Montmartre Museum: A colorful journey through the bohemia of the hill

The cover photo of the article was taken by Yoel Tamanlis.

The Mona Lisa is not displayed there, and it is not the ironclad assets of Western culture that have earned it its status, but a visit to the Montmartre Museum is an unforgettable experience – do not miss it. Sometimes the whole is nothing without the sum of its parts; but the museum, located in a prestigious neighborhood, is much more than a mere collection of works of art. It is a fascinating documentary document of a vibrant lifestyle – which seems to have ceased to exist, a reliable reconstruction of the nature of bohemian life in the 19th and 20th centuries, and a stormy hymn to the human spirit and groundbreaking achievements in the fields of art, literature and thought.

From the days of the Belle Époque (in French: Belle Époque – the Beautiful Age) to the present day, the district, which sits on a pastoral hill overlooking the capital’s tourist strongholds, has been considered a clear representative of the ‘French experience’. And if the hill is a reliable representation of the national spirit, then the museum is the most faithful prospectus for those who want to truly understand the character of the hill’s residents. Get to know the most pastoral, rooted and local museum in a city full of cultural institutions. But first, before the glorious history, let’s discuss these essential details for the tourist and visitor.

The technical data presented to you is correct at the time of writing; there may have been a number of changes since the date of publication, and visitors should ensure that the details do indeed correspond to the state of affairs prevailing at the time of their visit.

Montmartre Museum in a few words

The Montmartre Museum is located in the neighborhood that bears its name and is dedicated to the perpetuation of local culture and heritage. The exhibits are located in several spaces, in a building considered the oldest residence on the hill. Many artists have lived in the Montmartre house and their work is immortalized among its displays. In addition to the permanent and temporary exhibitions, you can visit the restored studio apartment of the important painter Suzanne Valladon and look at pieces of nostalgia with a touch of authenticity.

The house is surrounded by the Renoir Gardens – designed in the spirit of Pierre-Auguste Renoir’s vibrant paintings and overlooking breathtaking views of local vineyards. And if all this goodness is not enough, visitors can dine to their hearts content in the café located in the complex, offering an ideal pastoral retreat for those wishing to disconnect from the hustle and bustle of the city. The glass roof, seasonal menu and verdant garden contribute to the sense of tranquility. The tearoom-like design reminds visitors and diners of the importance of the institution of Parisian cafés – for artists who worked, met and debated in them in the old days.

Montmartre Museum – Location and Directions

The museum is located on rue Cortot in the Montmartre area, in the 18th arrondissement of the city. ParisIf you wish to use navigation apps, the address you should look for is: MUSÉE DE MONTMARTRE – 12, RUE CORTOT 75018 Paris.

For those traveling by public transportation: You can get there by metro – line 12 (Abbesses station) or line 2 (Anvers station and then using the Montmartre cable car). In addition, bus line 40 also reaches the area (Saules-Cortot station or Montcenis-Cortot station).

Museum opening hours

The museum is open every day of the week, from 10:00 a.m. to 18:00 p.m. Visitors will be allowed in until 17:15 p.m., three quarters of an hour before closing time. Although the museum is not spacious, we recommend that visitors devote several hours to it – for a quality and in-depth experience.

Renoir Cafe is open from 11:00 a.m. to 17:30 p.m. The menu is varied, seasonal, and changing. The maximum length of stay is about an hour and a half, a typical time for cafes in tourist hotspots.

To purchase tickets to the Montmartre Museum, click here.

Complementary experiences

The Montmartre Museum does not present Parisian works, but rather Paris as a work. Since this is the case, it is easy to understand that the designers of the place aimed to create as holistic an experience as possible. One that would accompany the visitor from the moment they enter the gates of the place (and even earlier – in the courtyard of the complex) to a local dinner in Parisian style.

So what can you do at the museum – besides touring the artistic exhibits and enjoying aesthetic and poetic pleasure? Well, quite a bit. You can stroll through the magnificent gardens and feel Renoir’s paintings come to life (what’s more: you can purchase a reduced-cost ticket and visit the gardens only, without entering the museum). You can dine under the glass roof of the local restaurant – in the rays of the warm Parisian sun – and imagine members of the intellectual elite of previous centuries having lively analytical discussions (please ignore the fact that you are probably dining next to tourists like yourself, who have not even a drop of blood French (doesn't flow through their veins.) And finally: you can enjoy a glass of local wine from the restored vineyards, whose roots are planted somewhere in the Middle Ages.

