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From 1870 to 1981 Memorial plaques honoring the Louvre's defenders in May 1871 The Louvre narrowly escaped serious damage 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 [fr] set fire to the adjoining Tuileries Palace. The fire burned for forty-eight hours, entirely destroying the interior of the Tuileries and spreading to the north west wing of the museum next to it. The emperor's Louvre library (Bibliothèque du Louvre) and some of the adjoining halls, in what is now the Richelieu Wing, were separately destroyed. But the museum was saved by the efforts of Paris firemen and museum employees led by curator Henry Barbet de Jouy.[45] Following the end of the monarchy, several spaces in the Louvre's South Wing went to the museum. The Salle du Manège was transferred to the museum in 1879, and in 1928 became its main entrance lobby.[46] The large Salle des Etats that had been created by Lefuel between the Grande Galerie and Pavillon Denon was redecorated in 1886 by Edmond Guillaume [fr], Lefuel's successor as architect of the Louvre, and opened as a spacious exhibition room.[47][48] Edomond Guillaume also decorated the first-floor room at the northwest corner of the Cour Carrée, on the ceiling of which he placed in 1890 a monumental painting by Carolus-Duran, The Triumph of Marie de' Medici originally created in 1879 for the Luxembourg Palace.[48] The Louvre's monumental Escalier Daru, topped by the Winged Victory of Samothrace, took its current appearance in the early 1930s. Meanwhile, during the Third Republic (1870–1940) the Louvre acquired new artefacts mainly via donations, gifts, and sharing arrangements on excavations abroad. The 583-item Collection La Caze, donated in 1869 by Louis La Caze, included works by Chardin; Fragonard, Rembrandt and Watteau.[13]: 70-71 In 1883, the Winged Victory of Samothrace, which had been found in the Aegean Sea in 1863, was prominently displayed as the focal point of the Escalier Daru.[13]: 70-71 Major artifacts excavated at Susa in Iran, including the massive Apadana capital and glazed brick decoration from the Palace of Darius there, accrued to the Oriental (Near Eastern) Antiquities Department in the 1880s. The Société des amis du Louvre was established in 1897 and donated prominent works, such as the Pietà of Villeneuve-lès-Avignon. The expansion of the museum and its collections slowed after World War I, however, despite some prominent acquisitions such as Georges de La Tour's Saint Thomas and Baron Edmond de Rothschild's 1935 donation of 4,000 prints, 3,000 drawings, and 500 illustrated books. From the late 19th century, the Louvre gradually veered away from its mid-century ambition of universality to become a more focused museum of French, Western and Near Eastern art, covering a space ranging from Iran to the Atlantic. The collections of the Louvre's musée mexicain were transferred to the Musée d'Ethnographie du Trocadéro in 1887. As the Musée de Marine was increasingly constrained to display its core naval-themed collections in the limited space it had in the second-floor attic of the northern half of the Cour Carrée, many of its significant holdings of non-Western artefacts were transferred in 1905 to the Trocadéro ethnography museum, the National Antiquities Museum in Saint-Germain-en-Laye, and the Chinese Museum in the Palace of Fontainebleau.[49] The Musée de Marine itself was relocated to the Palais de Chaillot in 1943. The Louvre's extensive collections of Asian art were moved to the Guimet Museum in 1945. Nevertheless, the Louvre's first gallery of Islamic art opened in 1922.[citation needed] Generalfeldmarschall Gerd von Rundstedt is seen with a plaster model of the Venus de Milo,[50] while visiting the Louvre with the curator Alfred Merlin on 7 October 1940. Seating designed by Pierre Paulin in the late 1960s, Grande Galerie Marc Saltet [fr]'s 1972 museography for the Salon Carré, with "dos-à-dos" seat designed in 1967 by Pierre Paulin In the late 1920s, Louvre Director Henri Verne devised a master plan for the rationalization of the museum's exhibitions, which was partly implemented in the following decade. In 1932–1934, Louvre architects Camille Lefèvre and Albert Ferran redesigned the Escalier Daru to its current appearance. The Cour du Sphinx in the South Wing was covered by a glass roof in 1934. Decorative arts exhibits were expanded in the first floor of the North Wing of the Cour Carrée, including some of France's first period room displays. In the late 1930s, The La Caze donation was moved to a remodeled Salle La Caze above the salle des Caryatides, with reduced height to create more rooms on the second floor and a sober interior design by Albert Ferran.