Louvre

The Louvre (US: /ˈluːv(rə)/),[2] or the Louvre Museum (French: Musée du Louvre [myze dy luvʁ] (listen)), is the world's largest art museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the city's 1st arrondissement (district or ward). Approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres (782,910 square feet).[3] In 2018, the Louvre was the world's most visited art museum, receiving 10.2 million visitors.[4]

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.

Louvre Museum
Louvre 2007 02 24 c
Louvre is located in Paris
Louvre
Location within Paris
Established1793
LocationMusée du Louvre, 75001 Paris, France
Coordinates48°51′40″N 2°20′11″E / 48.86111°N 2.33639°ECoordinates: 48°51′40″N 2°20′11″E / 48.86111°N 2.33639°E
TypeArt museum and Historic site
Visitors10.2 million (2018)[1]
DirectorJean-Luc Martinez
CuratorMarie-Laure de Rochebrune
Public transit access
Websitewww.louvre.fr

History

12th–20th centuries

Medieval, Renaissance, and Bourbon palace

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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

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]

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Antonio Canova's Psyche Revived by Cupid's Kiss was commissioned in 1787, donated in 1824.[26]

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

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

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The Venus de Milo was added to the Louvre's collection during the reign of Louis XVIII.

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

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

Bundesarchiv Bild 183-L15196, Paris, Besuch Gerd v. Rundstedt im Louvre
Generalfeldmarschall Gerd von Rundstedt seen with a plaster model of the Venus de Milo,[48] while visiting the Louvre with the curator Alfred Merlin on 7 October 1940

During the Third Republic (1870–1940) the Louvre acquired new pieces mainly via donations and gifts. The Société des Amis du Louvre (established in 1897) donated the Pietà of Villeneuve-lès-Avignon, and in 1863 an expedition uncovered the sculpture Winged Victory of Samothrace in the Aegean Sea. This piece, though heavily damaged, has been prominently displayed since 1884.[49] The 583-item Collection La Caze donated in 1869, included works by Chardin; Fragonard; Rembrandt – such as Bathsheba at Her Bath – and Gilles by Watteau.[49]

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

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]

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The Louvre Palace and the pyramid (by night)
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The Louvre Palace and the pyramid (by day)

21st century

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]

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Leonardo da Vinci's Mona Lisa is the Louvre's most popular attraction.
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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

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]

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.

Iran’s National Museum building was designed and constructed by French architect André Godard.[72] Following its time in Tehran, the exhibition is set to be held in the Khorasan Grand Museum in Mashhad, northeastern Iran in June 2018.[73]

Conservation

Vista exterior del Museo del Louvre
The Louvre Palace

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

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

The Musée du Louvre contains about 460,000 objects and displays 35,000 works of art in eight curatorial departments.[80]

Egyptian antiquities

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]

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The Seated Scribe from Saqqara, Egypt, limestone and alabaster, circa 2600 and 2350 BC[83]

The department's origins lie in the royal collection, but it was augmented by Napoleon's 1798 expeditionary trip with Dominique Vivant, the future director of the Louvre.[81] After Jean-François Champollion translated the Rosetta Stone, Charles X decreed that an Egyptian Antiquities department be created. Champollion advised the purchase of three collections, formed by Edmé-Antoine Durand, Henry Salt and Bernardino Drovet; these additions added 7,000 works. Growth continued via acquisitions by Auguste Mariette, founder of the Egyptian Museum in Cairo. Mariette, after excavations at Memphis, sent back crates of archaeological finds including The Seated Scribe.[81][84]

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

Human headed winged bull profile
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 museum contains exhibits from Sumer and the city of Akkad, with monuments such as the Prince of Lagash's Stele of the Vultures from 2450 BC and the stele erected by Naram-Sin, King of Akkad, to celebrate a victory over barbarians in the Zagros Mountains. The 2.25-metre (7.38 ft) Code of Hammurabi, discovered in 1901, displays Babylonian Laws prominently, so that no man could plead their ignorance. The 18th-century BC mural of the Investiture of Zimrilim and the 25th-century BC Statue of Ebih-Il found in the ancient city-state of Mari are also on display at the museum.

