Louvre Atlanta

Atlanta's High Museum has entered into an unprecedented agreement with the Louvre in Paris, under which the High gets to exhibit some "treasures" from the Louvre. Apparently, the curator of the High and the curator of the Louvre are old friends, and when both took on their respective positions, they struck an agreement.

I went to Atlanta last Thursday and saw the first such exhibit, which is called the Royal Collections. The High has devoted two floors to the borrowed art - the lower level houses some "gems" from the drawings collection, and the upper level has some art works collected primarily by the last three Louis.

I must admit to some disappointment in the exhibit. First, it being the week after Christmas and schools being out, the exhibit was packed - to the point that I believe it was way oversold. The line crept through the drawings exhibit, so much so that we skipped them and went up to the second floor. This part held works of much more interest to me (for me, the drawings always seem to be torn out of some obscure artist's sketch book, meant to be discarded as too rough yet saved by some well- meaning soul!). There were several recognizable pieces here - works by Raphael, Rembrandt, Murillo.


This work by Rembrandt is called "St. Matthew and the Angel," and it shows Matthew getting some divine inspiration as he writes his gospel. I really like this piece - the whispy angel gently whispering in the Gospel writer's ear. Lovely.

I also love this one by Raphael. (Raphael is a real favorite of mine - I think because he died on my birthday - although a different year!). This is a portrait of writer Baldessare Castiglione. Castiglione (no relation to Red Sox announce Joe!) authored "The Book of the Courtier" one of the key works of Renaissance Italy. In some ways, both men - Castiglione and Raphael - are the Renaissance ideal - both epitomized that age.
Isn't it great?

I have to admit something - which will undoubtedly peg me as an art snob or something! - but one of the things I've discovered as I've traveled and visited many, many museums: you don't have to look at EVERY SINGLE PIECE! That was my frustration at the High - hoards of people who felt that had to look at everything in the installation. Me, I flitted through the drawings - jumping in when there was a break in the line and looking at a piece here and a piece there. The things I liked, I stood before, long after the audio commentary on the piece had ended. That is how I enjoy art - I've come to know what I like and what I don't, and there's no crime and saying, "Hey, that piece is horrid"! Just ask me about my Dan Flavin experience in London!