Laure Albin Guillot (1879–1962), The Question

Laure Albin Guillot (1879–1962), The Question of Classicism
Exhibition from 5 June to 1 September 2013
Press pack
Laure Albin Guillot
Press pack
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Laure Albin Guillot (1879–1962),
The Question of Classicism
From 5 June to 1 September 2013
Contents
Presentation of the Exhibition
3-5
Laure Albin Guillot’s Biography
6
Beyond the Exhibition
7
Events Programs 2013
8-9
Press Images
10-11
The Musée de l’Elysée
12
Practical Information
13
Press Conference
Tuesday 4 June 2013 at 2pm
The exhibition Laure Albin Guillot, The Question of Classicism
is organized jointly by the Jeu de Paume, Paris, and the Musée de l’Elysée in collaboration with the Parisienne de Photographie
Opening
Wednesday 5 June 2013 at 6pm
Press Contact
Julie Maillard
+41 ( 0 ) 21 316 99 27
julie.maillard@vd.ch
Cover: Jean Cocteau, 1939, Private collection, Paris © Laure Albin Guillot / Roger-Viollet
Above: Lucienne Boyer, ca 1935, Collections Roger-Viollet / Parisienne de Photographie © Laure Albin Guillot / Roger-Viollet
Laure Albin Guillot
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Laure Albin Guillot (Paris, 1879–1962),
a “resounding name that should become
famous”, one could read just after World
War II. Indeed, the French photographic
scene in the middle of the century was
particularly marked by the signature and
aura of this artist, who during her lifetime
was certainly the most exhibited
and recognised, not only for her talent and
virtuosity but also for her professional
engagement.
The exhibition presented at the Musée de l’Elysée in collaboration
with the Jeu de Paume gathers a significant collection of 200 original prints and books by Laure Albin Guillot, as well as magazines
and documents of the period from public and private collections.
A large number of the original prints and documents on show
come from the collections of the Agence Roger-Viollet, in collaboration with Parisienne de Photographie, which acquired Laure
Albin Guillot’s studio stock in 1964. Made up of 52’000 negatives
and 20’000 prints, this source has made it possible to question
the oeuvre and the place that the photographer really occupies in
history. The photographer’s work could appear as a counter-current
to the French artistic scene of the 1920s to 40s, whose modernity
and avant-garde production attract our attention and appeal to current tastes. It is however this photography, incarnating classicism
and a certain “French style” that was widely celebrated at the time.
If Laure Albin Guillot’s photography was undeniably in vogue
between the wars, her personality remains an enigma.
Paradoxically, very little research has been carried out into the work
and career of this artist. Her first works were seen in the salons
and publications of the early 1920s, but it was essentially during
the 1930s and 40s that Laure Albin Guillot, artist, professional
and institutional figure, dominated the photographic arena. As an
independent photographer, she practised several genres, including
portraiture, the nude, landscape, still life and, to a lesser degree,
documentary photography. Technically unrivalled, she raised the
practice to a certain elitism. A photographer of her epoch, she used
the new means of distribution of the image to provide illustrations
and advertising images for the press and publishing industry.
She was notably one of the first in France to consider the decorative use of photography through her formal research into the
infinitely tiny. With photomicrography, which she renamed “micrographie”, Laure Albin Guillot offfered new creative perspectives
in the combination of art and science. Finally, as member of the
Société des artistes décorateurs, the Société française de photographie, director of photographic archives for the Direction générale
des Beaux-Arts (forerunner of the Ministry of Culture) and director
of the project for the Cinémathèque nationale, president of the
Union féminine des carrières libérales, she emerges as one of the
most active personalities and most aware of the photographic and
cultural stakes of the period.
Exhibition curators
• Delphine Desveaux
Director of the Roger-Viollet collections at the Parisienne de
Photographie
• Michaël Houlette
Curator and exhibition coordinator, Jeu de Paume
Exhibition coordinator in Lausanne
• Daniel Girardin
Chief Curator, Musée de l’Elysée
Advertisement for the vaccine-cream Salantale, ca 1942, Bibliothèque nationale de France
Nude study, ca 1940, Collections Roger-Viollet /Parisienne de Photographie © Laure Albin Guillot / Roger-Viollet
Laure Albin Guillot
Press pack
Organised in four parts, the exhibition
explores the various aspects of Laure Albin
Guillot’s work.