[citation needed] During World War II, the Louvre conducted an elaborate plan of evacuation of its art collection. 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.[51] 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".[52] In early 1945, after the liberation of France, art began returning to the Louvre.[53] New arrangements after the war revealed the further evolution of taste away from the lavish decorative practices of the late 19th century. In 1947, Edmond Guillaume's ceiling ornaments were removed from the Salle des Etats,[48] where the Mona Lisa was first displayed in 1966.[54] Around 1950, Louvre architect Jean-Jacques Haffner [fr] streamlined the interior decoration of the Grande Galerie.[48] In 1953, a new ceiling by Georges Braque was inaugurated in the Salle Henri II, next to the Salle La Caze.[55] In the late 1960s, seats designed by Pierre Paulin were installed in the Grande Galerie.[56] In 1972, the Salon Carré's museography was remade with lighting from a hung tubular case, designed by Louvre architect Marc Saltet [fr] with assistance from designers André Monpoix [fr], Joseph-André Motte and Paulin.[57] In 1961, the Finance Ministry accepted to leave the Pavillon de Flore at the southwestern end of the Louvre building, as Verne had recommended in his 1920s plan. New exhibition spaces of sculptures (ground floor) and paintings (first floor) opened there later in the 1960s, on a design by government architect Olivier Lahalle.[58] Grand Louvre Main article: Grand Louvre In 1981, French President François Mitterrand proposed, as one of his Grands Projets, the Grand Louvre plan to relocate the Finance Ministry, until then housed in the North Wing of the Louvre, and thus devote almost the entire Louvre building (except its northwestern tip, which houses the separate Musée des Arts Décoratifs) to the museum which would be correspondingly restructured. In 1984 I. M. Pei, the architect personally selected by Mitterrand, proposed a master plan including an underground entrance space accessed through a glass pyramid in the Louvre's central Cour Napoléon.[13]: 66 The open spaces surrounding the pyramid were inaugurated on 15 October 1988, and its underground lobby was opened on 30 March 1989. New galleries of early modern French paintings on the 2nd floor of the Cour Carrée, for which the planning had started before the Grand Louvre, also opened in 1989. Further rooms in the same sequence, designed by Italo Rota, opened on 15 December 1992.[citation needed] On 18 November 1993, Mitterrand inaugurated the next major phase of the Grand Louvre plan: the renovated North (Richelieu) Wing in the former Finance Ministry site, the museum's largest single expansion in its entire history, designed by Pei, his French associate Michel Macary, and Jean-Michel Wilmotte. Further underground spaces known as the Carrousel du Louvre, centered on the Inverted Pyramid and designed by Pei and Macary, had opened in October 1993. Other refurbished galleries, of Italian sculptures and Egyptian antiquities, opened in 1994. The third and last main phase of the plan unfolded mainly in 1997, with new renovated rooms in the Sully and Denon wings. A new entrance at the porte des Lions opened in 1998, leading on the first floor to new rooms of Spanish paintings.[citation needed] As of 2002, the Louvre's visitor count had doubled from its pre-Grand-Louvre levels.