French curators had labored for a decade to organize a main exhibition marking the 500th anniversary of the dying of Leonardo da Vinci. When it opened, although, probably the most talked-about portray that they had deliberate to point out — “Salvator Mundi,” the costliest work ever bought at public sale — was nowhere to be seen.

Plucked from shabby obscurity at a New Orleans property sale, the portray had been bought in 2017 as a rediscovered “lost” Leonardo and fetched greater than $450 million from an nameless bidder who stored it hidden from view. The likelihood to see it on the Louvre museum’s anniversary present two years later had created a sensation within the worldwide artwork world, and its absence whipped up a storm of new questions.

Had the Louvre concluded that the portray was not truly the work of Leonardo, as a vocal handful of students had insisted? Had the client — reported to be Saudi Arabia’s Crown Prince Mohammed bin Salman, although he had by no means acknowledged it — declined to incorporate it within the present for worry of public scrutiny? The tantalizing notion that the brash Saudi prince might need gambled a fortune on a fraud had already impressed a cottage business of books, documentaries, artwork world gossip columns, and even a proposed Broadway musical.

None of that was true.

In reality, the crown prince had secretly shipped the “Salvator Mundi” to the Louvre greater than a 12 months earlier, in 2018, in accordance with a number of French officers and a confidential French report on its authenticity that was obtained by The New York Times. The report additionally states that the portray belongs to the Saudi Culture Ministry — one thing the Saudis have by no means acknowledged.

A workforce of French scientists subjected the unframed canvas to a weekslong forensic examination with some of probably the most superior expertise out there to the artwork world, and of their undisclosed report that they had pronounced with extra authority than any earlier evaluation that the portray gave the impression to be the work of Leonardo’s personal hand.

Yet the Saudis had withheld it nonetheless, for completely totally different causes: a disagreement over a Saudi demand that their portray of Jesus ought to grasp subsequent to the “Mona Lisa,” a number of French officers mentioned final week, talking on situation of anonymity as a result of the talks have been confidential.

Far from a dispute about artwork scholarship, the withdrawal of the portray seems as an alternative to have turned on questions of energy and ego.

Some artwork world skeptics say they think the Saudis have been by no means critical about together with the portray within the French present, and had needed to maintain the work below wraps to extend the industrial potential of putting in it later at a deliberate tourism web site within the kingdom. Current and former French officers, although, say that the Saudis have been keen for his or her newly acquired trophy to hold on the Louvre, so long as it was positioned beside the world’s most well-known portray.

Dismissing these calls for as irrational and unworkable, the French, in flip, refused to make public their very own optimistic evaluation of its authenticity until the Saudis let the “Salvator Mundi” be included within the exhibition within the Louvre, which the French authorities oversees.

And the ensuing diplomatic standoff between the French and the Saudis has stored the portray out of sight because the cloud of intrigue round it continues to swell.

“Frankly, I think all that taradiddle would have evaporated,” mentioned Luke Syson, the director of the Fitzwilliam Museum in Cambridge, England, a curator who oversaw a 2011 Leonardo exhibition on the National Gallery in London that included the “Salvator Mundi.”

If the one portray have been displayed, he defined, “people could decide for themselves by experiencing the picture.”

Believed to have been painted round 1500, “Salvator Mundi” was one of two comparable works listed in a listing of the gathering of King Charles I of England after his execution in 1649. But the historic report of its possession ends within the late 18th century.

Then, round 2005, a pair of New York artwork sellers searching a New Orleans property sale noticed a badly restored and partially painted over picture that they suspected is perhaps value a nearer look. They acquired it for lower than $10,000 and introduced it to a expert specialist to take away the later paint layers and restore the unique.

It modified palms few instances since then, and hung as a Leonardo within the 2011 exhibition on the National Gallery in London. But it was the record-setting bid in 2017 — for $450 million — that turned the “Salvator Mundi” into the stuff of front-page headlines, particularly after The New York Times reported that the nameless purchaser was a surrogate for the Crown Prince of Saudi Arabia.

Now the controversy has made headlines once more with the discharge of a new French documentary this previous week claiming that the Louvre had concluded that Leonardo had “merely contributed” to the “Salvator Mundi.” Set to air on French tv on Tuesday, the documentary options two disguised figures, recognized as French authorities officers, asserting that Crown Prince Mohammed wouldn’t mortgage the portray to the anniversary exhibition as a result of the Louvre refused to attribute the work totally to Leonardo.

