The label gives you a name, two dates and a donor line. Lensmark reads the work and the label together, checks the name against more than one source, then tells you who made it, when, and how it came to be here, with each claim attached to a source you can open.
Costs nothing at launch. Paintings, sculpture and antiquities, in the gallery or from your camera roll.
Each of these facts comes from the Louvre's own record, which is the link under it.
The Winged Victory of Samothrace is carved from Parian marble and was found on the Greek island of Samothrace in 1863 by Charles Champoiseau. The museum's own account of the Daru staircase puts her date at around 190 BC, and says she was commissioned to mark a victory.
Liberty Leading the People is catalogued by the museum under its full title, Le 28 juillet 1830. La Liberté guidant le peuple, painted by Eugène Delacroix and signed and dated by him in 1830. The Louvre's collection record gives the inventory number RF 129 and the room it hangs in.
The Seated Scribe is older than the museum by four and a half thousand years. The Louvre's record dates it to the Fourth Dynasty, between about 2675 and 2545 BC, gives its findspot as north Saqqara, and lists what the eyes are made of: Egyptian alabaster and rock crystal, held in copper.
A painting cannot be found by its address, so the picture and the label do the work.
Your shot is examined twice, separately. Two answers agreeing on the same title is a lead, not a verdict.
Before a work is called verified, something of a different kind has to back the name up, and for a piece held here that is usually the museum's own catalogue.
Get the wall label in the shot and its words are read off the picture and help name the work. In a room of similar canvases that is often what settles it.
Knowing you are in the Louvre cuts the search down. It never becomes the work's own address, because paintings travel and prints of them hang everywhere.
Objects in cases follow their own path, written out on how a museum object is identified from a photo.
The Louvre's own visitor answers say you can take photos and videos in the permanent collections for personal use, with no selfie sticks, flash or added lighting, and that some temporary exhibitions restrict photography of particular works.
Not every museum allows this. The Prado in Madrid states plainly in its own regulations that photography or filming in the galleries is not permitted, so check the rules before you raise the phone anywhere.
Lensmark is independent. It is not affiliated with or endorsed by the Louvre.
The Louvre rents an audio guide in nine languages, and for the works it covers it is the museum's own curated commentary, which is worth having. It covers what the museum chose to cover. Lensmark answers the piece you happened to stop at, whichever room it is in and whether or not it made anyone's highlights list, and it shows you where each claim came from so you can carry on reading.
No. Lensmark is independent and has no connection to the museum. When it answers about a work held here, the museum's own catalogue is among the sources it cites and links, and the museum's site is the place to trust for anything about visiting.
In the permanent collections, yes, for personal use and without flash, selfie sticks or added lighting. Some temporary exhibitions restrict it for particular works. The museum's own visitor answers are the current rule, and they are the page to check rather than this one.
Any work you can photograph, whether that is a painting, a sculpture or an antiquity in a case. What changes is how much the record holds. A famous canvas has centuries of scholarship behind it and a minor object may have a catalogue line and little else, and when the checks will not agree you get what the camera saw and an open name.
It does not sell tickets, publish opening hours, plan a route through the wings or tell you when the queue is shortest. The museum's own site is for all of that. This is for what you are standing in front of.