Portraits
Laure Albin Guillot began her career in the early 1920s with portraits
and fashion photography. Already, her trademark was elegance, her
method was quite systematic and she used various artifices:
pared-back decor, close-ups, limited depth of field, simple lighting.
The sought-after effect of interiority and intimacy was accentuated
by inspired poses that translate the sitter’s character as is done
by painters. She accepted being compared to the pictorialists. At
the start she was quite close to them in her form and technique,
following an aesthetic whose expression was facilitated by her use
of lenses that blur (Opale and Eïdoscope). Her sessions were short
(never more than twenty minutes), the lamps were positioned to supplement each other and not a detail was left in the shadow thanks to
a weaker lighting facing the first; while claiming not to go beyond a
certain naturalism, she improved the natural: contours are softened,
the diffused light is flattering.
In the exercise of the nude, the photographer privileged the mastery of form over inspiration, she sought a poetic purity, a dematerialisation of the body through the power of the spirit; her nudes
are constructed by light, they tend towards the ideal. In complete
contrast to the importance of character in the portrait, its reduction
to a visual form makes the model into a collection of lines, the face
is pushed into the corners, almost rubbed out. Laure Albin Guillot
did not practise a fragmented language, she proposed fluid forms
that appear simple but in reality are highly worked. The reference
to statuary is assumed and provides a wide variety of uses for the
photographs, each containing several.
A Decorative Art
After 1918, Paris rediscovered its artistic vocation and the “French
style” triumphed at the 1925 Exposition internationale des arts industriels et modernes. Alongside the artists and craftsmen, Laure Albin
Guillot exhibited an exceptional series of portraits of decorators. She
herself made some kakemonos starting from stylised photographs
and, inspired by Japanisation, she had some of her photographs
inserted into lacquered wood as screens or fire guards.
In 1931, her book Micrographie décorative won her instant international recognition; the work is a visual curiosity, playing on the ambiguity between the origins of the photographic subject and the nature
of the reproduced image. The twenty plates of diatoms, minerals and
plants taken through a microcope are as much aesthetic propositions as the magisterial culmination of a reflection shared with her
late husband, himself a collector of microscopic preparations. This
much publicised publication triggered a series of glowing articles
that enthused on the fusion between science and art. The micrographs were declined in wallpaper, silks, bindings and assorted
objects. In the debate between partisans and detractors of photography as art, she provided her answer: according to her, photography is
a decorative art. Micrographie décorative was to be published with a
preface by Paul Léon, Director of Fine Art, in homage to Albin Guillot,
deceased in 1929.
Hubert de Givenchy, 1948, Collections Roger-Viollet / Parisienne de Photographie © Laure Albin Guillot / Roger-Viollet
Micrography, Hippuric Acid, ca 1931, Collection Société française de photographie © Laure Albin Guillot / Roger-Viollet
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Laure Albin Guillot
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Advertising Photography
In 1933, Laure Albin Guillot published Photographie publicitaire
(Advertising Photography). This book is one of the rare theoretical
works written by a French photographer between the wars. At the
time she was known for her portraits, her decorative proposals, her
fashion photographs and advertising images. But she was also an
institutional figure, director of both the photographic archives of the
Beaux-Arts (the future Ministry of Culture) and the Cinémathèque
nationale.
Laure Albin Guillot was fully aware of the media and commercial
stakes developing around the cinema, radio and the illustrated press.
Based on her own experience, she tried with this book to define the
role that photography could play in the world of advertising that was
taking shape.
From the end of the 1920s, she carried out a large number of advertising illustrations. She thus elaborated a repertory of simple, effective and easily understandable visual diagrams. A large proportion
of her work concerned luxury products such as fine watchmaking,
jewellery or fashion. But she also carried out numerous advertisements for the cosmetic and pharmaceutical industries, the newest
and most dynamic industrial sectors of the time.
Books and Bibliophile Editions
Laure Albin Guillot’s work was published extensively. The photographer did not work only for the press but also for book publishers,
whether it was a matter of portraits of writers for the frontispiece
of novels or photographs used here and there in collective works.
Between 1934 and 1951, she illustrated no less than eleven books of varying type and subject: novel, school textbook, guide to the
Musée du Louvre, prayer book, etc.
In parallel, in collaboration with Paul Valéry, Henry de Montherlant,
Marcelle Maurette and Maurice Garçon, she made sumptuous
“artist’s books” combining literature and photography. It was with a
real strategy of promoting her work that the photographer undertook
these works, which were mostly sold by subscription. Their fabrication, luxury and rarity made them true collectors’ pieces at a time
when a photography market did not exist (“I made photography an
accepted part of bibliophilia,” she would write at the end of her life).
