AZIZ ART November 17
Damien Hirst
Saad Yagan
Louvre Abu Dhabi Competition
1-Damien Hirst 14-Competition 15-Saad yagan 17-Competition 19-Louvre Abu Dhabi
Director: Aziz Anzabi Editor : Nafiseh Yaghoubi Translator : Asra Yaghoubi Research: Zohreh Nazari
http://www.aziz_anzabi.com
Damien Steven Hirst Born 7 June 1965 is an English artist, entrepreneur, and art collector. He is the most prominent member of the group known as the Young British Artists , who dominated the art scene in the UK during the 1990s. He is internationally renowned, and is reportedly the United Kingdom's richest living artist, with his wealth valued at £215M in the 2010 Sunday Times Rich List. During the 1990s his career was closely linked with the collector Charles Saatchi, but increasing frictions came to a head in 2003 and the relationship ended. Death is a central theme in Hirst's works. He became famous for a series of artworks in which dead animals (including a shark, a sheep and a cow) are preserved—sometimes having been dissected—in formaldehyde. The best known of these was The Physical Impossibility of Death in the Mind of Someone Living, a 14foot (4.3 m) tiger shark immersed in formaldehyde in a vitrine (clear display case). He has also made
"spin paintings," created on a spinning circular surface, and "spot paintings", which are rows of randomly coloured circles created by his assistants. In September 2008, he took an unprecedented move for a living artist by selling a complete show, Beautiful Inside My Head Forever, at Sotheby's by auction and bypassing his long-standing galleries.The auction exceeded all predictions, raising £111 million ($198 million), breaking the record for a one-artist auction as well as Hirst's own record with £10.3 million for The Golden Calf, an animal with 18-carat gold horns and hooves, preserved in formaldehyde. In several instances since 1999, Hirst's works have been challenged and contested as plagiarised, both in written articles by journalists and artists, and, in one instance, through legal proceedings which led to an out-of-court settlement.
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Early life and training Hirst was born Damien Steven Brennan in Bristol and grew up in Leeds. He never met his father, with his mother marrying his stepfather when he was 2 and divorcing 10 years later. His stepfather was reportedly a motor mechanic.Hirst's mother who was from an Irish Catholic background worked for the Citizens Advice Bureau, and has stated that she #lost control of her son when he was young.He was arrested on two occasions for shoplifting. However, Hirst sees her as someone who would not tolerate rebellion: she cut up his bondage trousers and heated one of his Sex Pistols vinyl records on the cooker to turn it into a fruit bow. He says, "If she didn't like how I was dressed, she would quickly take me away from the bus stop." She did, though, encourage his liking for drawing, which was his only successful educational subject. His art teacher at Allerton Grange School "pleaded" for Hirst to be allowed to enter the sixth form,where he took two A-levels, achieving an "E" grade in art.He
was refused admission to Jacob Kramer School of Art when he first applied, but attended the college after a subsequent successful application to the Foundation Diploma course. He went to an exhibition of work by Francis Davison, staged by Julian Spalding at the Hayward Gallery in 1983.Davison created abstract collages from torn and cut coloured paper which, Hirst said, "blew me away", and which he modelled his own work on for the next two years. He worked for two years on London building sites, then studied Fine Art at Goldsmiths, University of London (1986–89),although again he was refused a place the first time he applied. In 2007, Hirst was quoted as saying of An Oak Tree by Goldsmiths' senior tutor, Michael Craig-Martin: "That piece is, I think, the greatest piece of conceptual sculpture. I still can't get it out of my head." While a student, Hirst had a placement at a mortuary, an experience that influenced his later themes and materials.
Early career—student and warehouse shows Main article: Freeze (art exhibition) In July 1988, in his second year at Goldsmiths College, Hirst was the main organiser of an independent student exhibition, Freeze, in a disused London Port Authority administrative block in London's Docklands. He gained sponsorship from the London Docklands Development Corporation. The show was visited by Charles Saatchi, Norman Rosenthal and
New Contemporaries show and in a group show at Kettles Yard Gallery in Cambridge. Seeking a gallery dealer, he first approached Karsten Schubert, but was turned down.
