the subject of study. 150 photographs

will be reproduced thanks to the help of ARTCURIAL.

The exhibition is exceptionally sponsored by the Crédit du Nord.

Serge Lemoine

Co-curator of the exhibition

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To absorb the atmosphere in which the Caillebotte family lived at the end of the 19th century even

better, the visitor is invited to discover, room by room, the daily life and passions shared by Gustave

and Martial.

This exhibition also allows Martial’s photographs to be admired for the first time. He began this

hobby in 1891, by which time the best part of his brother Gustave’s (who died in 1894) painting

career, was already over.

Room 1: Views of Paris

Gustave and Martial Caillebotte grew up in a Paris that was undergoing radical transformation, to be

altered forever by Baron Haussmann’s new designs. While the two brothers were still teenagers,

their father, a rich entrepreneur, bought land from the city of Paris at the corner of Rue de

Miromesnil and Rue de la Lisbonne. He had a private mansion built there with all the modern

conveniences, where Gustave and Martial lived until the death of their mother in 1878. They then

moved to 31 Boulevard Haussmann, still at the heart of this new district, to an apartment on the last

but one floor of the building.

From their balcony on the corner of Boulevard Haussmann and Rue Gluck, Gustave observed the city

and sketched the streets and passers-by. Later, Martial would do the same from the balcony on Rue

Scribe where he lived after his wedding in 1887. Whether using painting or photography, the

Caillebotte brothers enjoyed developing this portrayal of their urban environment. Initially they

evoked the posture of the observer whose eyes linger on the streets below (Young man at his

window, Moi au balcon [Me at the balcony]) before reproducing, in views from above, the sight with

which he was confronted (Boulevard seen from above, Vue prise du balcon de l'Opéra [View of the

Opera from the balcony]). They then concentrated their attention on the streets of Paris, depicting

pedestrians (sketch of Paris street; a rainy day) and working class occupations (The house painters, La

descente d'un réverbère [Descending from a street lamp]) which give the capital’s thoroughfares such

characteristic hustle and bustle.

Martial Caillebotte accompanies this view by paying particular attention to the monuments that

were symbolic of Paris, regardless of whether they were grand architectural symbols (Notre Dame de

Paris, the Louvre, etc.) or representations of the city’s new face (the Sacré Coeur, the Eiffel Tower,

the Opera Garnier, the Passerelle des Arts, the Moulin Rouge, etc.).

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Rooms 2 and 3: The private world of the Caillebottes

Gustave and Martial were very close and the successive deaths, in 1876 and 1878, of their brother

René and their mother brought them even closer. The two artists were also very attached to their

half-brother Alfred, a priest at the new church Saint Georges-de-La-Villette, then of Notre Dame de

Lorette. The portraits successively produced by Gustave (Portrait of Madame Martial Caillebotte) and

Martial (Alfred and Geneviève at the beach) testify of this family intimacy.

After Martial’s wedding to Marie Minoret on 7 June 1887, the two brothers went different ways:

while Gustave continued to produce avant-garde paintings, Martial joined another upper-class family

and became a father. However he always remained very close to his elder brother, with whom he

continued to share several hobbies and the same interest in depicting the everyday. Indeed, the two

brothers enjoyed reconstructing the family world which revolved around them. From the toilette to

the children’s bedtime, the kitchen to the lounge, lunch to family evenings around the piano, the

daily activities of their friends and family are faithfully re-recorded on Gustave’s canvases and

Martial’s photographs.

The Caillebotte brothers portray themselves in this family environment, sometimes as painter (Self

portrait with easel) or composer (Martial Caillebotte at the piano at home). Art in fact played a major

role in the lives of Gustave and Martial who moved in Impressionists circles. Gustave participated in

several Impressionist exhibitions and acted his friends’ patron. He was particularly connected to

Auguste Renoir (1841-1919) (Portrait of Madame Renoir) who he appointed as the executor of his

will. When Gustave died in 1894, Renoir and Martial fought for the State to accept his bequest of

Impressionist paintings. Three years after the death of the artist, forty works by Degas, Monet,

Renoir and Picasso, still undervalued by the general public and the cultural administration, were

finally exhibited at the Musée du Luxembourg, in Paris.