[59] The Napoleon Courtyard and I. M. Pei's pyramid in its center, at dusk. The Napoleon Courtyard and I. M. Pei's pyramid in its center, at dusk. 21st century Ceiling by Cy Twombly installed in 2010 in the Salle des Bronzes, before the room's redesign in 2021 President Jacques Chirac, who had succeeded Mitterrand in 1995, insisted on the return of non-Western art to the Louvre, upon a recommendation from his friend the art collector and dealer Jacques Kerchache [fr]. On his initiative, a selection of highlights from the collections of what would become the Musée du Quai Branly – Jacques Chirac was installed on the ground floor of the Pavillon des Sessions and opened in 2000, six years ahead of the Musée du Quai Branly itself. The main other initiative in the aftermath of the Grand Louvre project was Chirac's decision to create a new department of Islamic Art, by executive order of 1 August 2003, and to move the corresponding collections from their prior underground location in the Richelieu Wing to a more prominent site in the Denon Wing. That new section opened on 22 September 2012, together with collections from the Roman-era Eastern Mediterranean, with financial support from the Al Waleed bin Talal Foundation and on a design by Mario Bellini and Rudy Ricciotti.[60][61][62] In 2007, German painter Anselm Kiefer was invited to create a work for the North stairs of the Perrault Colonnade, Athanor. This decision announces the museum's reengagement with contemporary art under the direction of Henri Loyrette, fifty years after the institution's last order to a contemporary artists, George Braque.[63] In 2010, American painter Cy Twombly completed a new ceiling for the Salle des Bronzes (the former Salle La Caze), a counterpoint to that of Braque installed in 1953 in the adjacent Salle Henri II. The room's floor and walls were redesigned in 2021 by Louvre architect Michel Goutal to revert the changes made by his predecessor Albert Ferran in the late 1930s, triggering protests from the Cy Twombly Foundation on grounds that the then-deceased painter's work had been created to fit with the room's prior decoration.[64] That same year, the Louvre commissioned French artist François Morellet to create a work for the Lefuel stairs, on the first floor. For L'esprit d'escalier Morellet redesigned the stairscase's windows, echoing their original structures but distorting them to create a disturbing optical effect.[65] On 6 June 2014, the Decorative Arts section on the first floor of the Cour Carrée's northern wing opened after comprehensive refurbishment.[66] In January 2020, under the direction of Jean-Luc Martinez, the museum inaugurated a new contemporary art commission, L'Onde du Midi by Venezuelan kinetic artist Elias Crespin. The sculpture hovers under the Escalier du Midi, the staircase on the South of the Perrault Colonnade.[67] The Louvre, like many other museums and galleries, felt the impact of the COVID-19 pandemic on the arts and cultural heritage. It was closed for six months during French coronavirus lockdowns and saw visitor numbers plunge to 2.7 million in 2020, from 9.6 million in 2019 and 10.2 million in 2018, which was a record year.[68][69] The Pavillon des Sessions's display of non-Western art from the Musée du Quai Branly, opened in 2000 The Pavillon des Sessions's display of non-Western art from the Musée du Quai Branly, opened in 2000 The Cour Visconti's ground floor covered to host the new Islamic Art Department in 2012 The Cour Visconti's ground floor covered to host the new Islamic Art Department in 2012 Islamic art display in the covered Cour Visconti, 2012 Islamic art display in the covered Cour Visconti, 2012 Underground display of the Islamic Art Department, 2012 Underground display of the Islamic Art Department, 2012 Collections The Musée du Louvre owns 615,797 objects[1] of which 482,943 are accessible online since 24 March 2021[70] and displays 35,000 works of art in eight curatorial departments.[2] Egyptian antiquities Main article: Department of Egyptian Antiquities of the Louvre The department, comprising over 50,000 pieces,[13]: 74 includes artifacts from the Nile civilizations which date from 4,000 BC to the 4th century AD.[71] 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.[71] 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.[13]: 76-77 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.[13]: 76-77 [72] Guarded by the Great Sphinx of Tanis, the collection is housed in more than 20 rooms. Holdings include art, papyrus scrolls, mummies, tools, clothing, jewelry, games, musical instruments, and weapons.[13]: 76-77 [71] 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.