Inside The Marketing Strategy Of The Louvre, The World's Most Visited Museum.

Paul TalbotContributor

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With more than ten million visitors last year, a 25% increase from 2017, why would the Louvre need a marketing strategy?

For the past 18 years, the world’s most visited museum has been getting a hand with marketing projects from Accenture Interactive and the Accenture Foundation.

I recently asked Claude Chaffiotte, managing director for Accenture Interactive in France and Benelux, to illuminate some of the work that’s being done.

Paul Talbot: Where does marketing fit into the strategic plan you’ve been working on for The Louvre?

Claude Chaffiotte: The Louvre aims to create meaningful experiences for visitors before, during, and after their visit.

To meet this goal, Accenture Interactive is helping the museum to better understand its visitors, including the scientists and researcher community, in order to offer a more qualitative experience and create relevant digital services.

As a key sponsor of the digital transformation, the CMO of the Louvre plays a pivotal role, leading many initiatives such as brand positioning tailored to the different channels, graphic design chart, and internal and external communications.

Talbot: One of the objectives is ‘(to) enrich the visitor experience before, during and after their visit to the Louvre.’ Could you provide a few examples of how digital resources might be used to achieve this?

Chaffiotte: In 2015, we enriched the visitor experience of the ‘Petite Galerie,’ a permanent exhibition space in the heart of the museum, by developing a website and mobile app using augmented reality.

For instance, the deteriorated ‘Dancers of Delphi’ sculpture was ‘restored’ using augmented reality, enabling visitors to see this masterpiece in its original state.

In 2019, we are initiating the revamp of the Louvre website and adding AI-based ‘conversational functionalities’ to help visitors prepare ahead of their visits.  This will allow Louvre agents to free up their time to focus on added-value services.  

We also implemented a digital tool for the agents that allows them to track daily incidents and solve them in real-time.

Talbot: How much physical capacity does the Louvre have for visitor growth and how can digital innovations address some of these challenges?

Chaffiotte: The Louvre had more than 10 million visitors last year, a historical record, despite being located among the protests of the yellow vest movement.  The trend for 2019 seems to point to another record year, specifically with the long-awaited Leonardo Da Vinci exhibition to celebrate the 500th anniversary of his death.

With record visits in 2018 and anticipated in 2019, the Louvre had to rethink how to best direct the flow of visitors.

Digital innovations will help solve these issues by improving yield management, optimizing visitor traffic, and providing online access to exhibitions.  New innovations will also enable an improved experience for the Louvre agents, allowing them to provide enhanced services to visitors.

Talbot: What innovations do you foresee taking place with the marketing of museums over the next few years?

Chaffiotte: Innovations to attract new visitors and to increase the loyalty of existing ones, using digital to:

• Facilitate the access to all art collections of the Louvre, including art pieces that are not exhibited in the museum.
• Better target specific visitors (e.g. people under 35, regular visitors, people who never visited the museum, etc.).
• Innovations to better amplify the art collections, particularly art pieces that are not exhibited, and art knowledge.  The Louvre owns around 620,000 art pieces, but only 35,000 are exhibited.  The digitization of art pieces will allow the general public, academics, scientists, and researchers to access the entirety of the museum’s collection. 

Talbot: Any other insights you’d like to share?

Chaffiotte: Working together for 18 years now, we share the same vision: art is innovation and innovation is art.  We also share the same goal of revamping the museum to place the visitors, employees, professionals, and researchers at the center of this strategic initiative and to make the experience for each visitor as unique as the museum itself.

The Barnes Foundation In Philadelphia And The Musees D'Orsay Et De L'Orangerie, Paris, Announce Reciprocal Admission For Members

First reciprocal admission program for members 
of two international cultural institutions

Philadelphia, PA—The Barnes Foundation and the Musées d’Orsay et de l’Orangerie, Paris, have announced reciprocal free admission for members beginning June 1, 2019. This is the first reciprocal members admission program between American and French arts institutions.

Through this partnership, Barnes members will receive unlimited free admission for themselves and a guest to the Musées d’Orsay et de l’Orangerie by showing their Barnes membership ID card upon arrival. Members of the Musées d’Orsay et de l’Orangerie will receive the same benefit at the Barnes Foundation by showing their Carte blanchemembership card. At each institution, members and their guests will be granted free access to both permanent collections and special exhibitions.

