The Smithsonian’s National Museum of Asian Art (NMAA) in Washington, D.C., is set to host an extraordinary exhibition titled From the Louvre: Masterpieces of Islamic Art opening on September 26, 2026 and running through January 2027. This exhibition will feature 26 remarkable works on loan from the Musée du Louvre in Paris, offering a unique glimpse into the rich artistic heritage of the Islamic world.
The exhibition spans a vast temporal and geographical range, from the 7th century to the 19th century and from Spain to India. Among the highlights are a bronze statue from Islamic Spain known as the Lion of Monzón (10th-11th century) and a large decorated ceramic Ottoman bowl dated to around 1480. The collection includes paintings, ceramics, metalwork, jade, glass objects, and architectural elements each telling a story of artistic mastery and cultural exchange.
The Concept of Masterpieces in Islamic Art
The exhibition invites visitors to explore how artworks become masterpieces over time, emphasizing not only their artistic brilliance but also their histories of use and exchange. Chase F. Robinson director of the NMAA, highlights that these objects were once enjoyed by a select few before entering the Louvre. The exhibition aims to examine how masterpieces are shaped by both their creators and the public that celebrates them.
Masterpieces in Islamic art are often referred to as tuhfa meaning objects of extraordinary craftsmanship. These pieces were not only artistic achievements but also symbols of prestige and diplomatic exchange. For instance, two bejewelled ivory pen cases commissioned by the 17th-century Mughal emperor Jahangir and gifted to other Muslim rulers are part of the exhibition. These pen cases were later acquired by Louis Cartier in 1912 showcasing the intricate journeys these artifacts have undertaken.
Historical Connections and Diplomatic Gifts
The exhibition also delves into the often-complex trajectories through which these pieces entered the Louvre’s collection. One notable example is an 18th-century oil painting of the Persian ruler Fath-Ali Shah Qajar which was given to Napoleon Bonaparte as a diplomatic gift. Another piece, a Mamluk metal vase found its way into the collection of Pope Urban VIII in the 17th century.
Some of the featured works have been in Europe for centuries, long before the Louvre Palace opened as a museum in 1793. A 14th-century engraved Mamluk brass basin known as the Baptistery of Saint Louis was created in Syria or Egypt and probably intended for ceremonial hand washing. It made its way to France within about a century and was used to baptize the future King Louis XIII in 1606. Its Mamluk origins were only re-established in the 20th century, highlighting the fascinating journeys of these artifacts.
The Louvre and NMAA Collaboration
The exhibition is a testament to the longstanding collaboration between the Louvre and the NMAA. In the early 20th century, Charles Lang Freer the founder of the NMAA, developed a network with Louvre curator Gaston Migeon and French collector and art historian Raymond Koechlin. This connection is evident in the exhibition, which includes a blue and turquoise plate with a peacock from the 16th-century Ottoman Empire originally from Koechlin’s collection.
The exhibition is envisioned as the culmination of the NMAA’s celebration of America’s 250th anniversary. It highlights the overlapping themes of masterworks and diplomatic exchange, connecting the history of the Louvre with the founding principles of the United States. As Robinson notes, the history of the Louvre is intertwined with the French Revolution in the 18th century, while the exhibition celebrates the spirit of 1776.