In addition to the permanent exhibitions, there are occasional exhibitions – in a variety of branches of modern art. The changing exhibitions also claim to reflect the character of the region, but by their nature express different, more cosmopolitan perspectives. Before your visit, it is best to obtain as much information as possible from the museum's website, so that you can ensure an initial familiarity with the changing exhibitions.

In addition, there is the option of a guided tour among the grapevines and inside the magical vineyards – every Saturday (at 14:30 PM). After the peaceful tour, participants will be able to taste locally produced wines. As a means of completing the experience, wine glasses with the museum’s unique decoration will be distributed.

And now, after completing the practical part, let's move on to the theoretical part: The Montmartre Museum - what for? Why is another tourist institution needed in the cultural entertainment scene, which is so developed in the 'City of Lights'? How was the site established, what works are immortalized there, who are the artists who worked in the local 'scene' and what can be learned from it about the connection between art and regional roots? More on that and more - later in the article.

The best of times

The 19th century marked transformations and changes in cultural trends on a large scale. In the field of science, it was Louis Pasteur, Thomas Alva Edison, and Charles Darwin who published groundbreaking research and moved the world forward. Figures such as Napoleon Bonaparte, Abraham Lincoln, and Queen Victoria led a global chorus of events on the international stage; and revolutionaries such as Karl Marx and Friedrich Engels sowed the seeds of ideological thought that shook the world in the decades to come. 'It was the best of times,' to paraphrase a famous writer who also lived through an eventful century.

While the 21st century is marked by London, and in the 20th century New York was considered the stronghold of culture, it was our beloved Paris that was the 'home and board' for the great intellectuals who lived and worked in the 19th century. More than any other discipline that flourished in the capital, the city's name rose to fame thanks to artistic movements - which brought about far-reaching methodological changes and greatly influenced the concept of aesthetic conclusion.

Embrace the change

Necessity is the father of creativity, and the artists who defined their era operated in constant dialogue with the innovations of their time. The main challenge facing figurative art, the fruit of the development of groundbreaking photographic means, turned out to be the force of resistance that the artistic spirit of the time resisted. The modern painter was required, as written in a reasoned article published in the newspaper 'Le Figaro', to incorporate ephemeral motifs into his works, alongside perpetuating the unshakable stability of the artistic spirit.

Alongside neoclassicism and romanticism, realism, symbolism, impressionism, post-impressionism, pointillism, and a host of other sub-branches flourished – laying the foundation for further movements, some of which accompany us to this day. The passage of the century raised other cultural powers to greatness, but France continued to maintain its pioneering status and the image of thoughtful innovation that accompanied it.

Divides and unites

Currents such as Fauvism stood as a counter-response to German Expressionism; the Art Nouveau movement undermined the ancient dichotomy between the fine arts and the decorative arts; and the syntheses refreshed the versatile eclecticism, so familiar to the contemporary artist. Among the list of artists who worked at the turn of the century (Fin de siècle; although not according to the narrow historical definition of the definition) you can find the names of Camille Pissarro, Pierre-Auguste Renoir, Vincent van Gogh, Henri Matisse, Pablo Picasso andAmedeo Modigliani.

These belonged to diverse, sometimes completely different schools of thought. Although they are all considered members of the Hall of Fame of 19th and 20th century painters, it is not easy to find the thread that weaves together their names. And yet, there is something in common: all of the artists whose names were mentioned above, along with many others, lived, worked, thought and created on one hill – on the right bank of the Seine. It is not often that the history of art and the story of a northern Parisian hill are so strongly linked. When a miracle happens, it justifies a museum. At least that is what the founders of Montmartre thought, whose story you will read about in a moment.

However, before we begin telling the story of the museum, let me recommend that you read the article about The history of Montmartre The article will give you historical background, which will help you better understand the period and the people I am about to talk about.

Once you've done that, let's get going and visit the museum.

