Location: 8 Rue Chanzy
Tel. +33 326 35 36 00
The Musée des Beaux-Arts de Reims, also known as the Museum of Fine Arts, traces its origins to 1794 amid the chaos of the French Revolution. During this period, revolutionary crowds ransacked numerous aristocratic mansions, religious churches, and royal palaces across the region, leading to the confiscation of vast quantities of artwork from private owners and institutions. Newly formed republican authorities directed these seized pieces—ranging from paintings and sculptures to decorative objects—to be gathered and safeguarded in the Reims Town Hall, laying the foundation for what would become a significant public collection. This initial assembly included contributions from local figures, such as Antoine Ferrand de Monthelon, who had established a drawing school and left his personal art holdings to the city in 1752, and Nicolas Bergeat, who systematically organized artworks from Reims' Catholic establishments. The first official deposit occurred on 10 Vendémiaire Year II (October 1, 1793, in the revolutionary calendar), initially stored in the former Magneuses hospice before being relocated to the town hall.
The museum officially opened to the public on 11 Germinal Year VIII
(April 1, 1800), with regulated visiting hours every quintidi (the fifth
day of the revolutionary week) from 9 a.m. to noon, marking one of
France's early efforts to democratize access to art. Over the 19th
century, the holdings expanded dramatically through strategic
acquisitions, generous bequests, and donations, transforming it into a
repository of cultural importance. By 1908, the growing collection
necessitated a dedicated space, prompting city leaders to repurpose the
historic 18th-century structures of the former Abbey of Saint-Denis.
This site, originally constructed in the 9th century under Archbishop
Fulk the Venerable on the grounds of an ancient cemetery, had endured a
tumultuous past: it served as a revolutionary administrative hub, an art
warehouse for plundered church goods, barracks for Russian troops during
the 1814 and 1815 occupations, and later a major seminary from 1822
until its seizure in 1906 following France's separation of church and
state laws. Renovations adapted the abbey's palace-like buildings, which
had been remodeled in the 19th century, into a suitable museum venue.
On October 19, 1913, French President Raymond Poincaré formally
inaugurated the new Musée des Beaux-Arts, solidifying its status as a
cultural landmark. Tragically, the building sustained damage during
World War I bombardments, though much of the collection was preserved.
Notable curators shaped its early development, including Charles
Loriquet, Eugène Courmeaux, Henri Jadart before the war, Paul Jamot from
1927 to 1939, and Régine Pernoud in 1947, who oversaw expansions and
scholarly cataloging.
Today, the museum boasts an extensive
collection of over 18,000 works spanning five centuries of European art,
from the Renaissance to Art Deco, with strengths in French masters.
Highlights include 16th- and 17th-century pieces like 13 portraits by
Lucas Cranach the Younger; 18th-century treasures from the Reims drawing
school, François Boucher, and Alexandre-François Desportes; 19th-century
gems such as 27 landscapes by Camille Corot, Impressionist canvases by
Claude Monet (e.g., Les Rochers de Belle-Île), Alfred Sisley, Camille
Pissarro, and Pierre-Auguste Renoir; orientalist and symbolist
compositions; and the Henry Vasnier bequest featuring Art Nouveau
furnishings by Émile Gallé, including a fully reconstructed dining room
and bedroom. Twentieth-century holdings encompass Fauvism, Nabis,
surrealism from the Grand Jeu group, Art Deco interiors like a Paris
hotel room by Fels, and a dedicated gallery for Japanese-French artist
Léonard Foujita. Sculptures by Auguste Rodin (Jeune Alsacienne), Camille
Claudel (Giganti), and Jean Boucher add depth, alongside ceramics from
Jeanne-Alexandrine Pommery, stained glass, and unique artifacts like a
lion-shaped incense burner or dragon-decorated vase. One of the most
renowned paintings remains Jacques-Louis David's The Death of Marat, a
dramatic neoclassical depiction of the revolutionary leader's
assassination, symbolizing the era's political fervor.
