Schedule of Events for 2019-2020 - (subject to modification)
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December 2018
Schedule of Events for
2019–2020
(subject to modification)
Musée du Louvre Press Contacts
External Relations Department Marion Benaiteau - marion.benaiteau@louvre.fr /+ 33 (0)1 40 20 67 10
Adel Ziane, Director Céline Dauvergne - celine.dauvergne@louvre.fr /+33 (0)1 40 20 84 66
Sophie Grange, Head of Press Division Coralie James - coralie.james@louvre.fr / +33 (0)1 40 20 54 44
Muriel Defives - muriel.defives@louvrelens.fr / +33 (0)3 21 18 62 13
1
At the Musée du Louvre
_________________________________________________________________________________________________
THE LOUVRE PYRAMID TURNS 30
Star ng March 29, 2019
Over the course of 2019, the Musée du Louvre is celebrating the Pyramid’s 30th
anniversary.
Announced in September 1981 by French President François Mitterrand, the
Grand Louvre project had the aim of devoting the whole palace, up until then
© 2013 musée du Louvre / Olivier Ouadah
partially occupied by the Ministry of Finance, to the museum. This immense
construction project provided an opportunity to redesign visitor reception and
the display of the artworks. Ieoh Ming Pei, the American architect of Chinese
descent, conceived of a simplified entrance to the museum and proposed the
construction of a glass pyramid in the center of the Cour Napoléon.
This project stirred up a great deal of controversy in the press, with criticism of
the architect’s bold intervention on a monument emblematic of the history of
France. The Pyramid nevertheless embodies the Louvre’s identity, rooted in
history and firmly open to the world.
Starting on March 29, 2019, visitors can celebrate this anniversary through a
series of free festive public events, including major happenings right in the
Cour Napoléon, a weekend of activities for families, concerts and dance © 2017 musée du Louvre / Olivier Ouadah
performances, and a photo exhibition. Symposia and conferences round out this
rich program, shedding light on the back story of this monumental building
project.
2
FORGOTTEN KINGDOMS: FROM THE HITTITE EMPIRE TO THE
ARAMEANS
May 2, 2019 — August 12, 2019
Hall Napoléon
Exhibi on curator: Vincent Blanchard, Department of Near Eastern An qui es.
The Hittite empire, a great rival power of ancient Egypt, ruled over Anatolia
and held sway over the Levant until about 1200 BC. Its demise gave rise to
Neo-Hittite and Aramean kingdoms in modern-day Turkey and Syria, heirs
of the political, cultural, and artistic traditions of the fallen empire.
The exhibition invites visitors to rediscover the mythic sites of this forgotten
civilization, such as the majestic remains of the Tell Halaf site, located near
the current Turco-Syrian border. This major Syrian heritage site was
discovered by Max von Oppenheim, who conducted excavations there from
1911 to 1913. The large sculptures, which adorned the palace of the Aramean
king Kapara, were brought back to Berlin where they were exhibited, then
very heavily damaged in WW2 bombings. An incredible conservation project
carried out in the early 2000s made it possible to rehabilitate them.
The history of this collection makes for compelling testimony to the ongoing
efforts to preserve endangered heritage sites, past and present. The Louvre is
strongly committed to this cause, particularly in war-torn countries, by
mobilizing the international community and, most recently, by participating in
the creation of ALIPH in 2017 (International Alliance for the Protection of Stela of the scribe Tarhunpiyas, Musée du Louvre,
Heritage in Conflict Areas.) Department of Near Eastern Antiquities © Musée
du Louvre, dist. RMN - Grand Palais / F. Raux
LEONARDO DA VINCI
October 24, 2019–February 24, 2020
Hall Napoléon
Exhibi on curators: Vincent Delieuvin, Department of Pain ngs, and Louis Frank, Department of
Prints and Drawings.
The year 2019 marks the 500-year anniversary of the death of Leonardo da
Vinci in France, of particular importance for the Louvre, which holds the
largest collection in the world of da Vinci’s paintings, as well as 22 drawings.
The museum is seizing the opportunity in this year of commemorations to
gather as many of the artist’s paintings as possible around the five core works
in its collections: The Virgin of the Rocks, La Belle Ferronnière, the Mona Lisa
(which will remain in the gallery where it is normally displayed), the Saint John
Leonardo da Vinci, La Belle Ferronnière (detail),
the Baptist, and the Saint Anne. The objective is to place them alongside a wide Musée du Louvre, Department of Paintings
array of drawings as well as a small but significant series of paintings and © Musée du Louvre, dist. RMN - Grand Palais /
Michel Urtado
sculptures from the master’s circle.
