Paintings by French neo-classical artist Jean-Auguste-Dominique Ingres (1780-1867) are on display both in the Louvre and in the Musée d’Orsay, across the river.
My first photo (above) shows a painting by Ingres from the year 1862 called Le bain turc (The Turkish Bath). It is in the Louvre in room 940 on the second floor of the Sully wing.
L’odalisque by François Boucher (1703-1770) is another example of ‘orientalism’. The label by this painting speaks of “a delicious eroticism of the boudoir” and speculates that the model might have been the artist’s wife. It goes on to say that “the immodest spectacle of the body abandoned in the disorder of the sheets confers a deliberately licentious character” to the painting.
The word odalisque originally meant a chambermaid (in Turkish), but in French in the 18th and 19th centuries it usually meant a concubine in a harem.
The painting Jeune fille en buste by Baron Pierre-Narcisse Guérin (1774-1833) is also on the second floor of the Sully wing. Her short hair style, which wouldn’t seem out of place in 21st century Paris, was known in the 19th as “à la Titus”. It was inspired by Roman Antiquity and came into fashion in France during and after the French Revolution, in contrast to the elaborate hair styles of the Old Regime.
Leonardo da Vinci’s Mona Lisa is a small painting that always used to be beleaguered by hundreds of people, so it was hard to get a good look at her. I understand that now, because of the pandemic, her room in the Louvre (called the Salle des États) has been rearranged so that visitors enter and exit by separate doors. Social distancing and one-way traffic are enforced by guards, who presumably also encourage people to keep moving.
Location and aerial view of the Louvre on monumentum.fr.
My photos in this post are from 2008. I revised the text in 2021.
See more posts on the Louvre in Paris.