The museum is housed in the
Louvre Palace, originally built as the
Louvre castle in the late 12th to 13th century under
Philip II. Remnants of the fortress are visible in the basement of the museum. Due to the urban expansion of the city, the fortress eventually lost its defensive function and, in 1546, was converted by
Francis I into the main residence of the
French Kings.
[5] The building was extended many times to form the present Louvre Palace. In 1682,
Louis XIV chose the
Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of ancient Greek and Roman sculpture.
[6] In 1692, the building was occupied by the
Académie des Inscriptions et Belles-Lettres and the
Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years.
[7] During the
French Revolution, the
National Assembly decreed that the Louvre should be used as a museum to display the nation's masterpieces.
The museum opened on 10 August 1793 with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under
Napoleon and the museum was renamed
Musée Napoléon, but after Napoleon's abdication many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of
Louis XVIII and
Charles X, and during the
Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the
Third Republic. The collection is divided among eight curatorial departments:
Egyptian Antiquities;
Near Eastern Antiquities;
Greek,
Etruscan and
Roman Antiquities;
Islamic Art;
Sculpture;
Decorative Arts; Paintings; Prints and Drawings.
History[edit]
12th–20th centuries[edit]
Medieval, Renaissance, and Bourbon palace[edit]
Below-ground portions of the medieval Louvre are still visible.
[8]
The
Louvre Palace, which houses the museum, was begun as a
fortress by
Philip II in the 12th century to protect the city from English soldiers which were in Normandy. Remnants of this castle are still visible in the crypt.
[8] Whether this was the first building on that spot is not known; it is possible that Philip modified an existing tower.
[9] According to the authoritative
Grand Larousse encyclopédique, the name derives from an association with
wolf hunting den (via Latin:
lupus, lower Empire:
lupara).
[9][10] In the 7th century, St. Fare, an abbess in Meaux, left part of her "Villa called Luvra situated in the region of Paris" to a monastery.;
[11] this territory probably did not correspond exactly to the modern site, however.
The Louvre Palace was altered frequently throughout the
Middle Ages. In the 14th century,
Charles V converted the building into a residence and in 1546,
Francis I renovated the site in
French Renaissance style.
[12] Francis acquired what would become the nucleus of the Louvre's holdings, his acquisitions including
Leonardo da Vinci's
Mona Lisa.
[13] After Louis XIV chose Versailles as his residence in 1682, constructions slowed; however, the move permitted the Louvre to be used as a residence for artists, under Royal patronage.
[12][14][15] Four generations of Boulle were granted Royal patronage and resided in the Louvre in the following order: Pierre Boulle, Jean Boulle,
Andre-Charles Boulle and his four sons (Jean-Philippe,
[16] Pierre-Benoît (c.1683-1741), Charles-André (1685–1749) and Charles-Joseph (1688–1754)), after him.
André-Charles Boulle (11 November 1642 – 29 February 1732
[17]) is the most famous French
cabinetmaker and the preeminent artist in the field of
marquetry,
[18][19] also known as "
Inlay".
[20] Boulle was "the most remarkable of all French cabinetmakers".
[21] He was commended to
Louis XIV of France, the "
Sun King", by
Jean-Baptiste Colbert (29 August 1619 – 6 September 1683) as being "the most skilled craftsman in his profession". Before the fire of 1720 destroyed them,
André-Charles Boulle held priceless works of art in the Louvre, including forty-eight drawings by Raphael'
.[22]
By the mid-18th century there were an increasing number of proposals to create a public gallery, with the art critic La Font de Saint-Yenne publishing, in 1747, a call for a display of the royal collection. On 14 October 1750,
Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the
Luxembourg Palace. A hall was opened by
Le Normant de Tournehem and the
Marquis de Marigny for public viewing of the
Tableaux du Roy on Wednesdays and Saturdays, and contained
Andrea del Sarto's
Charity and works by
Raphael;
Titian;
Veronese;
Rembrandt;
Poussin or
Van Dyck, until its closing in 1780 as a result of the gift of the palace to the
Count of Provence (the future king, Louis XVIII) by the king in 1778.
[23] Under
Louis XVI, the royal museum idea became policy.
[24] The
comte d'Angiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the "French Museum". Many proposals were offered for the Louvre's renovation into a museum; however, none was agreed on. Hence the museum remained incomplete until the French Revolution.
[23]
French Revolution[edit]
During the French Revolution the Louvre was transformed into a public museum. In May 1791,
the Assembly declared that the Louvre would be "a place for bringing together monuments of all the sciences and arts".