 “Philadelphia and Paris have long shared a strong relationship with myriad artistic and cultural ties. Today, we are thrilled to extend our partnership with the Musées d’Orsay et de l’Orangerie—which has been growing since we collaborated last year to organize the critically acclaimed exhibitions Renoir: Father and Son/Painting and Cinema and Berthe Morisot: Woman Impressionist, which is opening in Paris next month—with a reciprocal admission program for our members,” says Nina Diefenbach, senior vice president, deputy director for advancement of the Barnes Foundation. “We always strive to offer additional value and new experiences to our members, and this program is not only a wonderful opportunity for members of both institutions, but it also underscores our shared commitments to cross-cultural exchange and discovery.” 

Aurélie Cauchy-Laure, director for development, marketing and international affairs at the Musées d’Orsay et de l’Orangerie, adds: “As sister institutions with world-renowned collections of impressionist and post-impressionist paintings, and deep commitments to scholarship and the presentation of compelling special exhibitions, the Musées d’Orsay et de l’Orangerie and the Barnes are excited to collaborate on this first-of-its-kind reciprocal admission program for our members.”

Further information about the reciprocal admission program for members can be found on the websites of the Barnes and the Musées d’Orsay et de l’Orangerie.

About the Barnes Foundation  
The Barnes Foundation is a nonprofit cultural and educational institution that shares its unparalleled art collection with the public, organizes special exhibitions, and presents programming that fosters new ways of thinking about human creativity. The Barnes collection is displayed in ensembles that integrate art and objects from across cultures and time periods, overturning traditional hierarchies and revealing universal elements of human expression. Home to one of the world’s finest collections of impressionist, post-impressionist, and early modernist paintings—including the largest groups of paintings by Pierre-Auguste Renoir and Paul Cézanne in existence—the Barnes brings together renowned masterworks by such artists as Henri Matisse, Pablo Picasso, Amedeo Modigliani, and Vincent van Gogh, alongside ancient, medieval, Renaissance, and non-Western art as well as metalwork, furniture, and decorative art.

The Barnes Foundation was established by Dr. Albert C. Barnes in 1922 to “promote the advancement of education and the appreciation of the fine arts and horticulture.” Since moving to the heart of Philadelphia in 2012, the Barnes has expanded its commitment to teaching visual literacy in groundbreaking ways, investing in original scholarship relating to its collection and enhancing accessibility throughout every facet of its program.

The Barnes is open Wednesday–Monday, and tickets can be purchased on-site, online, or by calling 215.278.7200. Ticket prices and current hours are listed on our website.

About the Musée d’Orsay
Located in a refurbished 1900s railway station, the Musée d’Orsay has been renowned worldwide since its opening in 1986. Devoted to the second half of the 19th century, it features collections of artwork primarily created between 1848 and 1914. Its multidisciplinary nature brings together painting, sculpture, decorative art, objets d’art, architecture, drawing, and photography. Upon entering beneath the zenithal light that illuminates the tiered nave, sculptures by Pradier, Clésinger, and Cordier reveal themselves, gradually leading toward Carpeaux’s original sculpted group La Danse. On the terraces you can also admire works by Rodin, as well as Bourdelle and Maillol.

Next come the paintings, found on both sides of the ground floor’s central aisle, in the Impressionist Gallery, and in the rooms on the middle level. All of the artistic movements of the time are represented—impressionism, realism, naturalism, post-impressionism, symbolism, etc.—and the illustrious painters Millet, Courbet, Manet, Degas, Monet, Renoir, Sisley, Pissarro, Cézanne, Van Gogh, Seurat, Gauguin, Vuillard, and Bonnard stand alongside others, no less famous in their time, such as Gérôme, Cabanel, Bouguereau, and Jean-Paul Laurens.

Masterpieces stand side by side, among them Courbet’s monumental The Artist’s Studio, Millet’s iconic The Angelus, Manet’s Olympia and Luncheon on the Grass, Monet’s The Saint-Lazare Station, Degas’s The Ballet Class, Van Gogh’s Starry Night, and Cézanne’sApples and Oranges. The Musée d’Orsay also offers many pieces of decorative art, with art nouveau represented by the creations of Gallé and Guimard. Architecture has its own dedicated space where models like that of the Paris Opera House are displayed. Temporary displays of drawings and photographs allow one to discover the true richness of the collection.

About the Musée de l’Orangerie
The Musée de l’Orangerie presents two prestigious collections: Les Nymphéas (The Water Lilies), the culmination of Claude Monet’s thinking, a monumental yet intimate work that explores all the variations of light and draws the visitor into a contemplative vision of infinity, and the Walter Guillaume Collection, illustrating the creative work produced in the first decades of the 20th century, with works representing impressionism and modern classicism by Renoir, Cézanne, Modigliani, Soutine, Matisse, and Picasso, among others.

