The museum market - France (2023)

1.2 Global market

The global museum market was valued at US$ **.** billion in **** and is expected to reach US$ **.** billion by ****, growing at a CAGR of **%. Market revenues are expected to reach US$**.** billion by ****, growing at a CAGR of *%. However, these figures do not only include museums, but also historical sites, zoos and parks (***)

Size of the global museum market World, **** - ****, USD billion Source: ****

North America is the largest market for museums, accounting for **% of revenue in ****, followed by Asia-Pacific (***) and Europe. Africa is the region of the world with the lowest market share for museums.

The ** largest museums in the world in terms of attendance are listed in the table below:

Source: ****

Although it is in first place, the Louvre is the only French museum in the world's top ** museums in terms of attendance. We can see from this ranking the sharp drop in attendance in **** compared to ****, which has also upset the ranking. However, the Louvre still remains in first place in ****.

1.3 National market

The activity of museums can be identified under two codes of the NAF nomenclature:

**.**Z: "Management of museums" **.**Z : "Management of historical sites and monuments and similar tourist attractions"

The activity of Management of museums (***) includes :

- management of museums of all kinds:

museums of art, silverware, furniture, costumes, ceramics, silverware natural history museums, science and technology museums, history museums, including military museums other specialized museums open-air museums

The activity of Management of historical sites and monuments and similar tourist attractions (***) includes:

management and preservation of historical sites and buildings

The Louvre Museum, the Pompidou Center, and the Musée d'Orsay, for example, are registered under this NAF code.

INSEE gives these market sizes for the year ****. Theseamounted to **,*** millioneuros for the management of museums (***) These figures make it possible to estimate the size of the museum market in **** in France, by multiplying them by the annualized revenue index for the year ****, also indicated by INSEE, then dividing by the revenue index for the year ****.

This formula therefore gives for museum management: **.*** million * **.**/*** = **.*** million euros, for the year ****. The calculation is the same for the other years and for the activity of management of historical sites and monuments and similar ...

1.4 Foreign trade

The first item of trade in cultural goods is art, collectibles and antiques, which includes: paintings, drawings and collages, statues and sculptures, engravings, original prints and lithographs, collectibles and antiques over *** years old.

The following graph shows the exports and imports for this item of cultural goods in ****, the pandemic year, and in **** (***). note that these exchanges only concern definitive imports and exports and therefore do not take into account temporary exchanges.

Exports and imports of art, collectibles and antiques France, **** - ****, in million euros Source: ****

the previous graph showsthe positive balance of foreign trade in art, collectibles and antiques. Indeed, the balance is positive in **** (***). Thus, between **** and ****, the trade balance decreased by **%.

This difference in the trade balance between **** and **** is explained mainly by the sharp reduction in the volume of exports (***) in **** compared to ****. The increase in imports is also due to the United States, as their imports increased by **% over the same period.

The main export trading partners for art, collectibles and antiques are the United States (***).

2.1 An increase in museum attendance, driven by art collections and the Île-de-France region

Museum attendance in France has increased significantly over the last decade, from **.* million visitors in **** to **.* million visitors in ****, an increase of **.*% over the period. This increase was even greater between **** and ****, when attendance rose by **.*% in five years, before falling by *.*% between **** and **** and then rising again until ****.

Evolution of the attendance of museums in France France, ****-****, in millions of visitors Source: ****

A little more than a third of museums are dedicated to art collections (***).

Distribution of museums by category France, ****, in Source: ****

However, the distribution of attendance does not follow the distribution of museums by type of collection. Indeed, art museums represent **% of total attendance, while they represent only **% of museums. History museums account for **% of all visits. Museums of society and civilization and nature, science and technology account for *% and *% respectively.

Distribution of museum attendance by category France, ****, in Source: ****

The following graph repeats the two previous ones, highlighting the strong popularity of art museums which, although representing only **% of museums, are responsible for **% of visits. History and society/civilization museums, on the other hand, are not very popular in relation to their share of the total number of museums. This is slightly less the case for ...

2.2 Profile of museum visitors

The Ministry of Culture publishes a survey every decade on cultural practices in metropolitan France. In ****, **** people constituted the sample for this study.

The following graph shows the proportion of the population that attended a museum in the past year between the early ****s and the late ****s. The proportion of museum attendance increased from **** to peak in **** (***).

However, between **** and **** museum attendance increased by **.*% (***), while at the same time the proportion of people who visited a museum decreased by * points between **** and ****. We can therefore deduce that those who go to museums go more often than before on average.