This unprecedented retrospective of da Vinci’s painting career will illustrate
how he placed utmost importance on painting, and how his investigation of the
world, which he referred to as “the science of painting,” was the instrument of
his art, seeking nothing less than to bring life to his paintings.
The exhibition is the culmination of more than ten years of work, notably
including new scientific examinations of the Louvre’s paintings, and the
conservation treatment of three of them, allowing for better understanding of
da Vinci’s artistic practice and pictorial technique. Clarification of his
biography has also emerged through the exhaustive reexamination of archival
documents. The exhibition will paint the portrait of a man and an artist of
extraordinary freedom.
Time slot tickets required for admission.
3
ENGRAVING FOR THE KING: THE HISTORICAL COLLECTIONS OF THE
LOUVRE CHALCOGRAPHIE
February 21–May 20, 2019
Rotonde Sully
Exhibi on curator: Jean‐Gérald Castex, Department of Prints and Drawings, Musée du Louvre.
Founded in 1797 under the Directory, the Louvre Chalcography holds over
14,000 engraved copperplates, used to make prints, and has the mission of
disseminating the image of the museum’s masterpieces through engraving. This
institution, which is part of the Musée du Louvre, arose from the merging of
three collections of engraved plates, established starting in the second half of the
18th century: the Cabinet du Roi, including nearly 1,000 plates commissioned by
Colbert to illustrate the greatness of Louis XIV’s reign; the Menus-Plaisirs
collections, which spread the image of great Court ceremonies and public
festivities of the 18th century; and the collection of the Royal Academy of
Painting and Sculptures, consisting of pieces requested from engravers upon
their admission, and engraved plates acquired by the institution in the second Henri Simon Thomassin after Louis de
half of the 18th century to develop its editorial collection. Boullogne, Louis XIV protecting the Arts (detail),
1728 © BnF
The exhibition gathers some 120 works, including nearly 70 engraved plates
from these three historical collections of the Louvre Chalcographie, presented
alongside drawings from the Musée du Louvre’s Department of Prints and
Drawings, and prints from the Edmond de Rothschild collection and the
Bibliothèque Nationale de France.
ANTOINE‐JEAN GROS AND THE SCHOOL OF DAVID
June 27–September 30, 2019
Rotonde Sully
Exhibi on curator: Laura Angelucci, documentary researcher in the Department of Prints and
Drawings, Musée du Louvre.
Antoine-Jean Gros (1771–1835), one of the most celebrated students of the
painter Jacques-Louis David (1748–1825), is rightly considered as a
forerunner of romanticism. Even more than his paintings, his drawings
quickly illustrated a gradual shift away from his master’s classical Antoine-Jean Gros, Alexander Taming
instruction, leading to a definitive break from the neoclassical aesthetic, and Bucephalus, about 1800, Department of Prints
and Drawings, Musée du Louvre © RMN-
the affirmation of a new style heralding this new artistic movement. Grand Palais / M. Urtado
Designed to accompany the publication of the General Inventory of the Drawings
of Antoine-Jean Gros at the Louvre (scheduled for June 2019), this presentation
of some forty artworks from the museum will allow for an overview of the
painter’s career, highlighting his talents as a draughtsman, little known to the
public. A number of paintings will be on display alongside the drawings,
retracing the career of the painter, who inspired the first generation of
Romantics, including Géricault, from the time of Gros’s training in David’s
atelier (starting in 1785) to his encounter with Bonaparte in Milan in late 1796.
Certain drawings recall his great mastery in depicting Bonaparte’s military
triumphs. The exhibition will conclude with examples of the call to order that
Gros imposed upon his painting following the fall of the First Empire (1814),
and with the Restoration of the Bourbon Monarchy (1815). These drawings
paradoxically herald the peak of his career under the reigns of Louis XVIII
(1815-1824) and Charles X (1824-1830).
4
ITALIAN DRAWINGS FROM THE MARIETTE COLLECTION
June 27—September 30, 2019
Rotonde Sully south
Exhibi on curator: Pierre Rosenberg, Honorary President‐Director of the Musée du Louvre.
The Louvre is continuing its presentation of the Mariette Collection, shifting
the spotlight to drawings by the great Italian masters, following its focus on
French drawings in 2011.
