Key Figures

PROGRAMME Permanent exhibition galleries, temporary exhibition galleries, children’s museum, auditorium, storage, conservation building, restoration workshops, public spaces, administration building, restaurant, café, boutique.

BUILT UP AREA 97,000 m² ALL GALLERY SPACES 8,600 m² PERMANENT GALLERIES 6,400 m² EXHIBITIONS 2,000 m² CHILDREN’S MUSEUM 200 m² AUDITORIUM 420 m² / 250 seats

THE DOME IN FIGURES  Number of ‘stars’ that form the dome’s eight layers of cladding: 7,850.  Diameter of the base of the dome: 180 metres.  Circumference: 565 metres.  Highest point of the dome: 40 metres above sea level and 36 metres above ground floor level.  Louvre Abu Dhabi’s ‘rain of light’ passes through a total of eight layers that filter the sunlight.  Interior dome elevation: 29 metres above ground-floor level.  Number of permanent piers holding up the dome: 4.  Dimensions of largest ‘stars’: 13 metres in diameter and 1.3 tonnes in weight.  Total weight of the dome is 7,500 tonnes (weighing almost as much as the Eiffel Tower) which is broken down into the following: - Dome steel structure: 5,200 tonnes - Inner and outer cladding, perimeter rim: 2,000 tonnes - Gratings, walkways, mesh and misc. items: 300 tonnes  Distance between the 4 permanent piers holding up the dome 110 metres.  Total width of the dome: 7 meters with all the layers  Distance between the layers: 80mm.  Total percentage of perforation of the dome: 1.8%

1 MUSEUM BUILDINGS Total: 55 individual buildings Permanent Galleries: 26 individual buildings External buildings façade: 3,900 panels (20m² average format) made of ultra-high performance concrete (UHPC).

KEY FIGURES FOR THE DOME CONSTRUCTION  Number of super-sized elements that compose the dome: 85.  Weight of each super-sized element: up to 50 tonnes.  The construction of the dome structure took 10 months.  The construction of the dome took approximately two years.  Maximum number of workers constructing the dome at the same time: 800.

KEY CONSTRUCTION FIGURES  Number of scaffholdings used during construction: 120.  Lifting weight capacity of super-sized cranes used on site: 1,600 tonnes.  Height of 1,600 tonne-capacity crane: 230 metres.  Number of trucks used to transport the crane: 90 trucks.  The underground service tunnel that will connect Louvre Abu Dhabi, Zayed National Museum and Guggenheim Abu Dhabi is over 1km in length.

2 LOUVRE ABU DHABI ARCHITECTURE FACTSHEET

Louvre Abu Dhabi Exterior View © TDIC, Architect: Ateliers Jean Nouvel

Jean Nouvel’s concept text [for quoting purposes]:

The museum and the sea

All climates like exceptions. Warmer when it is cold. Cooler in the tropics. People do not resist thermal shock well. Nor do works of art. Such elementary observations have influenced the Louvre Abu Dhabi. It wishes to create a welcoming world serenely combining light and shadow, reflection and calm. It wishes to belong to a country, to its history, to its geography without becoming a flat translation, the pleonasm that results in boredom and convention. It also aims at emphasizing the fascination generated by rare encounters.

It is rather unusual to find a built archipelago in the sea. It is even more uncommon to see that it is protected by a parasol creating a rain of light.

The possibility of accessing the museum by boat or finding a pontoon to reach it by foot from the shore is equally extraordinary, before being welcomed like a much- awaited visitor willing to see unique collections, linger in tempting bookstores, or taste local teas, coffees and delicacies.

3 It is both a calm and complex place. A contrast amongst a series of museums that cultivate their differences and their authenticities.

It is a project founded on a major symbol of Arab architecture: the dome. But here, with its evident shift from tradition, the dome is a modern proposal.

A double dome 180 metres in diameter, offering horizontal, perfectly radiating geometry, a randomly perforated woven material, providing shade punctuated by bursts of sun. The dome gleams in the Abu Dhabi sunshine. At night, this protected landscape is an oasis of light under a starry dome.

Louvre Abu Dhabi becomes the final destination of an urban promenade, a garden on the coast, a cool haven, a shelter of light during the day and evening, its aesthetic consistent with its role as a sanctuary for the most precious works of art.

Jean Nouvel

Design: Pritzker-prize winning architect Jean Nouvel sought inspiration for the concept of Louvre Abu Dhabi in traditional Arabic architectural culture. Taking a contextual approach to the site, Nouvel designed Louvre Abu Dhabi as a ‘museum city’ in the sea. Its contrasting series of white buildings take inspiration from the medina and low-lying Arab settlements. In total, 55 individual buildings, including 23 galleries, make up this museum city. The façades of the buildings are made up of 3,900 panels of ultra-high performance concrete (UHPC).

A vast dome, 180 metres in diameter, covers the majority of the museum city. This impressive structure is visible from the sea, the surrounding areas and Abu Dhabi city. The dome consists of eight different layers: four outer layers clad in stainless steel and four inner layers clad in aluminium separated by a steel frame five metres high. The frame is made of 10,000 structural components pre-assembled into 85 super-sized elements, each weighing up to 50 tonnes.

The dome’s complex pattern is the result of a highly studied geometric design. It involved close collaboration between the architectural design team at Ateliers Jean Nouvel and the structural engineers at BuroHappold Engineering. The pattern is repeated at various sizes and angles in the

4 eight superimposed layers. Each ray of light must penetrate the eight layers before appearing then disappearing. The result is a cinematic effect as the sun’s path progresses throughout the day. At night, it forms 7,850 stars visible from both inside and out. Named the ‘rain of light’, this effect has been the subject of many models and mock-ups over the years and is one of the defining features of the concept.

The dome is supported by only four permanent piers, each 110 metres apart. These are hidden within the museum buildings to give the impression that the dome is floating. The interior dome elevation is 29 metres from the ground floor to the underside of the cladding. The highest point of the dome is 40 metres above sea level and 36 metres above ground floor level.

The museum design is a collaboration between traditional design and modern construction techniques. The tranquil environment encourages visitors to enjoy the ever-changing relationship between the sun and the dome and between sea, buildings and land. The complex engineering concept made Louvre Abu Dhabi one of the most innovative and challenging museum projects to be built in recent times.

The Concept Design phase for the Louvre Abu Dhabi project took place between 2006 and 2007. The Design Development phases followed in 2007 to 2012 and the construction of the museum from 2013 to 2017. Prior to the completion of the museum, the Louvre Abu Dhabi has already been the recipient of two international awards: the Identity Design Award in 2015 and the European Steel Design Award in 2017, received with Waagner Biro, the Louvre Abu Dhabi dome specialist.

Interior exhibition spaces: The interior exhibition spaces, comprising museum galleries, temporary exhibition spaces and Children’s Museum, make up 8,600 square metres. The museum galleries incorporate approximately 6,400 square metres and showcase approximately 600 artworks. The two-stories-Children’s Museum completes the ensemble with approximately 200 square metres specially laid out for Louvre Abu Dhabi’s youngest visitors.

Museum galleries: Specially designed by Ateliers Jean Nouvel, the floors, walls and ceiling surfaces of the museum galleries re-enforce the palatial dimensions of Louvre Abu Dhabi. The floor paving is made of stone modules framed in bronze: throughout the galleries, the choice of stone responds to the period of the artworks on show. The walls

5 provide hanging flexibility: all subsidiary equipment may be concealed within special wall slots.

Filtered natural light can be present in all the galleries, either from lateral windows with views onto the surrounding environment or through zenithal lighting. This involves the use of glass mirrors to capture sunlight and direct it into the gallery spaces while also scattering rays to avoid glare. There are 17 glass ceilings within the museum galleries. Each is made up of 18 different types of glass panels. In total, there are over 25,000 individual pieces of glass. These glass ceilings incorporate both natural and artificial lighting to provide an optimal lighting system for the artworks on display.

The display cases were also specifically designed by Meyvaert in Ghent Belgium for Louvre Abu Dhabi. They incorporate state-of-the art materials and have been designed to adapt flexibly to the rotation artworks on display.

To meet stringent environmental control requirements within the museum galleries, the design team developed a system which cannot deviate by more than one degree from 21 degrees centigrade or 5% humidity range. This guarantees exceptionally stable environmental conditions for artworks and visitors. Fire detection and suppression systems within the galleries require special measures in order to avoid damage to the artwork.

Exterior artwork commissions: Louvre Abu Dhabi has commissioned two internationally acclaimed artists to create site-specific artworks in harmony with the iconic building. Giuseppe Penone and Jenny Holzer have worked closely with Louvre Abu Dhabi’s team and Jean Nouvel to develop sculptures and installations that reflect the universal stories of the museum. These are the first of a number of scheduled commissions for Louvre Abu Dhabi. (See General Factsheet for more details)

Restaurant: Designed by Ateliers Jean Nouvel, the restaurant at Louvre Abu Dhabi is made up of modular compartments. The intricate interior design takes inspiration from Arabic patterns, which have been engraved into Corian panels. The furniture, also designed by Nouvel, complements the light-filled interiors and panoramic views of the sea. Seven bespoke chandeliers hang over the seven VIP tables.

Café: Jean Nouvel’s design for the museum café is inspired by the Op Art (optical art) movement of the 1960s. From certain positions, the café seems entirely monochrome (white); from others, the café interiors are full of colour, like an abstracted reflection of the local maritime environment and port opposite the

6 museum. The floors, walls, ceilings and furniture have been designed specifically for the site by Ateliers Jean Nouvel.

Wayfinding: Philippe Apeloig collaborated with Ateliers Jean Nouvel to design the signage of the museum. Text is in three languages, Arabic, English and French, and implemented in both Arabic and Roman script. Lebanese typographer Kristyan Sarkis created a bespoke Arabic typeface, Louvre Abu Dhabi Arabic, especially for the museum. This new typeface combines the classic Naskh style of Arabic calligraphy with Apeloig’s existing his Colvert Arabic font. For the Roman alphabet texts, Apeloig chose Frutiger LT typeface due to its clarity and readability for signage. The design of the pictograms responds to the museum’s architecture, particularly the abstract shapes created by the ‘rain of light’ filtering through the dome's eight layers. Each pictogram is a combination of several of these shapes, creating silhouettes and objects. He also contributed to design the logotype.

Environmental features: The dome primarily acts as a shading canopy. The dome protects the buildings and outdoor plaza from the heat of the sun, improves comfort for visitors and reduces building energy consumption. This strategy allows visitors to circulate outdoors in a self-regulated ‘micro-climate’ between the museum galleries, exhibitions, Children’s Museum, auditorium, open plaza, café and restaurant. Low-profile but effective passive energy systems naturally enhance the cooling of the buildings and optimise water usage. The design team has also employed passive design techniques to improve sheltered outside conditions. Visitors arriving at the museum and moving under the dome experience a gradual transition from an uncontrolled outside to a controlled inside environment.

