The portrait of Lisa Gherardiniwife of Francesco del Giocondo, better known as The Mona Lisa or Mona Lisa, is the quintessential attraction of the Louvre Museum in Paris (France). Every year, millions of tourists come to the French museum to see the most famous painting in the world, the work of Leonardo da Vinci.
A coveted work that has suffered various attacks throughout its history. In fact, this piece was stolen in 1911 at the hands of the Italian thief Vincenzo Peruggia. Two years after his theft, In December 1913, he recovered after the capture of Peruggia, whose sole purpose was to return the work to Italy, its place of origin.
Regarding the attacks on the work, in May 2022, one of the visitors to the Louvre launched a cake against the glass that protects the canvas. An event that forced the police authorities to intervene immediately to arrest the attacker. Without going any further, last January, two climate activists threw soup against the protection. They did it under the premise of promote “the right to healthy and sustainable food”.
To these events are added the complaints made by visitors due to the difficulty in appreciating the work in a few seconds and in a very small space, due to the crowding that occurs. The museum director, Laurence des Cars, understood the dissatisfaction with this last situation. “We feel like we’re not doing our job properly.”
Likewise, the museum director described the work as “the most disappointing in the world”. The reason for this description is due to the fact that it is a brief experience to contemplate the painting, after standing in a long line to see the painting. “Our visitors’ experience is not up to par”.
Moved to the basement of the museum
For this reason, the management of the Louvre chose to remove the work from its current location, and move it to a much larger room located in the basement of the museum. With this move, the museum claimed that the work could be viewed more comfortably, and could even gain “a certain splendor.”
According to what the chief curator of 16th-century Italian painting, Vincent Delieuvin, told Le Figaro, it had been thought “for a long time”. He stated that Leonardo da Vinci’s intention was to “establish a face-to-face relationship between the painting and the person who contemplated it.”
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