In 1990 Hirst, along with his friend Carl Freedman and Billee Sellman, curated two enterprising "warehouse" shows, Modern Medicine and Gambler, in a Bermondsey former Peek Freans biscuit factory they designated "Building One". Saatchi arrived at the second show in a green Rolls Royce and, according to Freedman, stood open-mouthed with astonishment in front of (and then bought) Hirst's first major "animal" installation, A Thousand Years, consisting of a large glass case containing maggots and flies feeding on a rotting cow's head.They also staged Michael Landy's Market.At this time, Hirst said, "I can’t wait to get into a Nicholas Serota, thanks to the position to make really bad art and influence of his Goldsmiths lecturer get away with it. At the moment if I Michael Craig-Martin. Hirst's own did certain things people would contribution to the show consisted look at it, consider it and then say 'f of a cluster of cardboard boxes off'. But after a while you can get painted with household paint. After away with things. graduating, Hirst was included in
Professional career Paris.[citation needed] The 1987–1990 Serpentine Gallery presented the 1987 – Damien Hirst and Holden first survey of the new generation Rowan, Old Court Gallery, Windsor of artists with the exhibition Broken Arts Centre, Windsor, UK – Curator English, in part curated by Hirst.At Derek Culley this time Hirst met the up-and1988 – Damien Hirst: coming art dealer, Jay Jopling, who Constructions and Sculpture, Old then represented him. Court Gallery, Windsor, UK -Curator Derek Culley In 1991, Charles Saatchi had 1988 – Freeze, Surrey Docks, offered to fund whatever artwork London, UK Hirst wanted to make, and the 1989 – New Contemporaries, result was showcased in 1992 in Institute of Contemporary Arts, the first Young British Artists London, UK exhibition at the Saatchi Gallery in 1990 – Modern Medicine, Building North London. Hirst's work was One, London, UK titled The Physical Impossibility of 1990 – Gambler, Building One, Death in the Mind of Someone London, UK Living and was a shark in 1990 – Building One, Emmanuel formaldehyde in a vitrine, and sold Perrotin Gallery, Paris, FR for £50,000. The shark had been 1991–1994 caught by a commissioned In 1991 his first solo exhibition, fisherman in Australia and had cost organised by Tamara Chodzko – £6,000.The exhibition also included Dial, In and Out of Love, In a Thousand Years. As a result of was held in an unused shop on the show, Hirst was nominated for Woodstock Street in central that year's Turner Prize, but it was London he also had solo awarded to Grenville Davey. exhibitions at the Institute of Contemporary Arts and the Emmanuel Perrotin Gallery in
Hirst's first major international presentation was in the Venice Biennale in 1993 with the work, Mother and Child Divided, a cow and a calf cut into sections and exhibited in a series of separate vitrines. He curated the show Some Went Mad, Some Ran Away in 1994 at the Serpentine Gallery in London, where he exhibited Away from the Flock (a sheep in a tank of formaldehyde). On 9 May, Mark Bridger, a 35-yearold artist from Oxford, walked into the gallery and poured black ink into the tank, and retitled the work Black Sheep. He was subsequently prosecuted, at Hirst's wish, and was given two years' probation. The sculpture was restored at a cost of £1,000. When a photograph of Away from the Flock was reproduced in the 1997 book by Hirst I want to spend the rest of my life everywhere, with everyone, one-to-one, always, forever, now, the vandalism was referenced by allowing the tank to be obscured by pulling a card, reproducing the effect of ink being poured into the tank; this resulted in Hirst being sued by Bridger for violating his copyright on Black
Sheep. 1995–1999 In 1995, Hirst won the Turner Prize. New York public health officials banned Two Fucking and Two Watching featuring a rotting cow and bull, because of fears of "vomiting among the visitors". There were solo shows in Seoul, London and Salzburg. He directed the video for the song "Country House" for the band Blur. No Sense of Absolute Corruption, his first solo show in the Gagosian Gallery in New York was staged the following year. In London the short film, Hanging Around, was shown— written and directed by Hirst and starring Eddie Izzard. In 1997 the Sensation exhibition opened at the Royal Academy in London. A Thousand Years and other works by Hirst were included, but the main controversy occurred over other artists' works. It was nevertheless seen as the formal acceptance of the YBAs into the establishment. In 1997, his autobiography and art book, I Want To Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now, was published.