Surrealism Now Present At Palácio Da Lousã, Portugal, Paris, France And In Los Angeles

The internationalization of the International Surrealism Now is more than one evidence.

Paris, Los Angeles and in the Palace of Lousã in Portugal where the number of thousands of visitors led the organizers to extend the exhibition of International Surrealism Now indefinitely.

International Surrealism Now is a project by the surrealist painter Santiago Ribeiro, who has dedicated himself to promoting the surrealism of the 21st century, through exhibitions worldwide.

The "International Surrealism Now" began in 2010 in Coimbra, when Santiago Ribeiro conceived a major exhibition organized by Bissaya Barreto Foundation

At present, the "International Surrealism Now" on the Palace of Lousã includes artists from 29 countries: Australia, Austria, Azerbaijan, Belgium, Brazil, Canada, Chile, China, Spain, USA, Philippines, France, Holland, Indonesia, England, Iran, Iceland , Italy, Japan, Mexico, New Zealand, Poland, Portugal, Romania, Russia, Serbia, Slovenia, Ukraine, Vietnam.

The exhibition consists of a variety of artworks including drawing, painting, photography, digital art and sculpture.

artists:
Agim Meta, Ana Neamu, Anna Plavinskaya, Andrew Baines, Asier Guerrero Rico ( Dio ), Brigid Marlin, Daila Lupo, Dan Neamu, Daniel Hanequand, Daniele Gori, Domen Lo, Edgar Invoker, Egill Eibsen, Erik Heyninck, Ettore Aldo Del Vigo, Farhad Jafari, France Garrido, Francisco Urbano, Gromyko Semper, Héctor Pineda, Hugues Gillet, Isabel Meyrelles, Keith Wigdor, Leo Plaw, Liba WS, Lubomír Štícha, Ludgero Rolo, Lv Shang, Maciej Hoffman, Magi Calhoun, Maria Aristova, Martina Hoffman, Mehriban Efendi, Naiker Roman, Nazareno Stanislau, Octavian Florescu, Oleg korolev, Olga Spiegel, Otto Rapp, Paula Rosa, Pedro Diaz Cartes, Rudolf Boelee, Santiago Ribeiro, Sergey Tyukanov, Shahla Rosa, Shoji Tanaka, Shan Zhulan, Sio Shisio, Slavko Krunic, Sônia Mena Barreto, Steve Smith, Stuart Griggs, Svetlana Kislyachenko, Tatomir Pitariu, Ton Haring, Victor Lages, Vu Huyen Thuong, Yamal Din, Yuri Tsvetaev e Zoran Velimanovic.

In Paris the exhibition will be held at the Consulate General of Portugal and the protagonists are artists sculptor Isabel Meyrelles ( Historical figure of international surrealism having lived with surrealist like Andre Breton and with the Portuguese Cruzeiro Seixas ) and painter Santiago Ribeiro.

The Paris exhibition is entitled "L'envers de la Réalité". A surrealistic expression to explain that Surrealism is like a ripping curtain that reveals to us what is happening on the other side of reality.

The exhibition will be inaugurated on December 4, 2014 at 18:30, will be open until January 8, 2015 and is co-organized by the Consulate General of Portugal in Paris, a cultural space open to amateurs and lovers of Visual Arts, and GAPP (Galeria de Arte Portugal Presente).

Los Angeles, California, the U.S.A. exhibition will be held at the Latino Art Museum in Los Angeles, California, and is entitled "21st Century Luso-American Surrealism ".
This exhibition emerged through invitation by American surrealist artist Shahla Rosa and it features artworks by artists:

Portugal -Francisco Urbano, Santiago Ribeiro, Victor Lages;
USA -France Garrido, KD Matheson, Olga Spiegle, Shahla Rosa.

The participating artists in these two exhibitions (Paris and Los Angeles), integrate the project International Surrealism Now.

Paris's 10 Best Small Museums

An hour in Paris is enough time to get a glimpse of the Mona Lisa (once you've elbowed your way through the crowds at the Louvre)—or, better yet, you could spend that time exploring one of the city's under-the-radar small museums. Here are ten of the best.

Musée Carnavalet

A mammoth’s molar; the chair in which Volatire died; Robespierre’s shaving dish. The collection of the Musée Carnavalet (the first municipal museum in Paris) documents the history of the city in the eclectic and eccentric way a museum about Paris should: through its everyday objects (there's a gallery filled entirely with street signs) and historical curiosities (hello, Jean-Jacques Rousseau’s inkwell). Bonus: it’s right in the center of the Marais (around the corner from Carven; opposite a Petit Bateau), and therefore a perfect place to break from an afternoon of shopping.

