The recent reopening of Lisbon's Museu Calouste Gulbenkian after an extensive renovation has sparked a fascinating conversation about the interplay between art, architecture, and the preservation of a collector's vision. This museum, named after the renowned Armenian collector and tycoon Calouste Gulbenkian, has undergone a transformative journey to restore its mid-century modern roots.
The renovation, prompted by the need to upgrade essential systems, aimed to recapture the museum's original 1969 state. Xavier Salomon, the museum's new director, has played a pivotal role in this endeavor, ensuring that the display reflects its former glory.
What makes this project particularly intriguing is the story of Calouste Gulbenkian himself. Born in Istanbul during the Ottoman Empire, Gulbenkian's family background in merchant and banking laid the foundation for his future as a collector. Known for his penchant for 'only the best,' he amassed an extraordinary collection of over 6,000 objects, ranging from rare coins and books to Renaissance tapestries and Islamic tiles.
One of the highlights of Gulbenkian's collection is his acquisition of major works from the Hermitage, including masterpieces by Jean-Antoine Houdon, Peter Paul Rubens, and Rembrandt. Salomon, who previously served as chief curator at New York's Frick Collection, notes that Gulbenkian's vision as a collector was remarkably broad, surpassing even that of Henry Clay Frick.
The museum's architectural design, a collaboration between Portuguese architects and international consultants, reflects the influence of Brutalism with a Japanese twist. The use of wood, granite, marble, and raw concrete, coupled with expansive glazing, creates a unique setting for the display of fine and decorative arts.
Over time, however, the original vision of the museum had become diluted due to repairs and changing curatorial perspectives. Some showcases disappeared, while others underwent cost-cutting measures, sacrificing the elegant English silk linings. The once-lush moss-green carpet gave way to varnished floorboards, and views between galleries were obscured.
Salomon's vision, implemented in collaboration with architects Teresa Nunes da Ponte and Frédéric Ladonne, has successfully revived the museum's 1969 display. The use of anti-reflective glass and LED lighting enhances the viewing experience, and the return of individual vitrines for Mamluk mosque lamps and the practical redesign of the giant zigzagging display case in the Asia galleries are notable improvements.
The renovation also includes a new numismatic cabinet, created from a former study, to display the museum's extensive coin collection. Additionally, the Assyrian winged-guardian relief has been restored and repositioned for better visibility. A gallery dedicated to the French designer René Lalique showcases his Art Nouveau and Art Deco creations alongside paintings by Edward Burne-Jones and John Singer Sargent.
Throughout the museum, Salomon has maintained the 1969 spirit by keeping labels concise and avoiding multimedia screens, which he believes are distracting and aesthetically unsuitable for the architectural purity of the building.
In my opinion, the renovated Museu Calouste Gulbenkian offers a unique and immersive experience, seamlessly blending art, architecture, and nature. It stands as a testament to the vision of its namesake collector and the dedication of those who have worked tirelessly to restore its original charm. This museum is not just a place to view art; it's an embodiment of a collector's passion and a celebration of mid-century modern design.
