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Pommery has been a key player in the Art world since it was founded. Starting in 1882, Madame Pommery, forward-thinking and passionate about art and creativity, constantly sought to blend champagne production with artistic creation. She invented the concept of corporate patronage almost thirty years ahead of the rest of the world.
She commissioned Gustave Navlet to create four spectacular bas reliefs sculpted right into the chalk in Pommery's majestic cellars. She also donated Millet's famous painting The Gleaners to the Louvre (the painting is now exhibited in the Musée d’Orsay).
Emile Gallé, an Art Nouveau master, made Pommery's largest barrel on commission for the 1904 World's Fair in St. Louis, Missouri. We have chosen Contemporary Art as the main focus of our patronage to honour the memory of Madame Pommery and to highlight our amazing spaces, through the works of contemporary artists.
I want artists to be able to do what they want and see what comes from that. I trust them and I believe in their ability to invent bubbles of knowledge and life that can help each of us to overcome the many constraints imposed by society.
Our exhibitions have enabled us to develop relations with others and a sense of generosity. That is what I love, the generosity of the artists. A generosity that enriches and opens the way for us to see and live differently. Contemporary Art, just like Champagne, gives the world its sparkle. This makes us see things differently, think differently and taste new delights.
Perhaps today more than ever, we should all promote creative expression. ‘Being a patron means helping others to express what I love beyond measure, that is Freedom.’
This late-19th century art movement was inspired by innovation and sensuality. The creators of this original style, which spread throughout the entire world, worked to create art forms that combined the latest techniques and materials. They drew their inspiration from nature and the seasons, drawing heavily upon tree, leaf, flower, and vine motifs.
With its rounded, sensual forms and its interlacing plant patterns, the Cuvée Demoiselle bottle pays homage to its precursors. Art becomes a part of everyday life, something to be shared. It becomes an accessible pleasure and elevates Demoiselle Champagne to a lifestyle moment.
As early as the 1st century BC, the Romans set up on the site of La Gordonne to take advantage of its vines and its wines, but above all, to enjoy the exceptional microclimate of La Gordonne's schist crater. In 1300, the Carthusians from the La Verne monastery near Pierrefeu du Var began working the vineyard. Later, Sully, a connoisseur of fine wines, enjoyed a few stays at La Gordonne, which was then known as La Mayon d'Aurran, and planted with vines and olive trees. Between 1650 and 1663, the estate was purchased by the Conseiller de Gourdon and named after him. Then in 1663, the Conseiller de Dedons, Lord of Pierrefeu, bought part of the Aurran property known as La Gordonne and its house, vines, and olive trees.
The saga of Domaine de Jarras is indissociable from the story of Camargue winemaking, and it is unique in many ways: vines growing in the sand, protected and diversified flora and fauna, and a millennial name and history.
There are other known references to vine growing and winemaking in the Camargue sands, including patent letters from Charles VI in 1406 and a letter from Charles VII dated 1431. The vines have calmly continued their development throughout the centuries.
Domaine de Jarras' pioneering spirit is allowed to thrive on large plots of vines that have been rearranged so that we can better survey them today. Vranken-Pommery Monopole own 3,500 hectares of land, 1,780 planted with vines, here.