Passive design techniques use the natural form of buildings and inherent properties of materials to improve climatic conditions. Amongst the techniques that have been incorporated in the design are the following:  Solar shading effect of dome roof and self-shading of buildings.  Optimised roof perforations to allow daylight without excess solar gain.  Exposed thermal mass such as stone floor and cladding that can benefit from night time cooling.  Light-coloured and reflective materials.

Other modern environmental technologies include:  Highly insulated and air tight building envelope  Highly efficient Heating, ventilation, and air conditioning (HVAC) systems, lighting and sanitary fittings.

Together, these techniques achieve the following benefits: 7  42% reduction in solar gain  27.2% reduction in energy use  27% reduction in water use

Energy and water metering ensures resource efficiency, while leak detection flags any unintended water use.

Louvre Abu Dhabi’s design is targeting a LEED Silver rating and has achieved a 3 pearl Estidama Design Rating.

Flooding of the site: At the beginning of the construction process, the museum was built within a dry dock. Construction of the dry dock began with the installation of a rock embankment, technically known as a revetment. This created a new, temporary coastline on the south-west corner of Saadiyat Island, which was then backfilled using sand pumped from the sea bed.

Piles were then made from mixed-in-place concrete and inserted in an interlocking formation into the island’s bedrock. Together these a hydraulic cut-off wall to protect the structure from the sea.

With the backfill drained, 503,000 cubic metres of sand were excavated. Then 4,500 piles were installed to form the museum’s foundations. This task was completed in 2010.

In 2016, the first stage of integrating the sea with the site involved the shutdown of selected pumps. This allowed the water level to rise slowly around the museum’s basements located below the level of the seabed. During this process, the various shallow tidal pools which surround Louvre Abu Dhabi were filled with sea water.

During the second stage the remaining pumps were shut down and sea water was pumped inside the temporary hydraulic cut off-wall for six years. Continual inspections were carried out to ensure that no evidence of water ingress was detected within the basement structure.

The third and final stage involved further pumping of sea water within the temporary walls and around Louvre Abu Dhabi, raising the water level to match the sea level. This was followed by the removal of the hydraulic cut- off wall and the final construction of permanent marine sea defences which complete the full integration of the sea with Louvre Abu Dhabi.

8 The process of flooding the site was carried out in four carefully controlled stages and took approximately eight weeks to complete.

Waterproofing: The underside of the basement structure extends up to 15 metres below sea level. Waterproofing was a major design consideration. BuroHappold’s structural engineers designed a watertight concrete box structure surrounded by a double layer of re-injectable waterproof membrane. Further protection against corrosion of the embedded reinforcement is provided by an impressed current cathodic protection system.

Wave breaking and storm proofing: During the design process, BuroHappold’s marine engineers carried out extensive hydrological studies in collaboration with the wave simulation laboratories at Wallingford in the UK.

Louvre Abu Dhabi is protected from the open sea by a number breakwaters, the designs for which were based on the Wallingford studies and which were constructed as part of the marine works sub-contract.

Approximately 280 marine piles as well as concrete breakwaters, tidal pools and a specially designed ‘wearing wall’ system protect the museum from the effects of maritime traffic, the Gulf’s weather and any threats from the sea.

The museum’s wearing wall is made from precast units of ultra-high- performance concrete. Each unit is four metres high and weighs about 10 tonnes. The special concrete material protects the museum from the effects of waves and enables the units to resist outward bending forces. This is a key consideration during a receding tide when rapidly falling water pressure can create a suction-like effect on the museum’s cladding.

The pedestrian plaza is set at four metres above mean sea level. It is equipped with closed balustrades to protect visitors from wave action during severe storms.

Construction contractors: Joint venture between Arabtec Construction LLC, San Jose SA and Oger Abu Dhabi LLC was awarded in January 2013.

9 Louvre Abu Dhabi General Factsheet

Description: Born from an intergovernmental agreement between Abu Dhabi and France in 2007, Louvre Abu Dhabi and its universal story embodies the spirit of openness and dialogue among cultures, displaying works of historical, cultural and sociological significance from different times and civilisations. Once open, the museum’s permanent collection, as well as important loaned artworks from prestigious French institutions, will form an art historical narrative taking the visitor from ancient times to the contemporary through 23 permanent galleries in 12 sequences.

Louvre Abu Dhabi’s exterior with Abu Dhabi’s skyline (night) © Louvre Abu Dhabi, Photography: Mohamed Somji

Design: Pritzker-prize winning architect Jean Nouvel has sought inspiration for the concept of Louvre Abu Dhabi in traditional Arabic architectural culture. Applying a contextual approach to the site, the Louvre Abu Dhabi has been designed as a ‘museum city’ in the sea, with its contrasting series of 55 white buildings, including 23 galleries inspired by the medina and low-lying Arab settlements, a temporary exhibition space, a Children’s Museum, a 200-seater-auditorium, a restaurant, a café, and retail.

10 The 180 meter-wide dome covers the majority of the museum and becomes an iconic structure visible from the sea, the surrounding areas and Abu Dhabi city. The eight-layered dome is made up of four outer stainless steel layers and four inner layers separated by a steel structure five meters in height. The structure is made up of 85 super-sized elements, weighing on average 50 tonnes.

The dome’s complex pattern is the result of a highly studied geometric design, repeated at various sizes and angles in the eight superimposed layers. Each ray of light must penetrate the eight layers before appearing then disappearing, creating a cinematic effect as the sun’s path progresses throughout the day. Named the ‘rain of light’, this effect has been the subject of many models and mock ups over the years and is one of the defining features of the museum.

The dome is supported by only four permanent piers, each 110 meters apart and hidden within the museum buildings, giving the impression that the dome is floating. The interior dome elevation is 29 meters from ground floor level to the underside of the interior dome cladding. The highest point of the dome is 40 meters above sea level and 36 meters above ground floor level.

The museum design is a collaboration between traditional culture and modern construction techniques. Once open, the tranquil museum environment will encourage the museum visitor to enjoy the ever- changing relationship between the sun, dome, sea, buildings and land.

Environmental: The dome will primarily act as a shading canopy to protect the outdoor plaza and the buildings below from the heat of the sun, providing local comfort and reducing building energy consumption. This strategy allows visitors to circulate outdoors between the Museum Galleries, Exhibitions, Children’s Museum, open plaza, café and restaurant.

Interior Exhibition Spaces: The interior exhibition spaces, comprising the Museum Galleries, Exhibitions and Children’s Museum, make up 8,600 square meters. The Museum Galleries

11 incorporate approximately 6,400 square meters and will showcase more than 600 artworks, of which 300 loans from the French partner museums at the opening of the museum. The collection will present a universal art history narrative that encompasses a wide range of cultures, traditions and époques.

The temporary exhibition space contains approximately 2,000 square meters dedicated to rotating exhibitions that will periodically provide a new subject or theme for the visitor to explore. The Children’s Museum completes the ensemble with approximately 200 square meters specially laid out for the Louvre Abu Dhabi’s youngest visitors, providing interactive exhibitions with real artworks specifically curated to be enjoyed by children and families.

Museum Galleries: Louvre Abu Dhabi’s collection spans human history, emphasising exchange and shared human experience. The dialogue between artworks, manuscripts and objects in Louvre Abu Dhabi’s collection, from the most ancient to the most contemporary enables visitors to discover shared influences and intriguing connections between different cultures throughout history.

The museum trail, highlighting universal themes and common influences, transcending geography, nationality and history, begins with prehistory, the birth of civilisations and the first great empires. It explores concepts such as religion, exchange across trade routes, voyages and discoveries, the role of the individual in history and contemporary themes related to the modern period and globalisation.

Notable artworks in the collection include one of the finest examples of a standing Bactrian Princess from the end of the 3rd millennium BCE, a 3,000 year old Middle-Eastern gold bracelet with lion’s head, an 1878 painting by Osman Hamdi Bey titled A Young Emir Studying, Paul Gauguin’s masterpiece Children Wrestling , the René Magritte painting The Subjugated Reader, an 1928 collage by Picasso titled Portrait of a Lady, nine canvases by contemporary artist Cy Twombly and the most ancient known photographic representation of a veiled woman.

In the opening year, approximately 300 artworks from 13 key French institutions will be on display (see section below on partners for more details on the agreement) alongside the museum’s permanent

12 collection. These will include Leonardo da Vinci’s La Belle Ferronnière and a Spanish fountain spout of a lion said to be from Monzonfrom musée du Louvre, Claude Monet’s Saint-Lazare station and Edouard Manet’s The Fife Player both from musée d’Orsay, Henri Matisse’s Still Life with Magnolia (1941) from Centre Pompidou, Globe by Vincenzo Coronelli from Bibliothèque nationale de France, a rare saltcellar in ivory from the Benin Kingdom and a Baga D’mba mask from Guinea from musée du quai Branly.

Exhibitions: Temporary exhibitions will be presented four times throughout the year in a separate space, ensuring that returning visitors will always find something new to discover. As part of the intergovernmental agreement, these will be developed in collaboration with partner French museums. In some cases, encompassing works from several institutions. The first temporary exhibition will be based on the gradual creation of Musée du Louvre from the late 17th century to 1793.

External Artwork Commissions: An external artwork programme has also been integrated into the museum environment, extending the museum experience beyond the museum walls. Artwork includes commissions from renowned contemporary artists who have been inspired by the museum environment and in some cases will be positioned in dialogue with other non-contemporary external artworks.

Italian artist Giuseppe Penone (Garessio, 1947), one of the youngest members of the Arte Povera movement, has created Germination (2017), a four-part installation that reveals the artist’s fascination with the use of organic materials, such as trees, to highlight the connection between man, nature and art. The central element of the installation is Penone’s Leaves of Light (2017), a vast bronze tree which interacts with Jean Nouvel’s architectural design through mirrors placed on its branches reflecting the ‘rain of light.’ Soaring towards the dome covering the museum’s outdoor walkways, the tree becomes a symbol of life, as shared by all cultures. Through an exceptional collaboration with the workshops of Sèvres – Cité de la céramique, Penone has also

13 created several works including Propagation (2017), a wall of porcelain tiles representing concentric circles drawn by hands. The lines of the drawing germinate from Sheikh Zayed’s fingerprint to show how a simple action can create an infinite space.

American artist Jenny Holzer (Ohio, 1950), who has been widely shown at international exhibitions, has created three engraved stone walls of texts from important historical sources from across the world. The walls titled For Louvre Abu Dhabi (2017) will feature excerpts from Ibn Khaldun's Muqaddimah from the Atif Efendi Library collection in Istanbul, the Mesopotamian bilingual (Acadian / Sumerian) Creation Myth tablet from the Vorderasiatisches Museum in Berlin, and the 1588 annotated edition of Michel de Montaigne's Essais from the Bordeaux Municipal Library.

