Europe's most prestigious museums are facing an unprecedented crisis as the summer tourist season brings millions of visitors more interested in capturing the perfect selfie than appreciating centuries-old masterpieces. The Louvre, Prado, and Uffizi galleries are grappling with increasing incidents of artwork damage caused by visitors prioritizing social media posts over cultural respect.
While there are at least three legitimate reasons people flock to these cultural institutions – to enjoy art, escape the midday heat in air-conditioned galleries, or photograph famous works – the latter motivation has become increasingly problematic. Museums worldwide are reporting a surge in accidents where priceless artworks suffer damage due to visitors' relentless pursuit of the most original selfie to share with the world.
A spectacular example of this troubling trend was captured on security cameras at Palazzo Maffei in Verona earlier this year. The footage shows a couple pretending to sit on an artwork by artist Nicola Bolla – a chair covered with Swarovski crystals. In an awkward crouching position, the man toppled backward, causing the chair to collapse under his weight. No security guard was nearby, and the couple has never been identified despite the viral video.
The Uffizi Gallery in Florence, which welcomes nearly five million visitors annually, experienced a similar incident when a young man desperately wanted to pose in front of a portrait of Prince Ferdinando de Medici. In his enthusiasm, he reached into the painting and tore the canvas. Museum Director Simone Verde addressed the growing problem in an official statement, explaining that "the issue of visitors entering museums to create memes or selfies for social media is widespread. We will put a stop to behaviors that are incompatible with the purpose of our institutions and respect for cultural heritage."
The situation has become so severe at the Louvre in Paris that staff recently went on strike due to overcrowding, uncontrollable selfie-takers, and severe understaffing. It's estimated that of the approximately nine million annual visitors, nearly 80 percent come specifically to see Leonardo da Vinci's world-famous Mona Lisa. Naturally, everyone wants a photograph with the mysteriously smiling lady, creating massive crowds and security challenges.
Marina Novelli, director of the Sustainable Travel and Tourism Advanced Research Center at the University of Nottingham, told The New York Times that tourist damage to artworks is becoming increasingly frequent. Her analysis reveals a fundamental shift in visitor behavior: while museum-goers once came to view specific paintings or objects, today many arrive with bucket lists of works they want to be photographed with. Instead of purchasing art postcards, everyone now creates their own personalized postcard using their smartphone.
The practical challenges facing museums are immense. Silvia Barlacchi, a Uffizi employee, points out that "visitors look at the paintings, not at the floor," explaining how safety barriers designed to keep the public at a distance have become tripping hazards. The very measures meant to protect artwork are inadvertently causing accidents as visitors focus on framing their perfect shot rather than watching where they step.
Museum administrators are scrambling to implement solutions. Director Verde has announced enhanced protection for artworks and stricter behavioral guidelines for visitors. The Palazzo Maffei belatedly decided to place a plexiglass case over Bolla's glittering chair, though this protective measure came too late to prevent the original damage.
However, some experts argue that museums themselves bear responsibility for these incidents. Rachel Mackay, director of Hampton Court Palace where Henry VIII once resided, questions whether museums are adequately protecting their collections. "Am I the only one who sees the fault lying with the museum?" she asks, arguing that the Palazzo should never have placed a fragile chair unprotected on a low pedestal without proper barriers from the beginning.
Mackay criticizes the tendency to blame visitors for not respecting art, suggesting this approach drives people to flee when accidents occur rather than reporting them to staff. Her perspective highlights the complex balance museums must strike between accessibility and protection, ensuring that cultural treasures remain both visible and secure for future generations to appreciate – whether through direct observation or carefully managed photography.