The last representative of an illustrious dynasty of print-sellers, admitted as a
“free associate” to the Académie Royale de Peinture et de Sculpture, Pierre-Jean
Mariette (1694–1774) was a printmaker and draughtsman, translator and art
critic, tireless letter writer, and, perhaps above all, one of the greatest drawing
collectors of all time.
While Mariette sought to create a universal collection that embodied the history
of drawing as best possible, and accumulated works by the greatest figures to do
so, he had a clear preference for Italy.
Michelangelo Buonarroti, known as
In order to highlight the portion of the Mariette Collection that provided its Michelangelo, Satyr’s Head, Department of
creator with the greatest pleasure, and was furthermore coveted throughout Prints and Drawings, Musée du Louvre
Europe, the Musée du Louvre will present some sixty works from its own © Musée du Louvre, dist. RMN-Grand Palais /
Suzanne Nagy
collections by the greatest Italian artists: Raphael, Michelangelo, Titian,
Veronese, the Carracci, Reni, Guercino, and more.
OFFICER & GENTLEMAN IN THE 19TH CENTURY: THE HORACE HIS DE
LA SALLE COLLECTION
November 7, 2019–February 10, 2020
Rotonde Sully north
Exhibi on curators: Laurence Lhinares, research fellow in the Department of Prints and
Drawings, and Louis‐Antoine Prat, art historian and President of the Amis du Louvre.
The importance of the role of private collectors in the creation of public
drawing collections in France is well known, in particular thanks to the many
homages paid to Everhard Jabach, Pierre-Jean Mariette, Étienne Moreau-
Nélaton and Philippe de Chennevières. However, only one small exhibition, at
the Musée de Beaux-Arts de Dijon in 1974, has been devoted to the decisive
Théodore Géricault, Mameluke Restraining his
actions of one of the most generous donors of all time to French museums, Horse, Department of Prints and Drawings,
Musée du Louvre © RMN-Grand Palais
Aimé Charles Horace His de La Salle (1795–1878), reputed as a lover of (musée du Louvre) / Daniel Arnaudet
drawings, as well as sculptures and objets d’art. Amongst other French
museums, he above all sought to enrich the Louvre, with donations and
bequests of 21 paintings and nearly 450 drawings from all different schools.
In order to provide an image faithful to the collector’s taste, the collection’s
interdisciplinary character will be highlighted through the participation of four
of the Louvre’s departments: Prints and Drawings (67 drawings and one
miniature), Paintings (four paintings), Sculptures and Decorative Arts (seven
Renaissance plates and sculptures). This major collection will be rounded out by
over forty significant works on loan from other museums favored by His de La
Salle: Alençon, Dijon, Lyon, the École des Beaux-Arts.
5
HOMAGE TO SOULAGES
December 11, 2019—March 9, 2020
Salon Carré (Denon Wing, level 1)
Exhibi on curators: Pierre Encrevé, art historian, and Alfred Pacquement, honorary
heritage curator.
Pierre Soulages, who began his activity as a painter in 1946 and continues to
paint today with the same regularity, will turn 100 on December 24, 2019.
On this occasion, the Musée du Louvre will pay him an exceptional homage
with a personal exhibition in the prestigious Salon Carré, located between
the Galerie d’Apollon and the Grande Galerie.
To summarize the singular longevity of Soulages’s career, the exhibition will
take the form of a selection of major works from each of its seven decades,
hailing from the most renowned museums in France and abroad. The aim is
to simultaneously illustrate the continuity of a body of work that springs
entirely from a single conception of a total abstraction, expressed in
particular through purely classificatory titles (technique, dimensions, date),
and the break that came about midway, in 1979, leading to the emergence of
a new painting practice for which Soulages coined the neologism outrenoir.
All of Soulages’s painting examines the relationship between black and light,
but with outrenoir that harnesses reflection, the space and time of painting
are radically transformed, endowing it with an entirely unprecedented
luminous multiplicity.
FRANCE‐ROMANIA SEASON 2019
LITURGICAL TEXTILES OF BYZANTINE TRADITION FROM
ROMANIA
April 17–July 29, 2019
Department of Decora ve Arts, Richelieu Wing, level 1, room 6
Exhibi on curator: Jannic Durand, Director of the Department of Decora ve Arts, Musée du
Louvre.
On the occasion of the symbolic loan by Romania of King Stephen the
Great’s “Battle flag of Saint Georges,” this exhibition seeks to highlight the
exceptional character of Romanian collections of embroidery of Byzantine
tradition, jewel of both Romanian and universal heritage.
