Louvre Abu Dhabi Collection: Piecing history together in the Louvre Museum
“The Louvre Abu Dhabi collection is mindblowing,” I have heard that from art enthusiasts before arriving in UAE. Under the blue sky, in the company of some date palm trees, rising from the white façade is a chaos of shiny metals intricately weaved into one another forming a hemisphere. I am at the entrance of Louvre Museum in Abu Dhabi, the largest museum in the Middle East. The azure water of the Persian Gulf touches the walkway to the entrance. The sophisticated white lattice screens, better known here as mashrabiyas, border the walkway. The screens cover the roof of the walkway too, exposing the visitors to an interesting play of light and shadow, providing the perfect prologue to the museum.
Designed by French architect Jean Nouvel and opened in 2017, Louvre Abu Dhabi is the result of an extraordinary cultural exchange that happened between France and UAE. France allowed UAE to use the brand name for thirty years, agreed to loan artworks and provide management insights in exchange of financial compensation.
The museum stretches for 24,000 square metres with 8000 square metres of galleries in the Saadiyat Island, a natural island 500 metres off the coast of Abu Dhabi Island. Unlike Abu Dhabi Island, in Saadiyat, non-citizens can own pieces of land and develop properties. The UAE government is trying to develop the island as a cultural hub with development of more museums in the pipeline— Guggenheim Abu Dhabi and Sheikh Zayed National Museum.
Once inside, a European guide escorts me to the galleries. The displays put up here tell the tale of humanity and try to bridge the gap between the east and the west. Each room buzzes around a theme. The displays narrate the story around the unique themes. While chronology has been maintained, there is no necessary geographical uniformity amongst the artefacts that are grouped together under a single theme.
Children often feel tempted to touch objects of art. Louvre Abu Dhabi has been thoughtful enough to install duplicate displays with tactile sensation along with the original ones in most of its galleries so that children can touch without a worry in the world. The museum also conducts sensory tours to accommodate autistic children.
Click on an item in the list below to quickly visit the respective section:
Louvre Abu Dhabi Collection: Telling the history of humans
The Grand Vestibule —
It is the first gallery, a room where the world comes together to celebrate the diversity and progress of humans overtime. On its marble floor is a symbolic maritime map with Abu Dhabi at its centre. It portrays the world from Abu Dhabi’s perspective. The map marks out all the regions from where the museum’s displays have been sourced using the local script of the respective region. I could make out Tamil Nadu, Kishanganj, Tirupati scribbled using Devnagri script in Hindi language and several using Roman script in English language like Madrid, Pisa and many more.
(I understand it is not easy to grasp the diversity of India, but just putting it out here that the local script of Tirupati and Tamil Nadu is not Devnagri. The local language is not Hindi. The native script and language of Tirupati is Telegu and that of Tamil Nadu is Tamil. Hindi just happens to be the most famous and internationally recognized language associated with India.)
Chapter 1
The First Villages — In this room are the most ancient artefacts collected by Louvre Abu Dhabi – remnants from the settlements that humans formed once they started farming and animal husbandry. According to recorded history, the first villages were formed in the Fertile Crescent, Central Asia and Central America simultaneously. Though they were independent of each other, they possessed similar traits and bonded by a belief in some imagined reality.
A calcite sculpture of a woman dressed in a puffed sleeved woolen outfit belongs to the Oxus Civilization (2300-1700 BCE) of Central Asia. The green chlorite clothing is easily distinguishable from the white body parts. During that time, trade of Lapis Lazuli, a precious stone, connected this place by the Pamir Mountains with the Indus valley, Mediterranean and North African villages.
The oldest resident of Louvre Abu Dhabi is a loaned artefact from Jordan government, a two-headed sculpture made of plaster dating back to 6500 BCE. Alongside it is a two-headed clay idol from Cyprus from the 3rd millennium BCE. They seem to be joined in the front but separated at the back.
Chapter 2
The First Great Powers — Displays here string together the transformation of simple farming villages into big empires. The villages that had sprung up in the fertile river basins of the Nile, Tigris, Euphrates, Indus and Yellow river had prospered the humans and helped them into multiplying and forming cities. Each empire had grown their unique set of rules and traditions.
To me, the most awe-inspiring of the collections here are the sarcophagi of ancient Egyptian and Greek royalty. The funeral set of princess Henuttawy from 950-900 BCE with an elaborate face-mask of gilded wood, big outlined eyes and pictorial representation of several Gods and Goddesses of the Egyptian pantheon is an example of the cultural beliefs and practices of the ancient empires.
