For museums and cultural institutions
320,000 followers on Instagram. 170,000 readers by email. One audience that shows up for paintings.
I don't post announcements. I tell the story behind one work, and people go and see it.
Vermeer · Girl with a Pearl Earring
No bots · no bought followers · built story by story
Part one
Carousels and reels, each one built to be understood in a single scroll.
Ingres · Comtesse d'Haussonville
No rigid rulebook, one reflex: find the angle that makes someone stop scrolling and look at a painting properly. A list, a comparison, a magnified detail, an artist nobody talks about.
17.8M
Ninety days of publishing, on one account.
Instagram views · rolling 90 days
Hokusai · The Great Wave off Kanagawa
Cool Stories About Art has already worked with: Centre Pompidou, Musée Picasso Paris, Musée d'Art Moderne de Paris, Musée des Beaux Arts de Lyon, The Flemish Masters, MSK Gent…
Gérôme · Bashi-Bazouk
Matisse et Marguerite
Instagram carousel · co-published
Unforgettable. Women artists from Antwerp to Amsterdam
Instagram carousel · co-published
Étretat, par-delà les falaises
Instagram reel · co-published
Details in famous paintings nobody talks about
Instagram carousel · co-published
Georges de La Tour
Instagram carousel · co-published
Everything is in the price: research, writing, editing, visuals and co-publication. All prices excluding VAT, valid from September 2026 to January 2027.
Monet · Poppy Field
Co-published on both accounts, on the date you choose
Ten to twelve slides on one story from your exhibition. Your poster on the last slide, your dates and your ticketing link in the caption. Published on my account and on yours, the same day.
800EUR
A vertical video, written and edited from your visuals. Your poster at the end, your dates and your ticketing link in the caption. Published on my account and on yours, the same day.
1,000EUR
One screen with your visual and a link, published on my account and on yours. For an opening, a last week, a piece of news.
100EUR
3EUR
A carousel at 800 EUR, seen by 250,000 people. That is what one exhibition story costs, per thousand.
Part two · on Substack
Newsletter
Ten long-form stories a month, written in full and sent by email to 170,000 readers who chose to be there. More than 130 articles already online, and 10,000 new subscribers every month.
Turner · The Fighting Temeraire
An upper middle class, intellectual audience with an interest in art, culture and education.
Substack Bestseller
Newsletter Substack
The War Between Leonardo and MichelangeloRead ↗
Picasso Stole Cubism From His Best FriendRead ↗
Leonora Carrington: The Woman They Couldn’t DestroyRead ↗
How Japan Reshaped Western ArtRead ↗
The Last Day of Vincent Van GoghRead ↗
Frans Post: The First European Painter of the AmericasRead ↗
Diego Rivera, the Great MythomaniacRead ↗
Degas: The Antisemite Who Died AloneRead ↗
The Last Supper: Leonardo’s Secret, Detail by DetailRead ↗
Renoir’s Luncheon of the Boating Party, Detail by DetailRead ↗
Understand Rococo in 5 MinutesRead ↗
Color Orange: Which Came First, the Fruit or the Color?Read ↗
I love your intelligent walks across a canvas. You reveal things I did not see.
I know nothing about art, but your writing is both inviting and very intriguing. I just changed my free subscription to paid.
I am a retired art educator and an artist from the USA. Your in depth analysis and insight into artists and their artwork is just fascinating.
Due to your good teachings, I will never view a work of art as I have in the past.
How brilliant. This was so informative. I go to the National Gallery regularly just to look at his Sunflowers.
I have been following with interest. This one got me to subscribe.
This is absolutely fascinating and well written out.
I absolutely love these stories and the research and creativity that goes into each one.
What struck me while visiting the exhibition myself was how many of these women were not marginal figures at all.
Your stories must take a lot of thought and hours of research. I really enjoy them thoroughly.
You fleshed out details I did not know. Put altogether with the photos, it was not only informative but moving as well.
Not only was this a fascinating commentary on the work, it was also a story worthy of submission to Prime, HBO, or Netflix.
Newsletter Substack
These are the formats that work best on Substack. None of them is a fixed template: for your exhibition I take the one that fits, I adapt it to what you want to say, and when nothing fits I build a new one for the occasion.
One canvas. The eye is guided from detail to detail, each one adding a clue, until the painting delivers its revelation.
A virtual visit of an artist's house, room by room. Its history, its anecdotes and its emotions, told one room at a time.
A precise question, a mystery, and a journalist's inquiry to answer it. About a painting, a museum or an event.
A short story told like an episode of a series. The camera follows one central character, a painter, through a mission, a mystery or a love affair, lightly fictionalised.
A movement explained through popular culture. If this movement were a film, a cake, a brand, a series, a song, a car. The artists to know, and a definition you will never get wrong again.
It does not decode one work, it hands over the codes to read hundreds. The reader leaves with knowledge they take to the museum.
Little known artists who deserve the light, names that were famous in their day and have since been forgotten, and a selection of the artists you will love tomorrow.
The story of the man or the woman behind a painting. Understanding a painter's life, or tragedy, to see the work differently.
How painting shaped popular culture: film posters, record covers, and the way painters built our collective imagination.
Newsletter Substack
Everything is in the price: research, writing, editing, visuals and co-publication. All prices excluding VAT, valid from September 2026 to January 2027.
Caravaggio · Supper at Emmaus
Emailed to 170,000 readers, then archived and indexed by Google
A story written to measure, around your exhibition and what you want to bring to light, emailed to 170,000 readers, then archived online and indexed by Google. With a banner and a link to your ticketing.
1,000EUR
A banner for your event or your exhibition, placed inside one of my articles emailed to 170,000 readers, with links to your exhibition page and your ticketing.
250EUR
The same insert in my next 10 articles, which covers about one month. 10 emails to the same 170,000 readers, 150 EUR each instead of 250.
1,500EUR
Instagram and newsletter Substack
You tell me what you want to put forward: a temporary exhibition, the permanent collection, one artist, or the museum itself. You share the press kit and the high resolution images.
Two or three concepts, for Instagram, for Substack, or for both, each one with the reason I believe in it for this audience.
You pick the angle that serves the museum best.
Research, writing, editing, visuals. All of it produced here.
You read the content before anything goes out, and ask for the changes you want.
We agree on a publication date, then we share the content: it goes out on my accounts and on yours, the same day.
Instagram and newsletter
Order more than one content and the total comes down. Discounts do not stack.
−20%on the total
−15%on the total
−20%on the total
−15%on the total
−20%
On the first content you order, whatever the format.
+30%
If you want to use the content for your own communication, or to sponsor it, the price goes up by 30%. Twelve months, worldwide.
Lead time
About three weeks from the brief to publication.
Changes
Two rounds included, before anything goes out.
Cancellation
Free until production starts, then half the price.
All prices excluding VAT · the rates above are valid from September 2026 to January 2027 · rates are reviewed as the audience grows
Before you write to me
I do, on my own. Research, writing, editing, design, from your press kit and your high resolution visuals.
Yes. Nothing is published before you have approved it.
In English. The account and its readers are international.
I live in Paris, so I cannot always travel to exhibitions across Europe and the world. When I can come, it is always better. Otherwise I work from the press kit, the visuals and your indications. If a press preview suits you, I will gladly attend, but the work does not depend on it.
The content lives on both accounts, that is included. If you also want it on your own channels, your website, your screens, in print, or if you want to sponsor the Instagram post as paid advertising, that is the +30% option, for twelve months.
No. The collaboration can start before or during an exhibition.