Around the masterpiece that Stephen the Great (1457–1504) offered to the
Ascension of Christ, Dvera Inaltarii (Rideau
Zograf Monastery on Mount Athos, which was solemnly handed over by Portes Royales), Putna Monastery © DR
France to the Romanian state in 1917, a number of extraordinary works will
illustrate the remarkable development of embroidery of Byzantine tradition
in Romania from the mid-15th to the mid-17th centuries. Inherited from
Byzantium, the embroidered ornamentation of the “sacerdotal vestments” of
bishops, priests and deacons, and that of the “liturgical vestments” intended
for worship will be exhibited alongside an unrivalled collection of royal
tombstone covers, upon which the hieratic character of Byzantine images
was ultimately supplanted by the appeal of portraiture.
6
EL GRECO
October 14, 2019 – February 10, 2020
Grand Palais
Exhibi on curators: Guillaume Kientz, curator in the Department of Pain ngs, Musée du
Louvre, and Rebecca Long, the Art Ins tute of Chicago
Domenico Theotokopoulos, known as “El Greco” (1541–1614), of Cretan
origin, began his training in the Byzantine tradition, subsequently heading to
Venice, then Rome, to refine his education.
Yet it was in Spain that his art flourished and was established in the long
term, starting in the 1570s. The artist imported Titian’s color, Tintoretto’s
boldness, and Michelangelo’s artistic force to the Iberian Peninsula. This
eloquent combination, original yet consistent in terms of his path, gives El
Greco, who died four years after Caravaggio, a distinctive position in the
history of painting: he was the last great master of the Renaissance, and the
first great painter of the Golden Age.
Rediscovered in the late 19th century, recognized and embraced by the avant
-gardists of the early 20th century, the artist thus enjoys the dual prestige of
tradition and modernity, linking Titian to the Fauves, Mannerism to
Cubism, Expressionism, and Abstraction.
El Greco was also an insatiable inventor of forms, developing innovative,
audacious compositions to which he returned continuously throughout his
career, varying the effects and artistic means, and the intentions of his Immaculate Conception, Museum of Santa Cruz,
discourse. The independence guaranteed by his approach was matched only Toledo, Spain © Archives Alinari, Florence,
Dist. RMN-Grand Palais - Raffaello Bencini
by the electric freedom of his palette and brush.
This is the rich figure to be presented in the retrospective El Greco, jointly
organized by the Art Institute of Chicago and the Musée du Louvre, the first
large-scale monographic exhibition to be devoted to the artist in France.
Upcoming
BODY AND SOUL: SCULPTURE IN ITALY FROM DONATELLO TO
MICHELANGELO, 1460‐1520
Spring 2020 / HALL NAPOLÉON
I, TAHARQA, PHARAOH OF TWO LANDS
Autumn 2020 / HALL NAPOLÉON
ALTDORFER AND HIS TIME
April / May - August 2020 / ROTONDE SULLY
7
In the Pe te Galerie
___________________________________________________________________________________________
Figure of the Ar st
September 25, 2019–June 29, 2020
Pe te Galerie of the Musée du Louvre
For its fifth season, the Louvre’s Petite Galerie is hosting an exhibition on
the theme of the figure of the artist, accompanying the series of exhibitions
in 2019–2020 that the museum is devoting to the geniuses of the
Renaissance: da Vinci, Donatello, Michelangelo and Altdorfer. It was
during the Renaissance that artists affirmed their independence and sought
to relinquish the status of artisan to claim a distinctive position in society.
However, this invention of the figure of the artist has an older and more
complex history than can be measured in the scope of the Louvre’s
collections, from the first artisan signatures of Antiquity to the self-
portraits of the Romantic era. Signature, portrait or self-portrait, the
invention of the genre of artist biography served their intent: to make
images of words and gain access to the renown accorded to poets inspired
by the Muses. The longstanding bond between visual arts and texts has
thus brought about an invitation to literature this year, for a fruitful
dialogue between text and image.