Visit to the Montmartre Museum

At this point in our journey, we have reached the destination for which we have gathered: the museum that commemorates the turbulent period. Unlike large, old entertainment institutions – which showcase the renowned French grandeur, Montmartre celebrates romantic domesticity and intimate pastoralism. The museum does not pretend to be more than a worthy representation of the artists who lived and worked in the neighborhood. Fortunately, when we are dealing with a neighborhood like this, it seems that this is enough to be a magical place for tourists and art lovers.

The Montmartre Museum was founded in 1960 and only gained official status as a 'French Museum' (Musée de France) in 2003. And yet, when alongside the history of a tourist site there is an ancient heritage – which includes uniqueness and universality at the same time, the full story becomes much more fascinating.

There are sites that are used to host cultural performances; there are sites that are themselves considered tourist performances; and finally: there are sites that house valuable works and performances within their walls, within a historic building with great tourist significance. One such is Montmartre.

The works are housed in several spaces, dating back to the 17th century. The site's buildings are among the oldest and most traditional on the hill, reflecting in their architectural style and the well-kept garden environment that embraces them – all the principles of the peripheral Parisian lifestyle. One that draws from the roots of vibrant locality, but maintains a haven of peace, far from the hustle and bustle of the big city.

When the industrial trend ate up every good part of it, the flour mills stopped slowing down their operations, and the vineyards' activity was reduced, the hill remained an island of pastoralism in the heart of the capital. The painters who worked in those days found in it an unfailing source of spiritual rest, something that the museum's management is trying with all its might to preserve.

Buildings in the museum

The main building is called the 'Bel Air House' (in French: La Maison du Bel Air; according to some sources – the oldest residential house in the area). It is a magical brick building, surrounded by a pastoral and expansive garden. The garden overlooks the vineyards – which are so identified with the place – and allows you to trace the experiences of the artists who worked within it, while soaking up the intoxicating atmosphere.

The site is divided into three main spaces: the Hôtel Demarne, the workshop of Suzanne Valladon and her son Maurice Autryau, and the Renoir Café. The gardens were designed in the style of Renoir's paintings, who found his surroundings a constant source of inspiration and a source of abundant creativity.

The gardens overlook, as mentioned, an ancient vineyard – the beginnings of which date back to the Middle Ages. In 1933, the vineyard was reopened and new vines were planted. If you wanted to taste the delights of the agricultural crop, you would surely be disappointed by the fact that the wine was crowned, by the New York Times, as ‘the worst expensive wine in France.’ So, what do Americans understand by nostalgia?

In 1670, the complex was purchased by the famous playwright and actor Claude de La Rose, better known as 'Rosimond'. This, if you will, can be seen as an initial and unconscious initiation ceremony into a glorious dynasty of artists and cultural figures who chose to reside within the walls of the building.

The Unimaginable Patient

Rosimond, who lived from 1640 to 1686, was a particularly fascinating man. Among the many stories that accompany his colorful character, the tale of his tragic death is particularly well-known: the director was known for his fondness for the plays of Molière, the greatest French playwright of all time. In particular, Rosimond is known as the person responsible for the revival of Molière's comedy "The Imaginary Patient."

One day, after he left the stage, our acquaintance felt unwell and died a few hours later. The tragicomic factor? His hero also died a short time after he left the stage, during a performance of the play 'The Imaginary Patient'. If the coincidence were not enough, when the actor's family wanted to bury him, they encountered difficulties that were piled up by the Christian Church - due to his 'satanic' role (along with scientists, philosophers and other people who refused to adopt the Christian paradigm, a 'place of honor' was known to actors, especially in the field of comedy). Another person who faced similar obstacles on the way to his burial? I'll let you guess for yourself.

House of the Wise

Over the years, the house was abandoned and fell from its status, but like that mythological phoenix – it returned from the dead and demanded its crown again. Many important artists worked there and found in its surroundings a focus of inspiration and creative fertility. The mythological muses, Greek literature tells us, liked water springs, mountains and forests. It seems that the French muses chose to reside on Montmartre Hill, close to the museum building.

