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And a frustrating place to try to report on. My understanding is that the museum did not exactly welcome you with open arms. The Louvre was the most bureaucratic, toughest institution I have ever faced in France. When I started out, they circulated a confidential document that said cooperating with me on the book could be a “risk.” It banned all officials from talking to me unless they had received prior authorization. They also made sure a designated person—my Louvre “minder”—would follow me around the museum. I’m somebody who had the cell phone number of the head of the DGSE, the French CIA. I’ve interviewed four French presidents and this is what I faced in the Louvre. I had friends saying to me, “Drop the project.” I had one diplomat friend, a very senior ex-ambassador, say, “The Louvre is worse than North Korea.” Another person who had been the head of a very important French cultural institution told me, “Why don’t you do Versailles instead?”Nice No Reality He Lost And Youre In A Cult Shirt
Your book is not at all a travel guide, and yet there are many moments when you offer practical advice or show by example how somebody can have a more intimate experience with the Louvre. One of the most fascinating to me was the story about the Consultation Room of the Graphic Arts Department, this little jewel box where, in theory, anyone can handle masterworks on paper by Leonardo, Raphael, Ingres—provided they know how to get there. It’s truly magical if you manage to get in. You choose original works you want to see, hold them up close in this quiet, library-like space. It’s a totally different Louvre that almost no one knows about. As fascinated as you are by this institution, there are obviously lots of things about it that you don’t like or think can be improved—and you say as much. At the top of your wish list is putting Mona Lisa in a gallery of her own, something that now appears to be happening. What do you think about that? Oh, you’ve got to get that painting out of that room! First of all, she’s got the wrong neighbors. She’s this Florentine beauty, done in all these subtle colors, and she’s surrounded by all these gaudy Venetian neighbors. And some of them are huge. I mean, The Wedding Feast at Cana is the biggest painting in the whole museum, and it’s just opposite her. She’s this tiny little thing, 20 inches by 30 inches, facing this painting the size of a small Paris apartment. It just doesn’t match up. She can’t really talk to it. There’s no partage!
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