In recent
years, the museum has undergone a major transformation. On July 15,
2018, the city selected the Lisbon-based Portuguese architecture firm
Aires Mateus to lead a €45.3 million rehabilitation and expansion
project, aiming to triple exhibition space to 3,800 square meters,
restore the abbey's cloister layout, and foster stronger ties to nearby
Reims Cathedral. The site closed to visitors on September 22, 2019, for
collection relocation, archaeological excavations (ongoing since October
2023), and construction. As of early 2026, it remains shuttered, with
reopening now delayed to 2027 due to the project's scale. During this
interim, the museum maintains engagement through off-site programming,
including a "nomadic museum" with digital mediation tools, community
collaborations, virtual tours, and loans to institutions worldwide.
Temporary exhibitions explore themes like Reims' 1925-2025
reconstruction, animal motifs in art, slavery representations, Japanese
Meiji-era influences, and local caricatures from World War I. An
AI-powered virtual guide named Anna enhances online experiences, while
partnerships, such as being the guest of honor at the 2025 Salon du
Dessin in Paris, keep the collection in the spotlight.
The Musée des Beaux-Arts in Reims, established in 1794 amid the
French Revolution through the seizure of artworks from religious and
aristocratic sources, stands as a premier institution dedicated to
preserving and showcasing a vast array of European art spanning from the
Renaissance to the modern era. Initially located in the city's town hall
and later relocated in 1913 to the historic former Abbey of
Saint-Denis—a 9th-century structure that once served as a seminary and
military barracks—the museum underwent a major reconstruction project
between 2019 and 2023, expanding to 5,500 square meters with a €45.3
million investment to better display its approximately 20,000 works. Its
collections emphasize paintings, particularly from Flemish, Dutch, and
French traditions, alongside sculptures, drawings, engravings,
furniture, and decorative objects, all arranged in a thoughtful blend of
chronological and thematic displays that highlight key artistic
movements across five centuries.
In the realm of Northern European
art—encompassing Flemish, Dutch, and German schools—the museum features
an impressive selection of pieces that capture the intricate realism and
narrative depth of these regions. Notable examples include Marinus van
Reymerswaele's contemplative "Saint Jerome," Hendrick van Balen's
mythological scenes, Roelandt Savery's fantastical landscapes, Jacob
Jordaens' lively "Satyr," Bartholomeus van der Helst's portraits, Jacob
van Loo's elegant figures, Gerard Seghers' poignant "Christ after the
Flagellation," David Teniers the Younger's vibrant "Village Festival,"
Nicolas Maes' domestic interiors, Melchior d'Hondecoeter's detailed bird
studies, Matthias Withoos' still lifes, Adriaen van der Werff's refined
compositions, and Ferdinand Elle's works, reflecting the Golden Age of
Dutch and Flemish painting with their emphasis on light, texture, and
everyday life.
Italian painting, though more modestly represented,
adds a Renaissance and Baroque flair through standout pieces like
Giovanni Battista Moroni's introspective portraits and Bartolomeo
Manfredi's dramatic "Departure of Young Tobie," which exemplify the
school's mastery of chiaroscuro and emotional expression.
The French
school dominates the holdings, offering the most comprehensive overview,
especially from the 17th century onward. This era is richly illustrated
by Nicolas Poussin's serene "Landscape with the Woman Washing Her Feet"
(a variant also found in the Musée Condé in Chantilly), Simon Vouet's
ethereal "Assumption of the Virgin," the Le Nain Brothers' (hailing from
nearby Laon in the Reims region) rustic yet insightful scenes such as
"Venus in the Forge of Vulcan" and "The Cardsharps," Claude Vignon's
bold compositions, Jacques Blanchard's sensual mythologies, Philippe de
Champaigne's tender "The Habert de Montmor Children," Pierre Mignard's
courtly portraits, Laurent de La Hyre's harmonious landscapes, Sébastien
Bourdon's versatile styles, Gaspard Dughet's atmospheric views, Charles
Le Brun's grand historical works, and Jean Jouvenet's religious
narratives. Moving into the 18th century, the collection includes
François Desportes' dynamic "Animal Combat," François Boucher's playful
"L'Odalisque," Anne Vallayer-Coster's exquisite still lifes, and
Jacques-Louis David's powerful "The Death of Marat" (a replica of the
Brussels original, one of only four known versions worldwide, depicting
the revolutionary leader's assassination in stark neoclassical detail).
