Today's Edition
SARA ALZAABI (ABU DHABI)
What does it take to bring a forgotten masterpiece back to life?
At Louvre Abu Dhabi, the answer involved two years of scientific analysis, painstaking conservation work and international collaboration.
The result is the return of iconic 17th-century artwork, The Triumph of David. The artwork enriches the museum’s collection and highlights Abu Dhabi’s growing role in preserving and advancing global cultural heritage.
Speaking to Aletihad, Dr Guilhem André, Director of Scientific, Curatorial and Collections Management at Louvre Abu Dhabi, said the museum’s acquisitions are thoughtfully selected.
“New acquisitions reflect Louvre Abu Dhabi’s ongoing approach to developing its collection through artworks that enrich its universal narrative and broaden the artistic dialogue presented across the galleries,” he said.
The acquisitions support the museum’s goal of highlighting cultural connections across different civilisations. Among the newest additions is The Triumph of David. This rare painted and gilded leather hanging dates to around 1650.
For Dr André, the work aligns with the museum’s mission to explore cultural encounters and artistic exchange. “At Louvre Abu Dhabi, we seek to highlight encounters and exchanges between civilisations, and The Triumph of David offers a compelling example of how the West historically imagined and represented the Eastern world,” he said.
The work illustrates the biblical victory of David over Goliath, focusing on the triumphal parade that followed the defeat of the giant.
It is a subject that was popular in large-scale decorative programmes during the 16th and 17th centuries, serving as a focal point within the museum’s pre-modern galleries.
“Its monumental scale and decorative function allow it to engage powerfully with surrounding displays, reinforcing the idea that art history has long been shaped by exchange, adaptation and movement across regions,” Dr André explained.
Measuring around 18 metres long, the artwork is important for both its artistic and conservation value. Centuries of alterations and ageing had left the artwork in a fragile condition when it joined the museum’s collection in 2023, according to Dr André.
“Structural additions dating back to the 19th century had significantly altered the appearance of the work, while time and environmental conditions had weakened the leather,” he noted.
Louvre Abu Dhabi launched a comprehensive conservation programme aimed at stabilising the artwork, reversing damaging interventions where possible, as well as ensuring its long-term preservation.
“The restoration also made it possible to return this rare and complex work to public display, allowing audiences to rediscover an exceptional example of a decorative art form that is now rarely seen,” he said.
The restoration was carried out over two years by the museum’s Conservation Centre and Scientific Laboratory, and was led by French conservator Céline Bonnot-Diconne who specialises in leather conservation.
According to Dr André, the process began with extensive technical and scientific analysis before conservators carefully stabilised weakened sections and treated the delicate painted and gilded surfaces.
“The project required close collaboration across disciplines, combining expertise in conservation science, materials analysis and the study of 17th-century art,” he said.
Most importantly, it also provided a valuable opportunity for knowledge transfer, with Emirati team members working alongside international specialists as part of the museum’s commitment to developing local conservation expertise. The conservation effort also led to new discoveries about the artwork itself.
Researchers, as Dr André noted, gained deeper insights into the original materials and techniques used to create the panels, as well as a better understanding of how later interventions had altered the work over time.
As a result, researchers gained new insights into painted and gilded leather artworks, which have rarely survived in such size and condition.
The Triumph of David indeed represents more than a restored artwork. “The presentation highlights not only the visual impact of the panels, but also the extensive conservation effort that made their return to public view possible,” Dr André said.
The restoration demonstrates the museum’s role in safeguarding and presenting shared cultural heritage. “These projects also position the museum as a growing centre of expertise in conservation and collections research, contributing to international knowledge exchange, while reinforcing the importance of responsible stewardship, collaboration and transparency in the care of cultural heritage,” he concluded.
