Timeline

Key figures

Origin and history

The Pinacothèque de Paris, a private museum dedicated to the history of art, opened its doors in 2007 at 28 Place de la Madeleine after a first exhibition in 2003 at 30 bis rue de Paradis. This project, led by Marc Restellini, was distinguished by its independent economic model, without public subsidies, and an eclectic programming combining ancient masters (Rembrandt, Tintoret) and contemporary art (Lichtenstein, Pollock). Its initial success, with a claimed attendance of 4,000 daily visitors, made it one of the most visited museums in Paris, along with the Louvre or Orsay.

In 2011, the Pinacoteca extended its spaces with a second site at 8 rue Vignon, totalling 5,000 m2 dedicated to temporary exhibitions and "Collections", a concept highlighting works from major historical collectors (Romanov, Esterházy). The architecture, signed Laurent Gunamard-Casati, played on 19th-century courtyards and warehouses. However, as early as 2014, financial difficulties emerged: a deficit of €2.3 million, unpaid rents (€300,000/month), and litigation with claimants. The fall in attendance after the attacks of 2015 accelerated its judicial reform.

The final closure took place in February 2016, leaving behind debts estimated at €10 million, including rents outstanding for two years. An antenna in Singapore, opened in 2015 under the same brand but managed separately, also ceased its activities in 2016 due to malfeasances endangering works and internal litigation. The exhibitions of the Pinacoteca, often ambitious (Van Gogh, Klimt, Leopold de Vinci), had marked the Parisian cultural landscape, despite controversy over management and accusations of falsification of attendance figures.

Among the highlights, the Picasso Intime (2003) exhibition, based on works by Jacqueline Roque, or the Dutch Gold Age (2009-2010) with Rembrandt and Vermeer, illustrates his desire to democratize art. The museum also explored bold themes such as The Kâma-Sûtra (2014) or The Pressureism (2015), dedicated to graffiti. Its decline reflects the challenges of private museums in the face of economic crises and competition from public institutions.

The heritage of the Pinacoteca remains mixed: it was praised for its dynamism and its international partnerships (Ermitage, Lichtenstein Foundation), and was also criticized for its financial opacity and methods. Its founder, Marc Restellini, embodied this project until its closure, while figures such as Yves Bouvier, a Singaporean shareholder, were associated with later controversy in the art market.

External links