The Louvre Quick Itinerary
Overview
This quick Itinerary will get you in and out of the Louvre in under an hour while still taking in the most important Baroque paintings and some bonus works.
Before you go
Ensure your desired galleries are open by checking the Louvre website.
To search for Caravaggio use the term “Caravage”
To search for Caracci use the term “Carrache”
Buy your tickets for as early in the day as possible.
Itinerary
The Entrance
Arrive at the Pyramid entrance near your scheduled entrance time. They will have separate lines for the various times of day, so be sure to find the correct line. Security will check your bags as your enter and take the escalators down to level -2. Once you are on level -2 you can pick which wing of the museum you’d like to enter. Find the “DENON ENTRANCE” and get in line where they will scan your tickets and you will take an escalator back up to level 0.
Love and Psyche (c.1793) Canova
Immediately on the left when you enter the “Sculptures/ Europe “ room 403, we find our first piece on the itinerary. This first stop is a bonus as Canova is not a Baroque artist but he drew heavily from Baroque themes. His sculpture, “Love and Psyche” (c.1793) is absolutely breathtaking.
As you observe Canova's "Love and Psyche," consider the delicate touch between Cupid and Psyche. Notice how Canova masterfully captures the warmth and tenderness of their embrace, bringing the marble to life.
Pay attention to the contrast between the smooth, ethereal quality of Psyche's skin and the rough texture of the rock beneath her. This contrast highlights the fragility of life and the fleeting nature of beauty.
Finally, recall the myth of Cupid and Psyche. This sculpture depicts the moment of Psyche's revival through Cupid's kiss. Reflect on how Canova visually represents this pivotal moment, capturing the intensity of their love and the power of redemption.
Fun Fact - This piece is praised for its innovative use of light and shadow. Notice how the light seems to caress the figures, emphasizing their delicate forms and creating a sense of ethereal beauty. This masterful use of light and shadow was a significant departure from traditional Neoclassical sculpture and helped to establish Canova's reputation as a revolutionary artist.
Continue through the large sculpture gallery until you reach the grand staircase. Take the left staircase and enter room 715 on your right. While this room showcases English and American artists, it's not our main destination. Walk straight through this room and you'll find our first Baroque masterpiece against the back wall of the next gallery.
Fortune Teller (c.1596) Caravaggio
As you admire Caravaggio's "Fortune Teller," (c.1596) pay close attention to the dramatic interplay of light and shadow. Caravaggio masterfully uses light to highlight the faces of the two figures, creating a sense of intimacy and intrigue.
Next, take a closer look at the woman's hands. She's subtly stealing the man's ring, a moment captured with incredible detail and realism.
Finally, appreciate the overall realism of the painting. The attention to detail in the clothing, facial expressions, and the overall scene creates a sense of authenticity, as if we're witnessing a real-life moment.
Fun Fact - Caravaggio actually painted two versions of this work! The Louvre's version is the second one he created, and it's generally considered to be the more refined and masterful of the two. The first version, which is less dramatic and less detailed, was sold for a mere eight scudi, highlighting Caravaggio's financial struggles during that period.
Continue to the right, away from hordes of people surrounding the DaVincis and you will find our next stop.
Portrait of Alof de Wignacourt and his Page (c.1607) Caravaggio
Caravaggio painted “Portrait of Alof de Wignacourt and his Page” (c.1607) upon arriving in Malta. It is thought that he painted this portrait of the Grand Master of the Order of Malta as a way of gaining entrance to the Order, which would be a step towards gaining a Papal pardon for the murder of Ranuccio Tomassoni in Rome a year earlier.
As you observe this painting, consider the dynamic between the Grand Master and his page. How do their body language, clothing, and placement within the painting reflect their social positions?
Pay close attention to the page's expression. What emotions does he seem to convey? Is he respectful, curious, or perhaps even a bit bored?
Finally, contemplate the significance of the armor in the painting. What does it symbolize about the Grand Master's role, power, and the Knights of Malta?
Fun Fact - The armor that Grand Master Wingacourt is wearing was from the 1560s. It is thought that Wingacourt chose to wear the older armor to recall his involvement in the defense of Malta from the Turks in 1565.
Continuing to the right is our final Caravaggio.
The Death of the Virgin (c.1606) Caravaggio
“The Death of the Virgin” (c.1606) is a massive painting and may have been Caravaggio's last painting executed in Rome before he fled. The painting was intended as an altarpiece for Santa Maria della Scala, but was rejected on the grounds that Mary is depicted as being dead and not in the process of being assumed into heaven.
