The Museums of Poitiers, France, made a significant stride in showcasing women’s contributions to art with the acquisition of a remarkable collection titled “La Musée.” This collection features 523 works created by women artists from the 17th to the 21st centuries, and it was officially acquired on March 1, 2024, after an extensive two-year review process. The collection, amassed by Eugénie Dubreuil since 1999, represents a crucial counter-narrative to the historical exclusion of women from mainstream art discourse.
As an artist, art historian, and educator, Dubreuil views her collection as a response to the dominant narratives that have often sidelined women’s contributions in museums and art history. By 2010, recognizing the scope of her collection, she named it “La Musée” and sought a public institution to house it. After facing several rejections, she found a willing partner in the Sainte-Croix Museum in Poitiers, known for its dedication to women artists.
On March 1, 2024, the City of Poitiers officially recognized the acquisition of La Musée, marking a milestone in its efforts to promote gender equity in the arts. The collection is not only diverse in its artistic forms—ranging from paintings and sculptures to graphic arts and decorative pieces—but also serves as a sociological record reflecting the evolution of feminism at the turn of the 21st century. The complexity of this acquisition required careful consideration regarding how it would integrate into the existing collections of the city.
A Unique Acquisition Process
The acquisition process was intricate, as it necessitated extensive preparation to accommodate the eclectic nature of La Musée within the city’s collections. Guided by the Service des Musées de France, the collection was divided into two groups: 310 works were presented to the regional scientific commission for donation, even as the remaining pieces were deposited for further scrutiny. This division was essential for confirming the scientific value of the works, many of which required additional verification due to uncertainties surrounding their authenticity.
Since the acquisition, 34 additional works have been added to the inventory following reviews by the regional scientific acquisition committee. The acquisition was bolstered by a significant grant of €150,000 from the Les Beaux Yeux endowment fund, chaired by Dubreuil. This funding aims to support a five-year initiative to highlight women artists, with the first major exhibition already held at the Sainte-Croix Museum.
Exhibition: A Manifesto for Women Artists
The exhibition, titled “La Musée: une collection d’artistes femmes,” was housed at the Sainte-Croix Museum from December 6, 2024, to May 18, 2025. It showcased over 300 works from the collection, utilizing a thematic rather than chronological approach. This methodology aimed to emphasize the transition of La Musée from a private collection to a public institution, while also exploring the broader sociological implications related to the institutionalization of women’s art.
The exhibition was divided into three segments: the collector, the collection itself, and the process of institutionalization. This structure allowed for an exploration of the historical exclusion of women artists in the art world, the biases embedded within cultural institutions, and the broader societal roles of museums as public services. The exhibition highlighted the need to advocate for the visibility of women artists, which has historically been minimal in public collections.
Addressing Challenges and Promoting Women Artists
Despite the progress represented by La Musée, challenges remain in promoting women artists within the museum sector. Women’s works are often less likely to be acquired, exhibited, or restored compared to their male counterparts, jeopardizing their legacy. The exhibition served as a self-reflective manifesto, calling upon museums to fulfill their duty to promote all marginalized voices in society.
Further efforts are underway to recontextualize the achievements of women artists without solely focusing on the most famous figures such as Rosa Bonheur and Niki de Saint-Phalle. The curators of La Musée are committed to employing gender studies methodologies to ensure a more equitable representation of women in the art world. This includes avoiding the pitfalls of temporary exhibitions that often limit the visibility of women artists by relegating their works to storage once the exhibitions conclude.
Future Initiatives and Continued Commitment
Since the 1980s, the curatorial team at Poitiers has prioritized the inclusion of women artists in permanent exhibitions. The momentum generated by La Musée has led to plans for future exhibitions, including one dedicated to the works of Sarah Lipska, thereby solidifying Poitiers’ role as a leader in promoting women artists.
With the restoration of 72 works from La Musée completed prior to the exhibition, the Museums of Poitiers are continuing their commitment to the conservation of women artists’ works. This is part of a broader initiative that seeks to strengthen the connection between museums and research, integrating gender studies into museum policies.
Looking ahead, the Sainte-Croix Museum is set to launch a series of La Musée Meetings in April 2026, in collaboration with the University of Poitiers and the association Femmes Artistes en Réseaux. These annual gatherings aim to foster networking and share best practices among professionals, further enhancing the visibility and recognition of women artists in the cultural landscape.
As the dialogue surrounding gender equality in the arts continues, La Musée serves as a powerful reminder of the importance of recognizing and preserving the contributions of women artists throughout history. The ongoing efforts to promote their work will not only enrich the cultural heritage of France but also inspire future generations of artists.