With Alex James of the band Blur York, Larry Gagosian held the Hirst and actor Keith Allen, he formed show, Damien Hirst: Models, the band Fat Les, achieving a Methods, Approaches, number 2 hit with a raucous Assumptions, Results and Findings. football-themed song Vindaloo, 100,000 people visited the show in followed up by Jerusalem with the 12 weeks and all the work was sold. London Gay Men's Chorus. On 10 September 2002, on the eve Hirst also painted a simple of the first anniversary of the 9/11 colour pattern for the Beagle 2 World Trade Center attacks, Hirst probe. This pattern was to be said in an interview with BBC News used to calibrate the probe's Online: cameras after it had landed on Mars. He turned down the British Council's invitation to be the UK's The thing about 9/11 is that it's representative at the 1999 Venice kind of like an artwork in its own Biennale because "it didn't feel right. It was wicked, but it was right".He threatened to sue British devised in this way for this kind of Airways claiming a breach of impact. It was devised visually... copyright over an advert design You've got to hand it to them on with coloured spots for its low some level because they've budget airline, Go. achieved something which nobody 2000–2004 would have ever have thought In 2000, Hirst's sculpture Hymn possible, especially to a country as (which Saatchi had bought for a big as America. So on one level they reported £1m) was given pole kind of need congratulating, which position at the show Ant Noises a lot of people shy away from, (an anagram of "sensation") which is a very dangerous thing." in the Saatchi Gallery. Hirst was The next week, following public then sued himself for breach of outrage at his remarks, he issued a copyright over this sculpture. statement through his company, Hirst sold three more copies of Science Ltd: his sculpture for similar amounts to the first.In September 2000, in New
"I apologise unreservedly for any upset I have caused, particularly to the families of the victims of the events on that terrible day." Hirst gave up smoking and drinking in 2002, although the short-term result was that his wife Maia "had to move out because I was so horrible." He had met Joe Strummer (former lead singer of The Clash) at Glastonbury in 1995, becoming good friends and going on annual family holidays with him. Just before Christmas 2002, Strummer died of a heart attack. This had a profound effect on Hirst, who said, "It was the first time I felt mortal." He subsequently devoted a lot of time to founding a charity, Strummerville, to help young musicians.
He was angry that a Mini car that he had decorated for charity with his trademark spots was being exhibited as a serious artwork. The show also scuppered a prospective Hirst retrospective at Tate Modern.He said Saatchi was "childish" and "I'm not Charles Saatchi's barrel-organ monkey ... He only recognises art with his wallet ... he believes he can affect art values with buying power, and he still believes he can do it."
In September 2003, he had an exhibition Romance in the Age of Uncertainty at Jay Jopling's White Cube gallery in London, which made him a reported £11m,bringing his wealth to over £35m. It was reported that a sculpture, Charity, had been sold for £1.5m to a Korean, Kim ChangIn April 2003, the Saatchi Gallery Il, who intended to exhibit it in his opened at new premises in department store's gallery in County Hall, London, with a show Seoul.The 22-foot (6.7m), 6-ton that included a Hirst retrospective. sculpture was based on the 1960s This brought a developing strain in Spastic Society's model, which is of his relationship with Saatchi to a a girl in leg irons holding a head. Hirst disassociated himself collecting box. In Hirst's version the from the retrospective to the collecting box is shown broken open and is empty. extent of not including it in his CV.
Charity was exhibited in the centre of Hoxton Square, in front of the White Cube. Inside the gallery downstairs were 12 vitrines representing Jesus's disciples, each case containing mostly gruesome, often blood-stained, items relevant to the particular disciple. At the end was an empty vitrine, representing Christ. Upstairs were four small glass cases, each containing a cow's head stuck with scissors and knives. It has been described as an "extraordinarily spiritual experience" in the tradition of Catholic imagery. At this time Hirst bought back 12 works from Saatchi (a third of Saatchi's holdings of Hirst's early works), through Jay Jopling, reportedly for more than £8 million. Hirst had sold these pieces to Saatchi in the early 1990s for rather less, his first installations costing under £10,000. On 24 May 2004, a fire in the Momart storage warehouse destroyed many works from the Saatchi collection, including 17 of Hirst's, although the sculpture Charity survived, as it was outside in the builder's yard. That July,
Hirst said of Saatchi, "I respect Charles. There's not really a feud. If I see him, we speak, but we were never really drinking buddies." Hirst designed a cover image for the Band Aid 20 charity single featuring the "Grim Reaper" in late 2004, and image showing an African child perched on his knee.[cThis design was not to the liking of the record company executives, and was replaced by reindeer in the snow standing next to a child. In December 2004, The Physical Impossibility of Death in the Mind of Someone Living was sold by Saatchi to American collector Steve Cohen, for $12 million (£6.5 million), in a deal negotiated by Hirst's New York agent, Gagosian.Cohen, a Greenwich hedge fund manager, then donated the work to The Metropolitan Museum of Art, New York. Sir Nicholas Serota had wanted to acquire it for the Tate Gallery, and Hugo Swire, Shadow Minister for the Arts, tabled a question to ask if the government would ensure it stayed in the country.Current export regulations do not apply to living artists.