Restaurant: Designed by Ateliers Jean Nouvel, the restaurant at Louvre Abu Dhabi is made up of modular compartments. The intricate interior design takes inspiration from Arabic patterns, which have been engraved into Corian panels. The furniture, also designed by Nouvel, complements the light-filled interiors and panoramic views of the sea. Seven bespoke chandeliers hang over the seven VIP tables.

Café: Jean Nouvel’s design for the museum café is inspired by the Op Art (optical art) movement of the 1960s. From certain positions, the café seems entirely monochrome (white); from others, the café interiors are full of colour, like an abstracted reflection of the local maritime environment and port opposite the museum. The floors, walls, ceilings and furniture have been designed specifically for the site by Ateliers Jean Nouvel.

Children’s Museum: A Children’s Museum will be a dedicated space, presenting original works of art for families and children. It will offer temporary exhibitions and workshops featuring Louvre Abu Dhabi’s permanent collection and loans from French partner institutions. As a gateway to the wider museum and collection, it will introduce children and families to the process of artistic creation, presenting various techniques and approaches, and promoting the opportunity for children to learn within an environment of curiosity and discovery.

14 Mediation: State-of-the-art multimedia guides and animated maps will help visitors form their own interpretation of items on display and place themselves within the context of the museum’s universal theme.

The three main languages of Louvre Abu Dhabi are Arabic, English and French and they will all be used throughout the museum. In each of the main galleries, introductory panels will offer a historical and social context to the artworks, while labels next to the artworks will explain the individual object’s place within a gallery theme and outline technical information. Animated maps will offer geographical references and timelines.

Exhibitions and Programmes to date (from most recent): Louvre Abu Dhabi Stories (21 June – 30 August 2015) at Manarat Al Saadiyat, Saadiyat Island, Abu Dhabi featured two displays of 10 recent acquisitions and included various family art workshops.

1. Louvre Abu Dhabi Stories: Al-Qalam ‘the written word’ (21 June - 25 July) at Manarat Al Saadiyat, Saadiyat Island, Abu Dhabi featured five artworks such as a Kufic Qur'an leaf and the Qur’an bi-folio in Kufic script from Near East or North Africa; two illustrated pages of the Siyar i Nabi (The Life of the Prophet) dating to the Ottoman era; a Sutra of the Perfection of Wisdom from Eastern India.

2. Louvre Abu Dhabi Stories: Immortal Figures (28 July - 30 August) at Manarat Al Saadiyat, Saadiyat Island, Abu Dhabi highlighted how humankind has been expressing itself through visual means and conveying distinctive images. The artworks displayed with the Portrait of the Fayum dating back to 225-250 CE were a Wooden Uli statue from New Ireland during the 18th-19th century; Maitreya statue produced by Newari artists of the Katmandu Valley in Nepal during the Middle Ages; and a

15 Renaissance sculpture of Saint-Pierre Martyr by Andrea della Robbia from Florence.

Birth of a Museum (2 May – 28 July 2014) at Musée du Louvre, Napoléon Hall, Paris.

 The first major display outside Abu Dhabi with more than 160 masterpieces from Louvre Abu Dhabi’s collection was curated by Vincent Pomarède, Director of Mediation and Cultural Programming at the Musée du Louvre, Paris, Laurence des Cars, Director of the Musée de l’Orangerie and Khalid Abdulkhaliq Abdulla, Assistant Curator for Birth of a Museum Exhibition, TCA Abu Dhabi.

Birth of a Museum (22 April – 20 July 2013) at Manarat Al Saadiyat, Saadiyat Island, Abu Dhabi.

 Unveiled 130 acquisitions from the museum's collection. Birth of a Museum was supported by a programme of talks, tours and workshops along with a publication documenting more than 300 works from the museum’s collection.  The exhibition was inaugurated by HH Sheikh Hazza Bin Zayed Al Nahyan, Vice-President of the Executive Council Abu Dhabi, in the presence of Aurélie Filippetti, French Minister of Culture and Communication.  The general curator of the exhibition was Laurence des Cars, Curatorial Director of Agence France-Muséums until 2013

Talking Art: Louvre Abu Dhabi (May 2009) at Emirates Palace, Abu Dhabi presented the first 19 acquisitions from the museum’s collection.

Programmes: Since 2009, Louvre Abu Dhabi has organised a diverse public programme to engage audiences of all backgrounds, interests and ages.

The museum’s five editions of its Talking Art Series of talks, workshops and concerts, explores the significance of individual works, both in art historical terms and in the context of the museum’s growing collection.

16 The series of lectures, organised jointly by TCA Abu Dhabi and Agence France-Muséums, includes family art workshops for participants to create their own pieces inspired by Louvre Abu Dhabi.

Louvre Abu Dhabi’s Auditorium will continue on hosting programmes such as conferences, symposiums and performances after the opening.

Publications: Layers of Light, 2015 Louvre Abu Dhabi’s second publication narrates Louvre Abu Dhabi’s construction progress through a collection of images.

Birth of a Museum, 2013 This publication explores Louvre Abu Dhabi’s acquisitions and tells the story of the creation of a museum with each work being presented in its cultural context, following the chronological and thematic discourse of the museum, as well as being put into the perspective of great cultures, from the most ancient to the most modern, and archaeological to contemporary.

Partners: Abu Dhabi Tourism & Culture Authority currently oversees the full project, from non-construction related activities such as acquisitions and operations to visitor experience.

Tourism Development & Investment Company is the master developer of Saadiyat Island and other major tourism destinations which embrace Abu Dhabi’s heritage and culture while preserving its natural beauty and resources. As part of the Cultural District on Saadiyat Island, TDIC is developing three major museums including the Louvre Abu Dhabi.

Agence France-Muséums is an organisation that was established for the realisation of Louvre Abu Dhabi and in partnership with main French cultural institutions and museums. AFM has been entrusted with the task of carrying through the commitments of France to the project of the universal museum of the Louvre Abu Dhabi and structuring the expertise of the French cultural institutions involved. It provides consultancy services to the authorities of the United Arab Emirates

17 including definition of the scientific and cultural programme; assistance in project management for architecture including Museography, signage and multimedia projects; coordination of the loans from French collections and organisation of temporary exhibition; creation of a permanent collection; and support with the museum’s policy on visitors.

Musée du Louvre, Paris: Formed through an intergovernmental agreement between Abu Dhabi and France, the name of the Louvre in Paris is loaned for a period of 30 years and 6 months. The loan of temporary exhibitions for a period of 15 years and the loan of artworks for 10 years.

Other Partners: Abu Dhabi Tourism & Culture Authority (TCA Abu Dhabi) conserves and promotes the heritage and culture of Abu Dhabi emirate and leverages them in the development of a world-class, sustainable destination of distinction which enriches the lives of visitors and residents alike. Its policies, plans and programmes relate to the preservation of heritage and culture, including protecting archaeological and historical sites and to developing museums, including Louvre Abu Dhabi, Zayed National Museum and Guggenheim Abu Dhabi.

Louvre Abu Dhabi will be enriched by loans from 13 different French museums including: Musée d’Orsay et de l’Orangerie, Musée du quai Branly, Centre Pompidou, Musée national des arts asiatiques Guimet, Château de Fontainebleau, Musée de Cluny – Musée national du Moyen-âge, Musée d’archéologie nationale Saint Germain en Laye, Bibliothèque nationale de France, Musée Rodin, Château de Versailles, Musée des Arts décoratifs de Paris and Sèvres - Cité de la Céramique,, as well as other French institutions, and Musée du Louvre, renowned for its museological excellence since its foundation in 1793.

Latest Updates:  Since September 2016, Manuel Rabaté is appointed as Louvre Abu Dhabi Director and Hissa Al Dhaheri as Louvre Abu Dhabi Deputy Director.

18  Currently, 45 staff members are part of Louvre Abu Dhabi’s growing team alongside the dedicated team of Agence France- Muséums.  Following the first acquisition in the auction of the Yves Saint Laurent & Pierre Bergé Collection in February 2009, Louvre Abu Dhabi’s permanent collection now consists of more than 620 artwork including the following.

19 Musée du Louvre The Louvre, once a royal palace, is an iconic symbol of French culture. Long the seat of power, it has served as a major backdrop to the history of France and a unique center for artistic expression. From the days of the medieval fortress to the construction of I.M. Pei’s Pyramid, the kings of France and the finest artists have contributed to what is now the greatest museum in the world. The Sheikh Zayed bin Sultan Al Nahyan Center, in the heart of the Louvre in the Pavillon de l’Horloge, presents its fascinating history. The Louvre in Paris opened in 1793, after the French Revolution, and from the very beginning was intended to provide inspiration for contemporary art. Courbet, Picasso, Dali and so many others came to its hallowed halls to admire the old masters, copy them, immerse themselves in masterpieces, improve and fuel their own art. The Louvre was intended to be a universal museum. Its collections comprise over 38,000 works – Western artworks from the Middle Ages to 1848; artworks from the ancient Eastern, Egyptian, Greek, Etruscan and Roman civilizations; prints and drawings; Islamic art – and include such world-famous pieces as the Mona Lisa, the Winged Victory of Samothrace and the Venus de Milo. With other 7.4 million visitors in 2016, the Louvre ranks as one the world’s most visited museums. http://www.louvre.fr/en

Musée d’Orsay et de l’Orangerie

The Orsay museum Located in an old railway station opened in 1900 before being refurbished for its current purpose, the Musée d’Orsay has been renowned worldwide since its opening in December 1986. Devoted to the second half of the 19th Century, it features collections of artwork primarily created between 1848 and 1914. Its multidisciplinary nature brings together all artistic fields: painting, sculpture, decorative art, objets d’art, architecture, drawing and photography. Upon entering beneath the zenithal light that illuminates the

20 tiered nave, sculptures by Pradier, Clésinger or Cordier reveal themselves, gradually leading towards Carpeaux’s original sculpted group La Danse. On the terraces you can also admire works by Rodin, as well as Bourdelle and Maillol. Next come the paintings, found on both sides of the ground floor’s central aisle, in the Impressionist Gallery, and in the rooms on the middle level. All of the artistic movements of the time are represented: Impressionism, Realism, Naturalism, Post- Impressionism, Symbolism, etc., and the illustrious painters Millet, Courbet, Manet, Degas, Monet, Renoir, Sisley, Pissarro, Cézanne, Van Gogh, Seurat, Gauguin, Vuillard, and Bonnard stand alongside others, no less famous in their time, such as Gérôme, Cabanel, Bouguereau and Jean-Paul Laurens. Masterpieces stand side by side, among them Courbet’s monumental The Artist’s Studio, Millet’s iconic 19th Century The Angelus, Manet’s Olympia and Luncheon on the Grass, Monet’s The Saint-Lazare Station, Degas’ The Ballet Class, Van Gogh’s Starry Night and Cézanne’s Apples and Oranges. The Orsay museum also offers many pieces of decorative art, with Art Nouveau represented by the creations of Gallé and Guimard. Architecture has its own dedicated space where models like that of the Paris Opera House are displayed. Temporary displays of drawings and photographs allows one to discover the true richness of the collection. http://www.musee-orsay.fr/en

Musée de l’Orangerie The Musée de l’Orangerie presents two prestigious collections: Les Nymphéas [The Water Lilies], the culmination of Claude Monet’s thinking, a monumental yet intimate work that explores all the variations of light and draws the visitor into a contemplative vision of infinity, and the Walter Guillaume Collection illustrating the creative work produced in the first decades of the 20th century, with works representing Impressionism and modern Classicism by Renoir, Cézanne, Modigliani, Soutine, Matisse and Picasso, among others.

