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The Musée d'Ethnographie du Trocadéro (Ethnographic Museum of the Trocadéro, also called simply the Musée du Trocadéro) was the first anthropological museum in Paris, founded in 1878. It closed in 1935 when the building that housed it, the Trocadéro Palace, was demolished; its descendant is the Musée de l'Homme, housed in the Palais de Chaillot on the same site, and its French collections formed the nucleus of the Musée National des Arts et Traditions Populaires, also in the Palais de Chaillot. Numerous modern artists visited it and were influenced by its "primitive" art, in particular Picasso during the period when he was working on ''Les Demoiselles d'Avignon'' (1907). ==History== The museum was founded in 1878 by the Ministry of Public Education as the ''Muséum ethnographique des missions scientifiques'' (Ethnographic Museum of Scientific Expeditions) and was housed in the Trocadéro Palace, which had been built for the third Paris World's Fair that year. The palace, whose architect was Gabriel Davioud, had two wings flanking a central concert hall. The Musée national des Monuments Français was created at the same time in the other wing. The first director of the anthropological museum was Ernest Hamy, an anthropologist with the Natural History Museum who had urged the foundation of such an institution in Paris since 1874.〔〔Louise Tythacott, ''Surrealism and the Exotic'', London/New York: Routledge, 2003, ISBN 978-0-203-21875-4, (pp. 96–97 ).〕 Other French cities already had such museums, and there were many collections of materials brought back by French explorers, particularly from South America. A temporary museum was housed in the three rooms of the Palace of Industry at the Exposition from January to mid-March 1878, featuring a major collection of Peruvian artifacts recently brought back by Charles Wiener, Columbian and Equatorial exhibits contributed by Edouard André, American exhibits contributed by Jules Crevaux, Léon de Cessac, and Alphonse Pinart, a collection from Central Asia contributed by Charles-Eugène Ujfalvy, Cambodian inscriptions from Jules Harmand, exhibits from the Celebes contributed by de La Savinière and de Ballieu, and items from the Canary Islands from René Verneau.〔Ernest-Théodore Hamy, ''Les Origines du Musée d'Ethnographie: histoire et documents'', Publications du Musée d'Ethnographie 1, Paris: Leroux, 1890, pp. 58–60, (pdf at Internet Archive ) 〕 These were exhibited with large paintings of locations in Peru and Colombia by de Cetner and Paul Roux and plaster casts of archeological artifacts made under the direction of Émile Soldi.〔Hamy, p. 294.〕 The success of this temporary exhibition and the advantage for a country then in the midst of colonial expansion of encouraging popular interest in distant places persuaded the Ministry to make the museum permanent. It was assigned a budget in 1880. Together with Hamy, Armand Landrin was appointed as a second official and there were five attendants and an official artist and model-maker. Of the World's Fair buildings, Hamy considered the main building on the Champ de Mars best suited to the museum, in particular since it could have heating installed in the basement. However, adaptation of that building was judged too expensive by the Ministry, which instead chose to use part of the Trocadéro Palace, against the advice of Eugène Viollet-le-Duc, the head of the site commission.〔Hamy, pp. 65–66: the second floor of the east wing. The collection had in fact been installed on the first floor and had to be moved, which was done in two days by a gang of sailors, who jumbled it badly.〕 The Trocadéro building lacked not only heating but lighting, and would not allow for workshops or laboratories. However, thanks to Hamy's efforts by 1910 the museum's holdings had increased from 6,000 to 75,000 items. It continued to benefit from gifts and from expeditions after his death in 1908, particularly as a result of publicity activities by Paul Rivet (its director from 1928) and Georges Rivière among socialists and humanists in sympathy with the museum's mission of popular education, and among artists who in some cases offered art from their collections. The writer Raymond Roussel bore some of the cost of an African expedition that netted the museum more than 3,000 artifacts plus recordings and photographs.〔Seán Hand, ''Michel Leiris: Writing the Self'', Cambridge Studies in French 70, Cambridge: Cambridge University Press, 2002, ISBN 978-0-521-49574-5, (p. 55 ).〕 The museum promoted itself through a fashion show inspired by the collections and a gala benefit at the Cirque d'Hiver, at which Marcel Mauss reputedly shadow-boxed with featherweight champion Al Brown.