The 19th century holds a prominent place, boasting 27 canvases by
Jean-Baptiste-Camille Corot—donated through bequests like those from
Henri Vasnier and Jean-Pierre Lundy—making it the world's second-largest
Corot collection after the Louvre, with pieces like "Young Italian
Seated" showcasing his luminous landscapes and portraits. Other
highlights feature Eugène Delacroix's romantic intensity, Richard Parkes
Bonington's expansive "The Space," Théodore Chassériau's haunting
"Banquo's Ghost," Jean-François Millet's empathetic "Portrait of an
Anonymous Man," Théodore Rousseau's Barbizon School nature studies,
Johan Barthold Jongkind's pre-Impressionist sketches, Gustave Courbet's
realist provocations, Honoré Daumier's satirical edge, Eugène Boudin's
coastal scenes, Claude Monet's vibrant "Ravine of the Creuse at Sunset"
(1889) and "The Rocks of Belle-Île," Camille Pissarro's urban views,
Alfred Sisley's light-filled landscapes, Pierre-Auguste Renoir's
intimate "The Reading of the Role," Pierre Puvis de Chavannes' symbolic
murals, Henri Fantin-Latour's floral arrangements, Eugène Carrière's
misty portraits, Paul Gauguin's exotic "Still Life with Maori Statuette"
(circa 1890), Émile Bernard's bold colors, Victor Vignon's rural vistas,
and Édouard Vuillard's domestic interiors, tracing the evolution from
Romanticism through Impressionism and Post-Impressionism.
For the
20th century, the museum presents modernist explorations with Henri "Le
Douanier" Rousseau's naive "Lion's Head" (acquired in 2011), Pierre
Bonnard's intimate color plays, Henri Matisse's vivid "Reader in a
Purple Dress," Raoul Dufy's Fauvist energy, Albert Marquet's subtle
harbors, Charles Camoin's early "The Tuileries Basin" (1902), René
Aubert's philosophical "Two Philosophers," Jean Puy's expressive
figures, Louis Marcoussis' Cubist abstractions, and Maria Helena Vieira
da Silva's intricate abstractions. Deposits from the National Museum of
Modern Art in Paris include Giorgio de Chirico's metaphysical scenes and
Léonard Foujita's delicate ink works, adding international depth.
Beyond paintings, the museum safeguards notable sculptures, such as
Auguste Rodin's emotive "Young Alsatian" (also known as "Alsatian
Orphan"), and a remarkable set of drawings, including 13 rare watercolor
portraits on paper by Lucas Cranach the Elder (rotated in a specialized
climate-controlled room for preservation). It also houses a series of
nine early 16th-century tempera canvases from Reims' historic hospices,
extensive engravings capturing printmaking techniques, period furniture
reflecting design evolutions, and objets d’art like Art Nouveau and Art
Deco decorative pieces on the ground floor, including animal portraits
by Jacques-Auguste Oudry. These elements collectively embody the breadth
of European artistic innovation, from intricate Renaissance details to
bold 20th-century abstractions, providing visitors with a cohesive
narrative of cultural heritage.
Held from March 25 to April 4, 2016, the exhibition "A Look at Lucas
Cranach the Younger" at the Musée des Beaux-Arts de Reims delved into
the fascinating history of a series of remarkable drawings from the
Reims School of Drawing. These works, which have long contributed to the
prestige of the museum, underwent shifting attributions across
centuries: initially credited to Albrecht Dürer, then to Hans Holbein
the Younger in the 19th century, and eventually to Lucas Cranach the
Elder and his son Lucas Cranach the Younger in the 20th century.
Research has persisted into the 21st century, allowing experts to more
precisely determine their origins and true authorship, confirming
Cranach the Younger as the creator.