Exhibitions and artist’s books were intimately linked in her method:
their publication was heralded by the presentation at a salon or a gallery of sets of prestigious proofs (the large majority pigmented proofs
from Ateliers Fresson). Thus, the large-format prints exhibited in this
section showing roads or landscapes were probably destinated to
appear in albums finally not published.
Advertisement study, undated, Collection Musée Nicéphore Niépce, Ville de Chalon-sur-Saône
Les tierces alternées, illustration for les Préludes de Claude Debussy, 1948, Musée français de la photographie / Conseil général de l’Essonne, Benoît Chain
© Laure Albin Guillot / Roger-Viollet
Laure Albin Guillot
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Laure Albin Guillot’s Biography
(1879-1962)
1879 Birth of Laure Meifredy on 14 February in Paris. She studies at the Lycée Molière, rue du Ranelagh, in the 16th arrondissement of Paris, and lives in the district all her life.
Pianist, she would later say that she was destined for a career as concert performer.
1897 Marries Albin Guillot, medical student, organist and composer, who would exercise several professions: expert for the Paris hospitals, resercher and industrialist.
1922 “Madame Albin Guillot” publishes her first fashion photographs in Vogue. Opens a portrait studio in her home at 88 rue du Ranelagh.
1924 Publishes in Les Modes, L’Officiel de la couture et de la mode de Paris and Lectures pour tous.
Takes part in the Salon des artistes décorateurs and the Salon international de photographie organised by the Société française de photographie (SFP).
Exhibits in these two Salons every year until the beginning of the 1950s.
1925 Becomes member of the Société française de photographie.
Exhibits at the Exposition Internationale des Arts Décoratifs et Industriels Modernes.
In the future, “Laure Albin Guillot” is her artistic name. It is the start of her celebrity.
1928
The Salon de l’Escalier, first independent photography salon in Paris, gathers works by Atget, D’Ora, Kertész, Krull, Man Ray, Albin Guillot, Paul Nadar and Outerbridge.
1929 Death of Albin Guillot.
Moves to 43 boulevard de Beauséjour, has a studio constructed by Mallet-Stevens. Receives and photographs personalities of art, music and literature, such as Paul Valéry, Colette, Anna de Noailles, Jean Cocteau.
1930 During the 1930s makes several voyages to North Africa, Spain, Italy, Sweden, Norway and the United States.
Her photography output is widely reproduced in the press and is the subject of several books.
She participates in numerous solo and group shows in salons and galleries in Paris and abroad.
1931 President of the Union féminine des carrières libérales et commerciales (Female Union of Independent and Business Careers).
Publishes Micrographie décorative, luxurious work reproducing micrographs of microscopic preparations considered as decorative possibilities. This series had been initiated with her husband, himself a collector of such preparations.
1932 Is appointed head of the photographic archive of the Beaux-Arts administration (future Ministry of Culture).
Selfportrait, ca 1935, Collection Musée Nicéphore Niépce, Ville de Chalon-sur-Saône
© Laure Albin Guillot / Roger-Viollet
1933 Becomes director of the Cinémathèque nationale and conceives a vast project for a museum reuniting the “mechanical arts”: cinema, photography and records. The museum never sees the light of day.
1936 Illustrates Narcisse by Paul Valéry. The work is the first in a series of sumptuous artist’s books combining photography and literature.
1937 Member of the installation committee for photography and cinema at the Exposition internationale des arts et techniques. She will later be responsible for the general report for the same exhibition.
Coorganises and participates in the exhibition
Les femmes artistes d’Europe (Women Artists from Europe) at the Jeu de Paume.
1939 Takes views concerning the protection of Paris monuments and the evacuation of the collections of the Musée du Louvre.
1940 Leaves the direction of the photographic archives.
Publishes several artist’s books during the Occupation: La Cantate du Narcisse by Paul Valéry (1941), Petits Métiers de Paris (1942), Arbres with Paul Valéry (1943), Ciels with Marcelle Maurette (1944).
1942 Alongside Robert Doisneau and numerous other photographers, illustrates Nouveaux destins de l’intelligence française, a work intended to promote the intellectual elite favoured by the Vichy regime. Carries out a lot of commercial work during the Occupation, in particular for fashion.
