What's going on at the Louvre?
Plus a conversation about the Paris art scene with a French art-historian and culture journalist
Four months after the jewel heist of the century, Louvre president Laurence des Cars resigned this week. The stolen jewels and security failings weren’t the only crises she was mired in during her five-year tenture: There have been accusations of budget mismanagement, and internal tensions with staff and trade unions leading to strikes that forced the museum to close four times since mid-December resulting in more than €2 million in losses. To make matters worse, two weeks ago, nine individuals were arrested in connection with a €10 million ticketing fraud scheme that investigators uncovered. Another potential casualty in all this? The multi billion euro Louvre refurbishment project announced by President Macron in early 2025, due to shaky finances and cultural objections.
In many countries, scaling back a building project would register as little more than a scratch for a leader. In France, however, where presidents have long viewed these grand projects as crowning achievements — and where having an “edifice complex” is a feature rather than a bug — losing the Louvre project could sting.
Raising the hundreds of millions of euros needed to pay for it will be a stretch, critics said. The museum recently postponed a meeting to choose the winner of an architectural competition for the project.
Several experts said that Mr. Macron may have to make do with a cheaper, more utilitarian renovation of the ancient building’s corroded pipes and weakened structural beams. Though still costly, the Louvre could finance that lesser sum with the fees it generates from licensing its brand to a Louvre outpost in Abu Dhabi, the capital of the United Arab Emirates.
— Mark Landler, The New York Times
It’s an unfortunate but not altogether unexpected outcome for Des Cars who, while a divisive figure, has been recognized as a brilliant heritage curator. It’s also unfortunate for art lovers who find one of the world’s most important and spectacular museums weighed down by wear and controversy.
The news relates to a conversation I had with the French art historian and culture journalist Maïa Morgensztern on my podcast this week. What does the Paris art scene do right? How has it changed since Brexit shifted attention and investment? And how does the art scene in London, where she is based, differ structurally? Since we recorded before the latest Louvre ordeal, I asked her for comment, here:
“The Louvre is a state museum, and this departure is certainly a desire for renewal, but above all a strong political gesture. Laurence des Cars had already raised the alarm about these issues, but she was somewhat caught between the unions and the resources provided by the state. This brings us back to the debate about whether it is better to be managed with public or private money, which do not have exactly the same missions or priorities.”
Listen to our conversation below!
Ps. Security must really still be an issue at the Louvre if activists could hang this arrest photo of ex Prince Andrew.
+ For more Louvre drama, check out this piece from Millefeuille.
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Lindsey, what an incredibly spirited and cheerful podcast featuring Maiia Morgansztern.
As a dancer (though not currently performing), I have a strong interest in the arts and their accessibility, as well as their significance in society. The conversation surrounding the funding of the arts—whether through private, corporate, or state means—is extensive and complex, making it a challenging issue to address. You are right in noting that affluent private individuals and corporations often exploit tax benefits for their own gain. If I interpreted Maiia correctly, funds are funds, and any financial support for the arts is beneficial, especially for initiatives that would otherwise lack funding. In my previous role in corporate HR, our organization had a charitable mission to contribute $250,000 annually to various non-profits, distributing $25,000 to each entity. And we ask for no recognition in return.
Determining how to finance the arts, museums, and similar institutions is perpetually a task of engineering.
Thank you for this Podcast segment.