Review: Romanov and Esterhazy Collections Inspire in 'The Birth of a Museum' at Pinacothèque de Paris - WSJ.com

PARIS—To celebrate the opening of its new permanent collection and its new enlarged exhibition space, the Pinacothèque de Paris is offering a double-header of a temporary show, "The Birth of a Museum," with works from two historic private collections that provided the foundations for two important museums: the Romanov Collection at the Hermitage in Saint Petersburg and the Esterházy Collection at the Beaux-Arts in Budapest.

Vladimir Terebenin, Leonard Kheifets, Yuri Molodkovets/ The Hermitage Museum

'Portrait of an Actor' (circa 1620-23) by Domenico Fetti

Peter the Great was the first major Romanov collector. Turned resolutely toward the West, he traveled through Europe and brought back to his new capital in Saint Petersburg the arts of the Renaissance. Alexander I defeated Napoleon, but he visited Josephine just before she died in 1814, and later bought part of her art collection. His brother and successor Nicolas I bought the collection of her daughter Hortense, among many others. But neither brother was a match for their grandmother Catherine the Great, who cut a swath through Europe in the late 18th century—aided by experts including the Encyclopedist Denis Diderot—buying entire collections wholesale.

Among the Romanov riches here are Ghirlandaio's superb "Portrait of an Old Man" (circa 1515-20), Domenico Fetti's penetrating "Portrait of an Actor" (1620-23) and Rembrandt's "David and Jonathan" (1642).

The barons and princes of the Hungarian Esterházy family, which traces its origins to the mid-13th century, came to prominence in the service of the Hapsburg Austro-Hungarian empire. In the 1760s, the Esterházys became the patrons of composer Joseph Haydn, and an annual Haydn festival is still held in the family chateau in Eisenstadt. Nicolas I was also a serious art collector, and his grandson Nicolas II even more so, buying and commissioning paintings all over Europe. By 1815 his collection contained some 1,150 paintings, 3,500 drawings and 50,000 engravings; he opened his galleries to the public twice a week. But his extravagant lifestyle left the family with huge debts, and in 1870 his successors sold part of the collection to the Hungarian state.

The works here from the Budapest museum are even more impressive than the Romanov treasures. The stars are two Raphaels—"Portrait of a Young Man" (1503-04) and a "Virgin and Child with the Infant John the Baptist"—along with other superb Italian works, including Bernardino Luini's stunning "Virgin and Child with Saint Catherine of Alexandria and Saint Barbe" (circa 1522-25).

From Spain comes Murillo's enchanting "Holy Family and the Infant Saint John the Baptist" (circa 1668-70), with Joseph working at his carpentry table and Mary doing needlework as she watches the children play. Among a score of Flemish, Dutch and German works, Jan Steen's crowded and festive "A Joyous Company" (1673-75) is rich with delightful details, including a toddler violinist and a litter of kittens.

The Pinacothèque's nascent permanent collection is a puzzling amalgam of 15th- to 20th-century works from private and institutional lenders, organized by subject, starting with a 1660-70 Flemish scene of a fox in a hen house beside a 1992 Miquel Barceló "Rabbit and Chicken." Many names are prestigious, but quality is uneven. It's a work in progress.

Until May 29

www.pinacotheque.com