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

Nike of Samothrake Louvre Ma2369 n2
The Nike of Samothrace (Winged Victory), marble, circa 190 BC

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

Casket ivory Louvre UCAD4417
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-Josse from 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

Louvre Grab
Tomb of Philippe Pot, governor of Burgundy under Louis XI, by Antoine Le Moiturier
African Art, Yombe sculpture, Louvre
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]

The collection's overview of French sculpture contains Romanesque works such as the 11th-century Daniel in the Lions' Den and the 12th-century Virgin of Auvergne. In the 16th century, Renaissance influence caused French sculpture to become more restrained, as seen in Jean Goujon's bas-reliefs, and Germain Pilon's Descent from the Cross and Resurrection of Christ. The 17th and 18th centuries are represented by Gian Lorenzo Bernini's 1640–1 Bust of Cardinal Richelieu, Étienne Maurice Falconet's Woman Bathing and Amour menaçant, and François Anguier's obelisks. Neoclassical works includes Antonio Canova's Psyche Revived by Cupid's Kiss (1787).[94] The 18th and 19th centuries are represented by the French sculptor Alfred Barye.

Decorative arts

Saint Blaise Louvre OAR504
French stained glass panel, 13th century, depicting Saint Blaise

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 Renaissance and 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

Mona Lisa, by Leonardo da Vinci, from C2RMF retouched
The Mona Lisa (Leonardo da Vinci), oil on panel, 1503–1519, probably completed while the artist was at the court of Francis I.

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'Orsay train 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]

Northern European works include Johannes Vermeer's The Lacemaker and The Astronomer; Caspar David Friedrich's The Tree of Crows; Rembrandt's The Supper at Emmaus, Bathsheba at Her Bath, and The Slaughtered Ox.

The Italian holdings are notable, particularly the Renaissance collection. The works include Andrea Mantegna and Giovanni Bellini's Calvarys, which reflect realism and detail "meant to depict the significant events of a greater spiritual world".[106] The High Renaissance collection includes Leonardo da Vinci's Mona Lisa, Virgin and Child with St. Anne, St. John the Baptist, and Madonna of the Rocks. Caravaggio is represented by The Fortune Teller and Death of the Virgin. From 16th century Venice, the Louvre displays Titian's Le Concert Champetre, The Entombment and The Crowning with Thorns.[107][108]

Trois têtes d'hommes en relation avec le lion
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

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

Louvre Access Map
Map of Louvre museum and around, showing bus stops and metro lines serving the area as well as parking

The museum lies in the center of Paris on the Right Bank, in the 1st arrondissement. It was home to the former Tuileries Palace, which closed off the western end of the Louvre entrance courtyard, but was heavily damaged by fire during the Paris Commune of 1871 and later demolished. The adjacent Tuileries Gardens, created in 1564 by Catherine de' Medici, was designed in 1664 by André Le Nôtre. The gardens house the Galerie nationale du Jeu de Paume, a contemporary art exhibition space which was used to store confiscated Jewish cultural property during the 1940 to 1944 German occupation of France.[113] Parallel to the Jeu de Paume is the Orangerie, home to the famous Water Lilies paintings by Claude Monet.

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

Statue Aïn Ghazal Louvre AO 14012018 1

Statue, plaster and reed, Ain Ghazal, Jordan, 6050-7050 BC

Head figurine Spedos Louvre Ma2709

Cycladic, a votive head, 2700–2300 BC

Stele Ra-Horakhty Louvre N3795

Egyptian, stele, Priest burning incense before Ra-Horakhty-Atum, ca. 900 BC

Ibex rhyton AO3115

Ancient Persia, the Ibex Rhyton, 600–300 BC

003MA Equestrian Kouros (2)