[23] On 10 August 1792,
Louis XVI was imprisoned and the royal collection in the Louvre became national property. Because of fear of vandalism or theft, on 19 August, the National Assembly pronounced the museum's preparation as urgent. In October, a committee to "preserve the
national memory" began assembling the collection for display.
[25]
Opening[edit]
The museum opened on 10 August 1793, the first anniversary of the monarchy's demise. The public was given free accessibility on three days per week, which was "perceived as a major accomplishment and was generally appreciated".
[27] The collection showcased 537 paintings and 184 objects of art. Three quarters were derived from the royal collections, the remainder from confiscated
émigrés and
Church property (
biens nationaux).
[28][29] To expand and organize the collection, the Republic dedicated 100,000
livres per year.
[23] In 1794, France's revolutionary armies began bringing pieces from Northern Europe, augmented after the
Treaty of Tolentino (1797) by works from the Vatican, such as
Laocoön and His Sons and the
Apollo Belvedere, to establish the Louvre as a museum and as a "sign of popular sovereignty".
[28][30]
The early days were hectic; privileged artists continued to live in residence, and the unlabelled paintings hung "frame to frame from floor to ceiling".
[28] The structure itself closed in May 1796 due to structural deficiencies. It reopened on
14 July 1801, arranged chronologically and with new lighting and columns.
[28]
Napoleon[edit]
Under
Napoleon I, a northern wing paralleling the Grande Galerie was begun, and the collection grew through successful military campaigns.
[31] Following the
Egyptian campaign of 1798–1801, Napoléon appointed the museum's first director,
Dominique Vivant Denon. In tribute, the museum was renamed the "Musée Napoléon" in 1803, and acquisitions were made of Spanish, Austrian, Dutch, and Italian works, either as
spoils or through treaties such as the
Treaty of Tolentino.
[32] At the end of Napoleon's First Italian Campaign in 1797, the
Treaty of Campo Formio was signed with
Count Philipp von Cobenzl of the
Austrian Monarchy. This treaty not only marked the completion of Napoleon's conquest of Italy, but also the end of the first phases of the
French Revolutionary Wars. Under this treaty, Italian cities were required to contribute pieces of art and patrimony to take part in Napoleon's "parades of booty" through Paris before being put into the Louvre Museum.
[33] One of the most famous pieces taken under this program was the
Horses of Saint Mark. The four antique bronze horses, which had adorned the basilica of San Marco in Venice after the sack of
Constantinople in 1204, were brought to Paris to reside atop
Napoleon's Arc du Carrousel in Paris in 1797.
[33]
Several churches and palaces, including Saint Mark's Basilica, were looted by the French, which outraged the Italians and their artistic and cultural sensibilities.
[34] In 1797, the
Treaty of Tolentino was signed by Napoleon, and two statues, the
Nile and
Tiber, were taken to Paris. These statues had previously been in the Vatican, and both were housed in the Louvre until 1815. After the defeat of Napoleon, the
Nile was returned to Italy.
[35] However, the
Tiber remained in the Louvre Museum and can be seen in the collections today.
The Italian Peninsula was not the only region from which Napoleon took art. Under the Directory government of the 1790s, Napoleon (then a General) led an expedition to Egypt. The campaign was an expansionist effort on the part of the government, but the Directory had another goal to make Paris the center of art, science, and culture.
[36] The Directory wanted France to assume responsibility for liberating the works of art they deemed in danger in order to protect and nationalize the heritage and culture of their subjects.
[37] As a result, there were teams of artists and scientists who accompanied the armies into battle equipped with lists of paintings, sculptures, and other pieces of patrimony that would be collected, crated, and shipped back to France.
[38]
Dominique Vivant Denon was Napoleon's art advisor, and accompanied him on the expedition to Egypt. Through his initiative, the
Valley of the Kings in Egypt was discovered and studied extensively.
[39] As a result, he was later installed by Napoleon as the director of
Musée Napoléon, formerly the Louvre, cementing the status of the museum as a center for global patrimony and storehouse for cultural heritage.
[40]
One of the most important discoveries made during Napoleon's campaign in Egypt was the
Rosetta Stone. It was discovered in 1799, and eventually led to the ability to decipher ancient hieroglyphs. Although the Rosetta Stone was discovered by the French, it actually never made it to the Louvre Museum. It was seized by British Forces following the defeat of Napoleon in Egypt and the subsequent signing of the Treaty of Alexandria in 1801.