Lucas Cranach the Younger
(1515–1586), born in Wittenberg, Germany, as the son of the renowned
Lucas Cranach the Elder, was a prominent painter, woodcut designer, and
key figure in the Reformation era, often collaborating in his father's
workshop before taking it over. The museum's curatorial team highlighted
the latest findings from the major 2015 retrospective exhibition titled
"Lucas Cranach the Younger: Discovery of a Master," held in Lutherstadt
Wittenberg to commemorate the 500th anniversary of his birth. This event
brought together top specialists who, in collaboration with the Reims
team, refined understandings of the artworks' provenance and techniques.
Beyond preservation, the museum's scientific staff prioritizes ongoing
research and public education as core missions. The "Regard sur…" (A
Look at…) series of exhibitions plays a vital role in this, fostering
deeper appreciation of the collections by contextualizing them
historically and artistically. Future efforts will focus on this
exceptional group of drawings—noted for their superior quality and
scarcity—aiming to verify or uncover the identities of the depicted
figures (such as European nobility, including dukes from Pomerania and
Silesia) and explore the interplay between drawing and painting
techniques. As part of the museum's ongoing redevelopment initiative,
studies will examine optimal lighting conditions, display methods, and
environmental factors to enhance visitor experiences. Ultimately, the
team is committed to establishing a permanent showcase for the thirteen
portraits, ensuring these treasures remain accessible to the public.
Examples of Cranach the Younger's style can be seen in works like his
depictions of biblical scenes and noble portraits, which blend detailed
realism with Reformation influences.
Various elements of the historic former Abbey of Saint-Denis have
been officially recognized and protected as monuments historiques in
France, reflecting their cultural and architectural significance. The
street-facing entrance building was inscribed as a historic monument via
a decree dated July 19, 1921. Furthermore, the facade located at the
courtyard's far end—complete with its gallery, the adjoining roof, and
the grand honor staircase—was added to the list by a decree on October
25, 1971.
Originally founded in the 7th century, the Abbey of
Saint-Denis evolved into the Basilica of Saint-Denis, a pioneering
example of Gothic architecture located in the northern suburbs of Paris.
It served as the royal necropolis for French monarchs, housing over 70
recumbent statues, tombs, and effigies of kings and queens spanning from
the Merovingian dynasty through the Bourbon era, making it a key site
for understanding France's monarchical history. The basilica's
innovative design, including its famous stained-glass windows and ribbed
vaults, influenced countless Gothic structures across Europe. Today, it
stands as a cathedral and a major tourist attraction, offering insights
into medieval art, architecture, and the legacy of figures like Abbot
Suger, who spearheaded its 12th-century reconstruction.
The protected
features, such as the entrance and facade, exemplify the site's layered
history, blending Romanesque remnants with Gothic innovations.
Founded in 1794 through the confiscation of artworks mainly from
regional religious sites during the French Revolution, the Musée des
Beaux-Arts de Reims has been led by a succession of committed directors
(referred to as conservateurs in French). These individuals have
influenced the museum's acquisitions, displays, and academic standing
across over 200 years. Starting in temporary spaces and eventually
moving to the historic Abbaye Saint-Denis in 1913, the museum's leaders
have managed obstacles such as global conflicts, growth phases, and
updates—including its temporary shutdown for extensive renovations
starting in 2019, aiming for a 2027 relaunch designed by architect
Francisco Aires Mateus.
1794–1806: Nicolas Bergeat
Serving as
the first director (1733–1815), Bergeat, who was formerly the final
vidame of the Reims Cathedral chapter, was instrumental in protecting
and arranging artworks seized amid the Revolution. He managed the early
storage of items at the old Hospice des Magneuses, establishing the
groundwork for the museum's holdings during turbulent times. His actions
preserved key religious and cultural items, positioning him as a
foundational leader in the museum's establishment.
1838–1846:
Louis Paris
As a regional historian and academic, Paris advanced the
early cataloging of the museum's assets. He created a guidebook for
visitors to the collections, aiding in their promotion and
interpretation during an expansion era via purchases and gifts. His
emphasis was on French art from the 17th and 18th centuries, supporting
the museum's growing interest in major European creations.