©Antoine Dumont

Pagoda Paris

You can’t miss this bright red pagoda in the eighth arrondissement: it’s six stories tall and flanked by two classic Haussmann apartment blocks. The building is the former home of Ching Tsai Loo, a renowned collector of Chinese and Asian art and artifacts who converted it to a museum in 1925. The pagoda's galleries still contain much of Loo’s original collection of terra-cotta figurines, jade carvings, and porcelain. But the real attraction is the interiors, which are lavish with Shanxi lacquered panels, beautiful hardwood floors, and glass art deco ceilings.

©Jacopo Brancati

Musée Nissim de Camondo

A short walk from the Paris Pagoda is the Musée Nissim de Camondo, a time capsule of life in Belle Époque Paris. The mansion was commissioned by a wealthy banker, Moïse de Camondo, as a setting to show off his collection of 18th-century furniture and objets d’art. This is the place to see rare Sèvres porcelain, intricate Savonniere carpets (some of which were originally woven for the galleries of the Louvre), and all the gilded furniture you could ever wish for.

Musée Nissim de Camondo

Musée National Gustave Moreau

The Musée National Gustave Moreau is the definition of an eccentric artist's museum, containing the personal apartment of the Symbolist painter Gustave Moreau, his strange collection of souvenirs, and the galleries of artwork he arranged on the upper floors of his private home. The walls, hung floor-to-ceiling with melodramatic mythological canvases, are a fantastic shade of plummy pink.

©RMN-GP/Stéphane Maréchalle

Maison La Roche

This is a mecca for architecture nerds worldwide—above all for fans of French-Swiss design legend Le Corbusier, who designed this listed house in 1923, along with the adjoining Maison Jeannaret. Today it houses the Fondation Le Corbusier, which owns 8,000 original drawings, plans, and paintings by the architect, as well as the building's original furniture.

©FLC-ARS/OMG 2014

Musée Zadkine

The former home of the Russian sculptor Ossip Zadkine (1890-1967) is now a jewel box of a museum filled with the artist’s work. Walking in, through a lush garden punctuated by large Cubist stone and metal figures, feels like chancing upon forgotten treasure. Plus, it’s just a short stroll from the Jardin de Luxembourg.

Musée Zadkine

Musée Cognacq-Jay

Another beautiful mansion hidden in the Marais, the Musée Cognacq-Jay is home to the private collection of Ernest Cognacq and his wife Marie-Louise Jaÿ—the founders of La Samaritaine (once the largest and most glamorous of Paris's department stores). A stroll around the twenty Louis XV and XVI rooms offers paintings by Rembrandt, Canaleto, and Reynolds, as well as cases of jewelry and sterling silver snuffboxes.

©Didier Messina

Musée Bourdelle

The Musée Bourdelle is one of the few remaining examples of the artists’ studios that filled the Montparnasse area of Paris at the turn of the last century. Arranged throughout its darkly atmospheric interiors are close to 500 works by the monumental sculptor Antoine Bourdelle—a pupil of Auguste Rodin and a mentor to Alberto Giacometti—as well as works by Ingres, Delacroix, and Rodin himself. The artist’s studio is still arranged as it was during his lifetime, complete with intriguing details like a full set of Samurai armor and scraps of medieval architecture.





Musée de Cluny

The Musée de Cluny (or the National Museum of the Middle Ages) isn't exactly small—it occupies a walled medieval townhouse so large it looks more like a castle—but it is lesser visited. The current exhibition, "Les Animaux Font le Mur" (through January 5), displays spooky stuffed specimens of the animals featured in the museum's famous Lady and the Unicorn tapestries.

©MNHN-Stéphane Jounot




Musée Jacquemart-André

Edouard André, a banking heir, and Nélie Jacquemart, a well-known painter, filled their mansion on the Boulevard Haussmann with art from their travels to Rome, Cairo, Istanbul, and the Far East. After André died, Jacquemart continued to add to the couple’s shared collection, amassing galleries filled with Italian Renaissance art, which she then bequeathed to the Institut de France. The couple’s private apartments are also on view, as is their celebrated winter garden, a grand marble courtyard filled with an enviable collection of exotic potted plants.

©C. Recoura

Contributed by Alice Newell-Hanson, an assistant editor at Condé Nast Traveler.

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