Since the place traces – with remarkable consistency – the artists who worked, designed and were shaped by the spiritual and social atmosphere that prevailed in the area, it would be better to briefly review the histories and legacy of the painters who lived in the museum house. This will make it easier to understand the uniqueness of the latter; one that celebrates the particularity and individuality of the local character of life, which served as a kind of ‘cultural beacon’ for French and European art in general.

Pierre-Auguste Renoir

A tireless optimist; a man with a range of skills that spans the luminaries of the arts; a painter and sculptor who shaped and defined the Impressionist movement; and the man who succeeded, more than anyone before him, in immortalizing living movement on a painting surface.

In September 1873, in a move that was typical of artists of his time, Renoir left the city center and settled in an attic in the Montmartre district. His period in the district was extremely productive and is sometimes defined as the peak of his Impressionist era. His best-known paintings from this period, 'Breakfast on the Grass' and 'The Ball at the Moulin de la Galette', are part of the professional harvest he reaped during his years in the district. The latter painting, incidentally, opens a window into the bustling life of Montmartre and depicts a bourgeois ball near a familiar windmill, painted red...

The Montmartre Gardens, as mentioned above, were inspired by the works of Renoir – which he depicted in some of his works, including his painting 'The Swing'. The museum's café – which bears the painter's name, also testifies to his great importance. Apart from his influence on French Impressionism, Renoir was undoubtedly one of the greatest figures and most identified with the historic district. In 1876, he established himself in the Rosimont house and began a new dynasty of artists who lived there.

The Damned Trinity

One of the museum's most playful attractions, one that draws many tourists, is the reconstructed studio apartment of artists Suzanne Valladon, Maurice Autryau and André Autryau. These three great artists with questionable family ties (Maurice was Suzanne's son from an unknown father; André was Maurice's second husband and stepfather), were known for their constant quarrels, grand reconciliations and constant escapes into alcoholism. Well: you don't choose your family.

Between quarrels and celebratory reconciliations, the three were not bad painters at all. The studio apartment where they worked is considered an integral part of the museum. Sadly, the many traces they left behind did not survive the ravages of time. But luck stood in their way, and thanks to reliable restoration and ongoing renovation work, the museum team managed to immortalize the atmosphere that prevailed in the small house and shed a unique light on the lively bohemian spirit of the three.

Suzanne Valadon

Suzanne Valladon was a groundbreaking artist in many fields. In a world where categorical distinctions were quite rigid and clear, Valladon, with her free spirit, marked the trend of contemporary eclecticism and refused to identify – explicitly or implicitly – with any artistic movement or tradition.

The first woman to exhibit at the Salon of the Société Nationale des Beaux-Arts in Montmartre; one who initially served as a model for other painters, out of a desire to follow their work; an unconscious theorist who expressed opposition to academic perspective and artistic idealization; Suzanne Valladon became a feminist icon (although she never defined herself as a feminist) and a groundbreaking painter.

Maurice Autryau

The son of Susan, a landscape painter and a native of the neighborhood. His success story may be a fertile ground for 21st-century fans of the self-realization genre. From birth to an unknown father and parental abandonment (Maurice was raised by his grandmother), through dropping out of school and ending with an escape to a bitter pit, the young man's future did not seem promising at first.

His works were displayed in prestigious exhibitions and his aesthetic approach became admired. The Legion of Honor was the final seal of his greatness; his marriage went well and his life took off.

His work is known for its simplicity, devoid of non-figurative distortions of form, on the one hand, but for its subjective poetics and individualism, on the other. Attempts to attribute him to a distinct aesthetic trend have been in vain, thanks to the artistic soul that resided within him, without meticulous academic grammars. Whether it is his dark period filled with melancholy, the exemplary 'white period' or the cheerful naivety that characterized his colorful period, his works could be seen as a sincere and courageous window into his wandering emotions. Personal expression and a unique touch, more than any group affiliation, are what gave Otario his name and status.

Andre Otter

The third, lesser-known member of 'The Triangle'. Born in Paris and son of parents originally from Alsace. He began his 'artistic career' on the other side of the barricade, as a model for a painting for Suzanne Valladon. In the well-known painting 'Adam and Eve' (in French: Adam et Ève), for example, André 'served' the role of Adam.