2005–2009 Hirst exhibited 30 paintings at the Gagosian Gallery in New York in March 2005. These had taken 3½ years to complete. They were closely based on photos, mostly by assistants (who were rotated between paintings) but with a final finish by Hirst. In February 2006, he opened a major show in Mexico, at the Hilario Galguera Gallery, called The Death of God, Towards a Better Understanding of Life without God aboard The Ship of Fools, an exhibition that attracted considerable media coverage as Hirst's first show in Latin America.In June that year, he exhibited alongside the work of Francis Bacon (Triptychs) at the Gagosian Gallery, Britannia Street, London, an exhibition that included the vitrine, A Thousand Years (1990), and four triptychs: paintings, medicine cabinets and a new formaldehyde work entitled The Tranquility of Solitude (For George Dyer), influenced by Bacon. For the Love of God by Damien Hirst (2007)
A Thousand Years (2006)[verification needed] one of Hirst's most provocative and engaging works,[according to whom?] contains an actual life cycle. Maggots hatch inside a white minimal box, turn into flies, then feed on a bloody, severed cow's head on the floor of a claustrophobic glass vitrine. Above, hatched flies buzz around in the closed space. Many meet a violent end in an insect-o-cutor; others survive to continue the cycle.A Thousand Years was admired by Bacon, who in a letter to a friend a month before he died, wrote about the experience of seeing the work at the Saatchi Gallery in London.[citation needed] Margarita Coppack notes that "It is as if Bacon, a painter with no direct heir in that medium, was handing the baton on to a new generation."[this quote needs a citation] Hirst has openly acknowledged his debt to Bacon,[citation needed] absorbing the painter's visceral images and obsessions early on and giving them concrete existence in sculptural form with works like A Thousand Years.
Hirst gained the European record for the most expensive work of art by a living artist—his Lullaby Spring in June 2007, when a 3-metre-wide steel cabinet with 6,136 pills sold for 19.2 million dollars to Sheikh Hamad bin Khalifa Al-Thani, the Emir of Qatar. In June 2007, Beyond Belief, an exhibition of Hirst's new work, opened at the White Cube gallery in London. The centre-piece, a Memento Mori titled For the Love of God, was a human skull recreated in platinum and adorned with 8,601 diamonds weighing a total of 1,106.18 carats. Approximately £15,000,000 worth of diamonds were used. It was modelled on an 18th-century skull, but the only surviving human part of the original is the teeth. The asking price for For the Love of God was £50,000,000 ($100 million or 75 million euros). It didn't sell outright, and on 30 August 2008 was sold to a consortium that included Hirst himself and his gallery White Cube. In November 2008, the skull was exhibited at the Rijksmuseum in Amsterdam next to an exhibition
of paintings from the museum collection selected by Hirst. Wim Pijbes, the museum director, said of the exhibition, "It boosts our image. Of course, we do the Old Masters but we are not a 'yesterday institution'. It's for now. And Damien Hirst shows this in a very strong way." In December 2008, Hirst contacted the Design and Artists Copyright Society (DACS) demanding action be taken over works containing images of his skull sculpture For the Love of God made by a 16-year-old graffiti artist, Cartrain, and sold on the internet gallery 100artworks.com. On the advice of his gallery, Cartrain handed over the artworks to DACS and forfeited the £200 he had made; he said, "I met Christian Zimmermann who told me Hirst personally ordered action on the matter."In June 2009, copyright lawyer Paul Tackaberry compared the two images and said, "This is fairly non-contentious legally. Ask yourself, what portion of the original–and not just the quantity but also the quality– appears in the new work? If a 'substantial portion' of the 'original' appears in the new work,
then that's all you need for copyright infringement... Quantitatively about 80% of the skull is in the second image." In October 2009, Hirst revealed that he had been painting with his own hand in a style influenced by Francis Bacon for several years. His show of these paintings, No Love Lost, was at the Wallace Collection in London. 2010–2014 Hirst's representation of the British Union Flag formed the arena centrepiece for the 2012 Summer Olympics closing ceremony in London. In January 2013, Hirst became the third British artist to design the Brit Awards statue using his signature NEO-Pop art style inspired by his 2000 LSD "spot painting." In October 2014, Hirst exhibited big scale capsules, pills and medicines at the Paul Stolper Gallery titled: ‘Schizophrenogenesis’
2015–present In April 2016, a study by published in Analytical Methods claimed Hirst's preserved carcasses leaked formaldehyde gas above legal limits at Tate Modern; however, this study was shown to be flawed. In 2017 he organized with Pinault Foundation a solo exhibition, taking place in Venice contemporarily to the Biennale in two places of the city: Palazzo Grassi and Punta della Dogana. The title is Treasures from the Wreck of the Unbelievable, purporting to present ancient treasures from a sunken Greek ship, with findings that range from the Ancient Egyptian-alike items to Disney characters reproductions, incrustated of shells and corals.