Rooms 4 and 5: The pleasures of gardening

At Yerres, in the family property that the Caillebotte brothers sold off in 1879, then at Petit

Gennevilliers where they bought another property in 1881, they sampled the joys of outdoor life.

Gustave installed his easel to play with effects of light and shadows on the terrace or in the park

(Garden at Yerres) and demonstrate the contrasts between the vivid colours of flowers and the more

subdued shades of women’s dresses (Portraits in the country).

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Together with Claude Monet (1840-1926), whose desk was decorated with a photograph of his friend

as a gardener (Gustave Caillebotte dans sa serre [Gustave Caillebotte in his greenhouse]), Gustave

was also enthusiastic about horticulture. In 1881, he subscribed to the Revue horticole, journal

d’horticulture pratique magazine. This lively interest was aparent in paintings such as The kitchen

garden, Yerres or Rose, garden at Petit Gennevilliers or even in the series of photographs taken by

Martial in 1892, depicting Gustave in his greenhouse or in his garden.

After his wedding, Martial continued to accompany his brother to Petit Gennevilliers, and often visit

Montgeron, where his parent-in-laws owned a large property. With his brother-in-law Maurice

Minoret who introduced him to photography, he witnessed periods of leisure spent as a family. In his

snaps, like any informed amateur, he showed a renewed interest in the private and family world for

example, photographing his two children playing, Jean, born in 1888 and Geneviève, born in 1890

(Geneviève, Jean and Marie Caillebotte playing with the skipping rope in the garden at Montgeron).

Room 6: The modern landscape

The industrial revolution underway since the early 19th century was accompanied, from 1875

onwards, by the significant modernisation of transport. Gustave and Martial Caillebotte, like many of

their contemporaries, were fascinated by the symbols of this modernity: the car, the railway, the

bridge, etc.

The two brothers observed this technical progress at the heart of Paris and on the outskirts of the

city (sketch and study for The Europe bridge, The Argenteuil bridge and the Seine), as well as during

their travels (Landscape with railway tracks). Martial particularly took advantage of family trips out

to photograph bridges, locomotives and railways (Le pont de Chalandray [The Chalandray bridge]).

Room 7 and 8 : Along the waterways

In the late 1870s, the Caillebotte brothers took up yachting, a hobby they shared until the death of

Gustave in 1894. The vice president of the Cercle de la voile de Paris sailing club from 1880, Gustave

participated in Argenteuil regattas with Martial. On sailboats such as Inès or Condor, they

distinguished themselves, often receiving first prize (Regatta at Argenteuil, Sailing boats at

Argenteuil). Their property at Petit Gennevilliers, located on the banks of the Seine, became the

headquarters for the activities of the Cercle de la Voile de Paris (La Berge du Petit Gennevilliers et la

Seine [The banks of Petit Gennevilliers and the Seine]).

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Described by the magazine Le Yacht as a “highly skilled fan of Argenteuil” in 1881, Gustave

Caillebotte began to design plans for his own boats (Gustave Caillebotte travaillant à un plan de

bateau [Gustave Caillebotte working on a boat plan]). The most famous of these boats was the

Roastbeef that Martial photographed at the worksite (Le Roastbeef à sa sortie du chantier [The

Roastbeef leaving the worksite]) before its brilliant beginnings on the Argenteuil basin in 1892. From

the design to the navigation, the Caillebotte brothers followed the technical path of their sailboats

attentively.

The boaters (Boating party) and the canoes, the bathers (Bathers, banks of the Yerres) and the

fishermen (Fishing) that Gustave painted on the banks of the Yerres and then on the banks of the

Seine were also subjects that Martial enjoyed photographing (Maurice Minoret rowing). By

developing this subject, the two brothers evoked nautical hobbies which were typical of the Parisian

upper classes at the time.