21 Centre Pompidou The Centre Pompidou is one of the world’s foremost institutions of modern and contemporary art. With more than 120,000 works, the Musée National d’Art Moderne (France’s national museum of modern art, housed in the building) holds one of the most extensive collections in the world, and the finest in Europe. The Centre Pompidou is a one of-a-kind multidisciplinary institution offering its visitors a museum, temporary exhibitions, a library and performing arts programs, as well as spaces dedicated to music, cinema, etc. It produces around 25 to 30 temporary exhibitions each year, which together with its acclaimed programming of performances, film, lectures and talks, bring together all fields of artistic creation. It also promotes advanced research in the fields of acoustics and musical composition. The Centre Pompidou enjoys a worldwide reputation for modernity, quality and cultural innovation. With nearly 3.5 million annual visits to its collection and exhibitions, (plus 1.5 million annual visits to his library) the Centre Pompidou is the third most visited site in Paris after the Louvre and the Eiffel Tower, and the temporary exhibitions achieve some of the highest visitor numbers in the world for modern and contemporary art. The Centre Pompidou is recognized for its expertise as the world’s premier producer of temporary exhibitions. In collaboration with other leading museums of the world, the Centre Pompidou’s exhibitions tour the globe. The Centre Pompidou stands in the very heart of Paris, in one of the most iconic buildings of 20th century architecture. Designed by Renzo Piano and Richard Rogers, this bold structure, instantly recognizable with its characteristic multi-coloured pipes, is beloved by the public and recognized all over the world. It offers a variety of different spaces for its diverse cultural activities, and showcases magnificent views over Paris. The Centre Pompidou continues to uphold its original mission of making culture accessible to the greatest number by constantly striving to reach new audiences through its event programming and development of new projects. https://www.centrepompidou.fr/en

22 Musée du quai Branly – Jacques Chirac Located on the banks of the River Seine in another Jean Nouvel- designed building, the musée du quai Branly – Jacques Chirac aims to promote the Arts and Civilizations of Africa, Asia, Oceania and the Americas, at the crossroads of multiple cultural, religious and historical influences. The museum conserves almost 300 000 works and displays in an unique gallery around 3,500 pieces divided into geographical areas. Sculptures, drawings, photographs or musical instruments – from the Neolithic period to current times – illustrate the richness and cultural diversity of the non-European civilisations. The Claude Lévi-Strauss Theater highlights creations of contemporary artists evoking or revisiting thousand-year-old traditions and history. The Theater also hosts themed lectures and international conferences around the museum’s collections. A vast space for expression for the cultures of the world. Home to exhibitions, performances, open university, lectures and conferences, and special events, the musée du quai Branly – Jacques Chirac is internationally renowned for its singular and innovative scope, fostering dialogue between art history and ethnology. http://www.quaibranly.fr/en

The Guimet National Museum of Asian Arts Inherited from the generosity, taste and spirit of adventure and discovery of Émile Guimet, the National Museum of Asian Arts, which bears his name, holds an important place amongst French museums, and more generally amongst Western museums, as a most remarkable institution. One of the widest collections of Asian arts in the world, the main building, place d’Iéna, offers a complete journey through the arts, civilisations and cultures of Asia. Émile Guimet’s founding project was continued throughout the 20th Century with scientific contributions of an exceptional line of researchers, pioneer archaeologists, who combined passion and knowledge with an audacity which led some of them to heroic actions. With their talent, courage and dedication, Louis Delaporte, Paul Pelliot, Maria and Joseph Hacquin, Edouard Chavannes, to mention but a few, have given to the museum its artistic richness, scientific renown and international prestige.

23 The MNAAG expands on three sites: the main museum, place d’Iéna, the Hôtel d’Heidelbach, where one can admire the collections of Chinese furniture and a traditional Japanese tea house, and the Museum d’Ennery, an open window on Japonism at the end of the 19th Century. Loyal to its missions of research and transmission of knowledge, the MNAAG offers a rich and wide program, with several exhibitions every year, such as Cartes blanches given to contemporary artists. The spirit of the MNAAG also includes an ambitious acquisition policy, the Émile Guimet Asian literature Award, events beyond its walls, and a rich artistic and cultural program open on all aspects of Asian culture and creation. http://www.guimet.fr/en

Bibliothèque nationale de France The Bibliothèque nationale de France watches over some collections gathered over five centuries thanks to the legal deposit instituted by King Francis I in 1537 and through an active policy of acquisitions. Responsible for the transmission of cultural heritage to future generations, it also ensures the preservation and conservation of the documents housed in its premises. The ever-increasing collections of the BnF are quite unique: 15 million books and magazines but also one of the most beautiful collections of manuscripts in the world, numerous prints, 5 million photographs, maps and plans, scores, coins, medals, sound, video and multimedia documents, sets, costumes. All the intellectual, artistic and scientific disciplines are represented and organized along an encyclopedic spirit. As a place of excellence and knowledge, the BnF offers a wide variety of cultural events: exhibitions, lectures, concerts, tours as well as a rich editorial production. Paying attention to the changes in cultural and research practices, the BnF serves the needs of its users on site and online. On its various sites, the library counts over one million visitors each year and its online resources represent 30 million views. Gallica, its digital library, allows to consult for free over 4 million documents. Eventually, the BnF develops an active policy of cooperation in France and abroad. http://www.bnf.fr/en

24 Musée Rodin The recently renovated musée Rodin is the best-known monographic museum in Paris. It brings together the most significant collection of Rodin’s works in an exceptional setting spread over two sites, the principal and most prestigious of which is located in the heart of the 7th arrondissement of Paris, with the other at Meudon, overlooking the Seine valley. Established in 1916 through Auguste Rodin’s donation of his works and collections to the French state, it was officially opened in 1919. The artist’s international renown as creator of such universally recognizable sculptures as The Thinker—now an icon of Western art— and The Kiss contributes to the popularity of the sites. The exceptional setting of the Parisian rococo architectural jewel that is the Hôtel Biron and its almost three-hectare garden only strengthens the appeal, and explains the high number of visitors to the museum: in total, more than 600,000 visitors are welcomed every year. More private and less visited (15,000 visitors per year), the sculptor’s former home at Meudon, the Villa des Brillants, plays host to entirety of his works in plaster. The artist is buried beneath The Thinker in the garden. A national museum under the supervision of the Ministry of Culture, the musée Rodin is the only self-financing public establishment. Holder of the moral rights to Rodin’s work, dedicated to preserving, studying, promoting and publishing his works and collections, the museum also assumes its public duties just like the other museums. The full story of the museum can be found on Facebook, Twitter and at musee-rodin.fr 2017, Centenary of the Death of Rodin rodin100.org http://www.musee-rodin.fr/en

Musée de Cluny – musée national du Moyen Âge The Musée de Cluny, Musée national du Moyen Âge, is an exceptional site combining two prestigious buildings in the heart of Paris. Built at the end of the 5th Century, the town house of the abbots of Cluny is the earliest example of a private town house between a court and a garden, and one of just two medieval residences preserved in Paris. The chapel, built in the flamboyant Gothic style, is the most

25 beautiful space in this remarkable structure, and benefited from a full restauration work completed in August 2016. Visible from the outside, vestiges of the Gallo-Roman Thermes de Cluny (baths), are among the largest ancient remains outside of the Mediterranean area. The frigidarium, or cold room, still retains its original vaulted ceiling, reaching almost 14 metres high. The museum’s collections include paintings, sculptures, tapestries, stained glass, and works in gold and ivory, offering a rich view of the artistic creativity of the medieval period. The pieces originate from a vast geographical area that extends from the Mediterranean basin to Scandinavia and the British Isles. La Dame à la licorne, the sculptures of Notre-Dame de Paris Cathedral, the stained-glass windows of the Sainte-Chapelle and the gold rose and altar of Bâle are just some of the masterpieces you can find in the museum’s rooms. Projected to last four years, a significant restoration and modernisation project was undertaken in 2016, supported by the Ministry of Culture and Communication. The primary aims are accessibility for everyone and upgrading the building and its collections. www.musee-moyenage.fr

Château de Versailles The Palace of Versailles, a famous world heritage site listed by UNESCO since 1979, is at the same time a royal residence, a museum of the history of France created by Louis-Philippe and a national palace that has played host to the French Parliament in Congress. Besides its three historic residences - the Palace, the Grand Trianon and the Petit Trianon - the estate of Versailles boasts a large Baroque garden designed by André Le Nôtre with groves and fountains, the gardens of Trianon and Marie-Antoinette’s Hamlet, a wooded park located beyond the Grand Canal, and more recently the estate of Marly since 2009. Stretching out over more than 800 hectares, the estate of Versailles welcomes over 10 million French and foreign visitors each year who all come to admire the collections composed of over 60,000 works including paintings, furniture, ancient books, drawings, sculptures, prints, objets d’art and coaches. The former royal residence is a textbook in its own right of the history of France from the 17th century to the present day, and is a symbol

26 of French art de vivre and the taste and skills of excellence. Forever anchored in the present thanks to the importance it places on creation (programme of shows, contemporary art exhibitions, promoting artistic craftsmen and women etc.), the Palace of Versailles’s reputation continues to spread across the world. http://en.chateauversailles.fr/

Musée des Arts décoratifs A unique, independent institution in the heart of Paris Les Arts Décoratifs was created in Paris over 150 years ago by collectors, industrialists and craftsmen concerned with the quality and design of everyday objects. Housed in the Marsan wing of the Louvre on the rue de Rivoli, between the Tuileries Gardens and the Palais Royal, Les Arts Décoratifs is a national showcase for the genius of artists and craftsmen. The Musée des Arts Décoratifs has one of the largest collections of decorative art in the world. It provides a unique panorama of the history of furniture, glass, ceramics, precious metalwork, jewellery, textiles, fashion, graphic design and advertising, from the Middle Ages to the present day. Displays of objects in ‘period rooms’, one of the museum’s features, give visitors an authentic insight into the daily life, fashions and customs of past centuries. One of Les Arts Décoratifs’ jewels is the Musée Nissim de Camondo, a sumptuous mansion on the edge of the Parc Monceau entirely devoted to 18th-century art. Les Arts Décoratifs manages a set of museums but also a school, the Ecole Camondo, which trains interior architects and designers, a library and the Ateliers du Carrousel, which runs artistic workshops for children, adolescents and adults. http://www.lesartsdecoratifs.fr/en/

Musée d’Archéologie nationale - Domaine national de Saint-Germain-en-Laye One of the largest archaeological museums in Europe. A site rich in history. The castle at Saint-Germain-en-Laye was a former royal residence and the birthplace of numerous members of the royal family.

