The Museum of Fine Arts in Quimper is one of the most important museums of France by region.

The museum owes its creation to the legacy made ​​by Jean-Marie de Silguy (1785-1864) in the city of Quimper important collection of European painting that formed in Paris in the mid nineteenth century. This legacy of 1200 paintings and 2000 drawings was subject to a condition: the building by the City of a museum to house the collection. In 1866, the city acquired land adjacent to the Hotel de Ville, Place Saint-Corentin. In 1867, Joseph Bigot, a famous architect to whom we owe the spiers of the cathedral, won the architectural competition. Construction began in 1869. August 15, 1872, the museum finally opened Silguy.

Jean-Marie de Silguy (1785-1864) was born in the castle Bot Quimerch, a few dozen kilometers from Quimper. His mother, born Conen Saint-Luc, belongs to one of the oldest noble families of Britain, which has the finest collection of artworks in Lower Britain during the Revolution. His father, Toussaint Silguy belongs to a family of gentry lives and properties. After graduating high school in Quimper, Jean-Marie de Silguy joined the Ecole Polytechnique and the Ecole d'application of Roads and Bridges. His career as an engineer of bridges and road s leads the Marne Finistère then Nantes at Mont-de-Marsan, Bordeaux and finally Paris, where he became inspector general for the entire Southwest. De Silguy is essentially his collection during his stay in Paris between 1842 and 1852 . He wants to create a gallery of paintings of European schools since the fifteenth century, great buys at the Hotel Sales and do not hesitate to buy a copy to fill a gap in his art gallery.

Half of the collection is devoted to France, the other schools Italian, Spanish, Flemish or Dutch . It also has a large collection of engravings, mostly reproduction prints of the eighteenth and early nineteenth century, which is a real iconothèque.Les works of Breton inspiration not interested but especially his judgment leads to very safe to acquire major contemporary works of Corot and Boudin. Silguy From withdrew to Quimper in 1852 to enjoy his retirement. Remained unmarried and childless, his main concerns are with his collection, which he carefully draws the catalog.At his death in 1864, at the age of 79 years, he bequeathed the collection to the city of Quimper which he was the advisor. 's legacy is matched only one condition, the construction of a museum to house collection.

City of Quimper accepts the legacy of the collection of Jean-Marie Silguy and decided to build a "museum Silguy." In 1866, the City acquired several properties adjoining the Town Hall on the cathedral square. a museum project is taking shape quickly. architect of the City establishes a program specific museum, taking into account the latest achievements of museums in Angers, Nantes and Rennes as well as the recent construction of the Musée de Picardie in Amiens. The ground floor will be used for departmental collections of archeology. The first floor several rooms including a large gallery enjoying a skylight and large reception room on the site, will be devoted to the collection of paintings Silguy.

An architectural competition was launched in May 1867. It was won by Joseph Bigot . This Quimpérois 60 years old is the most famous architect of the nineteenth century Cornwall. He has countless constructions civil or religious buildings. He is most famous for the erection of two spiers of the cathedral of Quimper (1854-1856) and the construction of the castle Kériolet (1863). Joseph Bigot, which follows quite closely the museum program, designing the facade of a palace like the urban style "Genoa." It aligns levels with those of the City Hall to create an urban unit, but gives the museum's own identity decorative. He appealed to the sculptor Amedeo Ménard Nantes to sculpt the pediment of the facade an allegory of painting and architecture surrounding the arms of the city. Museum was inaugurated on 15 August 1872. President Marshal MacMahon the visit in 1874 and contributed to the reputation of the museum, the pride of Quimper, envied by other cities of Lower Brittany.

Designed to house the collection De Silguy, the museum is located at the beginning of the twentieth century faced a problem of space. The museum operates. The clashes want more ventilated and suitable for a scientific classification by schools. The collection is enriched by donations, bequests and acquisitions.

 A collection of paintings inspired Breton is formed gradually.

In 1972, a century after its inauguration, the museum is set the standards of a modern museum.The presentation is very airy on white walls.

 In 1993, the museum draws current. The architect Jean-Paul Philippon, who labored also the Musée d'Orsay and the Musée de Roubaix La Piscine, directs major extension and restructuring of the building, leading to functional and aesthetic renovation.

The renovation led by Jean-Paul Philippon

The construction of Joseph Bigot remains only the classical facade masking a completely redesigned interior. This is a modern and bright serves as a backdrop to the museum's collections, which continue to grow. works solve the crucial problem of lack of space by increasing the exhibition space and creating a place dedicated to temporary exhibitions. More than 700 works are on permanent display. The development of new childcare facilities, an auditorium, an educational service and a bookshop meet the needs of contemporary museums. At the heart of the museum space Lemordant reconstructed according to its original layout great painted made ​​in the early twentieth century to the famous brewery Quimper Hall Sword and opens as a space for contemplation and rest. A permanent room is now dedicated to Quimper poet Max Jacob and his friends .The draft Philipon Jean-Paul, who labored also the Musée d'Orsay and the Musée de Roubaix La Piscine, is based on the principle of transparency and freedom of movement.Openings through concrete and granite are for the visitor benchmarks on the inside and the outside, in particular of the cathedral. A central nave with majestic proportions and harmonious volumes communicates with all hosting services.