It is located on the Right Bank of the Seine in the city's 1st arrondissement (district or ward) and home to some of the most canonical works of Western art, including the Mona Lisa, Venus de Milo, and Winged Victory.

The Louvre Palace, which houses the museum, was begun by King Philip II in the late 12th century to protect the city from the attack from the West, as the Kingdom of England still held Normandy at the time.

[22][23] In the 7th century, Burgundofara (also known as Saint Fare), abbess in Meaux, is said to have given part of her "Villa called Luvra situated in the region of Paris" to a monastery,[24] even though it is doubtful that this land corresponded exactly to the present site of the Louvre.

[33] The comte d'Angiviller broadened the collection and in 1776 proposed to convert the Grande Galerie of the Louvre – which at that time contained the plans-reliefs or 3D models of key fortified sites in and around France – into the "French Museum".

[32] In 1794, France's revolutionary armies began bringing pieces from Northern Europe, augmented after the Treaty of Tolentino (1797) by works from the Vatican, such as the Laocoön and Apollo Belvedere, to establish the Louvre as a museum and as a "sign of popular sovereignty".

On 19 November 1802, Napoleon appointed Dominique Vivant Denon, a scholar and polymath who had participated in the Egyptian campaign of 1798–1801, as the museum's first director, in preference to alternative contenders such as antiquarian Ennio Quirino Visconti, painter Jacques-Louis David, sculptor Antonio Canova and architects Léon Dufourny or Pierre Fontaine.

[42] The Horses of Saint Mark, which had adorned the basilica of San Marco in Venice after the sack of Constantinople in 1204, were brought to Paris where they were placed atop Napoleon's Arc de Triomphe du Carrousel in 1797.

[41][21]: 69 [45] In 1815 Louis XVIII finally concluded agreements with the Austrian government[46][47] for the keeping of works such as Veronese's Wedding at Cana which was exchanged for a large Le Brun or the repurchase of the Albani collection.

Whereas the most iconic collection remained that of paintings in the Grande Galerie, a number of other initiatives mushroomed in the vast building, named as if they were separate museums even though they were generally managed under the same administrative umbrella.

The Restoration period also saw the opening in 1824 of the Galerie d'Angoulême, a section of largely French sculptures on the ground floor of the Northwestern side of the Cour Carrée, many of whose artefacts came from the Palace of Versailles and from Alexandre Lenoir's Musée des Monuments Français following its closure in 1816.

[50] Following the July Revolution, King Louis Philippe focused his interest on the repurposing of the Palace of Versailles into a Museum of French History conceived as a project of national reconciliation, and the Louvre was kept in comparative neglect.

Louis-Philippe did, however, sponsor the creation of the musée assyrien to host the monumental Assyrian sculpture works brought to Paris by Paul-Émile Botta, in the ground-floor gallery north of the eastern entrance of the Cour Carrée.

[57][58] Edomond Guillaume also decorated the first-floor room at the northwest corner of the Cour Carrée, on the ceiling of which he placed in 1890 a monumental painting by Carolus-Duran, The Triumph of Marie de' Medici originally created in 1879 for the Luxembourg Palace.

[21]: 70-71  Major artifacts excavated at Susa in Iran, including the massive Apadana capital and glazed brick decoration from the Palace of Darius there, accrued to the Oriental (Near Eastern) Antiquities Department in the 1880s.

From the late 19th century, the Louvre gradually veered away from its mid-century ambition of universality to become a more focused museum of French, Western and Near Eastern art, covering a space ranging from Iran to the Atlantic.

In 1984 I. M. Pei, the architect personally selected by Mitterrand, proposed a master plan including an underground entrance space accessed through a glass pyramid in the Louvre's central Cour Napoléon.

[citation needed] On 18 November 1993, Mitterrand inaugurated the next major phase of the Grand Louvre plan: the renovated North (Richelieu) Wing in the former Finance Ministry site, the museum's largest single expansion in its entire history, designed by Pei, his French associate Michel Macary, and Jean-Michel Wilmotte.

That new section opened on 22 September 2012, together with collections from the Roman-era Eastern Mediterranean, with financial support from the Al Waleed bin Talal Foundation and on a design by Mario Bellini and Rudy Ricciotti.

[21]: 451-454 [98] The works are displayed on the Richelieu Wing's first floor and in the Apollo Gallery, named by the painter Charles Le Brun, who was commissioned by Louis XIV (the Sun King) to decorate the space in a solar theme.

[107] Northern European works include Johannes Vermeer's The Lacemaker and The Astronomer; Caspar David Friedrich's The Tree of Crows; Rembrandt's The Supper at Emmaus, Bathsheba at Her Bath, and The Slaughtered Ox.

The Baroque collection includes Giambattista Pittoni's The Continence of Scipio, Susanna and the Elders, Bacchus and Ariadne, Mars and Venus, and others Caravaggio is represented by The Fortune Teller and Death of the Virgin.

The collection is organized into three sections: the core Cabinet du Roi, 14,000 royal copper printing-plates, and the donations of Edmond de Rothschild,[114] which include 40,000 prints, 3,000 drawings, and 5,000 illustrated books.

These efforts are geared towards ensuring a top-notch experience for art enthusiasts during the Olympic Games, as the museum expects to host approximately 8.7 million visitors this year, with a remarkable 80% seeking to view the Mona Lisa.

The Louvre's ancient art collections are to a significant extent the product of excavations, some of which the museum sponsored under various legal regimes over time, often as a companion to France's diplomacy and/or colonial enterprises.

A 30-year agreement, signed in early 2007 by French Culture Minister Renaud Donnedieu de Vabres and Sheik Sultan bin Tahnoon Al Nahyan, establishes that Abu Dhabi shall pay €832,000,000 (US$1.3 billion) in exchange for the Louvre name use, managerial advice, art loans, and special exhibitions.

[159] It occupies 24,000 square metres (260,000 sq ft) and is covered by an iconic metallic dome designed to cast rays of light mimicking sunlight passing through date palm fronds in an oasis.

[169] They were exhibited in 1946 and shown all together to the public during four years (1950–1954) in order to allow rightful claimants to identify their properties, then stored or displayed, according to their interest, in several French museums including the Louvre.

[170] During the late 1990s, the comparison of the American war archives, which had not been done before, with the French and German ones as well as two court cases which finally settled some of the heirs' rights (Gentili di Giuseppe and Rosenberg families) allowed more accurate investigations.

[citation needed] In 2011, over 130 international artists urged a boycott of the new Guggenheim museum as well as Louvre Abu Dhabi, citing reports, since 2009, of abuses of foreign construction workers on Saadiyat Island, including the arbitrary withholding of wages, unsafe working conditions, and failure of companies to pay or reimburse the steep recruitment fees being charged to laborers.

Labor lawyer Scott Horton told Architectural Record that he hoped the Guggenheim project will influence the treatment of workers on other Saadiyat sites and will "serve as a model for doing things right.