27 Restored by Eugène Millet starting in 1862 by order of Napoleon III, it became home to the Musée des Antiquités Nationales, which in turn became the Musée d’Archéologie Nationale in 2005. As an archaeological institution of some importance, the museum displays internationally significant archaeological collections tracing human life in France from its origins to the year 1000, covering everything from the Palaeolithic era to the Merovingian times. Some 29,000 objects and series are displayed, bearing witness to developments in technique, artistic expression and the representation of men and women that blended and followed one another in France. The museum also hosts exceptional collections of comparative archaeology, prepared on the initiative of Henri Hubert at the end of the 19th Century and today presented in the Ballroom, also known as salle des Comédies. Neighbouring the castle, the Domaine National offers an exceptional panoramic viewpoint over the Île-de-France. Just 30 minutes from Paris, it offers 45 hectares of gardens and terrace designed by André Le Nôtre spanning 1945 metres in length. http://en.musee-archeologienationale.fr/

Cité de la Céramique – Sèvres et Limoges Since 1740, the Manufacture de Sèvres has always encouraged the production and distribution of ceramic objets d’art. These ancient crafts are transmitted from one generation to the next : they have today become unique. The successive participations of the artists invited to create projects for the Manufacture have improved its savoir-faire for three centuries. Sèvres thrives on the excellence of its materials, which are made in situ, an ancestral savoir-faire meticulously preserved through the centuries, and a taste for modernity. Created at the beginning of the 19th century by Alexandre Brongniart, the Director of the Manufacture national de Sèvres, the Museum's mission is to bring together, conserve and present ceramics from all periods and all countries. Alongside fired and glazed clay, earthenware, porcelain, painted glazes and glassware complete this huge range of ceramics. After 200 years, this world-renown collection now contains over 55 000 ceramics, including 5 000 Sèvres porcelain pieces. It is one of the largest collection of ceramics in Europe. http://www.sevresciteceramique.fr/

28 Château de Fontainebleau A UNESCO World heritage site since 1981, Fontainebleau is the only castle to have been inhabited by every sovereign between the 12th and the 19th centuries. It is also the most furnished of all the French royal castles. Napoleon was the major restorer of the Château de Fontainebleau, which he also furnished entirely in the wake of the Revolution. Having breathed new life into the castle, he abdicated there in 1814, and referred to it in his memoires as the “true home of the kings.” His private apartments and the museum dedicated to him today preserve this imperial past. At the same time, Fontainebleau also displays the Renaissance masterpieces commissioned by François I, the refined interiors of Marie-Antoinette, the Napoleon I’s interior apartments, and the exquisite taste of Napoleon III and Eugénie. As a hunting lodge and holiday getaway, a witness to the court life of the sovereigns, both official and private, Fontainebleau embodies the French art de vivre. http://www.musee-chateau-fontainebleau.fr/

RMN-GP The Réunion des musées nationaux - Grand Palais (RMN-GP) is a French public cultural establishment that reports to the Ministry of Culture and Communication. It was set up in 2011 following the merger between the Réunion des musées nationaux and the Grand Palais, in order to build an international cultural operator, with the support of the expertise and the complementary activities of the two institutions. The RMN-GP holds a wealth of knowledge that is unique within the cultural and artistic domain : organisation of exhibitions, visitor and audience reception, cultural and digital mediation, art publications, production, marketing and distribution of cultural products in museum shops, casting workshop, photographic agency , and acquisitions. The RMN-Grand Palais has just one ambition – to continually innovate and spread the love of art to as many people as possible – art from all cultures, from all periods, and of all forms (fine art, installations, performances, photography, fashion, cinema, theatre, music and video). The Grand Palais, a historic Parisian monument located near the Avenue des Champs-Elysées, is the

29 emblem of the institution. A unique network of museum shops : As a publisher of books, podcasts and other related products, the RMN-Grand Palais distributes its items and those of other publishers in the 37 bookstores and museums shops that it manages in French museums and on its online shop, boutiquedemusees.fr. The RMN-Grand Palais provides a unique and integrated offer for publishing and distributing products, helping museums to have influence outside their own realms. http://rmngp.fr/

Ecole du Louvre The Ecole du Louvre is a school of higher education placed under the authority of the ministry of Culture. Founded in 1882 and housed at the heart of the Palace of the Louvre, offers a unique curriculum in archaeology, the history of art and of civilisations, epigraphy, anthropology and museum studies. Its teaching combines theoretical and practical approaches through lectures and in situ classes, based on the study of tangible testimonies left by cultures (ie. sites, buildings, works of art and objects kept in museum collections). Courses are taught principally by museum curators and cultural heritage professionals. Studies are divided into three cycles, in accordance with the European “LMD” (Bachelor's-Master’s- Doctorate) degree system (comprising over 1600 students). Admission to the first year at the Ecole du Louvre is subject to the successful completion of a probationary test. The Ecole du Louvre also offers preparatory courses to the French competitive examinations for curators and conservators, double degree programs alongside other institutions such as Sciences Po and Essec, minors in subjects including Law and Management, as well as specific courses (e.g. training for auctioneers). The Ecole du Louvre promotes a global approach to art history and museology. As such, it leads an active partnership policy with a number of universities, museums and cultural institutions around the world (Germany, Austria, Benin, Brazil, Canada, China, Italy, Netherlands, Spain, Switzerland, United Arab Emirates, United States, United Kingdom...). The Ecole du Louvre also houses a research cluster, built around a program called “Museology and heritage: sites, objects,

30 methods”, and publishes art historical textbooks, research papers and an online research journal, as well as organising study sessions and scientific symposia. In addition to its academic endeavors, the Ecole du Louvre has an active cultural policy aimed at a large non-student audience: lectures and conferences are organised for free listeners in Paris and in other French cities (ca. 20 000 registered). http://www.ecoledulouvre.fr/en

Oppic (Opérateur du Patrimoine et des projets immobiliers de la Culture) Oppic’s mission is to restore, develop, rehabilitate and build large public monuments and facilities, particularly on behalf of the Ministry of Culture and its public institutions. Oppic is involved in projects involving large buildings located all over France with a variety of functions, including museums (Musée Cluny, Musée de l’Homme, Musée de la Marine), places of administration (Palais de l’Élysée), prestigious monuments and buildings (l’Hôtel des Invalides), theatres and event venues (The Grand Palais, National Theatre of Chaillot,), schools (the National School of Architecture, the Photography School of Arles), libraries and civil engineering structures (Rochefort Transporter Bridge). Everyone had to meet common standards – but each of these standards reveals a different complexity related to its history and usage. With the joint experience of its multidisciplinary teams (architects, engineers, programmers, lawyers) Oppic aims to respond to all the complexities of public contracting: Assessing real estate projects Building new equipment Rehabilitating and restoring buildings Adapting buildings to evolving usage Ensuring accessibility, safety and security standards Conducting the preliminary study phases, the conception of the project with the project managers, ensuring the following of the sites and the delivery of the works to the users http://www.oppic.fr/

31 Domaine national de Chambord A truly exceptional work of art, Chambord was classified in 1840 as a historic monument and has been registered on UNESCO's World Heritage List since 1981. Recognized throughout the world as an emblem of the French Renaissance, the château cannot be dissociated from its natural environment, the forest. Visiting Chambord, you are not only visiting a château, but also discovering a universe unto itself that leaves you with a truly unforgettable memory. The uniquely magical atmosphere is experienced as soon as you arrive, after having crossed the forest, as you behold extraordinary architecture conjured up by François I and suffused with the spirit of Leonardo da Vinci. When you visit Chambord, you are exploring no less than 500 years of history in a few hours. Coming to Chambord, you are also breathing the fresh forest air, admiring pure and preserved landscapes, and exploring untold kilometers of hidden pathways. You may even have the opportunity to espy wild animals, and you will be delighted to discover for the first time the French-style gardens imagined under the reign of Louis XIV and brought back to life in 2017. Chambord is the largest wall-enclosed park in Europe, and its area (13500 acres) is equivalent to that of Paris proper. https://www.chambord.org/en/

32 Louvre Abu Dhabi A Special Place for Children

The Children’s Museum at Louvre Abu Dhabi is an exploratory space for young visitors (aged 6-12) and their families, with its own thematic temporary exhibitions and programme, located on the ground floor level of the museum/Louvre Abu Dhabi, in the central space under the dome.. The space includes original artworks, interactive mediation tools, and hands-on activities in the lower gallery, and offers educational workshop spaces on the upper level.

The Children’s Museum is an essential component of Louvre Abu Dhabi’s commitment to providing families and young audiences with the opportunity to engage with art. The dedicated space will display an engaging selection of original artworks as part of its on-going theme-based exhibition programme. Through a range of immersive and interactive zones, the exhibitions and hands-on activities will provide young visitors with the necessary tools to engage with Louvre Abu Dhabi and explore its collections.

Visitors aged 13 and younger can enjoy complimentary entry to Louvre Abu Dhabi.

INAUGURAL TEMPORARY EXHIBITION The inaugural exhibition in the Children’s Museum is titled Travelling Shapes and Colours and explores shapes and colours through a selection of works from different artistic traditions across the globe, ranging from archeological objects to 20th century creations.

Open for an initial period of one year, this exhibition will explore floral, and geometric ornamentation, focusing on colour, line, shape and form with works of art including 16th century Turkish ceramics, 18th century French vases by Jean-Armand Fallot and 19th century painting by German artist Paul Klee.

Many of the themes and gallery experiences are relevant to the artworks in Louvre Abu Dhabi’s permanent collection, therefore acting as an entry point for children to the museum’s wider collection.

WORKSHOPS Louvre Abu Dhabi’s children and families’ programme will include a robust, ongoing programme of tours, workshops and interactive sessions, running concurrently to the exhibitions and programmes in the Children’s Museum.

These activities, run by expert staff at Louvre Abu Dhabi, are designed to actively encourage children to engage with a range of fundamental artistic methods, practices and concepts, such as colours, lines, shapes and geometric patterns. The delivery of these activities will be assessed against the development of cognitive skills including observation, learning, reasoning and visual processing.

33 Françoise Nyssen French Minister of Culture

Françoise Nyssen was appointed Minister of Culture on 17 May 2017 by the President of the French Republic, Emmanuel Macron, on the recommendation of Prime Minister Edouard Philippe.

Until then, Françoise Nyssen had been co-director of the publishing firm Actes Sud.