Ancient Greek, Athens, The Rampin Rider,

Etruscan amphora Louvre E703 side B

Etruscan amphora, Diomedes and Polyxena, ca. 540–530 BC

Eros medallion Louvre Bj2248

Hellenic Near East, The Eros Medallion, ca. 250–200 BC

Fayum-34

Fayum Egyptian, Fayum mummy portrait

Marcus agrippa louvre portrait

Roman, portrait of Marcus Agrippa, 25 BC

Apostles Christ ivory Louvre OA3850

Frankish, ivory, Christ between two apostles, 5th century

Cup lustre Louvre OA8179

Islamic art from Iraq, terracotta cup, 9th century

Reliure

Romanesque art from Maastricht, Reliquary, 11th century

Louvre saint michel rf1427

Romanesque architecture from France, St Michael and the Devil, 12th century

Giotto di Bondone 002

Italian Renaissance painting, St Francis receiving the stigmata, Giotto, c.1300

Enguerrand Quarton, La Pietà de Villeneuve-lès-Avignon (c. 1455)

Gothic art from France, The Pieta of Villeneuve les Avignon, Enguerrand Quarton, 1460

'Dying Slave' Michelangelo JBU004

Italian Renaissance sculpture, Dying Slave, Michelangelo, 1513–16

Paolo Veronese 010

Venetian Mannerist painting, The Crucifixion, Paolo Veronese, c.1550

La Diseuse de bonne aventure, Caravaggio (Louvre INV 55) 02

Italian Baroque painting, The Fortune Teller, Caravaggio, c.1600

Jan Vermeer van Delft 016

Dutch Baroque, The Lacemaker, Vermeer, 1664

Diego Velázquez 029

Spanish painting, Infanta María Margarita, Velázquez, 1655

Boucher Diane sortant du bain Louvre 2712

French Rococo, Diana bathing, Boucher, 1742

Jean-Auguste-Dominique Ingres - La Baigneuse Valpinçon

French Classical painting, The Bather, Ingres, 1808

Cabinet sur piètement - Cabinet on stand - Vers 1690-1710 - Boulle - Louvre - OA 5469

André-Charles Boulle Cabinet sur piètement, 1690-1710

Cabinet sur piètement - Tiroirs - Cabinet on stand - Drawers - Vers 1690-1710 - Boulle - Louvre - OA 5469