Chapter 3
Civilizations and Empires — Narratives in this gallery articulate the cultural exchanges and schools of thoughts that developed as the great empires communicated, collaborated and clashed. Artefacts from the Greek, Roman, Persian and Han Empires are showcased here.
A winged dragon in bronze from China, dating back to 450-250 BCE, adorns the gallery. The significant Chinese mythological creature with scales, wings and webbed feet is believed to have influences from the Near-east. A limestone Sphinx dating 600-500 BCE from Italy or Greece graces a shelf. This mythical creature with the body of a lion, wings, and head of a human appears in both Egyptian and Greek mythologies.
A Roman funerary wax portrait of a man with a cup on the canvas of wood sourced from Egypt (225-250CE) is an example of the blending of the Roman and Egyptian cultures. When Egypt came under Roman rule, the Romans in Egypt embraced mummification after death (instead of being cremated). The Roman painting was most likely attached with the man’s mummified remains. Also, the room smells of leather, and on closer inspection I notice the leather flooring!
Chapter 4
Universal Religions— Stories assimilated here show the role of religion in a positive light while dismissing the ruthless fissures that the idea of religion has drawn over the entire world. However, it also promotes religious tolerance, reflecting the country’s religious vision.
Several scriptures of Islam, and both scriptures and sculptures of Christianity and Buddhism find prominence here. The precious stone studded copper Maitreya Budhha of Nepal belonging to circa 1100-1200 CE stands alongside the bronze Nataraja—a form of the Hindu deity Shiva. Sourced from Tamil Nadu in India, the sculpture of Nataraja or Dancing Shiva dates back to 950-1000 CE. The idolatry spread also dwells into the mythology of the Dogon tribe of Mali with the display of a wooden ‘ancestor figure’ with features of both male and female, dating back to 1200-1300 CE.
In a darker room, still a part of the fourth gallery, inside glass showcases are opened pages of religious books—I notice the Bible and the Quran. My guide explains that the temperature here is three degrees lower than the other rooms. The opened pages are flipped every three months. If it is a single sheet on show for three months, then protocol demands that it be off the display shelf for three consecutive years. The preservation efforts of Louvre Abu Dhabi are impressive to say the least.
Chapter 5
Asian Trade Routes — Invention of paper, gunpowder and porcelain placed China in a position of power in the world. This section specifically focuses on China and Central Asia and shines a light on the role of the Arab world in connecting the cities of the east with Africa and Europe.
A large seated Avalokiteshvara in gilded wood from 1050-1150 AD, sourced from China, seems to be the most magnanimous collection here. An entire range is dedicated to porcelain kitchenware. The guide points out that the unglazed porcelain were under water when discovered—the strength of the products speaks for themselves. Elsewhere in the world, dead bones were used to make a poor copy of the porcelain, known today as Bone China.
Among other artefacts are Chinese tapestries, silver and copper ewer (large jug with wide mouth) from Afghanistan decorated with zodiac signs, ceramic ewer from Iran and many more.
Chapter 6
From the Mediterranean to the Atlantic — Under Spanish patronage, Christopher Columbus sailed off and discovered the continent of America. Since then, all the rising European powers undertook ambitious voyages and discovered new lands and islands across the Atlantic, Pacific and Indian Oceans. While this led to severe exploitation of the ethnic people of the newly discovered lands, it directly fed into the treasuries and egos of the European powers. The displays are from a period just preceding these history-altering discoveries.
A marble basin with Latin inscriptions from Italy of 1300 CE, carved by Italian sculptor Bonifilius and probably used for cleansing purpose, is a content in this gallery. There are several displays from the Iberian Peninsula, a place where Christians and Muslims were pitted against each other for a long time.
Cosmography —
After the discovery of America, more European powers started sending voyages to far flung corners of the world. The demand for maps, cartographers and navigators touched the roof. This space in Louvre Abu Dhabi is dedicated to the adventurers and the instruments used by them.
An Astrolabe is an old instrument used to determine the time of the day by understanding the position of stars. One such brass Astrolabe from the 18th century adorns the hall. An oil painting of the Tower of Babel by Belgian artist Abel Grimmer shares space with a huge globe of wood, plaster, copper and paper from Italy, on loan from a French museum.