Françoise Nyssen was born in Etterbeek (Belgium) in 1951. Before making her name in the publishing world, she initially focused on science, graduating in molecular biology from the Free University of Brussels in 1972. A certified high-level secondary teacher, Françoise Nyssen also studied at the Institut Saint-Luc in Brussels from 1975 to 1978 and graduated in urban planning. She then joined the architecture department of the Ministry of Culture in France.

She moved to the publishing sector in 1980 as partner and managing director of the Le Paradou publishing cooperative. In 1987, she became a partner and the chair of the board at the Actes Sud publishing firm founded by her father, Hubert Nyssen, in 1978. Its offices were in Arles and Paris. Notably, she was the editor of three Goncourt Prize winners (Laurent Gaudé, Jérôme Ferrari and Mathias Enard) and three Nobel Literature laureates (Naguib Mahfouz, Imre Kertész and Svetlana Alexievitch).

Together with Jean-Paul Capitani, Françoise Nyssen also founded the Actes Sud bookshop and the Association Culturelle du Méjan, which organises concerts, exhibitions and literary and cinematographic events at the Passage du Méjan in Arles. They also set up L'École du domaine du possible (The Field of Possibilities School).

In 2010, Françoise Nyssen was appointed president of support for writing and then, in 2011, chair of the committee for the support of feature-film scriptwriting at the Centre National du Cinéma. She was appointed to the High Council for Artistic and Cultural Education in 2015.

34 Jean-Luc Martinez President-Director of Musée du Louvre

Born in 1967, Jean-Luc Martinez is a renowned archeologist and scholar. He was appointed President-Director of Musée du Louvre in April 2013 by the French President.

A professor in History and History of Art graduate from the Ecole du Louvre, Jean-Luc Martinez was a member of the Ecole Française in Athens from 1993 to 1996.

He joined the Louvre in 1997 as a curator of cultural heritage, in charge of Greek sculpture. In 2007, he was named Director of the department of Greek, Etruscan and Roman Antiquities, a post that he held until his appointment as the head of the establishment. During this time, he notably oversaw the extensive renovation of the Greek antiquities galleries where the Venus of Milo is displayed. Martinez also curated the Galerie du Temps, the main gallery of Louvre-Lens, the Louvre’s satellite museum in northern France, which opened in 2012.

Under Jean-Luc Martinez’s leadership, the Musée du Louvre recently inaugurated the “Pyramid” project, aimed at facilitating the welcoming of visitors, and the Dominique-Vivant Denon Resource Center. The Cheikh Zayed Center, dedicated to the history of the Louvre and its collections, opened its doors in 2016 within the Pavillon de l’Horloge.

Several projects reflect the museum’s ambition to reach out to its public, not only at a national level, with the Louvre-Lens and construction of the new museum storage area in Liévin, Northern France, but also on an international scale, with the opening of Louvre Abu Dhabi, the first universal museum of the 21st century.

Moreover, with the current international context in mind, Jean-Luc Martinez was asked by the President of the French Republic François Hollande to prepare a report on the Protection of Cultural Heritage entitled “Fifty Proposals to Protect the Cultural Heritage of Humanity”, which advocates the safeguarding of endangered cultural heritage. The French proposals were presented to UNESCO and then at the G7 Summit in Tokyo, before the G7 Heads of State.

Martinez is a member of the Scientific Council of the French National Institute of Art History (INHA), and of the Artistic Council of the French National Museums. He is also the president of the board of the Ecole Française of Athens. In 2015, he was appointed Knight of the French National Order of Merit and Knight of the Legion of Honor in 2016.

35 BIOGRAPHY – JEAN NOUVEL

Jean NOUVEL born in Fumel (France) 1945

After he enrolled at the Ecole des Beaux-Arts in Bordeaux, Jean Nouvel ranked first in the entrance examination of the Ecole Nationale Supérieure des Beaux-Arts in Paris in 1966 and obtained his degree in 1972. Assistant to the architect Claude Parent and inspired by urban planner and essayist Paul Virilio, he started his first architecture practice in 1970. Soon afterwards, he became a founding member of the “Mars 1976” Movement whose purpose was to oppose the architects’corporatism and then a founder of French Architecture Union.

His strong stances and somewhat provocative opinions on contemporary architecture in the urban context together with his unfailing ability to inject originality into all the projects he undertakes have formed his international image. Jean Nouvel’s work does not result from considerations of style or ideology, but from a quest to create a unique concept for a singular combination of people, place and time.

His works have gained world-wide recognition through numerous prestigious French and International prizes and rewards. In 1989, The Arab World Institute in Paris was awarded the Aga-Khan Prize because of its role as “a successful bridge between French and Arab cultures”. In 2000, Jean Nouvel received the Lion d’Or of the Venice Biennale. In 2001, he received three of the highest international awards: the Royal Gold Medal of the Royal Institute of British Architects (RIBA), the Praemium Imperial of Japan’s Fine Arts Association and the Borromini Prize for the Culture and Conference Center in Lucerne. He was appointed Docteur Honoris Causa of the Royal College of Art in London en 2002. Three years later, he received the annual prize of the Wolf Foundation in Israel “for providing a new model of contextualism and redefining the dialectic between the two salient characteristics of contemporary architecture: concreteness and ephemerality”. The Agbar Tower in Barcelona was awarded the International Highrise Award 2006 in Frankfurt, “as it makes an outstanding contribution to the current debate on high-rises”. Jean Nouvel was the recipient of the prestigious Pritzker Prize in 2008.

Architectural Awards - Aga Khan Prize for the Arab World Institute (1989) - Gold Medal from the Academy of Architecture, France (1998) - Golden Lion from the 7th International Architecture Biennale, Venice, Italia (2000) - Praemium Imperiale International Art Awards in Architecture, Japan (2001) - Gold Medal of the Royal Institute of British Architects, United Kingdom (2001) - Borromini Award for the Culture and Convention Center in Lucerne, Italia (2001) - The Wolf Foundation Prize in Arts/Architecture, Israel (2005) - Arnold W. Brunner Memorial Prize in Architecture, USA (2006) - International High-rise Award for the Agbar tower, Germany (2006) - Pritzker Architecture Prize, USA (2008)

36 Academic Awards - Doctor Honoris Causa of the Royal College of Art of London, United Kingdom (2002) - Doctor Honoris Causa of the Design University of Naples, Italia (2002) - Doctor Honoris Causa of the Royal Academy of Art, Copenhagen, Denmark (2003) - Doctor Honoris Causa of the Higher Institute of Art of Habana, Cuba (2006) - Doctor Honoris Causa of the Catholic University of Louvain UCL, Belgium (2013)

Ateliers Jean Nouvel (AJN) is a world-renowned design firm that gathers a multicultural team of 140 persons from more than twenty countries. AJN combines the disciplines of architecture, urban planning, interior design, landscape design, graphic design, and product design into a single integrated practice. AJN’s diverse, world spanning portfolio includes museums, concert halls, conference centers, theaters, hotels, residential buildings, office buildings, commercial centers, and private residences.

François Fontès, President since may 2014, Frédérique Monjanel, Chief Executive Officer give AJN their expert knowledge of the world of architecture and construction. The board allows Jean Nouvel to dialog with our clients during the whole process of architectural design.

Jean Nouvel’s international recognition favored numbers of projects currently under studies or under construction, such as the Louvre Abu Dhabi (Abu Dhabi), the National Art Museum Of China NAMOC (Pékin), the cultural complex “The Artists’ Garden” (Qingdao), the “53W53, Tour de Verre” integrating the extension of the MoMA galleries (New York), the Learning Resource Center (Nicosia), the European Patent Office (Rijswijk), the residential towers “Le Nouvel” (Kuala Lumpur), “Huangpu” (Shanghaï), “Anderson 18” (Singapore), “Ardmore” (Singapore) and “Rosewood” (São Paulo), the office towers “Hekla” (Paris), “Duo” (Paris) and “La Marseillaise” (Marseille).

François Fontès Frédérique Monjanel

Our main office is located in Paris. Site offices are currently located in Abu Dhabi, Barcelona, Madrid, Geneva and Rome.

Principal completed projects Arab World Institute (Paris - 1987), Opera House (Lyon – 1993), Cartier Foundation (Paris – 1994), Galeries Lafayette (Berlin – 1996), Culture and Congress Center KKL (Lucerne – 2000), Court House (Nantes - 2000), Dentsu Tower (Tokyo – 2002), Agbar Tower (Barcelona – 2005), extension of the Queen Sofia Arts Center (Madrid – 2005), Quai Branly museum (Paris – 2006), Guthrie Theater (Minneapolis – 2006), Richemont headquarters (Geneva – 2006), “40 Mercer” housing building (New-York – 2008), Symphonic House DR Concert Hall (Copenhagen – 2009), Ferrari’s factory (Maranello – 2009), “One New Change” (London – 2010), 100 11th avenue (New-York – 2010), Sofitel Stephansdom (Vienna – 2010), City hall (Montpellier – 2011), Renaissance Fira hotel (Barcelona – 2012), mixed use high-rise building “One Central Park” (Sydney – 2014), Imagine Institute (Paris – 2014), extension of the Police headquarters & Charleroi Danses (Charleroi – 2014), housing, offices and retails tower “The White Walls” (Nicosia – 2015), Philharmonie de Paris (Paris – 2015) 37 Manuel Rabaté Director of Louvre Abu Dhabi

Born in March 1976, Manuel Rabaté is a graduate of the Institut d'Etudes Politiques de Paris (Sciences Po, 1998), and of HEC Business School (2001). He began his career as a Deputy Director at the auditorium of the Musée du Louvre from 2002 until 2005. He participated among other things in the creation of new programmes on Islamic Arts in the context of the first performance contract concluded between the French government and the museum for its modernisation. He joined the Musée du quai Branly as a Deputy Director of Cultural Development a year before its opening in 2006, and structured the administrative and financial management of many key issues for the opening. After the opening, he led the launching of the first exhibitions abroad including Masques - Beauté des Esprits exhibition at the Bahrain National Museum, 2008. Manuel Rabaté joined Agence France-Muséums in 2008, a year after the signing of the intergovernmental agreement between the United Arab Emirates and France marking the birth of the Louvre Abu Dhabi project. Subsequently, he has followed the project from its conceptual phase until its operational implementation as a Secretary General and the acting CEO since 2010. He was appointed CEO of Agence France-Museums in 2013 under the proposal of the Board of Directors and its Chairman, Marc Ladreit de Lacharrière, to set up in Abu Dhabi a multidisciplinary team of museum professionals and follow through the phases of the project realization in collaboration with the major French museums and their UAE partners.

