Pinacoteca opened on Place de la Madeleine, two and a half years ago and quickly found its audience - to the extent that it competes with the attendance of the Centre Pompidou, the Museum of Orsay and Grand Palais (Grand Palais) ... In 2009, an exhibition on "Golden Age of Dutch painting, whose exhibits were mainly provided by the Amsterdam Riyksmuzeumom, four months attending 700000 spectators. It's more than attendance "blockbuster" Grand Palais, and the same attendance huge success Kandinsky exhibition at the Centre Pompidou, despite the fact that the room Pinakothek, which it leases from the bank Credit Agricole (Agricultural Bank) are considerably fewer - 2500 square meters. pm, resulting in endless queues. Currently, the Pinakothek presents an exhibition dedicated to works of Norwegian artist Edvard Munch.

The new facility, which complement the already existing, will be leased by the insurance company Allianz. It is located a few meters from the present, in a luxury building, built in 1916 on the corner of st. de Cèze and ul.Vinon between official entrance to the store Fauchon and sex shopom whose name we do not remember. Pinakothek room will occupy the entire first floor (2500 square meters.) And basement (1000 square meters.).

"We are only a few meters from the Madeleine, and this is best addressed in Paris" - happily says Mark Restellini. "This is an area they know absolutely everything she knows the Place Vendôme, which deals with trade items of high prestige. At the Place de la Madeleine a lot of tourists, but there are local residents - the people who work nearby are numerous.

So Pinakothek, without interrupting its policy of temporary exhibitions, will be able to use this new space to display inaccessible to the public works. "First, about one hundred works, and then their number should increase to two hundred" - explained Mr. Restellini, adding that "he hopes to get a few Raphaels ...

The basis of this exhibition is composed by five dlvadtsati collectors - most of them foreign, although there are also French - each of whom will transfer to long-term storage from one to thirty works. What are the arguments used by Mr. Restellini to persuade them? "I offered them services, to pay that they have neither the means nor the desire. Some of them have several residences, which are part of the year are empty. We can display their collection is in these periods that protects them from theft. Others keep their work in bank vaults. But the picture locked in a safe, dead. And in our museum, they may live. If necessary, we cleared, otrestavriruem, frame their "- explains Mr. Restellini adding that the museum will create permanent restoration workshop and laboratory of scientific analysis.

Thus Pinacoteca receive tools, which they still do not have enough in negotiations with major museums in the world - after all these museums are increasingly reluctant to lend their exhibits for traveling exhibitions. Now they will speak on equal terms, as the Pinacoteca can also invite them to their exhibits for their projects.

Legal status Pinakothek - quite an unusual phenomenon in the French cultural landscape, where museums are public institutions or are based on the funds - a simplified joint stock company. It employs approximately seventy people, its annual budget of 8.5 million euros. It operates totally without subsidies and grants. "I do not need them, I do not want any subsidies, - says Mark Restelini. When recruiting staff, he preferred not museum conservators, and professionals in marketing, enterprise development and provision of services. Asked whether he prefers to graduates of the Higher Commercial School professionals who graduate from the School of the Louvre, he said that when he needed an art historian, he seeks them not at the School of the Louvre, and the university.

I must say that the conservatives of French museums say about Mark Resselini, a former teacher in the graduate school of the University Paris-1, with contempt and hatred. Any private museum for them - it unclean. "They did everything to kill me" - he said in an interview with British newspaper «The Independent», talking about how he tried to insert a stick in the wheel when he negotiated for Pinakothek works on long-term storage.

For his part, he speaks about them grimaces and diplomatic revolutions: "In a weekly wrote that I had called the French museum Conservative asshole, but it's not true. I never said that. I said that the system of selection for the post of conservator can make any man asshole - this is not the same. Unfortunately, they are in the grip of severe administrative, not give them any opportunities to show initiative, and it should be, they are frustrated. "

He himself escaped from the ticks, and it gives him credibility and weight in negotiations with private collectors, especially the French, who are very afraid of fiscal authorities: "In contrast to the Conservative government of museums, I am not a state employee. Before I give any information to tax authorities, they have to convince me that the legal action. This also applies to customs. Writing such a guarantee to collectors could only private enterprise.

Graduates from our conversation Restelini announcement of the next exhibition Pinakothek, organized with the participation of various Peruvian museums and on "Inca Gold", which opens Sept. 18. Also on the contract for five years with the State Hermitage.