The Musée Marmottan Monet is the previous residence of François Christophe Edmond Kellerman, the Duke of Valmy, in Passy, a former hamlet absorbed into Paris after the French Revolution. The property comprised a principal constructing and two pavilions. The duke died in 1868, and his widow and daughter bought the house in 1882 to industrialist and artwork collector Jules Marmottan, who amassed work primarily by Italian, Flemish, and German Primitives. In 1883 Marmottan’s treasures handed to his solely son, Paul, who thereafter devoted himself to finding out historical past, notably that of the Napoleonic period, and gathering associated artwork, together with marble effigies of the emperor’s household, furnishings from the Tuileries Palace, considered one of Bonaparte’s residences in Paris, and a mattress as soon as belonging to Napoleon I. Marmottan bequeathed the household mansion and its collections to the Académie des Beaux-Arts, which took over its administration in 1932.
The Musée Marmottan opened in 1934, its affiliation with the Académie spurring donations that included works by French educational painter William Adolphe Bouguereau and naturalist painter Jules Bastien-Lepage. Donations made by Victorine Donop de Monchy, the daughter of collector Georges de Bellio, took the gathering in a brand new route with the addition of the primary Impressionist canvases, amongst them works by Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley, in addition to Claude Monet’s famed 1872 portray Impression, Dawn.
One other bequest that reworked the museum’s holdings was that made by Michel Monet, the painter’s youthful son; donated in 1966, it comprised greater than 100 works by the daddy of Impressionism, together with a bunch of large-scale Water Lilies. Therefore the establishment’s present title, Musée Marmottan Monet. Because of the Rouart household, the museum now additionally homes the world’s first assortment of works by their forebear, Impressionist painter Berthe Morisot, together with drawings and work by Edouard Manet, Edgar Degas, and Jean-Baptiste-Camille Corot, without end reconciling the Académie des Beaux-Arts with Impressionism, a motion that was initially deemed no match for nice masters.