In 1913, shortly before his enlistment in the army, André and Suzanne were married in a modest ceremony. Upon his return to civilian life, Otter became his wife's professional manager and even after their divorce, he continued to play a role in her life, until her death in 1938.

As a well-known French artist, he is known for his landscape paintings, inspired by his region of residence; for his still life paintings; and for the many portraits he painted during his lifetime. He also gained fame as a decorator of many theatrical sets. His drawings were sold in exhibitions initiated by his wife; a solo exhibition he held was unsuccessful, and to this day, Otter is known mainly for his tortuous romantic relationships with Suzanne Valladon.

Emile Bernard

One of the most prominent figures who lived and worked in the old estate. A thinker and theorist of art, a writer, critic and painter with a vision and a spirit. If the location of his predecessors on the artistic timeline is impossible due to the lack of coherent outlines for their definition, then Emil identified with many movements and currents during his life, some of which were developed in harmony with his works.

Bernard was known for his pluralistic nature and cultural openness. A world-wide trip – in 1893 – included a visit to Florence and Rome in Italy. From Italy he moved to Turkey (visiting Smyrna and Samos) and then visited Jaffa and Jerusalem, Alexandria and finally Cairo, the city where he settled. Among other things, he created a fresco for the Cairo Cathedral. The multicultural trend that characterized him was also evident in his marriage to Hanan Sat, a native of Lebanon – during a period when he began to explore the local culture and dress as an Arab. At that time, he immersed himself in reading philosophical writings by Plato, Aristotle, Augustine, Thomas Aquinas and Hegel.

His work is characterized by great eclecticism and a pioneering representation of many artistic trends. The main Post-Impressionist styles he experimented with were Cloisonnism (the use of two-dimensional shapes, surrounded by a thick black outline and painted in distinct colors for each unit); and Synthetism (a fusion between the artist's spirit and mental movements and tangible realism, using only two-dimensional shapes). His extensive connections with the 'greats of his generation', including Van Gogh, Gauguin, and Cézanne, made him a central figure in the artistic landscape and a source of local pride.

And that's not all... 

Other artists who walked within the historic walls of the building were Raoul Dufy (a Fauvist painter, known for his use of vibrant colors and decorative art), Otto Freys (a multidisciplinary artist, primarily associated with the Fauvist movement), Demetrios Glenis (an Athenian-born painter, with great emotional depth and expertise in tracing the contours of the human body), Francis Polvo (a poster designer, draftsman, and illustrator), Leon Blau (a Catholic theologian, writer, essayist, and satirist), and Pierre Reverdy (a poet who experimented with Surrealism, Dadaism, and Cubism).

Administrative nonsense

The museum's collections belong to the 'Old Montmartre Society' (French: Le Vieux Montmartre), a body founded in 1886 with the aim of preserving the local heritage. The society holds numerous documents and drawings, unique photographs and historical pieces from the era of bohemia and cabarets. In 1967, the 'Old Montmartre Society' was recognized as a certified public service provider.

In 2011, the keys to the management were awarded to Kléber Rossillon, a company that specializes in the management and maintenance of historic sites. The company is promoting a large-scale renovation project, which has so far updated the facade of Suzanne Valladon's studio and other exhibition spaces.

In 2003, the museum was awarded a prestigious administrative honor: the title of 'French Museum' (in French: Musée de France; a somewhat generic name, if I may say so) was given to it about a year after the title's status was defined by law. As of the last update, the list of holders of the mandatory title includes 1,222 museums, reflecting the vast regional scope, the various social affinities, and the state's commitment to supporting the preservation and shaping of cultural and general history.

Montmartre Museum – Summary

A visit to the Montmartre district is a must for travelers in Paris. But such a visit would not be complete without taking in the extensive historical context that shaped the character of the place. The museum provides an accurate, albeit somewhat naive, picture of the magical life in the peaceful neighborhood. The authentic experience does not involve the presence of complex and historically significant works. On the contrary, it is precisely the regional, subjective and personal context that contributes to the enjoyment of the museum visitors.

If you want to experience Paris at its greatest, remember its days as the undisputed cultural powerhouse, and feel for a moment the bustling artistic and intellectual scene that characterized the city in those centuries, the Montmartre Museum is the best place for you to spend your time.