8
At the Musée Eugène‐Delacroix
___________________________________________________________________________________________
INSIDE THE ARTIST’S STUDIO: CREATING ART
May 15 — September 30, 2019
Musée Eugène‐Delacroix
Exhibi on curator: Dominique de Font‐Réaulx, Director of media on and cultural
programming of the Musée du Louvre
Located in the last studio and apartment of Eugène Delacroix, the museum
has, since 2014, made the artist’s studio a central pillar of its research. A
place of creation, it also serves as a subject itself, having been frequently Garden of the Musée Eugène-Delacroix
© 2016 Musée du Louvre / Antoine Mongodin
depicted in various works. Turning a studio into a museum offers the
opportunity to put the creative process under the microscope. What is left of
that creative spirit in the museum space which, while also a studio, remains
an art gallery? How can we make the inventive spirit behind the creation of
artworks visible? The three study days that took place in 2015, 2016, and
2017 at the Musée Delacroix and at the Louvre allowed us to show the
richness and diversity of the studio, and to underline how the study of the
history and aesthetics of these creative spaces can also be of interest to
visitors eager to renew their understanding of art. Thanks to loans from
French and European museums, combined with the collection of the Musée
Delacroix, the exhibition will present works by Eugène Delacroix and his
contemporaries, as well as works by other 19th- and 20th-century artists. It
will present completed works alongside their studies, as well as the objects,
plasters, prints, and photographs which surrounded and nourished artists in
the studio.
These will take the form of several ensembles, each centered on one or more
paintings by Delacroix, in order to highlight the creative process behind the
works.
9At the Louvre‐Lens
__________________________________________________________________________________________
HOMER
March 27–July 22, 2019
Temporary exhibi on gallery
Exhibi on curators: Alexandre Farnoux, École Française d’Athènes, Vincent Pomarède,
Musée du Louvre, Luc Piralla, Musée du Louvre‐Lens, with the assistance of Alexandre
Estaquet‐Legrand. Based on an idea by Alain Jaubert, author.
The Musée du Louvre-Lens will present the largest exhibition in France
ever to be devoted to Homer, author of The Iliad and The Odyssey, the two
celebrated epic poems that are the foundation of western culture. It will
offer an unprecedented view of the richness of the Homeric universe, at once
beautiful and mysterious.
Following an introduction devoted to the gods of Olympus and the Muse
invoked by Homer, the exhibition will set out to discover the “prince of
poets,” whose very existence is questioned. It will also explore the
phenomena of “mania for Homer” that characterized archeology and
inspired works and behaviors, drawing from Homeric imitation of
substantial scope, down to the art of daily living.
The exhibition will go on to reintroduce visitors to the main heroes and
stories of The Iliad and The Odyssey. Archeological objects and modern
works will reveal how these epics have been depicted, with unusual Imaginary portrait of the poet Homer, 2nd century
consistency as well as variations depending on the era, which illustrate a A.D., after a Greek original created around 150
B.C., Paris, Musée du Louvre © Musée du Louvre,
history of taste.
dist.RMN-GP / T. Ollivier
The journey will also touch upon the most famous scenes of the Trojan
War, hailing from other poems, now lost, but which were read in Antiquity.
They reveal the wealth of ancient epic content, and the miracle represented
by the conservation of Homer’s works.
POLAND
September 25, 2019–January 20, 2020
Temporary exhibi on gallery
Exhibi on curators: Iwona Danielewicz and Agnieszka Rosales, curators at the Na onal
Museum in Warsaw, Marie Lavandier, Director of the Musée du Louvre‐Lens, and Luc Piralla,
Deputy Director of the Musée du Louvre‐Lens, with the assistance of Caroline Tureck.
The year 2019 marks the centenary of the signing of the Franco-Polish
convention of September 3, 1919, “relating to emigration and immigration,”
which led to a massive influx of Polish workers to France, and particularly, Józef Brandt, Departure of King John III (detail),
1887 © National Museum in Warsaw / P. Ligier
to the mining region in the country’s north. Between 1919 and 1928,
280,000 work contracts were signed in the wake of this international
agreement. To commemorate this important event for the territory’s
identity, the Musée du Louvre-Lens will hold a large retrospective of 19th
century Polish painting, organized jointly with the National Museum in
Warsaw.
The exhibition will retrace this unique time in the history of Polish culture,
during which, despite the country’s division between Russia, the Austrian
Empire, and Prussia, artists created a true Polish identity, which has since
been referred to as “Polishness”. It will present the way in which artists,
drawing inspiration from national history, landscapes and peasantry,
created images of Poland for Poles, as well as for the rest of the world.
Generous and evocative, their painting was frequently on the cutting edge
Musée du Louvre - Lens
of European pictorial styles of the era. Press Contact
Thanks to prestigious loans from Polish national museums, the exhibition Muriel Defives
will gather some 150 paintings dating from 1840 to 1918 by the most muriel.defives@louvrelens.fr
+33 (0)3 21 18 62 13
renowned Polish painters, including Matejko, Chelmonski, Malczewski,
and Kossak.
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