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The controversial painting primed to become Riyadh’s crown jewel

Leonardo da Vinci's Salvator Mundi is poised to be a cultural anchor for the Saudi capital

Adeline Pilon
By Adeline Pilon
Salvator Mundi MBS Eamon O'Doherty/Stockimo
Leonardo da Vinci's Salvator Mundi hanging in Christie's New York before its record-breaking auction in 2017

Leonardo da Vinci’s masterpiece Salvator Mundi has captivated global interest since its record-breaking sale at Christie’s in New York in 2017, where it was snapped up for $450 million by a Saudi Arabia representative.

The painting of Jesus Christ has since remained out of public view and was rumoured to be stored in Geneva, Switzerland.

However recent press reports suggest the painting’s current owner, Crown Prince Mohammed bin Salman, could soon unveil the artwork in a new Saudi Arabian museum.

One thing is certain: when Salvator Mundi is finally unveiled, it will mark a watershed moment for Saudi Arabia’s wider cultural strategy.

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Salvator Mundi’s journey began in the early 2010s when the Russian billionaire Dmitry Rybolovlev, amid his high-profile divorce, sought to diversify his investments through art. 

Rybolovlev enlisted the Swiss dealer Yves Bouvier to acquire significant pieces, including Salvator Mundi. In 2013 Bouvier facilitated the purchase for $127.5 million but was found to have bought the painting for considerably less.

The significant markup sparked a legal dispute over Bouvier’s profits. Rybolovlev’s pursuit of justice culminated in Bouvier’s arrest in Monaco in 2015, though he was ultimately acquitted in 2021.

The whole shady scenario only served to highlight the opaque practices of the art market.

In November 2017 Salvator Mundi was auctioned at Christie’s in New York, setting a record as the most expensive artwork ever sold at auction.

Despite its eye-watering $450 million sale price the painting’s authenticity has been the subject of intense debate because of its complex restoration history, and features that diverge from Leonardo da Vinci’s typical style.

Its conspicuous absence from the highly anticipated Leonardo da Vinci retrospective at the Louvre Museum in Paris in 2019 only served to deepen speculation.

After conducting a thorough laboratory analysis the Louvre reportedly chose not to include Salvator Mundi in the exhibition, concluding that the painting was more likely a product of Leonardo’s workshop, with minimal direct input from the master himself.

The saga of Salvator Mundi underlines a pivotal shift in global cultural power dynamics. Its expected display in Riyadh aligns with Saudi Arabia’s ambition to transition from an extractive economy to a cultural powerhouse.

The painting is poised to serve as a cultural anchor for Riyadh.

Museums worldwide have historically used their iconic works to boost attendance and revenue. A prime example is the Mona Lisa at the Louvre, which attracts millions of visitors and has become a symbol of Paris, generating substantial merchandise revenue as well as indirect revenues.

Other notable cases in the Western world include The Starry Night by Vincent van Gogh at MoMA in New York, The Birth of Venus by Sandro Botticelli at the Uffizi Gallery in Florence and The Night Watch by Rembrandt at the Rijksmuseum in Amsterdam. All draw significant foot traffic and support diverse merchandising efforts.

Masterpieces such as Salvator Mundi are invaluable assets that drive both cultural engagement and commercial success, establishing themselves as central elements in their host institutions’ strategic and financial frameworks. 

As Saudi Arabia prepares to showcase Salvator Mundi it marks a significant step in its quest to become a leading global cultural hub.

Adeline Pilon is founder of Happening Technologies, co-founder of the Elyx Foundation and was named in 2023 as one of the top 100 cultural influencers in France

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