Chapter 7
Thinking of the state — The discoveries and voyages by the Europeans changed world politics and economies forever. The interaction of these cultures, poles apart, expressed itself through several tangible forms. However, the story of humanity has been shown in this gallery through the perspective of only the oppressors.
The displays include a ceremonial gold dagger studded with precious stones from Portuguese controlled Goa (India) of 1600s, an oil painting of Francis I, king of France and Italy from circa 1539, porcelain cups gifted to king Louis XIV of France by Kangxi Emperor of China in 1650-1700.
Chapter 8
First Globalization — This gallery seems to focus on the exchanges that occurred during the era of peak white hegemony. Slavery, wars and economic reasons caused large-scale human migration, causing culture swaps. Forward thinking artists of this era often rebelled through their paintings and crafts. Chapter 8 is the lacking perspective of Chapter 7.
The portrait of a black African woman dressed in the outfit of a Medici Court from Italy of 1560 represents the forced displacements due to slave trade. Rembrandt’s painting of Jesus from 1648-52 humanizes God by showing a man in prayer. Moreover, the specific model in the photo is believed to have been Jewish.
Chapter 9
The New Art of Living — From the rise of the empire system, physical assets were instruments of class distinction among royals, nobles and commoners. However, the industrial revolution of 18th century in Europe and USA paved the path to the consumerist society that we live in today. The story of how material possessions intruded into our being is well narrated here through a range of paintings.
An oil painting from 1800 of Napolean Bonaparte on a horse is put on display here along with the portrait of a Countess from Russia of 1796. Both the art pieces painstakingly dwell into defining their materialistic belongings through their outfits, accessories and furniture. The English portrait of William and Penelope Welby playing chess from year 1769, eloquently expresses the characters’ social statuses through their fine clothing.
Chapter 10
A Modern World — Like science, art is an ever-evolving branch. Change is the only constant. First, the calmness of Renaissance portraits were replaced by the restlessness of Baroque. Then the invention of photography triggered artists to steer away from the usual and explore myriad ways of expressing through brushstrokes. Impressionism—a new school of art was founded.
Paintings by Edouard Manet, Alfred Sisley, Gustave Caillebotte and many other impressionist and post-impressionist works are on display. Louvre Abu Dhabi owns several of these world famous pieces; they are not just on loan. Among them is the painting of ‘Children Wresting’, an 1888 post-impressionism art by Paul Gauguin where he uses real-life subject matter and plays with perspective.
Chapter 11
Challenging Modernity — Learn, unlearn and relearn is the mantra of the current world. Every fact and philosophy is under constant scrutiny and surveillance. Asking more questions is the only way to move forward. With an embodiment of this spirit, the space here is dedicated to post-modern abstract art—branches which extended from the Avant-garde art movement in France.
Beyond the walls of this room is the ocean, but there is no window through which the view can be enjoyed. The guide says it has been deliberately designed in this way to cut distractions. The 1922 composition with blue, red, yellow and black by Piet Mondrian and the 1960 painting ‘Chirisei Kyubiki’ by Japanese artist Kazuo Shiraga adorn the walls. In the latter, the haphazard strokes of bright red pigment are feet movements of the artist.
Its not just paintings here – on the walls hang 11 burnt aluminum pots of various sizes. The fissures and lines of blackening along the body of the utensils each tell a different story. Collectively, they represent the culture of passing down traditions and lessons orally. When the Bedouins were nomadic, the women used to pass on the experiences and way of lives among each other during cooking. The work named “Food for thought – Al Muallaqat” is done by Saudi Arabian artist Maha Malluh in 2013.
Chapter 12
For the Air— Here, the visitor becomes a part of the exhibit. This room is a dialogue between the natural elements around, like light, air and ocean, with the architecture of the museum. Everything comes together to form the ever-changing display. Austrian artist Susanna Fritscher has designed a set of translucent filaments to provide the necessary effect. A befitting closure to Louvre Abu Dhabi’s journey.
Louvre Abu Dhabi Architecture: The Museum city under the dome
I am as much intellectually enriched as I am physically drained and mentally exhausted, when I circumambulate the ‘Fountain of Light’, an installation by Chinese artist Ai Weiwei in the ultimate room named ‘A Global Stage’. From there I emerge outside to the breezy embrace of the sea-front and stand under the futuristic dome by Jean Nouvel.