[71][72] The Gebel el-Arak Knife; 3300-3200 BC; handle: elephant ivory, blade: flint; length: 25.8 cm The Gebel el-Arak Knife; 3300-3200 BC; handle: elephant ivory, blade: flint; length: 25.8 cm The Seated Scribe; 2613–2494 BC; painted limestone and inlaid quartz; height: 53.7 cm The Seated Scribe; 2613–2494 BC; painted limestone and inlaid quartz; height: 53.7 cm The Great Sphinx of Tanis; circa 2600 BC; rose granite; height: 183 cm, width: 154 cm, thickness: 480 cm The Great Sphinx of Tanis; circa 2600 BC; rose granite; height: 183 cm, width: 154 cm, thickness: 480 cm Akhenaten and Nefertiti; 1345 BC; painted limestone; height: 22.2 cm, width: 12.3 cm, thickness: 9.8 cm Akhenaten and Nefertiti; 1345 BC; painted limestone; height: 22.2 cm, width: 12.3 cm, thickness: 9.8 cm Near Eastern antiquities 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.[71][13]: 119 These finds formed the basis of the Assyrian museum, the precursor to today's department.[71] 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.[73] A significant portion of the department covers the ancient Levant, including the Eshmunazar II sarcophagus discovered in 1855, which catalyzed Ernest Renan's 1860 Mission de Phénicie. It contains one of the world's largest and most comprehensive collections of Canaanite and Aramaic inscriptions. The section also covers North African Punic antiquities (Punic = Western Phoenician), given the significant French presence in the region in the 19th century, with early finds including the 1843 discovery of the Ain Nechma inscriptions. The Persian portion of Louvre contains work from the archaic period, like the Funerary Head and the Persian Archers of Darius I.[71][74] This section also contains rare objects from Persepolis which were also lent to the British Museum for its Ancient Persia exhibition in 2005.[75] Phoenician metal bowls from Cyprus Phoenician metal bowls from Cyprus The Statue of Ebih-Il; circa 2400 BC; gypsum, schist, shells and lapis lazuli; height: 52.5 cm The Statue of Ebih-Il; circa 2400 BC; gypsum, schist, shells and lapis lazuli; height: 52.5 cm The Code of Hammurabi; 1755–1750 BC; basalt; height: 225 cm, width: 79 cm, thickness: 47 cm The Code of Hammurabi; 1755–1750 BC; basalt; height: 225 cm, width: 79 cm, thickness: 47 cm Assyrian lamassu (Human-headed winged bull); circa 713–716 BC; 4.2 x 4.4 x 1 m Assyrian lamassu (Human-headed winged bull); circa 713–716 BC; 4.2 x 4.4 x 1 m Frieze of archers, from the Palace of Darius at Susa; circa 510 BC; bricks Frieze of archers, from the Palace of Darius at Susa; circa 510 BC; bricks Greek, Etruscan, and Roman Greek antiquities in Room 11 The Greek, Etruscan, and Roman department displays pieces from the Mediterranean Basin dating from the Neolithic to the 6th century.[76] 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.[71][13]: 155-58 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.[13]: 92 [76] The archaic is demonstrated by jewellery and pieces such as the limestone Lady of Auxerre, from 640 BC; and the cylindrical Hera of Samos, c. 570–560 BC.[71][77] 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.[13]: 155 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.[76] 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. Cycladic head of a woman; 27th century BC; marble; height: 27 cm Cycladic head of a woman; 27th century BC; marble; height: 27 cm Volute krater that depicts Actaeon's death; circa 450–440 BC; ceramic; height: 51 cm, diameter: 33.1 cm Volute krater that depicts Actaeon's death; circa 450–440 BC; ceramic; height: 51 cm, diameter: 33.1 cm The Winged Victory of Samothrace; 200–190 BC; Parian marble; 244 cm The Winged Victory of Samothrace; 200–190 BC; Parian marble; 244 cm Venus de Milo; 130–100 BC; marble; height: 203 cm Venus de Milo; 130–100 BC; marble; height: 203 cm Islamic art The Islamic art collection, the museum's newest, spans "thirteen centuries and three continents".[78] These exhibits, of ceramics, glass, metalware, wood, ivory, carpet, textiles, and miniatures, include more than 5,000 works and 1,000 shards.[79] 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.[13]: 119-121 [78] 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.[79] In September 2019, a new and improved Islamic art department was opened by Princess Lamia bint Majed Al Saud. The new department exhibits 3,000 pieces were collected from Spain to India via the Arabian peninsula dating from the 7th to the 19th centuries.