Reflections of a time when a gentle way of life lived in harmony with technical progress, the paintings

(The Petit Bras of the Seine at Argenteuil. Sunlight effect) and photographs that they produced of the

banks of the Seine seem to invite the viewer to take a pleasant stroll. With Martial’sphotographs, the

journey along the waterways continues to the seaside…

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1

2

3

4

12

5

6

7

13

8 9

10 11

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GUSTAVE CAILLEBOTTE

1. A balcony, boulevard Haussmann 1880, oil on canvas, 69 x 62 cm, private collection Courtesy Comité Caillebotte, Paris 2. The house painters 1877, oil on canvas, 87 x 116 cm, private collection Courtesy Comité Caillebotte, Paris 3. Self portrait with easel 1879, oil on canvas, 90 x 115 cm, private collection Courtesy Comité Caillebotte, Paris 4. Self portrait Oil on canvas, 55 x 46 cm, private collection Courtesy Comité Caillebotte, Paris 5. Roses, garden at Petit Gennevilliers

1886, oil on canvas, 89 x 116 cm, private collection © Photo Alberto Ricci 6. Portraits in the country 1876, oil on canvas, 98,5 x 111 cm Collection of the Baron Gérard museum, Bayeux © Musée Baron Gérard, Bayeux

7. Boating party

1877-1878, oil on canvas, 90 x 117 cm, private collection Courtesy Comité Caillebotte, Paris 8. Regatta at Argenteuil 1893, oil on canvas, 157 x 117 cm, private collection Courtesy Comité Caillebotte, Paris 9. Bathers, banks of the Yerres 1878, oil on canvas, 157 x 117 cm, private collection Courtesy Comité Caillebotte, Paris 10. Fishing

1878, oil on canvas, 157 x 113 cm, private collection Courtesy Comité Caillebotte, Paris 11. The perissoires

1878, oil on canvas, 157 x 113 cm, Musée des beaux-arts, Rennes © Louis Deschamps

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12 13

14 15

16

16 17

18 19

20

17

21

MARTIAL CAILLEBOTTE (with the exception of number 21)

12. Descending from a street lamp (Concorde bridge) December 1891, photographic prints, 14,5 x 10,5 cm Private collection © D.R. 13. Maurice Minoret photographing Jean and Geneviève Caillebotte Photographic prints, 17 x 12,5 cm, private collection © D.R. 14. Gustave Caillebotte and Bergère at Place du Carrousel 1892, photographic prints, 15,5 x 10,5 cm, private collection © D.R. 15. Maurice Minoret rowing Photographic prints, 11 x 8 cm, private collection © D.R. 16. Lunch at the Revard, above Aix, Marie and Geneviève Photographic prints, 8 x 11 cm, private collection © D.R.

17. Geneviève, Marie, Jean Caillebotte and Maurice Minoret on a pontoon Photographic prints, 8 x 11 cm, private collection © D.R. 18. Jean and Geneviève Caillebotte licking spoons around a pot in the garden at Montgeron Photographic prints, 11,5 x 14 cm, private collection © D.R. 19. Camille Minoret watering the hydrangeas Photographic prints, 17 x 22 cm, private collection © D.R. 20. Young boy with sailing boat at Petit Gennevilliers Photographic prints, 11,5 x 8 cm, private collection © D.R. 21. Anonymous Gustave and Martial Caillebotte Photographic prints, private collection © D.R.

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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 Nîmes Arena,

the National Automobile and Train Museums in Mulhouse and the Waterloo Battlefield.

In 18 years close collaboration with curators and art historians, Culturespaces has organised many

temporary exhibitions of international standing in Paris and French 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:

2010 Rubens, Poussin and 17th

century artists – 150,000 visitors

2010 From El Greco to Dalí. The great Spanish masters. The Pérez Simón collection – 200,000 visitors

2009 Bruegel, Memling, Van Eyck… The Brukenthal Collection – 240,000 visitors

2009 The Italian Primitives. Masterpieces of the Altenbourg Collection – 160,000 visitors

2008 Van Dyck – 200,000 visitors

2007 Fragonard – 200,000 visitors

2006 The Thracians’ Gold – 150,000 visitors

2005 David, intimacy and grandeur – 150,000 visitors

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The Curatorial Team

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.

Serge Lemoine has taught successively at the social sciences faculty in Dijon, at the Université

Paris IV-Sorbonne and at the École du Louvre, where he created the chair of 20th century art.