1846–1849: Eugène Courmeaux
In his initial period, Courmeaux
(1817–1902), a local resident and political figure, concentrated on
organizing and showcasing developing collections. An 1843 portrait of
him by Masson-Oursel, held in the museum, reflects the formal aesthetics
of his time and his personal connection to the venue.
1849–1853:
Étienne Maubeauge
Maubeauge supported the museum's mid-1800s
structuring, although specifics of his leadership are limited. A
portrait by Jean-Baptiste Victor Charlier portrays him, highlighting the
period's focus on regional artists and the museum's function in
maintaining Reims' cultural icons.
1853–1886: Charles Loriquet
During his extended service, Loriquet (1810–1887), a historian and
archaeologist, compiled the inaugural full inventory of the museum's
paintings, sculptures, and drawings in 1881. His research, covering
Reims' ancient Roman past and Cranach portraits, boosted the museum's
scholarly reputation and broadened its scope to include antiquities.
1887–1895: Eugène Courmeaux
Back for another stint, Courmeaux
built on his prior efforts, prioritizing political and cultural support.
His local political involvement shaped new additions, and a surviving
statuette of him in the collection represents his lasting impact at the
museum.
1895–1915: Henri Jadart
Jadart (1847–1921), an
archivist and extensive author, produced many works on Reims' legacy,
including inventories of portraits and analyses of local sculptors. He
supervised the museum's shift to the Abbaye Saint-Denis in 1913, opened
by President Poincaré, and chronicled its revolutionary beginnings.
1914–1927: Jean-Baptiste Langlet
A doctor and Reims mayor amid
World War I (1914–1919), Langlet (1861–1927) shielded the museum during
shelling. His combined civic and cultural positions secured aid for
artifact removals and post-conflict restoration, with collection
portraits commemorating his public contributions.
1927–1937:
Louis Mennecier
Mennecier (1866–1937) handled the assets in the years
between wars, managing World War I evacuations and curating shows on the
Restoration era. His accounts of wartime safeguards bolstered the
museum's durability.
1937–1947: Eugène Dourcy
As an architect
and part of the Société des Architectes de la Marne, Dourcy arranged
artwork movements during World War II risks, guaranteeing protection
through relocations. His skills supported post-war rebuilds and cultural
conservation.
1947–1949: Régine Pernoud
A celebrated medieval
expert (1909–1998), Pernoud's short leadership came after her Louvre
preparation. She subsequently gained fame as a writer challenging Middle
Ages misconceptions, but at Reims, she prioritized recovery after the
war and historical framing of the holdings.
1949–1961: Olga
Popovitch
Popovitch (1912–1989), an art scholar, arranged significant
displays such as one on the Le Nain siblings in 1953. She went on to
lead the Musée des Beaux-Arts de Rouen (1961–1978), infusing Reims'
assets with intellectual depth amid 20th-century updates.
1961–1989: François Pomarède
Holding the record for longest service
(1928–2018), Pomarède, trained at the Louvre, grew the collections via
new items and shows, including those on fireplace plaques and global
loans. He wrote inventories and lectured at the University of Reims,
strengthening educational connections.
1991–1996: Véronique
Alemany-Dessaint
Alemany-Dessaint (born 1954), a senior curator,
organized themed exhibitions such as "Créer pour survivre" (1995) on
creativity in hardship and "Clovis et la mémoire artistique" (1996)
marking the 1,500th year of Clovis' baptism. She later oversaw the Musée
national des châteaux de Malmaison et Bois-Préau.
1996–1999:
Catherine Delot
During her early role, Delot advanced studies of the
collections and exhibitions, paving the way for contemporary views of
the museum's artifacts.
1999–2015: David Liot
Liot penned
essential books like "Le Musée des beaux-arts, Reims" (2002) and led
exhibitions on Art Deco and Champagne heritage. He promoted vibrant
initiatives, including partnerships on Foujita's art, raising the
museum's global visibility.
Since 2015: Catherine Delot
Returning to leadership, Delot has guided the museum through its recent
phases, emphasizing research, public outreach, and preparations for the
upcoming reopening.