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Saad Yagan Born in Aleppo, Syria in 1950, Saad Yagan is a leading contemporary Syrian painter. He studied Painting at the Plastic Arts Center of the Faculty of Fine Arts in Aleppo, graduating in 1964. He held his first solo exhibition at the city’s National Museum in 1969. Yagan is widely known for chronicling the modern-day experiences of Aleppo’s residents and their instinctive attachment to the centuries-old city.
Over the past 50 years, he has produced a vibrant, compelling and expressive body of work. To date, he has exhibited in over 100 shows, at home and abroad. His works are housed in the national museums of Damascus and Aleppo and the Syrian Ministry of Culture. Internationally, his works can be found in: the Musée d’Art Contemporain de Montréal, Canada; the Museum of Modern Art, Belgium; and the Jordan National Gallery of Fine Arts.
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Louvre Abu Dhabi
The Louvre Abu Dhabi is an art and civilization museum, located in Abu Dhabi, UAE. The museum was inaugurated on November 8th 2017. It is part of a thirty-year agreement between the city of Abu Dhabi and the French government. The museum is located on the Saadiyat Island Cultural District. It is approximately 24,000 square metres (260,000 sq ft) in size, with 8,000 square metres (86,000 sq ft) of galleries , making it the largest art museum in the Arabian peninsula. The final cost of the construction is expected to be about €600 million. In addition, US$525 million was paid by Abu Dhabi to be associated with the Louvre name, and an additional $747 million will be paid in exchange for art loans, special exhibitions and management advice. Artwork from around the world are showcased at the museum, with particular focus placed upon bridging the gap between Eastern and Western art. History The establishment of this museum
was approved by the French Parliament on 9 October 2007. The architect for the building will be Jean Nouvel and the engineers are Buro Happold.Jean Nouvel also designed the Institut du Monde Arabe in Paris. The museum will be part of a US$27 billion tourist and cultural development for Saadiyat Island, a complex which is planned to include three other museums, including a Guggenheim Museum[8] and the Zayed National Museum. According to the government sponsored website UAE Interact: "The French Museums Agency will operate in collaboration with the Tourism Development and Investment Company (TDIC), which is behind the transformation of Saadiyat Island. It will be chaired by French financier and member of the country's Académie des Beaux-Arts, Marc Ladreit de Lacharrière, publisher of the periodical Revue des Deux Mondes." Bruno Maquart, the former Executive Director of Centre Georges Pompidou, will take the position of 19 Executive Director.
By choosing the Louvre, the emirate of Abu Dhabi not only sealed a partnership with the world’s most visited and wellknown museum, but selected one which, from its very inception, had a vocation to reach out to the world, to the essence of mankind, through the contemplation of works of art. Jacques Chirac
Architecture A model of the museum's proposed design The interior of the museum, showing the distinctive domed ceiling The interior of the Louvre Abu Dhabi The museum will be designed as a "seemingly floating dome structure"; its web-patterned dome allowing the sun to filter through. Location The overall effect is meant to Saadiyat Island's Cultural District represent "rays of sunlight passing plans to house the largest single through date palm fronds in an cluster of world-class cultural oasis." The total area of the assets. In addition to the Louvre museum will be approximately Abu Dhabi these are intended to 24,000 square metres (260,000 sq include: Zayed National Museum, ft). The permanent collection will to be designed by United Kingdom- occupy 6,000 square metres based architectural company (65,000 sq ft), and the temporary Foster and Partners under the exhibitions will take place over direction of Lord Norman Foster; 2,000 square metres (22,000 sq ft), the Guggenheim Abu Dhabi contemporary arts museum – the Construction world's largest Guggenheim and Construction works at Louvre Abu the only museum to be located in Dhabi officially started on 26 May the Middle East; a performing arts 2009. Mohammed bin Zayed Al centre designed by Zaha Hadid; a Nahyan, the Crown Prince of Abu maritime museum with concept Dhabi and the President of France, design by Tadao Ando and a Nicolas Sarkozy inaugurated an number of arts pavilions. exhibition titled
Talking Art: Louvre Abu Dhabi at the Gallery One of the Emirates Palace Hotel which includes 19 works of art bought over the last 18 months for the Louvre Abu Dhabi, as well as loans from the French national museums to mark the beginning of the construction work. Piling works In Louvre were to be completed by August 2010, with the piling and enabling works package awarded to the German specialized company (Bauer International FZE). The total of 4536 piles consisted of RC Piles and H-Piles and was completed on 3 August 2010. On 29 October 2011, Tourism Development & Investment Company (TDIC.), the project manager owned by the government of Abu Dhabi, announced it would delay establishing the museum. The company gave no new date.According to the UAE newspapers Gulf News and The National, the delay could be explained by a review of the emirate's economic strategy.