In September 2016, Manuel Rabaté was appointed Director of Louvre Abu Dhabi by Abu Dhabi Tourism & Culture Authority (TCA Abu Dhabi). Aside from his duties in the service of museums, Manuel Rabaté has also chaired the reflection group Culture and Management, in which he had created the museum department. He has also taught Arts and Cultural Management at various universities in France and Abu Dhabi (Paris-Dauphine University, Paris-Sorbonne University Abu Dhabi since the establishment of the Master in History of Art and Museum Studies).

38 Marc Ladreit de Lacharrière Chairman, Agence France-Muséums

Marc LADREIT de LACHARRIERE was born on 6th November in 1940, in Nice. He is a former student of the Ecole Nationale d'Administration, a member of the Académie des Beaux-Arts and was appointed Grand Cross of the Legion of Honour.

He began his professional career at the Banque de Suez and the Union des Mines, which has since become Indosuez. He left the company in 1976 and integrated L'OREAL as Chief Financial Officer (CFO), where he became step-by-step the Vice-CEO. He left L'OREAL in 1991 in order to create his own company FIMALAC. His Group operates in four business areas: financial services through Fitch Ratings, luxury hotels and leisure through Lucien Barrière Group, digital media through Webedia, and Entertainment organization (FIMALAC Entertainment).

In 2006, he created the Culture & Diversity Foundation, whose mission is to prepare and to help young people from Educational Priority Areas to discover arts and access to the topranking schools of arts and culture. Within 10 years, the Foundation has reached 30,000 students in 220 schools.

MAIN CHARGES

- Chairman and Chief Executive Officer of Fimalac - Chairman of Fitch Group and Chairman of its Strategic Committee - Chairman of the supervisory board of Webedia - Member of the Board of Directors of Renault, Groupe Lucien Barrière - Chairman of the Culture & Diversity Foundation

39 Anne Mény-Horn Chief Executive Officer of Agence France-Muséums

Anne Mény-Horn joined Agence France-Muséums in September 2016 as Chief Operating Officer . She was then appointed Chief Executive Officer (CEO) in October 2016. Anne Mény-Horn has more than 20 years of professional experience working in cultural institutions. She has a post-graduate degree in European Law (Paris II Panthéon-Assas University) and a post graduate diploma in Foreign Languages applied to International Business. She joined the Bibliothèque Nationale de France in 1995 as Legal Advisor within the Legal Department in charge of managing all public law issues for the establishment, and then as Contracts Manager. She was appointed in 2000 Head of Legal and Procurement Department of the Musée du Louvre and was responsible for overseeing all legal affairs for the institution. She joined the newly founded public body of Musée d’Orsay in 2005 as Legal and Procurement Manager before being appointed Deputy General Manager in 2010. In this capacity, she notably organized and monitored the renovation works on the Museum’s museographic areas as part of the "Nouvel Orsay" project. She also actively took part in the conclusion of the donation of the Hays’s collection to Musée d’Orsay. She assumed a leadership function over more than 650 agents of the Musée d’Orsay and Musée de l’Orangerie and reported directly to the President and the General Manager of the museum.

40 HE Mohamed Khalifa Al Mubarak

HE Mohamed Khalifa Al Mubarak is Chairman of Abu Dhabi Tourism & Culture Authority which oversees the conservation and promotion of Abu Dhabi’s heritage and culture, leveraging them to develop distinctive Abu Dhabi experiences designed to enrich the lives of visitors and residents.

In 2016, Mohamed was additionally appointed Chairman of the Tourism Development & Investment Company (TDIC), master developer of major tourism, cultural and residential destinations in Abu Dhabi.

Mohamed is also Chairman of Miral Asset Management, an organisation responsible for creating and managing destinations in Abu Dhabi focussed on building lifelong visitor value for the emirate. Miral leads the development of Yas Island, a world-class leisure and entertainment destination, which is already home to Ferrari World, the F1 circuit, Yas Waterworld and Yas Marina; attractions that have put Yas Island firmly on the world stage.

Mohamed is also CEO of Aldar Properties PJSC, Abu Dhabi’s leading Property Development and Management Company, with assets in excess of $12bn and over 70 million square metres of development land.

In addition, Mohamed is Chairman of Aldar Academies, one of the largest providers of modern private education in Abu Dhabi, and he is also Chairman of Image Nation Abu Dhabi, one of the leading content creators for film and television in the Middle East.

Mohamed is a graduate of Northeastern University (USA), with a double major in Economics and Political Science.

41 Loans Selection Images

IMAGE COPYRIGHTS

Statue of Gudea, prince of Lagash, praying Circa 2120 B.C. (Neo-sumerian period, Gudea reign, 2125 - 2110 BC) Tello, ancient Girsu (Iraq) Diorite 107 cm x 36,5 cm x 25 cm Musée du Louvre, Near Eastern Antiquities Departement, © 2007 Musée du Louvre - High Museum / Peter Harholdt

King Ramesses II Diorite 1279 - 1213 B.C.E. (19th dynasty) Found at Tanis H. : 2,59 m. ; L. : 0,80 m. ; W. : 1,20 m. Musée du Louvre, Egyptian Antiquities Department © Musée du Louvre, dist. RMN / Christian Décamps

Mattei Athena Roman Empire, 1st-century BC/AD Roman copy of a 4th-century BC Greek original 230 cm Marble Musée du Louvre, Greek, Etruscan and Roman Antiquities Department © RMN (Musée du Louvre) / Hervé Lewandowski

Fountain spout known as the Monzon Lion Spain, 12th-13th century Cast bronze with engraved decoration 31.5 x 54.5 cm Musée du Louvre, Islamic Art Department © 2012 Musée du Louvre / Philippe Ruault

Louvre Abu Dhabi PO Box 94 000 Abu Dhabi United Arab Emirates متحف اللوفر أبوظبي صندوق البريد 000 94 أبوظي اإلمارات العربية المتحدة T: 600 565566 www.louvreabudhabi

42 Woman with a Mirror Tiziano Vecellio, known as Titian Venice, Italy, c. 1515 99.0 x 76.0 cm oil on canvas Musée du Louvre, Paintings Department © Musée du Louvre, dist. RMN / Martine Beck-Coppola

Woman Portrait, also called La Belle Ferronnière Leonardo da Vinci Milan, Italy, 1495-1499 Wood (noyer) Musée du Louvre, Paintings Departement © Musée du Louvre, C2RMF / T. Clot

The Saint-Lazare Station Claude Monet (1840-1926) France, 1877 75.5 x 104 cm Oil on canvas Musée d’Orsay © Musée d'Orsay, dist. RMN-Grand Palais / Patrice Schmidt

Self-portrait Vincent Van Gogh (1853-1890) France, 1887 Oil on canvas 44 x 35.5 cm Musée d'Orsay © Musée d'Orsay, dist. RMN-Grand Palais / Patrice Schmidt

The Red Rock Paul Cézanne France c. 1895 Oil on painting Paris, Musée de l’Orangerie © RMN-Grand Palais (Musée de l’Orangerie) / Hervé Lewandowski

43 Standing Woman II, [1959 - 1960] Alberto Giacometti 1901, Stampa (Switzerland) - 1966, Chur (Switzerland) Bronze Ex.: 6/6 Cast : Susse Fondeur, Malakoff (France) Purchased by the State in 1964 Attribution 1970 Collection Centre Pompidou, Paris Musée national d’art moderne – Centre de création industrielle © Succession Alberto Giacometti (Fondation Giacometti, Paris et Adagp, Paris) Crédit photographique : Centre Pompidou, MNAM-CCI/Philippe Migeat/Dist. RMN-GP

Number 26 A, Black and White, 1948 Jackson Pollock 1912, Cody (Wyoming, ) - 1956, East Hampton (New York, ) Glycerophtalic paint on canvas Dation 1984 Collection Centre Pompidou, Paris Musée national d’art moderne – Centre de création industrielle © Adagp, Paris Crédit photographique : Centre Pompidou, MNAM-CCI/Georges Meguerditchian/Dist. RMN-GP

Cock, 1935 Constantin Brancusi 1876, Pestisani (Romania), - 1957, Paris (France) Polished bronze Purchase 1947 Collection Centre Pompidou, Paris Musée national d’art moderne – Centre de création industrielle © Adagp, Paris Crédit photographique : Centre Pompidou, MNAM-CCI/Philippe Migeat/Dist. RMN-GP

Globe Vincenzo Coronelli (1650-1718) Venice, Italy, 1697 146 x 107 x 107 cm Bibliothèque nationale de France, Maps and Plans Department © Bibliothèque nationale de France, département des Cartes et plans

44 Mask Mexico, Basin of Mexico 150-550 CE Black stone 20 x 18 x 12 cm Musée du quai Branly, Paris © musée du quai Branly, photo Hughes Dubois

Salt cellar Nigeria, Benin Empire beginning of 16th century Elephant ivory 26 x 8 x 8.5 cm musée du quai Branly © musée du quai Branly, photo Thierry Ollivier, Michel Urtado

Mask d'mba, Baga style Africa, Guinea, end of 19th beginning of 20th Population / Style Baga Wood, rope and metal 130.0 x 55.0 x 68.0 cm Paris, musée du quai Branly © musée du quai Branly, photo Patrick Gries, Bruno Descoings

Meditating Buddha protected by Mucilinda, king of the snakes Cambodia 1100–1150 Sandstone, traces of red lacquer Paris, Musée national des arts asiatiques – Guimet © RMN-Grand Palais (MNAAG, Paris) / Thierry Ollivier

45 Pair of gui vessels China 11th century BCE Bronze 25 cm Paris, Musée national des arts asiatiques-Guimet © MNAAG, Paris, Dist. RMN-Grand Palais / Jean-Michel Routhier

Jean d'Aire (from the group The Burghers of Calais) Auguste Rodin France, Meudon 1895–1903 Plaster Musée Rodin © musée Rodin (photo Adam Rzepka)

Horses of the Sun Gilles Guérin France 1668-1675 Marble Musée National des Châteaux de Versailles et de Trianon © château de Versailles, C.Fouin

Tapestry of Daniel and Nebuchadnezzar Southern Netherlands c. 1520 Wool, silk Musée national du Moyen Âge – Thermes de Cluny © RMN-Grand Palais (musée de Cluny - musée national du Moyen-Âge) / Gérard Blot / Christian Jean

Reliquary chest Egypt and Northern France (?) 13th century Silver, rock crystal, pearls 11.3 x 14.8 x 9.7 cm Musée de Cluny - musée national du Moyen Âge (National Museum for Middle Age) © RMN-Grand Palais (musée de Cluny - musée national du Moyen-Âge) / Franck Raux

46 Habit à la française France, c. 1770-1780 Silk velvet 115.0 x 37.0 x 0.0 cm Musée des Arts décoratifs, Paris © Les Arts Décoratifs, Paris/Jean Tholance

Ewer of Persian shape China, 16th century AD 47 cm Porcelain, Gilded Bronze musée des Arts décoratifs © Les Arts Décoratifs, Paris/Jean Tholance