[41] It is now on display at the
British Museum.
[42]
After the French defeat at
Waterloo, the works' former owners sought their return. The Louvre's administrators were loath to comply and hid many works in their private collections. In response, foreign states sent emissaries to London to seek help, and many pieces were returned, even some that had been restored by the Louvre.
[32][43] In 1815
Louis XVIII finally concluded agreements with the
Austrian government
[44][45] for the keeping of pieces such as Veronese's
Wedding at Cana which was exchanged for a large
Le Brun or the repurchase of the
Albani collection.
Restoration and Second Empire[edit]
During the
Restoration (1814–30),
Louis XVIII and
Charles X between them added 135 pieces at a cost of 720,000 francs and created the department of Egyptian antiquities curated by
Champollion, increased by more than 7,000 works with the acquisition of antiquities in the
Edme-Antoine Durand, the Egyptian collection of
Henry Salt or the second collection former by
Bernardino Drovetti. This was less than the amount given for rehabilitation of
Versailles, and the Louvre suffered relative to the rest of Paris. After the creation of the
French Second Republic in 1848, the new government allocated two million francs for repair work and ordered the completion of the
Galerie d'Apollon, the Salon Carré, and the Grande Galérie.
[46] In 1861,
Louis-Napoléon Bonaparte bought 11,835 artworks including 641 paintings, Greek gold and other antiquities of the
Campana collection. During the
Second French Empire, between 1852 and 1870, the French economy grew; by 1870 the museum had added 20,000 new pieces to its collections, and the
Pavillon de Flore and the Grande Galérie were remodelled under architects
Louis Visconti and
Hector Lefuel.
[46]
Damage during the 1871 Paris Commune[edit]
The Louvre was damaged during the suppression of the
Paris Commune. On 23 May 1871, as the French Army advanced into Paris, a force of Communards led by Jules Bergeret set fire to the adjoining
Tuileries Palace. The fire burned for forty-eight hours, entirely destroying the interior of the palace and spreading to the museum next to it. The library of the museum and some of the adjoining halls were destroyed, but the museum was saved by the efforts of Paris firemen and museum employees.
[47]
Third Republic and World Wars[edit]
Museum expansion slowed after World War I, and the collection did not acquire many significant new works; exceptions were
Georges de La Tour's
Saint Thomas and
Baron Edmond de Rothschild's(1845–1934) 1935 donation of 4,000 prints, 3,000 drawings, and 500 illustrated books.
[29] At the beginning of World War II the museum removed most of the art and hid valuable pieces. When Germany occupied the
Sudetenland, many important artworks such as the
Mona Lisa were temporarily moved to the
Château de Chambord. When war was formally declared a year later, most of the museum's paintings were sent there as well. Select sculptures such as
Winged Victory of Samothrace and the
Venus de Milo were sent to the
Château de Valençay.
[50] On 27 August 1939, after two days of packing, truck convoys began to leave Paris. By 28 December, the museum was cleared of most works, except those that were too heavy and "unimportant paintings [that] were left in the basement".
[51] In early 1945, after the liberation of France, art began returning to the Louvre.
[52]
Grand Louvre Pyramids[edit]
By 1874, the Louvre Palace had achieved its present form of an almost rectangular structure with the Sully Wing to the east containing the Cour Carrée (Square Court) and the oldest parts of the Louvre; and two wings which wrap the Cour Napoléon, the Richelieu Wing to the north and the Denon Wing, which borders the Seine to the south.
[53] In 1983, French President
François Mitterrand proposed, as one of his
Grands Projets, the
Grand Louvre plan to renovate the building and relocate the Finance Ministry, allowing displays throughout the building. Architect
I. M. Pei was awarded the project and proposed a glass pyramid to stand over a new entrance in the main court, the Cour Napoléon.
[54] The pyramid and its underground lobby were inaugurated on 15 October 1988 and the
Louvre Pyramid was completed in 1989. The second phase of the Grand Louvre plan,
La Pyramide Inversée (
The Inverted Pyramid), was completed in 1993. As of 2002, attendance had doubled since completion.
[55]
The Louvre Palace and the pyramid (by night)
The Louvre Palace and the pyramid (by day)
21st century[edit]
The Musée du Louvre contains more than 380,000 objects and displays 35,000 works of art in eight curatorial departments with more than 60,600 square metres (652,000 sq ft) dedicated to the permanent collection.
[56] The Louvre exhibits sculptures,
objets d'art, paintings, drawings, and archaeological finds.