Proportion of people who visited a museum or exhibition in the last twelve months France, **** - ****, in % Source: ****

The **-** year olds are the most frequent visitors to museums. Indeed, **% of them have visited at least one in the last ** months. Next come the **-** year olds (***). In addition, the average age in museums in **** is **, compared to ** in ****.[***]

Proportion of people who visited a museum in the last ** months by age group France, ****, in % Source: ****

More women have visited a museum (***) over the year.

Proportion of people who visited a museum in the last ** months by gender France, ****, in % Source: ...

2.3 Tourism as a major determinant of demand, and the impact of covid-19 on visitation

Half (***) of visitors are locals[***]. This high proportion of international tourists reflects the importance of foreign customers for museums. However, in ****, with the pandemic, international tourists represented only *% of visitors.

The vast majority (***) of tourists to France come from Europe. America and Asia are home to **% and *.*% of international tourists respectively.

Arrivals of foreign tourists in France by continent of residence France, ****, in % Source: ****

The following graph shows the share of foreign tourists by country. The United Kingdom (***) are the main countries of origin of tourists outside Europe.

Arrivals of foreign tourists in France by area of residence France, ****, in % Source: ****

Moreover, tourism is a major determinant for the culture sector and therefore the museum market since one out of every two foreign tourists makes at least one cultural visit during their tourist stays on French territory. The health crisis has thus highlighted the strong interdependence between the tourism and culture sectors, with museums, for example, contributing to France's international appeal. Domestic tourism was also strongly disrupted in ****, impacting museum attendance as a quarter of national tourists visit museums.

This strong dependence on foreign visitors to French museums caused a sharp drop in attendance during the health crisis related to covid-**. ...

2.4 The case of exhibitions, catalysts of demand

According to the Ministry of Culture,museum attendance is very much linked to temporary exhibitions and other cultural events. Indeed, the cumulative attendance of all temporary exhibitions in museums in France is estimated at more than **.* million entries in ****[***], or **% of total museum attendance. This phenomenon seems to be increasing in recent years, as * of the * largest attendance figures for exhibitions have taken place in the last * years. Temporary exhibition Establishment Dates Number of visitors Tutankhamun, the pharaoh's treasure Grande Halle de la Villette march **, **** - September **, **** *.* million Vang Gogh, the starry night Atelier des Lumières february **, **** - January *, **** *.* million Tutankhamun Petit Palais **** *.* million Shchukin Collection Louis Vuitton Foundation october **, **** to March *, **** *.* million Leonardo da Vinci The Louvre October **** to February **** *.* million Thus, the Leonardo da Vinci exhibition alone accounted for approximately **% of the total attendance at the Louvre Museum. Another example of the popularity of exhibitions is the attendance of the museums that make up the Paris Musées association, which includes the ** municipal museums and heritage sites of the City of Paris. Indeed, the association counted **% of visits to its museums for temporary exhibitions, compared to **% for permanent collections. [***]

3.1 A concentration of the sector

According to the Ministry of Culture, at the end of ****, there are **** museums that have the designation "Musée de France". This designation can be granted to museums belonging to the State or to public or private non-profit legal entities. Moreover, a museum is considered to be "any permanent collection of goods whose conservation and presentation are of public interest and organized for the knowledge, education and enjoyment of the public". However, out of the **** museums that have this designation, only a little over **** are open to the public. Also, some museums, such as the cité du vin in Bordeaux, do not benefit from the designation of Museums of France.

In detail, eight out of ten Museums of France are under the responsibility of local authorities, ** museums belong to the State, ** of which are under the direct responsibility of the Ministry of Culture. This is the case, for example, of the Louvre, Orsay and the Pompidou Center.

Museums can be classified into four categories: Art, History, Society and Civilization, Nature and Science and Technology. These different categories have different proportions in the total number of museums. Indeed, a little more than a third of the museums are dedicated to art collections ...

3.2 Public and private financing, a major challenge for the structuring of the sector

The financing of museums is a central element for the structuring of the sector. The financing of culture in general can be carried out by different actors that can be public (***)

Public financing :

The following graph shows the evolution of the budget of the Ministry of Culture allocated to Heritage within the framework of the program *** Heritage which is "dedicated to the financing of public policies intended tothis program is "dedicated to the financing of public policies intended for the constitution, preservation, enrichment and development of museum, monumental, archaeological, archival and architectural heritage. It aims to ensure the dissemination of this heritage to the widest possible audience[***] Note that the budgets for the years ****, **** and **** on the graph below correspond to the initial budget laws, which indicate a projected amount of expenditure.

We can thus notice the increase in the budget dedicated to Heritage, which includes the budget allocated for museums, which has been steadily increasing since ****. it should be noted that the allocation of this budget is very dependent on national policies conducted by different governments.

