The Pension Gloanec was at the entrance to the Pont-Aven village square.

There were few rooms for rent, and most of the artists lived elsewhere in the town and only ate at the pension.

The auberge had only two rooms on the ground floor.

At the front the kitchen-living room was entered from the square, and had a large fireplace.

Corwin Knapp Linson (1864–1959) said the kitchen had two great Breton beds on either side of the fireside in which the mistress and her maids slept.

He wrote that the "time honoured fireplace was framed in a blazonment of brass and copper utensils which blinked, flashed, glowed according to ever changing humour of light."

Behind the kitchen was the dining room, where food was served "to fatten you on the spot".

The dining room was lined with beams and floorboards, drawings and studies.

The work of the regular guests covered the walls of the kitchen and dining room, depicting the local men and women who posed for the artists.

The patronnes would often extend credit to the artists, or accept paintings as payment, and the artists were proud to have their work accepted and displayed.

In this way, the Gloanecs acquired a major collection.

The painter Édouard Girardet (1819–1880) described the pension in 1876, when Aloysius O'Kelly (1853–1936) was staying there, as the rowdiest of the inns compared to the Hôtel des Voyageurs, favored by the Americans and the Hôtel du Lion d'Or, favored by the French.

Thomas Hovenden stayed in the pension at that time, as did the American brothers Alexander and Birge Harrison.

Henry Blackburn's Breton Folk: An Artistic Tour of Brittany (1880) described the pension as a quaint little auberge down by the bridge.

The signboard was painted by one of the inmates, and the panels of the rooms were also decorated with works of art.

It was the true Bohemian home in the town where lodgings and two good meals per day with cider could be had for sixty francs a month.

In the evening and in the morning, casually-dressed artists could be seen sitting around a table in the road, some of them with worldwide reputations.

Birge Harrison wrote in 1888 that the delicious food of the dear old Marie-Jeanne was known by all the artists.

Three busy waitresses served the tables with steaming dishes among the hubbub and gaiety, and from time to time Marie-Jeanne appeared at the door to join the cheerful atmosphere.
Mortimer Menpes (1855–1938) stayed at the Pension Gloanec with his wife and daughter Dorothy.

Dorothy described the dining room "where rough men sat on either side of a long table, serving themselves out of a common dish, and dipping great slices of bread into their plates."

Dorothy's mother categorized the painters as "Stripists, Dottists and Spottists, a sect of the Dottists, whose differentiation was too subtle to be understood.

Several other artists stayed at the pension, including Émile Bernard and Arthur Wesley Dow.
The Pension Gloanec was at the entrance to the Pont-Aven village square.
There were few rooms for rent, and most of the artists lived elsewhere in the town and only ate at the pension.
The auberge had only two rooms on the ground floor.
At the front the kitchen-living room was entered from the square, and had a large fireplace.
Corwin Knapp Linson (1864–1959) said the kitchen had two great Breton beds on either side of the fireside in which the mistress and her maids slept. 
He wrote that the "time honoured fireplace was framed in a blazonment of brass and copper utensils which blinked, flashed, glowed according to ever changing humour of light."
Behind the kitchen was the dining room, where food was served "to fatten you on the spot".
The dining room was lined with beams and floorboards, drawings and studies.
The work of the regular guests covered the walls of the kitchen and dining room, depicting the local men and women who posed for the artists.
The patronnes would often extend credit to the artists, or accept paintings as payment, and the artists were proud to have their work accepted and displayed.
In this way, the Gloanecs acquired a major collection.
The painter Édouard Girardet (1819–1880) described the pension in 1876, when Aloysius O'Kelly (1853–1936) was staying there, as the rowdiest of the inns compared to the Hôtel des Voyageurs, favored by the Americans and the Hôtel du Lion d'Or, favored by the French.
Thomas Hovenden stayed in the pension at that time, as did the American brothers Alexander and Birge Harrison.
Henry Blackburn's Breton Folk: An Artistic Tour of Brittany (1880) described the pension as a quaint little auberge down by the bridge.
The signboard was painted by one of the inmates, and the panels of the rooms were also decorated with works of art.
It was the true Bohemian home in the town where lodgings and two good meals per day with cider could be had for sixty francs a month.
In the evening and in the morning, casually-dressed artists could be seen sitting around a table in the road, some of them with worldwide reputations.
Birge Harrison wrote in 1888 that the delicious food of the dear old Marie-Jeanne was known by all the artists.
Three busy waitresses served the tables with steaming dishes among the hubbub and gaiety, and from time to time Marie-Jeanne appeared at the door to join the cheerful atmosphere.Mortimer Menpes (1855–1938) stayed at the Pension Gloanec with his wife and daughter Dorothy.
Dorothy described the dining room "where rough men sat on either side of a long table, serving themselves out of a common dish, and dipping great slices of bread into their plates."
Dorothy's mother categorized the painters as "Stripists, Dottists and Spottists, a sect of the Dottists, whose differentiation was too subtle to be understood.
Several other artists stayed at the pension, including Émile Bernard and Arthur Wesley Dow.
Pension Gloanec