[29] It is the
world's most visited museum, averaging 15,000 visitors per day, 65 percent of whom are foreign tourists.
[55][57]
After architects
Mario Bellini and
Rudy Ricciotti had won an international competition to create its new galleries for Islamic art, the new 3,000 sq m
[58] pavilion eventually opened in 2012, consisting of ground- and lower-ground-level interior spaces topped by a golden, undulating roof (fashioned from almost 9,000 steel tubes that form an interior web) that seems to float within the neo-Classical Visconti Courtyard in the middle of the Louvre's south wing.
[59] The galleries, which the museum had initially hoped to open by 2009, represent the first major architectural intervention at the Louvre since the addition of I.M. Pei's glass pyramid in 1989.
[60]
On 5 February 2015, about one hundred archaeologists, protesting against commercial private involvement to protect France's heritage, blocked Louvre's ticket desks to facilitate free access to the museum.
[61] At least one announcement reading "Free entrance offered by the archeologists" has been attached to the ticket desk and a number of people visited the museum free of charge.
[61]
Restoration workshops in the Louvre
The Louvre is owned by the French government; however, since the 1990s it has become more independent.
[57][62][63][64] Since 2003, the museum has been required to generate funds for projects.
[63] By 2006, government funds had dipped from 75 percent of the total budget to 62 percent. Every year, the Louvre now raises as much as it gets from the state, about €122 million. The government pays for operating costs (salaries, safety and maintenance), while the rest – new wings, refurbishments, acquisitions – is up to the museum to finance.
[65] A further €3 million to €5 million a year is raised by the Louvre from exhibitions that it curates for other museums, while the host museum keeps the ticket money.
[65] As the Louvre became a point of interest in the book
The Da Vinci Code and the 2006 film based on the book, the museum earned $2.5 million by allowing filming in its galleries.
[66][67] In 2008, the French government provided $180 million of the Louvre's yearly $350 million budget; the remainder came from private contributions and ticket sales.
[62]
The Louvre employs a staff of 2,000 led by Director
Jean-Luc Martinez,
[68] who reports to the French Ministry of Culture and Communications. Martinez replaced
Henri Loyrette in April 2013. Under Loyrette, who replaced
Pierre Rosenberg in 2001, the Louvre has undergone policy changes that allow it to lend and borrow more works than before.
[57][63] In 2006, it loaned 1,300 works, which enabled it to borrow more foreign works. From 2006 to 2009, the Louvre lent artwork to the
High Museum of Art in Atlanta, Georgia, and received a $6.9 million payment to be used for renovations.
[63]
In 2012, the Louvre and the
Fine Arts Museums of San Francisco announced a five-year collaboration on exhibitions, publications, art conservation and educational programming.
[69] The €98.5 million expansion of the Islamic Art galleries in 2012 received state funding of €31 million, as well as €17 million from the
Alwaleed Bin Talal Foundation founded by the eponymous Saudi prince. The republic of Azerbaijan, the Emir of Kuwait, the Sultan of Oman and
King Mohammed VI of Morocco donated in total €26 million. In addition, the opening of the Louvre Abu Dhabi is supposed to provide €400 million over the course of 30 years for its use of the museum's brand.
[58] Loyrette has tried to improve weak parts of the collection through income generated from loans of art and by guaranteeing that "20% of admissions receipts will be taken annually for acquisitions".
[63] He has more administrative independence for the museum and achieved 90 percent of galleries to be open daily, as opposed to 80 percent previously. He oversaw the creation of extended hours and free admission on Friday nights and an increase in the acquisition budget to $36 million from $4.5 million.
[62][63]
Satellite museums[edit]
In 2004, French officials decided to build a satellite museum on the site of an abandoned coal pit in the former mining town of
Lens to relieve the crowded Paris Louvre, increase total museum visits, and improve the industrial north's economy.
[70] Six cities were considered for the project: Amiens, Arras, Boulogne-sur-Mer, Calais, Lens, and Valenciennes. In 2004, French Prime Minister
Jean-Pierre Raffarin chose Lens to be the site of the new building, the Louvre-Lens. Japanese architects
SANAA were selected to design the Lens project in 2005. Museum officials predicted that the new building, capable of receiving about 600 works of art, would attract up to 500,000 visitors a year when it opened in 2012.