Appointed as director of the Musée de Grenoble in 1986, he was president of the Musée d’Orsay

from 2001 to 2008. He has been the curator of exhibitions as prestigious as At the origins of

abstraction (1800-1914) (Musée d’Orsay, 2003), Neo-impressionism, from Seurat to Paul Klee (Musée

d’Orsay, 2005), Vienna 1900 (National galleries of the Grand Palais, 2005) and Maurice Denis (Musée

d’Orsay, 2006)

Scenography by Hubert Le Gall

To make Gustave’s paintings and Martial Caillebotte’s photographs communicate with each other,

Hubert Le Gall has designed an original and modern display.

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:

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 – “Bruegel, Memling, Van Eyck… The Brukenthal collection”

2009 - Jacquemart-André Museum – Paris “The Italian Primitives. The Altenburg collection”

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The exhibition site

- Clear and detailed descriptions of twenty 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 iPod Touch

This tour guide, available in French and English, offers a full introduction and an audio

commentary on selected works.

The variety of content (video, audio, image), the exclusive extras 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 two languages (French and

English) and costs € 3.

Visitor’s booklet

To add to your visit, this booklet is available at the entrance to the Museum and

offers a step-by-step guide to the exhibition with a general description and

comments on major works. It is on sale at the museum ticket office and costs € 2.

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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

publishers Skira Flammarion, the Jacquemart-André Museum,

and the Musée National des Beaux-Arts du Québec. Richly

illustrated, the catalogue includes a series of high-quality

scientific essays and provides detailed commentary on each of

the paintings and photographs in the exhibition. It will allow

visitors to prolong their discovery of the private and artistic

world of the Caillebotte brothers.

On sale in the museum shop at € 39.

Connaissance des Arts - special edition

In this special edition dedicated to the exhibition, Connaissance des Arts offers a

perspective on the principal works of Gustave and Martial Caillebotte through the

common themes that inspired them.

On sale in the museum shop at € 9.

Beaux Arts magazine – “Journal de l’expo”

Beaux Arts magazine is dedicating a “Journal de l’expo” to the Caillebotte brothers

and to the passions that they shared. The publication also recalls the technical

bravery of both of these two artists.

On sale in the museum shop at € 4,5.

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A collaboration between the Jacquemart-André Museum

and the Musée National des Beaux-Arts du Québec

Following on from the success of their first collaboration in 2010 for the

exhibition “From El Greco to Dalí. The great Spanish masters. The Pérez

Simón collection”, the Jacquemart-André museum and the National

Museum of Fine Arts of Quebec are delighted to collaborate again with

the exhibition “The private universe of the Caillebotte brothers, painter

and photographer”.

Founded in 1933, the Musée National des Beaux-Arts du Québec was the first museum institution set

up by the government of Québec and devoted to presenting the nation’s art. Its permanent

collection comprises more than 34,000 works, dating from the 17th century to the present day.

As well as numerous exhibitions of the art of Québec, both historical and contemporary, each year

the museum presents temporary exhibitions of international stature, particularly noteworthy are:

Picasso and Ceramics (2004), Camille Claudel and Rodin: A meeting of destinies (2005), From

Caillebotte to Picasso. Masterpieces from the Oscar Ghez collection (2006), From Cranach to Monet.

Masterpieces from the Pérez Simón collection (2007), The Louvre in Québec. The Arts and Life (2008),

Ingres and the Moderns (2009). Through its exhibitions, the Musée National des Beaux-Arts du

Québec has developed close collaborations with major European and American museums, among

them several great French institutions like the Louvre, the Musée d’Orsay and the Musée Rodin.

Reputed for its excellence in museology, the Musée is located in the huge Parc des Champs-de-

Bataille, in the center of the City of Québec. Combining

a Neoclassical building (1933) and a former prison

(1860), it is now planning a third pavilion that by 2014

will offer space to display its modern and

contemporary art collections, together with a 1 500 m2

space for temporary exhibitions. The international

architecture competition launched was won by the firm

OMA of Rotterdam – managed by the architect Rem

Koolhaas – in partnership with the Quebecois team

Provencher Roy and Partners, architects.