1945-56 Laure Albin Guillot continues to carry out a large number of portraits in her studio on the boulevard de Beauséjour. She publishes her last works: Splendeur de Paris with Maurice Garçon (1945), La Déesse Cypris by Henry de Montherlant (1946) and Illustrations pour les Préludes de Claude Debussy (1948).
1956 Ends her career and retires to the Maison nationale des artistes in Nogent-sur-Marne.
1962 Dies in Paris on 22 February.
Laure Albin Guillot
Press pack
Beyond the Exhibition
Catalogue
Bilingual French-English
Foreword from Marta Gili, texts from Delphine Desveaux,
Michaël Houlette, Catherine Gonnard and Patrick-Gilles Persin
192 pages, 19,5 x 24 cm
Copublished by Editions de La Martinière and the Jeu de Paume, in
collaboration with the Musée de l’Elysée
Price at the museum: 45 CHF
Cultural Program
The exhibition aims to introduce the work of Laure Albin Guillot to a
large public.
Among the activities organised for the exhibition:
Guided Tours
Sunday 9 June at 4 pm
Sunday 30 June at 4 pm
Sunday 28 July at 4 pm
Sunday 25 August at 4 pm
Workshops for Children
“Jeux d’image – A playful introduction to the image in photography”
for children aged 6 to 12.
From Tuesday 9 to Thursday 11 July 2013, 2-7pm
The workshop takes place during three days.
Fee: CHF 10.Only upon registration at: radu.stern@vd.ch
The brochure Visite Découverte offers playful activities that permit
children to discover the exhibition by following Eli, the curious little
squirrel who loves photography.
Louis Jouvet, ca 1925, Collections Roger-Viollet / Parisienne de Photographie © Laure Albin Guillot / Roger-Viollet
Micrography, ca 1929, Private collection, Paris © Laure Albin Guillot / Roger-Viollet
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Laure Albin Guillot
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Events Program 2013
Travelling Exhibitions
This summer, the Musée de l’Elysée is showing its exhibitions
in France, Switzerland and United States. Initiated last November
in the Paris Photo Salon, the Becher’s exhibition continues its tour
in the Rencontres d’Arles. As part of ICRC’s 150 years celebration,
the Musée de l’Elysée is in partnership with Présence Suisse
to show an important exhibition from the Jean Mohr’s collection
in the United Nations Office at Geneva. It is the first stage of a world tour. In the same time, on the other side of the Atlantic,
the exhibition reGeneration 2 continues its American tour with a stage in Winston-Salem.
Bernd & Hilla Becher – Imprimés
1964-2013
Ecole nationale supérieure de la
photographie, Arles
From 1 July to 15 September 2013
Avec les victimes de guerre.
Photographies de Jean Mohr
Office des Nations Unies,
Palais des Nations, Genève
From 20 June to 30 August
reGeneration2 – Tomorrow’s Photographers Today
Southeastern Center for Contemporary Art, Winston-Salem, USA
From 20 June to 15 September 2013
The Nuit des images
The Nuit des images gains momentum with two events Thursday
27 and Friday 28 June!
A new way to celebrate the world of images from every angle!
An original program around photography, video and cinema
presented on screens set up in the Elysée gardens.
Thursday 27 June, starting at 9pm, Rodolphe Burger and Pierre
Alferi present an original show conceived from music creations
and video excerpts edited by Alferi.
Friday 28 June, the Nuit des images starts at 6pm. The public
is once again invited to pick its favorites out of some thirty
productions to be featured, and to celebrate René Burri’s birthday,
journey through Andres Serrano’s Cuba, be charmed by the
presence of Anouk Aimée, or enter into the magical and zany
forest of Augustin Rebetez. And again, On Print book fair, playful
photographic activities for children, a crazy scenography by Francis
Traunig, and cartes blanches — given to ECAL, Ringier Archival
Fund, gallery TH13 / Fondation d’entreprise Hermès (Bern) and
Vevey Photography School —, and four concerts programmed by
the Bourg.
