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I recently caught up with Sciolino by phone to talk about how she cracked the Louvre’s armor—and fell in love with the museum in the process. An edited transcript of our conversation follows. Vogue: I’ve spent some time with you in Paris, and I often hear you use the word partage. Can you define that word and explain how it typifies your approach to stories—and how you brought that approach to this book on the Louvre? Elaine Sciolino: Partage means sharing, but it also means being curious—curious about the other, no matter who the other is. It could be somebody sitting next to you on an airplane, a little kid in a museum, or someone you’re having a meal with. It first really hit me on this project when I brought the Louvre’s curator of paintings to have lunch at Guy Savoy. Even though Guy is considered by some to be the greatest chef in the world, he’s incredibly down-to-earth. One of his signature dishes, perhaps the signature dish, is an artichoke soup with truffles and butter brioche. Before we ate the soup we looked at Chardin’s painting of a brioche. And Guy said, “That brioche is burnt!” Poor Sébastien Allard, the head curator of paintings, got this horrified look on his face at the idea that Chardin, the master of the perfect still life, would have burnt brioche in his painting. But it sparked a beautiful exchange between the two of them. Guy isn’t an art expert and Sébastien isn’t a foodie, yet they connected over this painting. That’s partage, the ability to create common ground. And it’s that creation of common ground that you always want to achieve, no matter what the conflict, tension, or challenge is. That, to me, is the key to journalism, and it’s the key to life.Official 3 Territories 10 Provinces 1 Amazing Country Canada Map Shirt
Right. And those shared moments of discovery connected to art happen over and over again in this book. I think the accumulated effect is that you manage to humanize a museum that is usually described as elitist, overwhelming, unwelcoming. Was that your intention when you set out? Right from the beginning, that is exactly what I tried to do, to treat the Louvre as this living, breathing character, not just a collection of stones that was a fortress, then a palace, and then a museum that has undergone 20-some renovations over the centuries and is still impossible to master. I mean, if you can believe it, I just got lost in the Louvre the other day. Here I am, I’ve written this book on the Louvre, giving my husband’s cousin Wayne a tour of the museum, and I got completely lost for at least 20 minutes. It’s a frustrating place.
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