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The Crédit du Nord group: sponsor of the exhibition

The Crédit du Nord is delighted and proud to support this unusual exhibition on the Caillebotte

brothers which, thanks to the reunion of works from private and public collections, enables

Gustave’s paintings to be displayed alongside Martial’s photographs for the first time.

These photographs and paintings together demonstrate the extent to which the two brothers shared

common interests. They bear witness to the Caillebotte’s permanent quest for excellence; they help

us to discover the intimacy of these two artists with wonder, within this fabulous museum.

This is the third time that the Crédit du Nord has supported an exhibition at the Jacquemart-André

museum, following on from the exhibition on the early Italian artists and the exhibition on the great

Spanish masters. Visitors can also enjoy the permanent works from the private collection of Nélie

Jacquemart and her husband Edouard André, heir to a family of regional bankers whose activity

expanded rapidly during the Second Empire, like that of the Comptoir national d’escompte de Lille,

our forerunner, founded in 1848.

Today our group comprises eight regional banks (the banks Courtois, Kolb, Laydernier, Nuger, Rhône-

Alpes, Tarneaud, Société Marseillaise de Crédit and Crédit du Nord), who share the same strategy

centred on the quality of customer relations and customer satisfaction.

Strongly anchored in their respective regions, they sponsor several cultural projects in their regions.

Vincent Taupin

C.E.O. of the Crédit du Nord group

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The Crédit du Nord group is the heir of the merger of almost 80 regional establishments

who have been combining their strengths and their talents for more than 160 years. Today it

comprises eight banks in particular – Courtois, Kolb, Laydernier, Nuger, Rhône-Alpes, Tarneaud,

Société Marseillaise de Crédit and Crédit du Nord – and a broker, Gilbert Dupont.

The group’s 10,100 employees and its network of 931 agencies serve 1.56 million individual clients,

190,000 professional clients and 40,000 businesses.

The different entities within the Crédit du Nord group benefit from a great deal of independence in

managing their activity, which means that they are in particular able to make decisions quickly and

react appropriately to requests from customers.

The strategy of the group’s banks focuses on three key elements:

- remaining a reference bank regarding the quality of our customer relations;

- developing a high level of individual and collective professionalism;

- providing their clients with the most advanced services and technologies.

The quality and stability of Crédit du Nord group’s results are recognised by the market and

confirmed by the long-standing A+ rating awarded by Standard & Poor’s and Fitch.

Crédit du Nord is a 100% subsidiary of Société Générale

26

France 3 loyal partner of the Jacquemart-André Museum

France Télévisions is particularly delighted to be involved with the

exhibition “The Caillebotte Brother's Private World, painter and

photographer” which gives visitors the chance to discover the artistic and

private world of the Impressionist painter Gustave Caillebotte and his

photographer brother Martial through 180 works, from 25 March to 11

July 2011.

With the support of the channel France 3 and true to its mission of public

service broadcaster, France Télévisions will report on the riches of this

exhibition with the constant goal of making culture accessible and

intelligible to the masses, focusing once again on cultural events.

France 3 is a partner of all cultures. Whether via national or regional

channels, with numerous reports and magazines or online, culture exists in

many forms, both at a national and a regional level. France 3 enhances the

status of cultural initiatives that are open to the masses and available

throughout France.

France 3 provides all the latest news about art, particularly in the daily

programme “Ce soir ou jamais” presented by Frédéric Taddéï, in its

national, regional and local information publications or even on

Culturebox, its website dedicated to culture.

France Télévisions is proud to continue its partnership with the

Jacquemart-André Museum on the occasion of this exhibition.

Visit France Télévisions online: www. francetelevisions.fr

Culture occupies a significant part of France Info’s programme schedule:

cinema, exhibitions, shows, etc.

As a 24-hour information radio station, France Info associates itself in

particular with events that are also newsworthy, so it is only natural for the

station to be a partner of the exhibition “The Caillebotte Brother's Private

World, painter & photographer”.

Listeners to France Info will discover the exhibition on the station and on

www.france-info.com, through reports, interviews, etc.

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Paris Match has been a partner of the Jacquemart-André Museum for

many years. This loyalty to cultural commitments, involving not only the

magazine but also the staff at the Museum and Culturespaces, combines

with the enthusiasm of a human adventure that Paris Match shares with

its readers.

