Maison d’Art · Monaco
The past still has company.
Marietta Vinci-Corsini has spent years studying paintings made centuries ago. At Maison d’Art, that history now shares a program with artists who are still deciding what comes next.
A gallery director writes a book about a painter of snow. Years later, her gallery lends a living artist’s triptych to a museum in Kansas.
Those are two good reasons to spend some time with Maison d’Art.
The Monaco gallery was founded in 1997 with a specialization in European paintings from the thirteenth through eighteenth centuries. Its director, Marietta Vinci-Corsini, has a particular interest in eighteenth-century landscapes. Her writing on Francesco Foschi gives that interest a name, a subject and a place on a bookshelf.
Then there is Carlos Rolón, whose 2024 triptych appears in the gallery’s announcement of a loan to the Nerman Museum of Contemporary Art. A historical painter studied at length. A contemporary artist finding another audience. Between them sits a business willing to keep widening the conversation.
I like that combination. A reputation for knowing one field can become a comfortable place to stop. Maison d’Art’s record suggests that a serious attachment to the past can coexist with an appetite for what is being made now.
Marietta Vinci-Corsini & Francesco Foschi
Somebody thought this painter deserved a book.
The gallery’s Foschi publication page is a quieter credential than a list of famous names. It documents Vinci-Corsini’s sustained attention to one artist. That is the part that holds my interest.
A monograph asks a reader to stay with a person’s work. The artist gets more than a passing mention between better-known names. There is room to consider the paintings together and to return to them with a little more understanding.
For a writer, that commitment is easy to appreciate. Choosing a subject means giving it a portion of your life. Finishing the book gives other people a way into the same subject without requiring them to begin where you began.
Maison d’Art’s history places this scholarship alongside decades of dealing and collection building. The gallery also dates a further expansion of its contemporary fair program to 2023. The word “further” matters: this was an extension of its activity, not a claim that its entire earlier life had suddenly become irrelevant.
That makes the contemporary work more interesting to me. There is an established eye behind the selection, and there are new things for that eye to learn.
One Masters Monaco · 2025
Women artists, in each other’s company.
The 2025 One Masters Monaco press kit gives the gallery’s breadth a useful example. Its presentation, Visions of Women Artists, connected women painters from the Renaissance to the present, naming Sofonisba Anguissola and Stefania Tejada among them.
The accompanying pages document two works separated by more than a century:
Dora Hitz
Mother and Child
1891 · Oil on canvas
Stefania Tejada
Falling Through the Rising Sun
2025 · Oil on canvas
A date supplies distance. A named artist supplies a person. Put both into an exhibition and the audience has something richer to consider than a procession of periods.
I would not pretend these women had the same lives, opportunities or intentions. The interest lies partly in the differences. A gallery can bring work into proximity and let a visitor discover where comparison becomes illuminating, where it becomes uncomfortable and where it stops being useful.
This is one of the pleasures of an evolving specialist business. Its accumulated knowledge can create an encounter that would be harder to arrange from a single narrow category. The older work remains present; a living artist gets room beside it. Neither has to disappear for the other to matter.
Monaco to Overland Park
The next audience does not have to buy anything.
In June 2026, Maison d’Art announced its loan of Rolón’s triptych waiting for the sun while the mountains and flora pray before the storm to the Nerman Museum.
The museum’s account of the exhibition describes an artist born in the United States to a Puerto Rican family, working with questions of memory, migration and belonging. Across the exhibition, materials include repurposed objects, FEMA tarps and gold leaf, alongside imagery of Caribbean plants and animals.
Those details put people back into a story that could otherwise become a list of institutions. Household memory, displacement and the effort to preserve something after destruction give the work its human stakes.
A loan has practical consequences for who can encounter that work. A visitor need not be building a collection or planning an acquisition. At the Nerman, admission is free. The person looking can simply be interested.
That is a contribution worth noticing. The gallery helps a work reach a setting where it can be studied beside other pieces and encountered through a museum’s interpretation. The artist, lender, museum and audience each have a part in what happens there.
There is still more to look at.
While that contemporary exhibition runs in Kansas, Maison d’Art’s 2026 calendar also places it at the Florence International Antiques Biennial. The older field remains part of the working life of the gallery.
That is what makes this story more satisfying than a simple reinvention. Vinci-Corsini’s scholarship is still there. So are the historical paintings. The contemporary program adds artists, questions and audiences to a business with an existing body of knowledge.
I began with Foschi because a book is evidence that somebody stayed interested long enough to do the work. I end with the museum loan because it shows that interest traveling outward.
A painter’s life ends. The possibility of another person finding something in the work does not. A living artist adds to the conversation, and somebody makes room. That is a good reason for a gallery to keep opening its doors.
Rob Urban
The gallery, in context
A few useful details.
What is Maison d’Art in Monaco?
Maison d’Art is a gallery founded in 1997, with a background in European Old Master paintings and a program that also includes modern and contemporary art.
Who directs Maison d’Art?
Marietta Vinci-Corsini directs the gallery. Her specialization includes eighteenth-century European landscape painting, and she has written a monograph on Francesco Foschi.
What is Maison d’Art’s connection to Carlos Rolón’s Nerman Museum exhibition?
The gallery announced the loan of a 2024 triptych to Carlos Rolón: All We Have Is Right Now. The Nerman Museum lists the exhibition for June 12 through December 6, 2026, with free public admission.
Where is Maison d’Art located?
The gallery lists its address as 27 Avenue de la Costa, 98000 Monaco. Contact the gallery directly to confirm visiting arrangements and which works are available to view.