〔James Clifford, ''The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art'', Cambridge, Massachusetts: Harvard University, 1988, ISBN 978-0-674-69842-0, (p. 136 ).〕 The museum was offered the first head from Easter Island, passed on by the Geology Laboratory.〔''Outre-mer: revue générale de colonisation'' 2 (1930) (p. 146 ) 〕〔''L'Europe nouvelle'' 16.2 (1933) (p. 672 )〕 Canadian National Railways donated the totem pole from British Columbia, now an emblem of the Musée de l'Homme.〔''Journal de la Société des américanistes'' 22 (1930) (p. 215 ) 〕〔''Bulletin du Musée d'ethnographie du Trocadéro'' (1–8 ) 〕 The museum maintained good relations with the Museum of Antiquities in Saint-Germain and the Guimet Museum, which passed along those items of more ethnographic than historical or scientific interest. Nonetheless, the museum suffered constantly from lack of money, requiring, for example, the closure of the Oceanic gallery from 1890 to 1910 and of the French gallery in 1928. Furnishings had to be bought, or made of cheap wood painted black to improve its appearance, sometimes even wood from the packing cases used to ship the objects. According to an 1886 report, the defects of the exhibition space meant that of all the exhibits, only the life-size human figures, particularly the diorama of a Breton interior, were attractive: How we prefer those colored wax models representing various savage types . . . and in a large gallery, this one well lighted, . . . a life-size Breton interior, strikingly true to life. . . . This exhibit, very well set up, has the knack of attracting the public. In the display cases, which are unfortunately very inadequate, household objects have been assembled. . . . This section is a bit neglected, all the interest being drawn by the Breton interior, to the great detriment of those details that accomplish the true objective of the ethnographic museum.〔"Combien nous aimons mieux ces moulages en cire colorée qui représentent différents types sauvages . . . et dans une grande salle, celle-là bien eclairée, . . . un intérieur breton de grandeur naturelle, frappant de vérité. . . . Ce décor, trės bien réglé, a le don d'attirer la foule. Dans les vitrines, malheureusement trės exiguës, on a accumulé des objets de ménage . . . . Cette section est un peu délaissée, tout l'intérêt se portant sur l'intérieur breton, au grand détriment de ces détails qui remplissent le vrai but du musée d'ethnographie", E.O. Lami, ''Dictionnaire encyclopédique et biographique de l'industrie et des arts industriels'', volume 6, quoted in Isabelle Gui, (Le Musée d'Ethnographie du Trocadéro: La section française ), Musée des Civilisations Europe Méditerranée, April 2009 (pdf), p. 7 〕 The poor conditions made it necessary to restore exhibits beginning in 1895. Picasso remembered that when he first went there in 1907, "the smell of dampness and rot there stuck in my throat. It depressed me so much I wanted to get out fast".〔Françoise Gilot and Carlton Lake, ''Life with Picasso'', 1964, repr. New York: Anchor/Doubleday, 1989, ISBN 978-0-385-26186-9, (p. 266 ).〕 Others saw it as "a junk shop".〔"un magasin de bric-à-brac", Marc-Olivier Gonseth, Jacques Hainard, Roland Kaehr, ''Le Musée cannibale'', Texpo 8, Musée d'ethnographie (Neuchâtel), Neuchâtel: MEN, 2002, ISBN 978-2-88078-027-2, (p. 68 ) 〕 The problems were exacerbated by Hamy's death and then by World War I, when employees were drafted into the military. In 1919, a member of the Chamber of Deputies, Jean Bon, said that the museum shamed France.〔"une véritable honte pour la France", ''L'Anthropologie'' 29 (1920) (p. 555 ); ''Muséologie et ethnologie'' 1987 (p. 147 ) 〕 Verneau, who had succeeded Hamy as director in 1908, responded with a plan for improvements, while noting how hard it would be to realize within the then budget and in the then location. In 1928, Paul Rivet was appointed director of the museum and reassociated it with the anthropology section of the Natural History Museum. Together with Georges Rivière, his assistant director, he set a modernization and reorganization project in motion,〔Tythacott, (pp. 99 ), (101 ).〕 but the always inadequate quarters in the Trocadéro Palace were demolished in 1935 to be replaced by the Palais de Chaillot, built for the 1937 World's Fair. The museum reopened there that year as the Musée de l'Homme; its French exhibits were transferred to the Musée National des Arts et Traditions Populaires, which opened simultaneously, also in the Palais de Chaillot, with Rivière as its first director.〔Tythacott, (p. 102 ).〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Musée d'Ethnographie du Trocadéro」の詳細全文を読む スポンサード リンク
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