André-Charles Boulle Cabinet sur piètement

See also

Notes and references

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  2. ^ The New Oxford American Dictionary gives the respelling "/'loov(rə)/", which has been converted to its IPA equivalent. The portion within parentheses indicates a variant pronunciation.
  3. ^ http://www.louvre.fr/sites/default/files/dp_pyramide%2028102014_en.pdf
  4. ^ "10,2 millions de visiteurs au Louvre en 2018". Louvre.fr (in French). 2019-01-03. Retrieved 2019-01-03.
  5. ^ "Louvre Museum". Inexhibit. Retrieved 15 October 2016.
  6. ^ "Louvre Website- Chateau to Museum, 1672 and 1692". Louvre.fr. Archived from the original on 15 June 2011. Retrieved 21 August 2011.
  7. ^ "Louvre Website- Chateau to Museum 1692". Louvre.fr. Archived from the original on 15 June 2011. Retrieved 21 August 2011.
  8. ^ a b Mignot, p. 32
  9. ^ a b Edwards, pp. 193–94
  10. ^ In Larousse Nouveau Dictionnaire étymologique et historique, Librairie Larousse, Paris, 1971, p. 430: ***loup 1080, Roland (leu, forme conservée dans à la queue leu leu, Saint Leu, etc.); du lat. lupus; loup est refait sur le fém. louve, où le *v* a empêché le passage du *ou* à *eu* (cf. Louvre, du lat. pop. lupara)*** the etymology of the word louvre is from lupara, feminine (pop. Latin) form of lupus.
  11. ^ In Lebeuf (Abbé), Fernand Bournon, Histoire de la ville et de tout le diocèse de Paris par l'abbé Lebeuf, Vol. 2, Paris: Féchoz et Letouzey, 1883, p. 296: "Louvre".
  12. ^ a b Edwards, p. 198
  13. ^ a b Chaundy, Bob (29 September 2006). "Faces of the Week". BBC. Retrieved 5 October 2007.
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  15. ^ Nore, p. 274
  16. ^ "Jean Philippe Boulle, Son of André-Charles Boulle". V&A.
  17. ^ "Death of André-Charles Boulle". Mercure de France.
  18. ^ "The French cabinetmaker who is generally considered to be the preeminent artist in the field of marquetry, even "the most remarkable of all French cabinetmakers."". Google Arts and Culture.
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  21. ^ Theodore Dell, The Frick Collection, V: Furniture in the Frick Collection (1992:187).
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  29. ^ a b c Mignot, pp. 68, 69
  30. ^ McClellan, p. 7
  31. ^ Mignot, p. 52
  32. ^ a b Alderson, p.25
  33. ^ a b Plant, p. 36
  34. ^ Popkin, p.88
  35. ^ Swetnam-Burland, Molly (2009). "Egypt Embodied: The Vatican Nile". American Journal of Archaeology: 440. JSTOR 20627596.
  36. ^ Popkin, p. 89
  37. ^ Bierman, p. 41
  38. ^ Bierman, p.42
  39. ^ Strathern, p. 305
  40. ^ Quynn, Dorothy (1945) "The Art Confiscations of the Napoleonic Wars". The American Historical Review. https://www.jstor.org/stable/1843116 p. 442
  41. ^ Parkinson, Pg. 28
  42. ^ Bierman, p. 161
  43. ^ Mignot, p. 69. According to Mignot, Mantegna's Calvary, Veronese's The Wedding at Cana|The Marriage of Cana, and Rogier van der Weyden's Annunciation were not returned.
  44. ^ "Paolo Veronese". The Gentleman's Magazine. No. December 1867. A. Dodd and A. Smith. p. 741.
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  47. ^ Rene Heron de Villefosse, Histoire de Paris, Bernard Grasset (1959). The father of the author of this book was an assistant curator at the Louvre, and helped put out the fires
  48. ^ Life (4 November 1940), p. 39.
  49. ^ a b Mignot, pp. 70–71
  50. ^ Alan Riding, And the Show Went On: Cultural Life in Nazi-Occupied Paris. Alfred A Knopf, New York: 2010. p34.
  51. ^ Matila Simon, "The battle of the Louvre;: The struggle to save French art in World War II". Hawthorn Books, 1971. p. 23.
  52. ^ Simon, p. 177
  53. ^ Mignot, p. 13
  54. ^ Mignot, p. 66
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  58. ^ a b Gareth Harris (13 September 2012), Islamic art, covered Financial Times.
  59. ^ Carol Vogel (19 September 2012), The Louvre's New Islamic Galleries Bring Riches to Light The New York Times.
  60. ^ Denis Bocquet. "Structural Innovation and the Stakes of Heritage: The Bellini-Ricciotti Louvre Dpt of Islamic Arts". academia.edu.
  61. ^ a b "Free entry at Louvre due to angry archaeologists". The Local. 5 February 2015. Retrieved 5 February 2015.
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  68. ^ (in French)Un archéologue prend la direction du Louvre, Le Monde du 3 April 2013.
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Works cited

External links

Boxcar

A boxcar is the North American term for a railroad car that is enclosed and generally used to carry freight. The boxcar, while not the simplest freight car design, is probably the most versatile, since it can carry most loads. Boxcars have side doors of varying size and operation, and some include end doors and adjustable bulkheads to load very large items.

Similar covered freight cars outside North America are covered goods wagons and, depending on the region, are called goods van (UK), louvre van (Australia), covered wagon (UIC and UK) or simply van (UIC and UK).

