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Château de Ménil-Hubert-en-Exmes dans l'Orne

Patrimoine classé
Patrimoine défensif
Demeure seigneuriale
Château de plaisance
Orne

Château de Ménil-Hubert-en-Exmes

    13 Le Bourg
    61230 Ménil-Hubert-en-Exmes
Château de Ménil-Hubert-en-Exmes
Château de Ménil-Hubert-en-Exmes
Château de Ménil-Hubert-en-Exmes
Château de Ménil-Hubert-en-Exmes

Timeline

Temps modernes
Révolution/Empire
XIXe siècle
Époque contemporaine
1800
1900
2000
1823
Purchase by Auguste Valpinçon
1859
Stay in Edgar Degas
4e quart XVIIIe siècle
Construction of the castle
3 décembre 2010
Historical Monument
Aujourd'hui
Aujourd'hui

Key figures

Edgar Degas - Impressionist painter Invited in 1859, he installed his workshop there.
Auguste Valpinçon - Owner in 1823 Buyer of the estate and ancestor of the hosts.
Paul de Valpinçon - Degas' friend Owner welcoming the painter in 1859.

Origin and history

The castle of Ménil-Hubert-en-Exmes, built in the last quarter of the eighteenth century, is a limestone building typical of Norman architecture. It is distinguished by its proportions studied and its state organization, including dependencies, a landscaped park and a complex hydraulic network (such as the "peer" basin). These elements reflect an autarchic economy, characteristic of the large rural areas of the time.

In 1823, the estate was acquired by Auguste Valpinçon, whose family played a key role in its history. In 1859, the painter Edgar Degas stayed there as a guest of Paul de Valpinçon, son of Augustus, and set up his workshop in a brick pavilion. This stay marks a notable artistic episode, linking the castle to the history of Impressionism. The estate, with its 19th century factories and facilities, also illustrates the evolution of aristocratic residences towards functional landscape ensembles.

Ranked Historic Monument in 2010, the castle is protected for its facades, roofs, and its park with its hydraulic systems. These protections highlight its architectural interest, as an example of a complete rural estate, and artistic, thanks to its connection with Degas and the Valpinçon family. Today the ensemble preserves the traces of this double history, between seigneurial management and creative inspiration.

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