While observing Caravaggio's "Death of the Virgin," consider the unconventional depiction of the Virgin Mary's death. Note the stark realism, the lack of divine radiance, and the emphasis on her physicality.
The painting is filled with raw emotion. Observe the expressions of the mourners, their grief palpable and unfiltered.
Despite the somber subject matter, Caravaggio uses a striking palette of reds and oranges. How does this vibrant color contrast with the somber scene and the muted tones of the figures?
Fun Fact - After the church rejected the painting, it was purchased by the Duke of Mantua. The Duke was advised by his court painter; the Baroque hero, Peter Paul Rubens.
After you finish with the Caravaggios, turn around to find Caracci’s masterpiece on the opposite wall.
The Virgin Appearing to St Luke and St Catherine (c.1592) Caracci
“The Virgin Appearing to St Luke and St Catherine” (c.1592) by Annibale Caracci shows the Virgin Mary with baby Jesus appearing to St. Luke (with scroll and palette) and St. Catherine (with martyr palm and broken wheel).
Caracci's painting adheres to classical ideals of beauty and proportion. The figures are perfectly formed and serene, reflecting the influence of Renaissance art. Compare this to Caravaggio's more realistic portrayals in the Death of the Virgin.
While both artists employ chiaroscuro, Caracci's use of light is more subdued and evenly distributed. Caravaggio, on the other hand, uses dramatic, theatrical lighting to highlight specific areas of the painting.
Caracci's painting evokes a sense of calm and devotion. Caravaggio's works, in contrast, often provoke a more intense emotional response, whether it be shock, awe, or pity.
When you are finished, turn around and head back toward the crowds by the DaVinci paintings, turn left into room 711 to see the Mona Lisa. She’s in the middle of the room against a black background, you can’t miss her.
Mona Lisa (c. 1519) DaVinci
When observing “Mona Lisa” by DaVinci (c. 1519) Consider the subtle changes in her expression as you move around the painting as best you can. Does her smile seem to shift, or is it merely an illusion created by the interplay of light and shadow?
Examine the delicate details of her clothing and jewelry. Notice the intricate folds of her dress and the subtle sheen of her veil. These details reveal Leonardo da Vinci's meticulous attention to realism and his mastery of the human form. Caravaggio and Caracci undoubtedly were inspired by DaVinci’s work.
Finally, observe the atmospheric landscape that stretches out behind the Mona Lisa. The distant mountains and winding river create a sense of depth and mystery. How does this landscape contribute to the overall mood of the painting?
Fun Fact - The painting was commissioned in 1503 but not delivered to the client before DaVinci’s death in 1519, many scholars believe that the painting is unfinished.
When you leave the Mona Lisa, turn right and walk through rooms 701 (French) and 702 (Neoclassicism), there are some very large scale paintings in these rooms where it is easy to see the Baroque influence.
Continue through 702 until you reach the staircase. On the other side of the staircase you will find “Winged Victory of Samothrace”.
Winged Victory of Samothrace
This masterpiece of Greek sculpture is over 2,200 years old! It is one of few remaining sculptures from the time period.
As you gaze upon the Winged Victory of Samothrace, notice the powerful and dynamic pose of the figure. The way she seems to be caught in mid-flight, descending upon the prow of a ship, is both graceful and forceful.
Pay attention to the drapery of her clothing, which flows and billows as if caught in a strong wind. This sense of movement adds to the overall dynamism of the sculpture.
The sculpture is missing its head, arms, and feet. How does this incompleteness affect your perception of the figure? Does it add to the sense of mystery and power, or does it detract from the overall impact?
Now turn right and head into room 709 where you will find many old 15th and 16th century Christian paintings of Madonna and Child as well as St. John the Baptist. When you reach the crowds of people you will be near the other famous DaVinci paintings on the left side of the room. As you continue, you will see the “Fourtune Teller” on your left and take one more opportunity to observe the three Caravaggios as well as the Caracci. Be sure to take time to observe the paintings from various angles as the glare from the lighting and the sun can definitely make viewing the painting straight on difficult.
This concludes our quick visit to the Louvre, head out through room 715 (British and US) and turn left to find the staircase down to the European Sculpture room 403 and the final escalator down to the -2 floor to exit the museum.
Please let us know what you think in the comments below!