[80] The Pyxis of al-Mughira; 10th century (maybe 968); ivory; 15 x 8 cm The Pyxis of al-Mughira; 10th century (maybe 968); ivory; 15 x 8 cm Iranian tile with bismillah; turn of the 13th-14th century; molded ceramic, luster glaze and glaze Iranian tile with bismillah; turn of the 13th-14th century; molded ceramic, luster glaze and glaze The Baptistère de Saint Louis; by Muhammad ibn al-Zayn; 1320–1340; hammering, engraving, inlay in brass, gold, and silver; 50.2 x 22.2 cm The Baptistère de Saint Louis; by Muhammad ibn al-Zayn; 1320–1340; hammering, engraving, inlay in brass, gold, and silver; 50.2 x 22.2 cm Door; 15th-16th century; sculpted, painted and gilded walnut wood Door; 15th-16th century; sculpted, painted and gilded walnut wood Sculptures See also: List of works in the Louvre The Cour Marly of the Louvre, where many French sculptures are exhibited The sculpture department consists of works created before 1850 not belonging in the Etruscan, Greek, and Roman department.[81] 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.[13]: 397-401 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.[13]: 397-401 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.[81][13]: 397-401 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.[81] 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).[13]: 397-401 The 18th and 19th centuries are represented by the French sculptors like Alfred Barye and Émile Guillemin. The Tomb of Philippe Pot; 1477 and 1483; limestone, paint, gold and lead; height: 181 cm, width: 260 cm, depth: 167 cm The Tomb of Philippe Pot; 1477 and 1483; limestone, paint, gold and lead; height: 181 cm, width: 260 cm, depth: 167 cm The King's Fame Riding Pegasus; by Antoine Coysevox; 1701–1702; Carrara marble; height: 3.15 m, width: 2.91 m, depth: 1.28 m The King's Fame Riding Pegasus; by Antoine Coysevox; 1701–1702; Carrara marble; height: 3.15 m, width: 2.91 m, depth: 1.28 m Group sculpture; by Nicolas Coustou; 1701–1712; marble; height: 2.44 m Group sculpture; by Nicolas Coustou; 1701–1712; marble; height: 2.44 m Louis XV as Jupiter; 1731; probably marble; height: 1.95 m, width: 1.20 m, depth: 68 cm Louis XV as Jupiter; 1731; probably marble; height: 1.95 m, width: 1.20 m, depth: 68 cm Decorative arts Some of the Second Empire style rooms of the apartments of Napoleon III 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.[82][13]: 451-454 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.[13]: 451-454 [83] 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.[84] The Renaissance art holdings include Giambologna's bronze Nessus and Deianira and the tapestry Maximillian's Hunt.[82] From later periods, highlights include Madame de Pompadour's Sèvres vase collection and Napoleon III's apartments.[82] Painting Further information: Catalog of paintings in the Louvre Museum Mona Lisa; by Leonardo da Vinci, c. 1503–1506, perhaps continuing until c. 1517; oil on poplar panel; 77 cm × 53 cm The painting collection has more than 7,500 works[10]: 229 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.[88][13]: 199-201, 272-273, 333-335 The collection began with Francis, who acquired works from Italian masters such as Raphael and Michelangelo[89] and brought Leonardo da Vinci to his court.[90][91] 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.[13]: 199 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;[13]: 201 Hyacinthe Rigaud's Louis XIV; Jacques-Louis David's The Coronation of Napoleon; Théodore Géricault's The Raft of the Medusa; 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, and Delacroix are well represented.[92] 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.[93] 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".[94] 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. The Baroque collection includes Giambattista Pittoni's The Continence of Scipio, Susanna and the Elders, Bacchus and Ariadne, Mars and Venus, and others 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.[13]: 378 [95] 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".[96] 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 |
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