Code of Hammurabi

The Code of Hammurabi is a well-preserved Babylonian code of law of ancient Mesopotamia, dated back to about 1754 BCE (Middle Chronology). It is one of the oldest deciphered writings of significant length in the world. The sixth Babylonian king, Hammurabi, enacted the code. A partial copy exists on a 2.25 meter (7.5 ft) stone stele. It consists of 282 laws, with scaled punishments, adjusting "an eye for an eye, a tooth for a tooth" (lex talionis) as graded based on social stratification depending on social status and gender, of slave versus free, man versus woman.Nearly half of the code deals with matters of contract, establishing the wages to be paid to an ox driver or a surgeon for example. Other provisions set the terms of a transaction, the liability of a builder for a house that collapses, or property that is damaged while left in the care of another. A third of the code addresses issues concerning household and family relationships such as inheritance, divorce, paternity, and reproductive behaviour. Only one provision appears to impose obligations on an official; this provision establishes that a judge who alters his decision after it is written down is to be fined and removed from the bench permanently. A few provisions address issues related to military service.

The code was discovered by modern archaeologists in 1901, and its editio princeps translation published in 1902 by Jean-Vincent Scheil. This nearly complete example of the code is carved into a basalt stele in the shape of a huge index finger, 2.25 m (7.4 ft) tall. The code is inscribed in the Akkadian language, using cuneiform script carved into the stele.

It is currently on display in the Louvre, with replicas in numerous institutions, including the Oriental Institute at the University of Chicago, the Northwestern Pritzker School of Law in Chicago, the Clendening History of Medicine Library & Museum at the University of Kansas Medical Center, the library of the Theological University of the Reformed Churches in the Netherlands, the Pergamon Museum of Berlin, the Arts Faculty of the University of Leuven in Belgium, the National Museum of Iran in Tehran, and the Department of Anthropology, National Museum of Natural History, Smithsonian Institution, the University Museum at the University of Pennsylvania, and Museum of the Bible in Washington, DC.

Groupe du Louvre

Groupe du Louvre is a French company, headquartered in Village 5, La Défense in Nanterre, France. The company is owned by the American investment company Starwood Capital Group's subsidiary following its purchase of Société du Louvre in December 2005. The range of hotel brands was extended in 2009 with the purchase of Golden Tulip Hospitality Group. Group de Louvre and Louvre Hotels Group was sold to Shanghai Jin Jiang International Hotels Development Co., Ltd. in 2015.

Louver

A louver (American English) or louvre (British English) is a window blind or shutter with horizontal slats that are angled to admit light and air, but to keep out rain and direct sunshine. The angle of the slats may be adjustable, usually in blinds and windows, or fixed.

Louvre Abu Dhabi

The Louvre Abu Dhabi is an art and civilization museum, located in Abu Dhabi, United Arab Emirates. The museum was inaugurated on 8 November 2017 by French President Emmanuel Macron and United Arab Emirates Vice President Mohammed bin Rashid Al Maktoum and Crown Prince of Abu Dhabi Mohammed bin Zayed Al Nahyan. The museum is part of a thirty-year agreement between the city of Abu Dhabi and the French government. The museum is located on the Saadiyat Island Cultural District. It is approximately 24,000 square metres (260,000 sq ft) in size, with 8,000 square metres (86,000 sq ft) of galleries , making it the largest art museum in the Arabian peninsula. The final cost of the construction is expected to be about €600 million. In addition, US$525 million was paid by Abu Dhabi to be associated with the Louvre name, and an additional US$747 million will be paid in exchange for art loans, special exhibitions and management advice.Artworks from around the world are showcased at the museum, with particular focus placed upon bridging the gap between Eastern and Western art.

Louvre Come Back to Me!

Louvre Come Back to Me! is a 1962 Looney Tunes cartoon directed by Chuck Jones. It is the last Pepé Le Pew cartoon of the "classic" Warner Bros. animation age.

Louvre Palace

The Louvre Palace (French: Palais du Louvre, IPA: [palɛ dy luvʁ]) is a former royal palace located on the Right Bank of the Seine in Paris, between the Tuileries Gardens and the church of Saint-Germain l'Auxerrois. Originally a fortress built in the medieval period, it became a royal palace in the fourteenth century under Charles V and was used from time to time by the kings of France as their main Paris residence. Its present structure has evolved in stages since the 16th century. In 1793 part of the Louvre became a public museum, now the Musée du Louvre, which has expanded to occupy most of the building.