[70]
Abu Dhabi[edit]
On 8 November 2017, a direct extension of the Louvre,
Louvre Abu Dhabi, opened its doors to the public in the city of
Abu Dhabi. A 30-year agreement, signed by French Culture Minister
Renaud Donnedieu de Vabres and Sheik
Sultan bin Tahnoon Al Nahyan, established the museum on
Saadiyat Island in Abu Dhabi in exchange for €832,000,000 (US$1.3 billion). The Louvre Abu Dhabi, designed by the French architect
Jean Nouvel and the engineering firm of
Buro Happold, occupy 24,000 square metres (260,000 sq ft) and is covered by an iconic metallic roof designed to cast rays of light mimicking sunlight passing through
date palm fronds in an
oasis. France agreed to rotate between 200 and 300 artworks during a 10-year period; to provide management expertise; and to provide four temporary exhibitions a year for 15 years. The art will come from multiple museums, including the Louvre, the
Georges Pompidou Centre, the Musée d'Orsay, Versailles, the
Musée Guimet, the
Musée Rodin, and the
Musée du quai Branly.
[71]
In March 2018 an exhibition of dozens of artworks and relics belonging to France’s Louvre Museum was opened to visitors in
Tehran, as a result of an agreement between Iranian and French presidents in 2016. In the Louvre, two departments were allocated to the antiquities of the Iranian civilization, and the managers of the two departments visited Tehran. Relics belonging to Ancient Egypt, Rome and Mesopotamia as well as French royal items were showcased at the Tehran exhibition.
Conservation[edit]
In 2009,
Minister of Culture Frédéric Mitterrand approved a plan that would have created a storage facility 30 km (19 mi) northwest of Paris to hold objects from the Louvre and two other national museums in Paris's flood zone, the
Musée du Quai Branly and the
Musée d'Orsay; the plan was later scrapped. In 2013, his successor
Aurélie Filippetti announced that the Louvre would move more than 250,000 works of art
[74] held in a 20,000 square metres (220,000 sq ft) basement storage area in
Liévin; the cost of the project, estimated at €60 million, will be split between the region (49%) and the Louvre (51%).
[75] The Louvre will be the sole owner and manager of the store.
[74] In July 2015, a team led by British firm
Rogers Stirk Harbour + Partners was selected to design the complex, which will have light-filled work spaces under one vast, green roof.
[74]
Controversial acquisitions[edit]
The Louvre is involved in controversies that surround cultural property seized under Napoleon I, as well as during World War II by the Nazis. During
Nazi occupation, thousands of artworks were stolen. But after the war, 61,233 articles of more than 150,000 seized artworks returned to France and were assigned to the Louvre's Office des Biens Privés. In 1949, it entrusted 2,130 unclaimed pieces (including 1,001 paintings) to the Direction des Musées de France in order to keep them under appropriate conditions of conservation until their restitution and meanwhile classified them as MNRs (Musées Nationaux Recuperation or, in English, the National Museums of Recovered Artwork). Some 10% to 35% of the pieces are believed to come from Jewish spoliations
[76] and until the identification of their rightful owners, which declined at the end of the 1960s, they are registered indefinitely on separate inventories from the museum's collections.
They were exhibited in 1946 and shown all together to the public during four years (1950–1954) in order to allow rightful claimants to identify their properties, then stored or displayed, according to their interest, in several French museums including the Louvre. From 1951 to 1965, about 37 pieces were restituted. Since November 1996, the partly illustrated catalogue of 1947–1949 has been accessible online and completed. In 1997, Prime Minister
Alain Juppé initiated the Mattéoli Commission, headed by
Jean Mattéoli, to investigate the matter and according to the government, the Louvre is in charge of 678 pieces of artwork still unclaimed by their rightful owners.
[77] During the late 1990s, the comparison of the American war archives, which had not been done before, with the French and German ones as well as two court cases which finally settled some of the heirs' rights (Gentili di Giuseppe and Rosenberg families) allowed more accurate investigations. Since 1996, the restitutions, according sometimes to less formal criteria, concerned 47 more pieces (26 paintings, with 6 from the Louvre including a then displayed Tiepolo), until the last claims of French owners and their heirs ended again in 2006.
According to
Serge Klarsfeld, since the now complete and constant publicity which the artworks got in 1996, the majority of the French Jewish community is nevertheless in favour of the return to the normal French civil rule of
prescription acquisitive of any unclaimed good after another long period of time and consequently to their ultimate integration into the common French heritage instead of their transfer to foreign institutions like during World War II.
