The Bemberg Foundation appeared to have everything going for it: a magnificent collection regularly enriched with new masterpieces, housed in an exceptional architectural setting with comfortable financial resources. All indicators seemed positive as visitors eagerly awaited its reopening after four years of renovation work.
In February 2024, visitors were once again admitted inside the Hôtel d'Assézat, but there's no doubt the shock was harsh for regular visitors who had trouble recognizing the place. The institution clearly chose to break with the old museum, which was apparently deemed obsolete, but this metamorphosis has often been painful.
It's difficult to deny that the former museum layout could easily appear outdated, even though critics aren't necessarily opposed to wall hangings and floor carpets. One can only hope that not everything was thrown away, despite the displayed intention to wipe the slate clean of this place's past - a venue that was inaugurated in 1995 but already refreshed in 2004.
The entrance now features what many consider an inappropriate tribute to Georges Bemberg: a surprising frieze on an inclined table, extended by a portrait of the collector that already appears to be bending on an easel. This represents a stark departure from the foundation's previous approach.
In 2004, during the first reopening after renovation work, several rooms underwent rearrangement. Philippe Cros, who served as director of the Bemberg Foundation from 1995 to 2021, celebrated having redecorated part of the first floor by re-wallpapering it with blue fabrics "in order to present the collections in an environment that resembles Georges Bemberg's apartment as closely as possible."
The philosophy has therefore largely evolved over the span of twenty years, with the laudable objective of gaining brightness and sobriety in the exhibition rooms. However, this dramatic shift has not been universally welcomed.
After a rather cold initial reception, marked by sometimes absurd instructions - including brand-new lockers that remained inaccessible throughout 2024 in the name of the Vigipirate security plan, even though this same plan didn't prevent the proper functioning of the cloakroom at the Paul Dupuy Museum - visitors rediscover spaces that remain distributed across two levels.
A chronological approach remains the best way to understand the collection, which unfolds on the first floor for works from the 16th to 18th centuries. This journey is somewhat academic but rich in treasures, though visitors unfortunately never know whether pieces were purchased by the original collector or by his successors, as wall labels and room texts provide limited information about provenance.
The renovation represents a significant philosophical shift for the institution. Where the previous incarnation sought to recreate the intimate atmosphere of a private collector's residence, complete with period-appropriate furnishings and decorative elements, the new approach emphasizes clean lines, enhanced lighting, and minimal distractions from the artworks themselves.
This transformation reflects broader trends in museum design and curation, where institutions increasingly favor neutral, gallery-style presentations over period room settings. While this approach can better highlight individual works of art, critics argue that it strips away the historical context and personal narrative that made the Bemberg Foundation unique among French cultural institutions.
The Bemberg Foundation houses one of France's most significant private art collections, assembled by Georges Bemberg, an Argentine-born collector of German descent who spent much of his later life in France. The collection spans several centuries and includes important works by masters such as Canaletto, Monet, and Toulouse-Lautrec, among others.
The Hôtel d'Assézat itself is a Renaissance mansion in Toulouse, built in the 16th century and considered one of the finest examples of Renaissance architecture in southern France. The building's historical significance adds another layer of complexity to the renovation debate, as changes to the interior presentation also affect how visitors experience this architectural heritage.
As the foundation marks one year since its controversial reopening, the cultural community continues to debate whether the extensive changes have enhanced or diminished the visitor experience. While the improved lighting and cleaner aesthetic have their merits, many longtime supporters miss the more intimate, residential character that previously distinguished the foundation from traditional museums.
The ongoing discussion highlights the broader challenges facing cultural institutions as they balance preservation of historical character with modern presentation standards and visitor expectations. The Bemberg Foundation's transformation serves as a case study in how renovation decisions can fundamentally alter not just the physical space, but the entire philosophical approach of a cultural institution.