Louvre Pyramid

The Louvre Pyramid (Pyramide du Louvre) is a large glass and metal pyramid designed by Chinese-American architect I.M. Pei, surrounded by three smaller pyramids, in the main courtyard (Cour Napoléon) of the Louvre Palace (Palais du Louvre) in Paris. The large pyramid serves as the main entrance to the Louvre Museum. Completed in 1989, it has become a landmark of the city of Paris.

Mona Lisa

The Mona Lisa (; Italian: Monna Lisa [ˈmɔnna ˈliːza] or La Gioconda [la dʒoˈkonda], French: La Joconde [la ʒɔkɔ̃d]) is a half-length portrait painting by the Italian Renaissance artist Leonardo da Vinci that has been described as "the best known, the most visited, the most written about, the most sung about, the most parodied work of art in the world". The Mona Lisa is also one of the most valuable paintings in the world. It holds the Guinness World Record for the highest known insurance valuation in history at $100 million in 1962, which is worth nearly $820 million in 2018.The painting is thought to be a portrait of Lisa Gherardini, the wife of Francesco del Giocondo, and is in oil on a white Lombardy poplar panel. It had been believed to have been painted between 1503 and 1506; however, Leonardo may have continued working on it as late as 1517. Recent academic work suggests that it would not have been started before 1513. It was acquired by King Francis I of France and is now the property of the French Republic, on permanent display at the Louvre Museum in Paris since 1797.The subject's expression, which is frequently described as enigmatic, the monumentality of the composition, the subtle modelling of forms, and the atmospheric illusionism were novel qualities that have contributed to the continuing fascination and study of the work.

Palais Royal – Musée du Louvre (Paris Métro)

Palais Royal – Musée du Louvre is a station on lines 1 and 7 of the Paris Métro.

It is one of the eight original stations opened as part of the first section of line 1 between Porte de Vincennes and Porte Maillot on 19 July 1900, under the name Palais Royal. The line 7 platforms were opened on 1 July 1916 with the extension of the line from Opéra. It was the southern terminus of the line until it was extended to Pont Marie on 16 April 1926. The station was given its current name in 1989, soon after the opening of the new entrance to the Louvre Museum. It is named after the nearby Palais Royal and the Louvre.

The entrance on Place Colette was redesigned by Jean-Michel Othoniel, as the "Kiosque des noctambules" (Kiosk of the night-walkers), and completed in October 2000 for the centenary of the Métro. Two cupolas of the "Kiosque des noctambules" (one representing the day, the other the night) are made of colored glass beads that are threaded to structure of aluminum. They make an unexpected and original work in the very traditional environment of the Place Colette.

Attractions accessible from this metro station include the Louvre, the Place du Carrousel, and the Carrousel du Louvre shopping mall.

Port du Louvre

The Port du Louvre is a walkway running along the River Seine (on the "right bank") immediately to the south of the Louvre in Paris, France. It is parallel to and lower than the larger Voie Georges Pompidou road between it and the Louvre.

The Port du Louvre is on the Arago route (the Paris Meridian) that runs north-south through Paris, named in honour of the French astronomer and politician François Arago. A bronze Arago plaque can be found embedded in the paving of the Port du Louvre. This is one of 135 bronze medallions installed in 1994 by the Dutch conceptual artist, Jan Dibbets.

Boats for river trips stop at the Port du Louvre.

The Virgin and Child with St. Anne (Leonardo)

The Virgin and Child with Saint Anne is an oil painting by Leonardo da Vinci depicting St Anne, her daughter the Virgin Mary and the infant Jesus. Christ is shown grappling with a sacrificial lamb symbolizing his Passion as the Virgin tries to restrain him. The painting was commissioned as the high altarpiece for the Church of Santissima Annunziata in Florence and its theme had long preoccupied Leonardo.