In January 2012 it was confirmed that the Louvre Abu Dhabi's new opening date would be 2015. Construction on the main phase of the museum began in early 2013 by a consortium headed by Arabtec, Constructora San JosĂŠ and Oger Abu Dhabi. This stage includes waterproofing and the two basement levels, along with four concrete pillars that will support the 7,000 tonne dome. Work on the construction of the gallery spaces and initial preparation for the dome began in the fourth quarter of 2013. On 5 December 2013, the first element of the museum's canopy was lifted into place. On 17 March 2014 TDIC announced the completion of the first permanent gallery structure to mark the first anniversary of the start of construction. At this time, it was claimed that a total of ten million man hours had been worked and 120,538 cubic meters of concrete used.
On 22 September, the final super- several of these shapes, creating sized element in the canopy was silhouettes and objects. fitted in place, marking a significant milestone in the museum's Collection construction phase. In October, Questions have been raised as to The Tourism & Development the nature of the artworks to be Investment Company announced displayed at the museum. However, that the Louvre Abu Dhabi was according to the National: "the type more than 50 per cent complete. and nature of the exhibits planned for the Louvre Abu Dhabi have Visual identity been affected to no extent by the The three-languages wayfinding fact the new museum would be in a system for the Louvre Abu Dhabi Muslim country, said Mr. Loyrette." was designed by Philippe Apeloig, and is implemented in both Arabic Subjects and themes have been and Roman script. Frutiger LT freely discussed with our partners typeface has been chosen for the in Abu Dhabi and no request to Roman texts for its perfect avoid such subjects has been made. readability for signage; while The exhibition policy will be set up Lebanese typographer Kristyan regarding excellence and highSarkis created an Arabic bespoked standard quality. As a new museum typeface, the LAD Arabic, based on we hope the Louvre Abu Dhabi will the classic Naskh style and his be part of the international Colvert Arabic font. community. The design of the pictograms was inspired by the museum’s architecture, and particularly by the abstract shapes created by the rain of light filtering through the gigantic dome's mashrabiyas. Each pictogram is a combination of
Henri Loyrette It has been noted that the museum will showcase work from multiple French museums, including the Louvre, the Centre Georges Pompidou, the Musée d'Orsay and Palace of Versailles. However, Donnedieu de Vabres, the French Culture Minister, stated at the announcement that the Paris Louvre "would not sell any of its 35,000-piece collection currently on display".
Philibert Girault de Prangey, Roger Fenton and George Wilson Bridges. The museum also acquired a sculpture of a Bactrian princess dating from the third millennium BC, a pavement and fountain set from the early Ottoman period, as well as the paintings Breton Boys Wrestling (1888) by Paul Gauguin and The Subjugated Reader (1928) by René Magritte.
Further details of the museum's collection on opening were It will not be dedicated to revealed in October 2014, with a occidental art but will show all number of important works to be kinds of artistic creations. loaned under the agreement with It will set up a dialogue between Agence France-Muséums and the west and east, between north and Musée du Louvre, including south. As such, art from the Leonardo Da Vinci's La Belle Middle East will be shown within Ferronniere and works by Henri the Louvre Abu Dhabi. Matisse, a self-portrait by Vincent Van Gogh, Jacques-Louis David's Napoleon Crossing the Alps and Henri Loyrette Claude Monet's Gare Saint-Lazare In 2012, the Louvre Abu Dhabi started collecting photography, making its first acquisitions in the field, including works by Joseph-
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