The exhibition “The Caillebotte Brother's Private World, painter &

photographer” brings an unusual perspective to the painter and the

photographer: the perspective of two brothers who, in their own way, are

aware of the passing of time.

Paris Match is France’s leading news magazine and fifth in the world

according to the FIPP.

Music, exhibitions, films, theatre, literature, Le Parisien reviews all the

latest cultural events in its “Les spectacles” section, with many of its

pages being filled with exhibitions.

Every Thursday, Le Parisien also offers its readers a “Sortir à” (going out)

section to give them ideas for the weekend and tell them about all the

new exhibitions.

Between 25 March and 11 July 2011, the Jacquemart-André Museum is

showing an exceptional exhibition: “The Caillebotte Brother's Private

World, painter & photographer”. It was only natural that Le Parisien

should once again associate itself with the Jacquemart-André Museum for

an exhibition that promises to be the highlight of spring/summer 2011.

Firmly anchored in the times, Arts Magazine approaches art in a manner

that’s both accessible and straightforward. Painting, design and

architecture are interpreted from a playful angle.

Every month the editors offer readers the keys to understanding the

artists of yesteryear and of today with news about exhibitions and

museums.

Since its creation, this monthly art magazine has explored and revisited

various movements, making Arts Magazine an obvious choice of partner

for the exhibition “The Caillebotte Brother's Private World, painter &

photographer”, highlighting the unusual artistic dialogue between the

two brothers.

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Every Thursday, France’s leading news magazine, Le Nouvel Observateur

supplies comment on all 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. On its Paris

pages it announces and comments on all the great cultural events:

exhibitions, plays, concerts.

Le Nouvel Observateur is delighted to be associated with the Jacquemart-

André Museum and to be a partner to this beautiful exhibition.

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 Jacquemart-André Museum to the notice of

the general public.

Leading French distributor of leisure tickets and show tickets, every year

the 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 www.fnac.com, its telephone platform, its

mobile website and its Tick&live application for iPhone, Samsung Bada

and Androïds, 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 exhibition “The Caillebotte Brother's Private World”, it is

confirming its commitment to artistic creativity and its determination to

defend the right of everyone to access all cultures.

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The UGC Group is very proud and pleased to support the exhibition “The

Caillebotte Brother's Private World, painter & photographer” at the

Jacquemart-André Museum. The Caillebotte brothers passed on their

particular perspective of a world in the throes of great change - one

through his paintings, and the other through his photographs. This

approach echoes that of the film-makers that the UGC Group supports

through the production, distribution and showing of their films on its

screens. This partnership is evidence of UGC’s ambition to extend what

the group does in the field of cinematography, with the aim of promoting

cultural diversity and providing access to quality works to the general

public.

Created in 1971 through the association of various regional networks of

cinemas, UGC has become one of the largest European groups of cinemas

present today in all fields of the sector (screening, distribution and

production). The UGC cinemas in France, Belgium, Spain and Italy have

almost 600 screens between them and welcomed more than 40 million

people in 2010.

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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 Jacquemart-

André 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.

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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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OPENING TIMES AND RATES

Open 365 days a year from 10 a.m. to 6 p.m.

Open every Monday evening until 9.30 p.m.

The Jacquemart-André tea room is open from 11.45

a.m. to 5.30 p.m.

The cultural gift and bookshop is open when the

museum is open, including Sundays.

Individual

Full rate: € 10 / Reduced rate: € 8.50 (students,

children from 7 to 17, job-seekers)

Audio guide for temporary exhibition: € 3

Audio guide for permanent exhibition: free

Free for the under 7s, journalists and members and

staff of the Institute of France.

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:

groupes@musee-jacquemart-andre.com. Groups are

not admitted to the exhibition rooms after 2.00 pm.

ACCESS

Jacquemart-André Museum

158, boulevard Haussmann - 75008 PARIS

Tel. : + 33 (0)1 45 62 11 59

www.musee-jacquemart-andre.com

The museum is located 400m 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 Vélib: rue de Berri

The temporary exhibition rooms are not

accessible to people with reduced mobility.