10. The project was initially intended for mixed ceremonial, museum, housing, military and
administrative use, including the offices of the ministère d’Etat and ministère de la Maison de
l'Empereur which after 1871 were attributed to the Finance Ministry.
14. THE LOUVRE’S MASTERPIECES
Leonardo da Vinci must have particularly treasured
the Mona Lisa, as he never parted with her. She
was given star status as soon she arrived in the
Louvre… The painting’s special appeal lies in its
technical excellence, the sitter’s famous smile, the
fantasy background landscape and
the sfumato technique that envelops the figure in a
misty haze.
16. Portrait of Lisa Gherardini, Wife of Francesco del
Giocondo, known as the Mona Lisa
•
The Mona Lisa’s special allure has brought her all sorts of unwelcome
attention too, with incidents that have only added to her celebrity
status. In 1911, for example, an Italian museum worker stole the
painting ‘to return it to its homeland’, sparking a furore in the press!
• In 1966, this famous and fragile masterpiece was moved to the
Louvre’s largest room – the Salle des États – where it is conserved in
the best possible conditions, protected inside a temperature and
humidity-controlled glass case.
18. • Under Henri II, the Louvre completed its transition from a medieval
fortress into a Renaissance palace. The Salle des Cariatides was
originally a splendid ballroom, designed in classical style by the
architect Pierre Lescot. It has a musicians’ gallery, supported by four
Roman-inspired ‘caryatids’; these sculpted female figures serving as
columns were the architect’s way of elevating King Henri II to the
status of the Roman emperor Augustus!
20. • The room’s purpose changed in 1692 when it was used to display
classical sculptures, which French royalty began to collect in the
Renaissance. One of the first masterpieces to enter the royal
collections, Diana the Huntress, was joined in 1807 by the Sleeping
Hermaphroditos, purchased by Napoleon I. To understand the nature
of this fascinating figure, it has to be seen from all sides.
22. • Perhaps the gentleness of her gaze and the slant of her hips would in any
case have distinguished her from other sculpted goddesses… but this
particular Venus carved out a reputation for herself as soon as she entered
the Louvre. The statue was found on the Greek island of Melos (or Milos,
as it is known today) and presented to King Louis XVIII, who gave it to the
Louvre in 1821. Six years earlier, following Napoleon’s defeat at Waterloo,
the Treaty of Vienna had stipulated that some 5,000 artworks seized by
Napoleon’s troops should be returned to their owners. As a result, the
Louvre lost many of the artworks (antiquities in particular) that had
contributed to its status as the world’s greatest museum under the First
Empire (1804–1815). So the Venus de Milo was welcomed with open arms
and hailed as a masterpiece. Her appeal is still as strong as ever and she
continues to be widely copied and referenced in art and popular culture.
24. • Standing at the top of the Daru staircase, The Winged Victory of
Samothrace is a timeless icon of Western art. The monument was
found on the island of Samothrace, in the sanctuary of the ‘Great
Gods’ to whom people prayed for protection from the dangers of the
sea. The figure, spectacularly placed in a rock niche high above the
sanctuary, was designed to be seen in three-quarter view from the
left – a view which highlights the billowing cloak and clinging ‘wet
drapery’. The wings, the warship, the sanctuary… all point to the
goddess Nike, the messenger of victory.
25.
26. Venus and the Three Graces Presenting Gifts to a
Young Woman-Sandro Botticelli
• These magnificent Renaissance frescoes by the painter Sandro Botticelli
reached the Louvre in 1882 after being (re)discovered in Italy in 1873
during the renovation of a villa near Florence. They were found under the
whitewash on the walls of the villa, home in the Renaissance to a wealthy
family who had probably commissioned them from Botticelli, a renowned
artist of the day. He reportedly used the daughter of the house as his
model, placing her in the company of classical heroines and a Cupid,
perhaps on the occasion of her engagement. The scene is allegorical in
nature; Botticelli’s emphasis is on the act of giving rather than the gift
itself. A second, similarly allegorical fresco shows Prudence presenting a
young man to Grammar, surrounded by the Liberal Arts. It would be nice to
think that the young woman’s fiancé was the model for the young man…
27.
28. The Grande Galerie
• The Louvre’s extensive collection of Italian art includes 5 paintings
and 22 drawings by one of the greatest Renaissance artists: Leonardo
da Vinci.
29.
30. • The Raft of the Medusa
• Théodore Géricault
• When you leave the Salle des États, turn your attention to the large 19th-century French paintings
in the Salle Mollien...
• At the Salon of 1819, Théodore Géricault presented his huge painting The Raft of the Medusa, a
dramatic scene illustrating the recent wreck of a French ship – an event that had shocked the
public. One hundred and fifty people drifted for thirteen days on a makeshift raft, falling prey to
thirst, starvation, disease and cannibalism. Only fifteen survived to tell the tale.
• The pyramidal composition and precision of the drawing are classical in inspiration, but Géricault
chose to cast a cold and sickly light on the figures of the sick and the dead, heaped together on
their precarious raft. The artist spent eight months on his painting, meeting survivors, building
models, and visiting morgues and hospitals to observe the dead and dying. The harsh realism of
the result divided critics, who were either fascinated or repelled.
• The Raft of the Medusa entered the Louvre in 1824, shortly after the painter’s death.
•
31.
32.
33.
34. The Entrance of the Louvre
• https://youtu.be/6vuFh6NNa70
• https://youtu.be/FRmvCQM-XGU
Editor's Notes
Project for the Transformation of the Grande Galerie du Louvre is an oil-on-canvas painting by the French painter Hubert Robert, made in 1796.