Budget of the Ministry of Culture dedicated to Heritage France, **** - ****, in millions of euros Source: ****

Nevertheless, not all of the money allocated by ...

4.1 Typology of prices

The median price of visits to museums, exhibitions and monuments in **** was **€. In detail, **% of visitors paid less than **€ and **% of visitors paid less than **€.[***]

Price is a factor that can cause people to give up visiting museums. In fact, **% of French people gave up at least one visit in **** because of the price of admission, which was considered too high. This proportion of renunciation due to the price is even more important among people with incomes below the median income (***). In detail, **% of the dropouts occurred when the price was higher than **€, and **% of those who dropped out of a visit would not have done so if the price had been lower than **€.

Furthermore, among those who visited a monument, museum or exhibition, **% were free in ****, for example during the European Heritage Days, Museum Night, the first Sunday of the month, etc. This proportion is more important among the under **s (***), who are the first beneficiaries of free admission.

In addition, the price of museums has risen sharply over the last decade. Indeed, in the case of national museums (***). This increase in national museums does not necessarily imply an increase in all museums in France, but it does indicate a ...

4.2 Supply trends

Blockbuster exhibitions

Temporary exhibitions accounted for **% of museum admissions in **** and more and more exhibitions are attracting large numbers of visitors (***). This type of exhibition allows museums to increase their attendance and consequently their revenues. They also allow to improve and especially to extend the reputation of a museum and are sometimes considered to be products of appeal. [***]

However, some exhibitions that were supposed to attract a large number of visitors have been a failure, such as the reproduction of the Lascaux cave which, instead of the ***,*** visitors expected, only received **,***.

Digitization of the offer

Micro-Folies :

The Micro-Folies are digital museums that offer fun, accessible and participatory activities that aim to democratize culture through digital access to works from the French collections (***)[***]

Virtual museum tours:

The health crisis related to covid-** has prompted museums to offer virtual tours of their museums. This is for example the case of the Louvre, which attracted more than ** million virtual visitors during the first two months of containment in ****.[***] Initiatives relayed by the Ministry of Culture on the website "Culture chez nous

Multiplication and modernization of the offer :

Several other new practices in the museum offer have appeared in recent years. For example, we can ...

4.3 Trend of the offer: museums dedicated to local products

The gastronomy sector in France is not limited to the restaurant industry. For example, French gastronomy, which is part of the intangible cultural heritage of humanity[***]

The following table lists some of the French museums dedicated to gastronomy:

The museums related to gastronomy are located in the "cradle" territories of the products concerned. The largest gastronomy museums are located in large cities, while smaller museums are located in small towns and villages.

The expenditure of tourists in restaurants was **.* billion euros in ****, before the health crisis, which can testify to the tourism potential of gastronomy[***]

According to the World Food Travel Association, **% of travelers worldwide participated in activities specifically related to food or drink while traveling in ****. Globally, **% of travelers choose their destination for its cuisine, including **% for a guided culinary tour. In addition, **% of them buy local products.

The French are also gastronomic tourists on their territory according to a ****Expedia study. Indeed, **% of French people say they are interested in gastronomic discovery during their stay. **% say they are interested in authentic gastronomic tourism (***). **% are looking for gastronomic events and **% are ready for a culinary experience.

An academic article published in **** clarifies the link between museums and the heritage of ...

5. Regulation

Appellation Musée de France :

Articles L***-* to L***-** of the Heritage Code provide a framework for the appellation "Musée de France".

Established by the law of January *, **** on the museums of France, the appellation "Musée de France" can be granted to museums belonging to the State or to public or private non-profit legal entities. Is considered as a museum "any permanent collection composed of goods whose conservation and presentation are of public interest and organized for the knowledge, education and pleasure of the public".the designation "Museums of France" can be granted to museums belonging to the State, to another legal person of public law or to a legal person of private law with non-lucrative goal. The museums of France include the national museums, the museums of the State whose status is fixed by decree, the museums classified in application of the laws and regulations in force anteriorly to the new law.rieurement to the new law and the museums previously controlled by the minister in charge of Culture or the minister in charge of Research subject to the provisions of the law.

The permanent missions of the Museums of France are :

Preserve, restore, study and ...

6. Segmentation

• Culturespace
• Musée du Louvre
• MUCEM
• Cité du Vin
• Centre Pompidou
• Tempora Expo
• Réunion des Monuments Nationaux -RMN Grand Palais
• Centre des Monuments Nationaux CMN
• Musée d'Orsay
• Musée de la Marine
• France museums
• Musée Soulages
• Château de Versailles
• Delight Data
• The Packengers
• Arteum Services
• La Tour Eiffel