Napoleon's campaigns acquired Italian pieces by treaties, as war reparations, and Northern European pieces as spoils as well as some antiquities excavated in Egypt, though the vast majority of the latter were seized as war reparations by the British army and are now part of collections of the
British Museum. On the other hand, the
Dendera zodiac is, like the
Rosetta Stone, claimed by Egypt even though it was acquired in 1821, before the Egyptian Anti-export legislation of 1835. The Louvre administration has thus argued in favor of retaining this item despite requests by Egypt for its return. The museum participates too in arbitration sessions held via
UNESCO's Committee for Promoting the Return of Cultural Property to Its Countries of Origin.
[78] The museum consequently returned in 2009 five Egyptian fragments of frescoes (30 cm x 15 cm each) whose existence of the tomb of origin had only been brought to the authorities attention in 2008, eight to five years after their good-faith acquisition by the museum from two private collections and after the necessary respect of the procedure of
déclassement from French public collections before the
Commission scientifique nationale des collections des musées de France.
[79]
Collections[edit]
The Musée du Louvre contains more than 380,000 objects and displays 35,000 works of art in eight curatorial departments.
[80]
Egyptian antiquities[edit]
The department, comprising over 50,000 pieces,
[81] includes artifacts from the
Nile civilizations which date from 4,000 BC to the 4th century AD.
[82] The collection, among the world's largest, overviews Egyptian life spanning
Ancient Egypt, the
Middle Kingdom, the
New Kingdom,
Coptic art, and the
Roman,
Ptolemaic, and
Byzantine periods.
[82]
Guarded by the
Large Sphinx (c. 2000 BC), the collection is housed in more than 20 rooms. Holdings include art,
papyrus scrolls, mummies, tools, clothing, jewelry, games, musical instruments, and weapons.
[81][82] Pieces from the ancient period include the
Gebel el-Arak Knife from 3400 BC,
The Seated Scribe, and the
Head of King Djedefre. Middle Kingdom art, "known for its gold work and statues", moved from realism to idealization; this is exemplified by the
schist statue of
Amenemhatankh and the wooden
Offering Bearer. The New Kingdom and Coptic Egyptian sections are deep, but the statue of the goddess
Nephthys and the limestone depiction of the goddess
Hathor demonstrate New Kingdom sentiment and wealth.
[82][84]
Near Eastern antiquities[edit]
Human-headed winged bull (
shedu),
Assyria, limestone, 8th century BC
Near Eastern antiquities, the second newest department, dates from 1881 and presents an overview of early Near Eastern civilization and "first settlements", before the arrival of
Islam. The department is divided into three geographic areas: the
Levant,
Mesopotamia (Iraq), and Persia (Iran). The collection's development corresponds to archaeological work such as
Paul-Émile Botta's 1843 expedition to
Khorsabad and the discovery of
Sargon II's palace.
[82][85] These finds formed the basis of the Assyrian museum, the precursor to today's department.
[82]
The Persian portion of Louvre contains work from the archaic period, like the
Funerary Head and the Persian
Archers of Darius I.
[82][86] This section also contains rare objects from
Persepolis which were also lent to the
British Museum for its Ancient Persia exhibition in 2005.
[87]
Greek, Etruscan, and Roman[edit]
The Greek, Etruscan, and Roman department displays pieces from the Mediterranean Basin dating from the
Neolithic to the 6th century.
[88] The collection spans from the
Cycladic period to the decline of the Roman Empire. This department is one of the museum's oldest; it began with appropriated royal art, some of which was acquired under
Francis I.
[82][89] Initially, the collection focused on marble sculptures, such as the
Venus de Milo. Works such as the
Apollo Belvedere arrived during the Napoleonic Wars, but these pieces were returned after Napoleon I's fall in 1815. In the 19th century, the Louvre acquired works including vases from the Durand collection, bronzes such as the
Borghese Vase from the
Bibliothèque nationale.
[83][88]
The archaic is demonstrated by jewellery and pieces such as the limestone
Lady of Auxerre, from 640 BC; and the cylindrical
Hera of Samos, circa 570–560 BC.
[82][90] After the 4th century BC, focus on the human form increased, exemplified by the
Borghese Gladiator. The Louvre holds masterpieces from the
Hellenistic era, including The
Winged Victory of Samothrace (190 BC) and the
Venus de Milo, symbolic of classical art.
[89] The long
Galerie Campana displays an outstanding collection of more than one thousand
Greek potteries. In the galleries paralleling the Seine, much of the museum's Roman sculpture is displayed.
[88] The Roman portraiture is representative of that genre; examples include the portraits of
Agrippa and
Annius Verus; among the bronzes is the Greek
Apollo of Piombino.