With the support of:
Main sponsor
ab
Jean Mohr, Greek Refugee Camp, Cyprus, 1976 © Jean Mohr, Musée de l’Elysée
Early evening, Nuit des images 2012 © Reto Duriet
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Laure Albin Guillot
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Events Program 2013
ELSE #5 is out
The fifth issue of the ELSE magazine comes out in June, at the
time of the summer exhibitions at the Museum, the Nuit des
images, and the Rencontres d’Arles. Breaking away from the cult
of beautiful images, from a history of photography modelled on the
history of fine arts, and from a history of masterpieces, ELSE is a
magazine focused on obsessions, and poor, distorted, diverted,
appropriated, and re-appropriated images… From comparisons to
confrontations, from the historical to the contemporary, from the
vernacular to the artistic, ELSE embraces all, mixes everything,
and makes a game of classifying images into categories. A platform, network, and meeting-point for subversive opinions, ELSE
invites an ever-growing circle of those who share its preference
for difference. Why ELSE? Because ELySéE. ELSE is edited by the
Musée de l’Elysée and presents itself as Switzerland’s photography
magazine. Published twice a year, in June and November, ELSE is
available in all good bookshops or by subscription.
www.elsemag.ch
Exhibitions from 20 September 2013 to 5 January 2014
Sebastiao Salgado: Genesis
Genesis is a photographic journey into the planet undertaken by
Salgado between 2004-2011 to rediscover the mountains, the
deserts and the oceans, animals and people that have so far escaped
the imprint of modern society. The land and life of a still pristine planet.
Yet, Genesis is also a project that speaks urgently to our own age.
By portraying the breathtaking beauty of a “lost” world that somehow
survives, it proclaims: this is what is in peril, this is what we must
save. Genesis is Sebastião Salgado’s third long-term exploration of
global issues, following Workers and Migrations, his examinations of
the human toll wrought by radical economic and social change. This
time, he is addressing our natural environment in offering a love poem
in images to the majesty and fragility of our planet. The images are
presented in five geographic areas: the south hemisphere, natural
sanctuaries, Africa, the north hemisphere and the Amazon. On the
occasion of the exhibition, a book will be published by Taschen.
Paolo Woods: State
Since 2010, Paolo Woods lives in Haiti, a nation particularly proud
of its history, language and culture, but whose State is virtually
bankrupt. The exhibition State considers these fundamental
questions: what happens when a government fails to provide its
people with basic services? What constitutes the genuine identity
of a people tossed from one crisis to the next? From local entrepreneurs to the prevarications of NGOs, from the buzzing world
of radio to the conquest of American Protestantism, State is an
uncompromising quest into what journalism rarely shows of Haiti:
the construction of an imagination that fleshes out the real and an
inextinguishable desire for coherence.
Sebastiao Salgado, The Anavilhanas, Río Negro, Bazsil, 2009 © Sebastiao Salgado / Amazonas images
Paolo Woods, Pascale Théard, Port-au-Prince, Haiti, 2010 © Paolo Woods
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Laure Albin Guillot
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LAG 05
Louis Jouvet, ca 1925
Collections Roger-Viollet / Parisienne
de Photographie
© Laure Albin Guillot / Roger-Viollet
LAG 06
Micrography, ca 1929
Private collection, Paris
© Laure Albin Guillot / Roger-Viollet
The following images are available for the press
The reproduction and representation of the images in the following
section is authorised and free of rights within the sole framework of
the promotion of the exhibition and during its duration.
Special conditions:
- up to five photographs bearing the copyright © Laure Albin Guillot
/ Roger-Viollet.
- presentation on Internet sites must not exceed 72 dpi.
- the photograph LAG 19 is free of rights for a reproduction not
exceeding a quarter interior page.
Please contact us for all specific requirements.
