The project to set up an art museum in what is an undeniably picturesque but rather small town was not without risks and seemed even a little mad. Nonetheless, Pierre Palué's enthusiasm overflowed with ideas : the location had character and was full of history ; he could exhibit not only his own paintings but also those of his fellow artists in the Paris New School, the museum would host conferences and be home for an association of Friends of the museum. Above all, he had a passionate and priceless supporter in his daughter Marie, who, after his departure in 2005 and despite many problems and complications, set her mind on giving new life to the museum and to the name of her father.
Today, we can say that the gamble has definitely paid off : every year ten thousand visitors step through the gateway into the Courbis Tower, thanks to the contribution of foreign guests coming ashore from their river cruise at Tain and enjoying this cultural excursion. Every year a new exhibition is put on with the support of the Friends of the Museum and the town of Tain. Pierre Palué and the Paris New School are thereby known and appreciated.
To speak of the museum also and pre-eminently means speaking in honour of the man after whom it is named and whose work is presented : Pierre Palué.
What are the reasons for this success ?
First, the quality of the works of Pierre Palué and friends of the New School of Paris, certainly. But how many painters, despite their great talent, lie forgotten in museum storerooms?
Its success, the museum owes Palué then the quality of the place that hosts: the turn of the sixteenth Courbis to mullioned windows and spiral stone stairway, just steps from the Rhone River and the boat landing dock.
He must finally to the regular supply of cruise ships increasingly numerous on the Rhone, calling at Tain. English, Americans, Canadians appreciate this "place of character", "this intimate space" where they are welcomed with open arms.
The quality of annual exhibitions also contributes to success. Have thus succeeded Pierre Palué, Monier of Sizerane, Marcel Roche and Claude Breton, Jean Couty, Bierge and Marandet, the rich collection of Jean-Louis Bernezat, Maurice Savin, Cottavoz, Garbell, Lhote, Fusaro, Lauran and Truphémus. This year the museum for a coup, had appealed to private collectors and to the best museums in France: Paris, Grenoble, Saint Etienne, Toulon, Valence so that they lend paintings Palué quasi unknown.
Letters & arts by Jacques Delatour, Drômoises Studies in Décember 2015
Finally "last but not least" as say cruise Anglo-Saxon, the success of the museum is based on the energy and inventiveness of Marie Palué which is given for purposes safeguarding and enhancement of the work of his Father. Without it the museum would not exist. It is assisted in this task by Pierre Palué Friends Association which manages the museum, sees to the maintenance and improvement of local, as well as compliance with applicable regulations.
The Drômoises Studies have been involved from the beginning to the museum. It is to them that Peter Palué has entrusted the implementation of its brochures: Painters of Mirmande, Savin, Marines.
Portrait of Marie, oil 55 x 38, 1971
And it is thanks to him that Drômoises Studies developed chronic Arts and published several brochures drômois artists Pierre Palué, Monier de la Sizeranne, Toros, Tardy, a formula that has been successful and was repeated by other artists Pierrette Dumonteil, Pierre Vincent Innocent and John Paul Ravit.
In fifteen years, the museum has become Palué a must heritage and cultural life Drôme .
Big landscape with poppies, oil 130 x 195, 1993 collection private individuals, ND.