Tuileries Garden

The Tuileries Garden (French: Jardin des Tuileries, IPA: [ʒaʁdɛ̃ de tɥilʁi]) is a public garden located between the Louvre and the Place de la Concorde in the 1st arrondissement of Paris, France. Created by Catherine de' Medici as the garden of the Tuileries Palace in 1564, it was eventually opened to the public in 1667 and became a public park after the French Revolution. In the 19th and 20th centuries, it was a place where Parisians celebrated, met, strolled and relaxed.

Tuileries Palace

The Tuileries Palace (French: Palais des Tuileries, IPA: [palɛ de tɥilʁi]) was a royal and imperial palace in Paris which stood on the right bank of the River Seine. It was the usual Parisian residence of most French monarchs, from Henry IV to Napoleon III, until it was burned by the Paris Commune in 1871.

Built in 1564, it was gradually extended until it closed off the western end of the Louvre courtyard and displayed an immense façade of 266 metres. Since the destruction of the Tuileries, the Louvre courtyard has remained open and the site is now the location of the eastern end of the Tuileries Garden, forming an elevated terrace between the Place du Carrousel and the gardens proper.

Venus de Milo

The Aphrodite of Milos (Greek: Αφροδίτη της Μήλου, Aphroditi tis Milou), generally known as the Venus de Milo, is an ancient Greek statue and one of the most famous works of ancient Greek sculpture. Initially it was attributed to the sculptor Praxiteles, however from an inscription that was on its plinth, the statue is thought to be the work of Alexandros of Antioch. Created sometime between 130 and 100 BC, the statue is believed to depict Aphrodite, the Greek goddess of love and beauty; however, some scholars claim it is the sea-goddess Amphitrite, venerated on Milos. It is a marble sculpture, slightly larger than life size at 203 cm (6 ft 8 in) high. Part of an arm and the original plinth were lost following its discovery. It is currently on permanent display at the Louvre Museum in Paris. The statue is named after the Greek island of Milos, where it was discovered.

Virgin of the Rocks

The Virgin of the Rocks (sometimes the Madonna of the Rocks) is the name of two paintings by Leonardo da Vinci, of the same subject, and of a composition which is identical except for several significant details. The version generally considered the prime version, that is the earlier of the two, hangs in The Louvre in Paris and the other in the National Gallery, London. The paintings are both nearly 2 metres (over 6 feet) high and are painted in oils. Both were originally painted on wooden panel, but the Louvre version has been transferred to canvas.Both paintings show the Madonna and child Jesus with the infant John the Baptist and an angel, in a rocky setting which gives the paintings their usual name. The significant compositional differences are in the gaze and right hand of the angel. There are many minor ways in which the works differ, including the colours, the lighting, the flora, and the way in which sfumato has been used. Although the date of an associated commission is documented, the complete histories of the two paintings are unknown, and lead to speculation about which of the two is earlier.

Two further paintings are associated with the commission: side panels each containing an angel playing a musical instrument and completed by associates of Leonardo. These are both in the National Gallery, London.

Winged Victory of Samothrace

The Winged Victory of Samothrace, also called the Nike of Samothrace, is a marble Hellenistic sculpture of Nike (the Greek goddess of victory), that was created about the 2nd century BC. Since 1884, it has been prominently displayed at the Louvre and is one of the most celebrated sculptures in the world. H.W. Janson described it as "the greatest masterpiece of Hellenistic sculpture", and it is one of a small number of major Hellenistic statues surviving in the original, rather than Roman copies.

École du Louvre

The École du Louvre is an institution of higher education located in the Aile de Flore of the Louvre Palace in Paris, France. It is dedicated to the study of archaeology, art history, anthropology and epigraphy.

Admission is based on a competitive entrance exam after high school (lycée), though candidates may also apply after two or three years of university studies in the subjects of history, classics, literature, geography, philosophy and art. The school offers an undergraduate program, a master's program and a doctoral program as well as a preparation class for civil service entrance exams.

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