In a phone interview, the documentary’s director, Antoine Vitkine, mentioned he stood by its claims, saying the president of the Louvre had refused to touch upon the museum’s judgment of the “Salvator Mundi.”

The Louvre had insisted that the report on the portray’s authenticity “did not exist,” Mr. Viktine mentioned.

Despite their denials, the Louvre curators had secretly ready a shiny, magazine-style 46-page abstract of the conclusions of their forensic examination of the portray. Its existence was first reported in March 2020 by Alison Cole of The Art Newspaper. Scanned copies of the confidential report turned prized possessions amongst outstanding Leonardo consultants internationally, and The New York Times obtained a number of copies.

Experts on the Center for Research and Restoration of the Museums of France, an unbiased tradition ministry institute, used fluorescent X-rays, infrared scans and digital cameras aimed by means of high-powered microscopes to match signature particulars of the supplies and creative strategies within the “Salvator Mundi” with the Louvre’s different Leonardo masterpieces.

The skinny plank of wooden on which the “Salvator Mundi” was painted was the identical kind of walnut from Lombardy that Leonardo utilized in different works. The artist had blended high-quality powdered glass within the paint, as Leonardo did in his later years.

Traces of hidden portray below the seen layers, particulars within the locks of Christ’s hair, and the shade of shiny vermilion used within the shadows all pointed to the hand of Leonardo, the report concluded.

“All these arguments tend to favor the idea of an entirely ‘autographed’ work,” Vincent Delieuvin, one of two curators of the anniversary exhibition, wrote in a prolonged essay describing the examination, noting that the portray had been “unfortunately damaged by bad conservation” and by “old, unquestionably too brutal restorations.”

Jean-Luc Martinez, the Louvre president, was much more definitive. “The results of the historical and scientific study presented in this publication allow us to confirm the attribution of the work to Leonardo da Vinci,” he wrote within the preface. (His present time period is ready to finish this month, and President Emmanuel Macron of France is overdue to announce whether or not he’ll lengthen Mr. Martinez’s tenure or appoint a new chief.)

The Louvre was so keen to incorporate the “Salvator Mundi” in its anniversary exhibition that the curators deliberate to make use of a picture of the portray for the entrance of its catalog, officers mentioned.

But the Saudis’ insistence that the “Salvator Mundi” even be twinned with the “Mona Lisa” was asking an excessive amount of, the French officers mentioned.

Extraordinary safety measures surrounding the “Mona Lisa” make the portray exceptionally tough to maneuver from its place on a particular partition within the middle of the Salle des États, a huge upstairs gallery. Placing a portray subsequent to it might be unimaginable, the French officers argued.

Franck Riester, the French tradition minister on the time, tried for weeks to mediate, proposing that as a compromise the “Salvator Mundi” may transfer near the “Mona Lisa” after a interval within the anniversary present, the French officers mentioned. .

And even after the exhibition opened with out the “Salvator Mundi,” in October 2019, French officers stored making an attempt.

Prince Bader bin Farhan al-Saud, an previous buddy of Crown Prince Mohammed who had acted as his surrogate bidder for the “Salvator Mundi,” had later been named Saudi Arabia’s minister of tradition. When he occurred to go to to Paris, the French tradition minister and Louvre president led him on a non-public tour of the museum and exhibition to attempt to persuade him to lend the portray, the French officers mentioned.

A spokesman for the Saudi Embassy in Washington declined to remark.

A deliberate part of the catalog detailing the authentication was eliminated earlier than publication, and the museum ordered that each one copies of the report be locked away in storage.

Sophie Grange, a Louvre spokeswoman, mentioned museum officers can be forbidden to debate any such doc as a result of French guidelines prohibited disclosing any analysis or authentication of works not proven within the museum.

Corinne Hershkovitch, a main French artwork lawyer, mentioned these “long-held traditions” had been “formalized by law in 2013, in a decree establishing the status of heritage conservators.”

But with the French refusing to speak concerning the portray and the Saudis refusing to point out it, the proliferating questions concerning the portray have taken a toll, mentioned Robert Simon, a New York artwork seller concerned within the rediscovery of the “Salvator Mundi.”

“It is soiled in a way,” he mentioned, “because of all this unwarranted speculation.”

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