After spending further research to examine how the public has shaped the Louvre, the appearance of a much more complicated web of influences has become apparent. I began with the Louvre’s Official Website and then moved towards looking at articles published in a variety of Art Magazines as well as internationally recognized news sources. In combining the information from both direct and indirect sources and in the interest of finding a thematic link between the two, it is apparent that the Louvre operates not only has a house of art but also acts as a politically charged symbol of France (or specifically Paris). Together, these two roles can be analyzed under the theme of accessibility. One of the missions of the Louvre is ‘to preserve, display, and develop their collections, and to promote access to these treasures for the widest possible spectrum of visitors.’ Also, from a governmental perspective, France wants to continue to keep the Louvre engaged in the contemporary evolution of the Art Museum as a way of indirectly displaying political messages. So how does the Louvre address this?
In the interest of audience development or public accessibility (and I use the word accessibility not literally but as a method of relating the works of art more closely with the interests of the general public), it has embraced the cult status it has gained from the Dan Brown novel, The Da Vinci Code. The film was shot on location at the Louvre. When researched further, the Louvre was not at first happy with it being used as the site location for the movie. It was the prime minister that sat down with the director during a private lunch who assured that filming in the Louvre would be possible. Audio guides can now be bought that bring the visitor into the story of Robert Langdon and works of Leonardo Da Vinci. The Louvre hit a record of 7.3 million visitors in 2005, a number that numerous sources attributed to the success of the The Da Vinci Code (novel and film).
On another aspect of accessibility, the Louvre has recognized that it should find a better way of displaying its massive collection, most of which is in storage. In response, the Louvre will be building an outpost in Lens, an economically less privileged town in North France. This new satellite museum will display 500-600 works as well as provide temporary exhibition space. This has come with major controversy. One of the major reasons given for this new development is the new idea of ‘De-centralization’ which the French government is trying to promote. Therefore, this new development not only brings more works out for display but also satisfies a political need for moving more cultural destinations to less affluent areas of France. A move that the head curator, Henri Loyrette, has described as being along the same model as the Tate Britain as opposed to the less acceptable model of the Guggenheim.
Considering the immense international status of the Louvre as well as its wide popularity with tourists, it is only fitting that it has to accept its multiple roles: Firstly, an Enlightened Museum of art, then as a voice linking the public to the art, and lastly has the political vehicle of a nation.
Reference Sites:
International Herald Tribune
Very helpful in pulling up articles in chronological order, to see the evolution of news on the Louvre.
Specific Articles Used:
The vision behind the Louvre’s Metamorphosis
CIRCA Magazine
An Irish Magazine about Visual Arts and Culture
Specific Articles Used:
Visual Identity of Cultural Institutions in France and Ireland
An Introcustion of the book: Space: Architecture for Art edited by Gemma Tipton
The New York Times
Some articles are available free of charge, for some you need a monthly subscribtion (or sign up for a 14 day trial to get around that)
Specific Articles Used:
DaVinci Code Brand