Islamic art[edit]
Casket, ivory and silver, Muslim Spain, 966
The Islamic art collection, the museum's newest, spans "thirteen centuries and three continents".
[91] These exhibits, comprising ceramics, glass, metalware, wood, ivory, carpet, textiles, and miniatures, include more than 5,000 works and 1,000 shards.
[92] Originally part of the decorative arts department, the holdings became separate in 2003. Among the works are the
Pyxide d'al-Mughira, a 10th century ivory box from
Andalusia; the
Baptistery of Saint-Louis, an engraved brass basin from the 13th or 14th century
Mamluk period; and the 10th century
Shroud of Saint-Jossefrom Iran.
[85][91] The collection contains three pages of the
Shahnameh, an epic book of poems by
Ferdowsi in Persian, and a Syrian metalwork named the
Barberini Vase.
[92]
Sculpture[edit]
Yombe sculpture, 19th century
The sculpture department comprises work created before 1850 that does not belong in the Etruscan, Greek, and Roman department.
[93] The Louvre has been a repository of sculpted material since its time as a palace; however, only ancient architecture was displayed until 1824, except for
Michelangelo's
Dying Slave and
Rebellious Slave.
[94] Initially the collection included only 100 pieces, the rest of the royal sculpture collection being at Versailles. It remained small until 1847, when Léon Laborde was given control of the department. Laborde developed the medieval section and purchased the first such statues and sculptures in the collection,
King Childebert and
stanga door, respectively.
[94] The collection was part of the Department of Antiquities but was given autonomy in 1871 under
Louis Courajod, a director who organized a wider representation of French works.
[93][94] In 1986, all post-1850 works were relocated to the new Musée d'Orsay. The Grand Louvre project separated the department into two exhibition spaces; the French collection is displayed in the Richelieu wing, and foreign works in the Denon wing.
[93]
Decorative arts[edit]
The
Objets d'art collection spans the time from the Middle Ages to the mid-19th century. The department began as a subset of the sculpture department, based on royal property and the transfer of work from the
Basilique Saint-Denis, the burial ground of French monarchs that held the
Coronation Sword of the Kings of France.
[95][96] Among the budding collection's most prized works were
pietre dure vases and bronzes. The Durand collection's 1825 acquisition added "ceramics, enamels, and stained glass", and 800 pieces were given by Pierre Révoil. The onset of
Romanticism rekindled interest in
Renaissanceand
Medieval artwork, and the Sauvageot donation expanded the department with 1,500 middle-age and
faïence works. In 1862, the
Campana collection added gold jewelry and maiolicas, mainly from the 15th and 16th centuries.
[96][97]
The works are displayed on the Richelieu Wing's first floor and in the Apollo Gallery, named by the painter Charles Le Brun, who was commissioned by Louis XIV (the Sun King) to decorate the space in a solar theme. The medieval collection contains the coronation crown of Louis XIV,
Charles V's sceptre, and the 12th century
porphyry vase.
[98] The Renaissance art holdings include
Giambologna's bronze
Nessus and Deianira and the tapestry
Maximillian's Hunt.
[95] From later periods, highlights include
Madame de Pompadour's
Sèvres vase collection and
Napoleon III's apartments.
[95]
In September 2000, the Louvre Museum dedicated the
Gilbert Chagoury and Rose-Marie Chagoury Gallery to display tapestries donated by the Chagourys, including a 16th-century six-part tapestry suite, sewn with gold and silver threads representing sea divinities, which was commissioned in Paris for
Colbert de Seignelay, Secretary of State for the Navy.
Painting[edit]
The painting collection has more than 7,500 works
[99] from the 13th century to 1848 and is managed by 12 curators who oversee the collection's display. Nearly two-thirds are by French artists, and more than 1,200 are Northern European. The Italian paintings compose most of the remnants of Francis I and Louis XIV's collections, others are unreturned artwork from the Napoleon era, and some were bought.
[100][101] The collection began with Francis, who acquired works from Italian masters such as
Raphael and
Michelangelo[102] and brought Leonardo da Vinci to his court.
[13][103] After the
French Revolution, the Royal Collection formed the nucleus of the Louvre. When the
d'Orsaytrain station was converted into the
Musée d'Orsay in 1986, the collection was split, and pieces completed after the
1848 Revolution were moved to the new museum. French and Northern European works are in the Richelieu wing and
Cour Carrée; Spanish and Italian paintings are on the first floor of the Denon wing.