From a million perforations above, shafts of light rush down, painting the floor with polka dots of sunlight. The dots keep changing in intensity, shape and size with the mood of the sky and time of the day. The magnificent architecture of Louvre Abu Dhabi, particularly the dome, probably attracts more visitors here than the artefacts itself.
The play of light and shadows under the dome is not a mere coincidence. In the history of the nomadic lives of the Bedouins, the role of date-palm trees was instrumental. Through the dome, Nouvel has tried to recreate the feel of walking through thick date-palm groves, under the shade of date palm leaves. The complex houses 55 low-rise buildings with humble facades, made to mimic the simplicity of the typical Arabian households of the past.
The dome is eight-layered, the top four are of stainless steel and the bottom four are of aluminum. The collective interaction of sunlight within the network of 7850 metal stars, differing in size and weight, spread throughout the eight layers, creates the polka-dotted effect on the floor. I am petrified to stand under the canopy once I know its weight—a whopping 7500 tonnes—similar to the weight of the Eiffel Tower in France. It is amazing how the compelling roof-system illusively floats over the museum city. The dome also reduces energy consumption by blocking the heat and glare of the Sun. Infact, Nouvel’s brilliant design gave rise to a microclimate within Louvre Abu Dhabi.
The souvenir store of the museum is the best place to pick up something for your friends and family back home who appreciate art, history and architecture. Or just collect something for yourself to remember the visit. I stroll past it as my friend buys something.
The Germination Series: Harmony of art and architecture
While going to the Museum café to grab lunch I notice two outdoor art installations worth mentioning. They are a part of the Germination Series by artist Giuseppe Penone of Italy.
The first one in the series is named ‘Propagation’, a thumbprint of Sheikh Zayed bin Sultan Al Nahyan, the founder of UAE, on a porcelain surface. From the thumbprint, imperfect circular lines drawn free-hand emit outwards, representing the far-reaching ripple effects of a simple action.
The second one is named ‘Leaves of Light’ – it interacts with the dome. From a bronze platform that portrays a lump of clay, a bronze tree rises and integrates with the cupola above. Here, the elements of the cupola become constituents of the tree, including the infinite rays of lights that pass through. This art installation made with cast of a wild cherry tree using the lost wax technique speaks about the germination of infinite life from a small chunk of clay.
Food in Louvre Abu Dhabi: Museum Café
Facing the sea, the Museum Café looks upscale with sophisticated upholstery and loads of natural light. In the seafront is an outdoor seating area that would be lovely in the evening. Since it is afternoon, I prefer the indoor space. The place is crazy busy and entry is allowed only to people having valid museum tickets, so you cannot just come here to dine.
The pre-booked meal-spread is lavish and single portions are enough for two people. Pan-seared baby chicken with mashed potato, flavoured with artichoke, coriander and green peas follows organic quinoa salad with feta cheese and grilled zucchini. The dessert with a dollop of vanilla crème farther follows it. I feel guilty the entire time for wasting much of the lip-smacking food, solely because the quantity by far exceeds my capacity. I have more adventures to catch; hence, I fight against my instincts and avoid over-eating.
(It is a shame that I don’t remember what the name of the dessert is, but I remember liking it very much. I am attaching the picture of the dessert below, if any of you recognize it please post a comment below and let me know the name.)
When I leave Louvre Abu Dhabi, a familiar feeling overwhelms me— that juxtaposition of void and fulfillment one experiences once they finish reading a book.
Practical Information
Louvre Abu Dhabi Ticket Price – 63 Dirham for ordinary individuals. In the wake of Covid-19, buying online tickets are mandatory.
N.B- The museum allows free and discounted entries to a varying range of people, please check the website to see if you fit in any listed categories of people.
Timing – 10 AM to 6 PM every day except Monday. In the wake of Covid-19, each visitor must choose a time slot and are allowed to be in the museum for a maximum of three hours.
To watch my Louvre Museum Abu Dhabi video (along with other places to visit in Abu Dhabi) on Youtube, please click here.
Have you been to Louvre Abu Dhabi or Paris? How was your experience? Did you like reading my experiences at Louvre Museum? Comment below and let’s talk!
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Disclaimer: Tania was hosted by Abu Dhabi Tourism Board. All thoughts and opinions expressed in the post are of her own.
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Tania Banerjee
Tania is a freelance writer based in India who tinkers with words here and there but mostly focused on travel, food, arts and crafts. She writes for several Indian dailies and magazines.
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