To download the images:
ftp://84.16.80.83/web/press/Laure_Albin_Guillot
Username: press
Password: 1006_mel_13
LAG 01
Illustration for Narcisse by Paul Valéry,
1936
Private collection, Paris
© Laure Albin Guillot / Roger-Viollet
LAG 02
Lucienne Boyer, ca 1935
Collections Roger-Viollet / Parisienne
de Photographie
© Laure Albin Guillot / Roger-Viollet
LAG 07
Micrography, Ash Tree Bud (section),
ca 1931
Collection société française
de photographie
© Laure Albin Guillot / Roger-Viollet
LAG 08
Micrography, ca 1929
Collections Roger-Viollet / Parisienne
de Photographie
© Laure Albin Guillot / Roger-Viollet
LAG 03
Untitled, ca 1937
Collection Musée Nicéphore Niépce,
Ville de Chalon-sur-Saône
LAG 04
Jean Cocteau, 1939
Private collection, Paris
© Laure Albin Guillot / Roger-Viollet
LAG 09
Micrography, Hippuric Acid, ca 1931
Collection société française de photographie
© Laure Albin Guillot / Roger-Viollet
LAG 10
Advertisement for the vaccine-cream
Salantale, ca 1942
Bibliothèque nationale de France
Laure Albin Guillot
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LAG 11
Advertisement study, undated
Collection Musée Nicéphore Niépce,
Ville de Chalon-sur-Saône
LAG 12
Off-print for the Mayoly-Spindler laboratory, Paris, ca 1940
Pivate collection, Paris
LAG 17
Nude Study, ca 1940
Collections Roger-Viollet / Parisienne
de Photographie
© Laure Albin Guillot / Roger-Viollet
LAG 18
Nude Study, 1939
Bibliothèque nationale de France
© Laure Albin Guillot / Roger-Viollet
LAG 13
Print for F. Marquis chocolate maker
and confectioner, Paris, undated
Private collection, Paris
LAG 14
Hubert de Givenchy, 1948
Collections Roger-Viollet / Parisienne
de Photographie
© Laure Albin Guillot / Roger-Viollet
LAG 19
Nude Study, ca 1938
Collections Roger-Viollet / Parisienne
de Photographie
© Laure Albin Guillot / Roger-Viollet
LAG 20
Les tierces alternées, illustration for
Les préludes de Claude Debussy,
1948
Musée français de la photographie /
Conseil général de l’Essonne,
Benoît Chain
© Laure Albin Guillot / Roger-Viollet
LAG 15
Advertisement for the Manufacture
Jaeger-LeCoultre, ca 1940
Private collection, Paris
LAG 16
Nude Study, ca 1935
Collections Roger-Viollet / Parisienne
de Photographie
© Laure Albin Guillot / Roger-Viollet
LAG 21
Untitled, ca 1935-1940
Collection du Centre Pompidou,
MNAM-CCI, Paris, 2012
Centre Pompidou, MNAM-CCI, Dist.
RMN-Grand Palais
LAG 22
Selfportrait, ca 1935
Collection Musée Nicéphore Niépce,
Ville de Chalon-sur-Saône
© Laure Albin Guillot / Roger-Viollet
Laure Albin Guillot
The Musée de l’Elysée
Mission
The Musée de l’Elysée is one of the world’s leading museums
entirely dedicated to photography. Since its establishment in 1985,
it has improved public understanding of photography through
innovative exhibitions, key publications and engaging events.
Recognised as a centre of expertise in the field of conservation
and enhancement of visual heritage, it holds a unique collection
of more than 100,000 prints and preserves several photographical
archives, in particular those of Ella Maillart, Nicolas Bouvier and
Charlie Chaplin. By supporting young photographers, offering new
perspectives on the masters and confronting photography with
other art forms, the Musée de l’Elysée experiments with the image.
Based in Switzerland, it presents four major exhibitions in Lausanne
each year and an average of fifteen in prestigious museums and
festivals around the world. Regional by character and international
in scope, it seeks to constantly develop new and exciting ways
to interact with audiences and collaborate with other institutions.
Education
The Musée de l’Elysée is deeply invested in educational programs
aimed at sharing our passion for photography and its fascinating
history with youth. A number of workshops and talks are scheduled
throughout the year for children of all ages to explore the world
of photography. The introductory courses and workshops
are designed for children of 6-12 years. Additionally, the museum
hosts regular conferences on the subject of photography
with guest artists and museum collaborators.
Bookstore and Café Elise
With over 800 titles on photography and art, the museum’s
bookstore is one of the most complete in Switzerland.
The Café Elise welcomes visitors in a meeting space
enabling artistic exchange in an agreeable way.
Carte Elysée
The Carte Elysée provides its members with many advantages,
among which free admission to a number of institutions
specializing in photography in Switzerland or abroad.
View of the Musée de l’Elysée © Yves André
View of a workshop for children at the Musée de l’Elysée
View of the Café Elise and the library of the Musée de l’Elysée
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Laure Albin Guillot
Practical Information
Address of the Musée de l’Elysée
18, avenue de l’Elysée
CH - 1014 Lausanne
T + 41 21 316 99 11
F + 41 21 316 99 12
www.elysee.ch
The museum has a Facebook and a Twitter page.
Opening Hours
Tuesday - Sunday, 11am - 6pm
Closed Monday, except for bank holidays
Admission Fee
Adults CHF 8.00
AVS CHF 6.00
Students / Apprentices / AC / AI CHF 4.00
Free entry for those under 16
Free entry on the first Saturday of the month
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