[101]
Exemplifying the French School are the early
Avignon Pietà of
Enguerrand Quarton; the anonymous painting of
King Jean le Bon (c.1360), possibly the oldest independent portrait in Western painting to survive from the postclassical era;
[104] Hyacinthe Rigaud's
Louis XIV;
Jacques-Louis David's
The Coronation of Napoleon; and
Eugène Delacroix's
Liberty Leading the People. Nicolas Poussin, the Le Nain brothers, Philippe de Champaigne, Le Brun, La Tour, Watteau, Fragonard, Ingres, Corot, Delacroix are well represented.
[105]
Three lion-like heads,
Charles le Brun, France, pen and wash on squared paper, 1671
The La Caze Collection, a bequest to the Musée du Louvre in 1869 by
Louis La Caze, was the largest contribution of a person in the history of the Louvre. La Caze gave 584 paintings of his personal collection to the museum. The bequest included
Antoine Watteau's Commedia dell'arte player of Pierrot ("Gilles"). In 2007, this bequest was the topic of the exhibition "1869: Watteau, Chardin... entrent au Louvre. La collection La Caze".
[109]
Some of the best known paintings of the museum have been digitized by the French Center for Research and Restoration of the Museums of France.
[110]
Prints and drawings[edit]
The
prints and drawings department encompasses works on paper.
[111] The origins of the collection were the 8,600 works in the Royal Collection (
Cabinet du Roi), which were increased via state appropriation, purchases such as the 1,200 works from Fillipo Baldinucci's collection in 1806, and donations.
[83][112] The department opened on 5 August 1797, with 415 pieces displayed in the Galerie d'Apollon. The collection is organized into three sections: the core
Cabinet du Roi, 14,000 royal copper printing-plates, and the donations of
Edmond de Rothschild, which include 40,000 prints, 3,000 drawings, and 5,000 illustrated books. The holdings are displayed in the Pavillon de Flore; due to the fragility of the paper medium, only a portion are displayed at one time.
[111]
Location, access, and facilities[edit]
Map of Louvre museum and around, showing bus stops and metro lines serving the area as well as parking
The Louvre is slightly askew of the Historic Axis (
Axe historique), a roughly eight-kilometre (five-mile) architectural line bisecting the city. It begins on the east in the Louvre courtyard and runs west along the
Champs-Élysées. In 1871, the burning of the Tuileries Palace by the
Paris Commune revealed that the Louvre was slightly askew of the
Axe despite past appearances to the contrary.
[114] The Louvre can be reached by the
Palais Royal – Musée du Louvre Métro or the
Louvre-Rivoli stations.
[115]
The Louvre has three entrances: the main entrance at the pyramid, an entrance from the
Carrousel du Louvre underground shopping mall, and an entrance at the Porte des Lions (near the western end of the Denon wing).
Under the main entrance to the museum is the
Carrousel du Louvre, a shopping mall operated by
Unibail-Rodamco. Among other stores, it has the first Apple Store in France, and a
McDonald's restaurant, the presence of which has created controversy.
[116]
The use of cameras and video recorders is permitted inside, but flash photography is forbidden.
Gallery[edit]
Statue, plaster and reed,
Ain Ghazal, Jordan, 6050-7050 BC
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Egyptian, stele,
Priest burning incense before Ra-Horakhty-Atum, ca. 900 BC
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Etruscan amphora,
Diomedes and Polyxena, ca. 540–530 BC
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Frankish, ivory,
Christ between two apostles, 5th century
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website
https://www.louvre.fr/en/homepage
Tips & hints
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Lots to see & explore. Please refer website
for special programs
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Make sure to run to Mona Lisa as soon as museum
opens otherwise you will not be able to take closer photos with it.
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Then move to Michael Angelo sculptures.
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Lots of activities for all ages
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Make sure to obey rules for no flash
photography to protect the artifacts.
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Public transit via subway, Batobus and hop and
hop buses
Disclaimer
The above
comments are based on my personal travel experiences to this particular
location in summer months. Your experience may vary due to weather and traffic.
My trips were not
sponsored by any of the authorities and my comments are not biased or
representing any views of governing bodies.
History and
information extracted from Wikipedia and photos were selected from Google
images and all rights reserved with original owners.
This is only for
an informational purpose. Not for commercial use.
Note.
Hope
you will enjoy your visit. Please make your comments, suggestions & travel
questions. I am happy to provide information on my earliest convenience &
update the post accordingly.
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