Dish with blue flowers patterns Italy, Florence c. 1575-1600 Ceramic known as Medicis Porcelain, cobalt painted decor 30 cm Sèvres, Cité de la céramique © RMN-Grand Palais (Sèvres, Cité de la céramique) / Jean Popovitch

Breastplate of Marmesse Marmesse, Haute Marne, France 9th-8th century BCE Bronze 51.2 cm Musée d’Archéologie nationale – Saint-Germain-en-Laye, (National museum for French Archaeology) © Valorie Gô - Musée d'Archéologie nationale

Apollo Belvedere Francesco Primaticcio (1504-1570) France, 1541-1543 Bronze 218 cm Château de Fontainebleau, © Adrien Didierjean, RMN-GP Château de Fontainebleau

47 Masterpieces Images

IMAGE COPYRIGHTS

Bactrian "princess" Central Asia, end of 3rd beginning of 2nd millennium BCE Chlorite (body and headdress), calcite (face) 25.3 x 11.5 x 9.5 cm Louvre Abu Dhabi, Abu Dhabi LAD 2011.024 © Louvre Abu Dhabi / Thierry Ollivier

Archaic sphinx Greece or Magna Graecia, 6th century BCE Shell limestone 57.0 x 21.0 x 67.0 cm, approx. 70.0 kg, approx. 85.0 kg Louvre Abu Dhabi, Abu Dhabi LAD 2013.004 © Louvre Abu Dhabi / Thierry Ollivier

Lion bracelet Ziwiye, Iranian Azerbaijan, Iran, 8th-7th century BCE Gold 6.7 x 9.5 x 8.0 cm Louvre Abu Dhabi, Abu Dhabi LAD 2009.019 © Louvre Abu Dhabi / Thierry Ollivier

Funeral set of princess Henuttawy : cartonnage Egypt, 2nd half of 10th century BCE-beginning of the 22th dynasty Wood with polychromy 163.0 x 38.0 x 31.0 cm Louvre Abu Dhabi, Abu Dhabi LAD 2014.023.001 © Louvre Abu Dhabi / Thierry Ollivier

Standing Bodhisattva (Maitreya ?) Asia, 2nd-3rd AD Schist 155.0 x 50.0 x 20.0 cm, 15.0 x 70.6 x 50.5 cm, 198.0 kg Louvre Abu Dhabi, Abu Dhabi LAD 2009.009 © Louvre Abu Dhabi / Thierry Ollivier

48 Portrait of Fayoum Egypt, Antinoopolis, 225-250 AD Encaustic on wooden panel 42.7 x 23.0 x 0.9 cm Louvre Abu Dhabi, Abu Dhabi LAD 2014.024 © Louvre Abu Dhabi / Thierry Ollivier

Head of Buddha Northern China (from Henan to Shandong), Eastern Wei dynasty (534-550 CE) or Northern Qi dynasty (550-577 CE) White marble 50.0 x 33.0 x 28.0 cm, 87.0 kg Louvre Abu Dhabi, Abu Dhabi LAD 2009.010 © Louvre Abu Dhabi / Thierry Ollivier

Eagle-shaped fibula from Domagnano Republic of San Marino, 2nd half of 5th century AD Gold and garnets 12.1 x 6.4 cm Louvre Abu Dhabi, Abu Dhabi LAD 2009.008 © Louvre Abu Dhabi / Thierry Ollivier

Octagonal box Asia, 8th century AD Wood, tortoiseshell, inlaid with mother-of-pearl and painted amber beads 12.2 cm, 38.5 cm Louvre Abu Dhabi, Abu Dhabi LAD 2009.022 © Louvre Abu Dhabi / Thierry Ollivier

Shiva Dancing Asia, 2nd half of 10th century AD Lost-wax bronze (copper alloy) cast 83.0 x 47.5 x 24.5 cm Louvre Abu Dhabi, Abu Dhabi LAD 2009.023 © Louvre Abu Dhabi / Thierry Ollivier

49 Maitreya Asie, c. 12th century Cuivre doré, pierres semi-précieuses 60.0 x 16.0 x 9.0 cm Louvre Abu Dhabi, Abu Dhabi LAD 2014.033 © Louvre Abu Dhabi / Jonathan Gibbons

Turban Helmet Aq-Qoyunlu or Ottoman, 2nd half of 15th century Steel, inlaid with silver, gold traces 61.0 x 26.0 x 31.0 cm Louvre Abu Dhabi, Abu Dhabi LAD 2015.016 © Louvre Abu Dhabi / Thierry Ollivier

Giovanni Bellini Venise, 1430 - Venise, 1516 Madonna and Child Venice, Italy, between 1480 and 1485 Oil on panel 109.0 x 85.0 cm Louvre Abu Dhabi, Abu Dhabi LAD 2009.013 © Louvre Abu Dhabi / Thierry Ollivier

Ottoman dagger with damascened blade Tabriz or Herat, c. 1530 1550 Steel, gold 26.0 cm Louvre Abu Dhabi, Abu Dhabi LAD 2016.007 © Louvre Abu Dhabi / Thierry Ollivier

Attributed to Orazio Scoppa Mother-of-pearl ewer Gujarat, India, c. 1640 Mother-of-pearl ewer, gilt copper mounting, encrusted with turquoises and garnets 42.0 x 33.5 x 0.0 cm Louvre Abu Dhabi, Abu Dhabi LAD 2013.047 © Louvre Abu Dhabi / Agence Photo F

50 Bernard II Van Risen Burgh 1696 - 1766 Red Chinese lacquer and gilt bronze commode France, Paris, c. 1753-1756 Oak frame, Chinese lacquer veneer, gilt bronze, green marble Campan top. 80.5 x 109.0 x 50.0 cm Louvre Abu Dhabi, Abu Dhabi LAD 2015.035 © Louvre Abu Dhabi / Thierry Ollivier

Bronze Oba head Kingdom of Benin (current Nigeria), 1st half of 19th Bronze 51.0 x 34.0 x 31.0 cm Louvre Abu Dhabi, Abu Dhabi LAD 2015.036 © Louvre Abu Dhabi / Thierry Ollivier

Gustave Caillebotte (1848 -1894) Paris, 19 August 1848 - Gennevilliers, 21 February 1894 Game of Bezique Paris, France, 1880 Oil on canvas 148.2 x 190.0 x 11.3 cm (with climatic frame), 125.3 x 165.6 x 3.4 cm (without frame) Louvre Abu Dhabi, Abu Dhabi LAD 2009.036 © Louvre Abu Dhabi / Agence Photo F

Edouard Manet Paris, 1832 - Paris, 1883 The Gypsy Paris, France, 1862-1867 Oil on canvas 116.7 x 81.5 x 11.5 cm, 90.5 x 55.5 x 2.5 cm (without frame) Louvre Abu Dhabi, Abu Dhabi LAD 2009.018.001 © Louvre Abu Dhabi / Thierry Ollivier

51 Paul Gauguin (1848 – 1903) Paris, 1848 - Autona, 1903 Children Wrestling Pont-Aven, France, 1888 Oil on canvas 93.0 x 73.0 cm, 121.0 x 101.2 x 9.5 cm Louvre Abu Dhabi, Abu Dhabi LAD 2010.001 © Louvre Abu Dhabi / Agence Photo F

Osman Hamdy Bey Istanbul-Turquie, 1842 - Istanbul, Turquie, 1910 A Young Emir Studying Istanbul ?, 1878 Oil on canvas 45.5 x 90.0 cm, 73.0 x 118.2 x 13.8 cm Louvre Abu Dhabi, Abu Dhabi LAD 2012.017 © Louvre Abu Dhabi / Agence Photo F

Piet Mondrian Amersfoort, Pays-Bas, 7 mars 1872 - New York, Etats-Unis, 1 février 1944 Composition with Blue, Red, Yellow and Black Paris, France, 1922 Oil on canvas 91.8 x 62.2 cm, 79.0 x 49.5 cm, 115.4 x 85.4 x 8.6 cm, approx. 27.0 kg Louvre Abu Dhabi, Abu Dhabi LAD 2009.001

Permission must be requested to Mondrian Trust for publication in english distributed in the US or worldwide and on internet: an email can be sent to [email protected] with details about the nature and the purpose of the reproduction (measures, number of copies, context of distribution: educationnal, advertisement, or merchandising etc.)

© Louvre Abu Dhabi / Thierry Ollivier © 2015 Mondrian / Holtzman Trust

52 René Magritte Lessines, 1898 - Bruxelles, 1967 The Subjugated Reader Le Perreux-sur-Marne, France, 1928 Oil on canvas 92.0 x 73.5 x 2.0 cm, 114.0 x 95.0 x 7.6 cm Louvre Abu Dhabi, Abu Dhabi LAD 2011.005

The artist René Magritte is registered in ADAGP (French perception company): To ask for a copyright clearance, it's necessary to fill a form on the ADAGP website.

© ADAGP, Paris 2016 © Louvre Abu Dhabi / Agence Photo F

Syed Haider Raza Bindu 1986 Acrylic on canvas 120.4 x 120.4 x 1.8 cm Louvre Abu Dhabi, Abu Dhabi LAD 2015.047

For publication or reproduction: fill the form on ADAGP website.

© Louvre Abu Dhabi 2016 / Herve Lewandowski © 1986 Syed Haider Raza

Cy Twombly Lexington, Virginie, 1928 - Rome, 2011 Untitled (I-IX) Artist's studio, Italy, 2008 Acrylic on canvas 274.0 x 146.0 cm (panel I), 272.0 x 145.0 cm (panel II), 265.0 x 144.5 cm (panel III), 272.0 x 145.0 cm (panel IV), 261.5 x 144.5 cm (panel V), 266.2 x 145.0 cm (panel VI), 270.0 x 145.0 cm (panel VII), 267.0 x 145.0 cm (pannel VIII), 267.0 x 145.0 cm (pannel IX) Louvre Abu Dhabi, Abu Dhabi LAD 2010.012

The permission must be requested to the Cy Twombly Foundation for the reproduction or exhibition. An e-mail can be sent to Nicola Del Roscio ([email protected]) with details about the nature and the purpose of the reproduction (measures, number of copies, context of distribution: educationnal, advertisement, or merchandising etc.)

© Louvre Abu Dhabi / Agence Photo F © Cy Twombly Foundation

53 Architectural Images Image Sheet

Image Caption Louvre Abu Dhabi’s exterior © Louvre Abu Dhabi, Photography: Mohamed Somji

Louvre Abu Dhabi’s ‘rain of light’ © Louvre Abu Dhabi, Photography: Mohamed Somji

Louvre Abu Dhabi’s plaza © Louvre Abu Dhabi, Photography: Mohamed Somji

View overlooking the sea © Louvre Abu Dhabi, Photography: Mohamed Somji

Louvre Abu Dhabi’s exterior with Abu Dhabi’s skyline (night) © Louvre Abu Dhabi, Photography: Mohamed Somji

54