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New edition of Greenfield's pioneering study about the legal, political and historical aspects of cultural restitution.
The return of cultural and historical treasures touches on a number of political and cultural issues, and often inspires controversy. As the world is changing, the concept of return is changing as well. The shrinking divisions between a poor South and a rich North, colonizer and colonized, and source countries and art and antique market countries all impact our thinking about return. How do Dutch heritage institutions deal with this new reality, when the return of their objects or collections comes under discussion? That is the central question in this critical book. In The Return of Cultural and Historical Treasures: The Case of the Netherlands, Jos van Beurden researches cases in which the Dutch state and Dutch heritage institutions have been handing over cultural and historical treasures that were acquired in colonial times and more recently. He investigates the dynamics of their return practice and gives his analysis extra depth by including cases in which the return has not materialized. The most remarkable of these is that of a keris--the traditional sword of Indonesia's national hero Diponegoro. Where is it? In addition to research the written records, many heritage directors and experts were interviewed for the book, making The Return of Cultural and Historical Treasures an indispensable addition to the literature about return by the Netherlands of art and human remains.
This pioneering study charts the one-way traffic of cultural and historical objects during five centuries of European colonialism. Former colonies consider this as a historical injustice that has not been undone.
For the past two centuries and more, the West has acquired the treasures of antiquity to fill its museums, so that visitors to the British Museum in London, the Louvre in Paris and the Metropolitan in New York - to name but a few - can wonder at the ingenuity of humanity throughout the ages. However, in the opinion of most people, many of these items are looted property and should be returned immediately. In 'Keeping Their Marbles', Tiffany Jenkins tells the intriguing and sometimes bloody story of how the West came to acquire these treasures. Originally published: 2016.
Debates about the restitution of cultural objects have been ongoing for many decades, but have acquired a new urgency recently with the intensification of scrutiny of European museum collections acquired in the colonial period. Alexander Herman's fascinating and accessible book provides a comprehensive and up-to-date overview of the restitution ......
Who are the girls that helped build America? Conventional history books shed little light on the influence and impact of girls’ contributions to society and culture. This oversight is challenged by Girl Museum and their team, who give voices to the most neglected, yet profoundly impactful, historical narratives of American history: young girls. Exploring American Girls’ History through 50 Historic Treasures showcases girls and their experiences through the lens of place and material culture. Discover how the objects and sites that girls left behind tell stories about America that you have never heard before. Readers will journey from the first peoples who called the continent home, to 21st century struggles for civil rights, becoming immersed in stories that show how the local impacts the global and vice versa, as told by the girls who built America. Their stories, dreams, struggles, and triumphs are the centerpiece of the nation’s story as never before, helping to define both the struggle and meaning of being “American.” This full-color book is a must-read for those who yearn for more balanced representation in historic narratives, as well as an inspiration to young people, showing them that everyone makes history. It includes color photographs of all the treasured objects explored.
The Nazi war on European culture produced the greatest dislocation of art, archives, and libraries in the history of the world. In the ruins of the Reich, Allied occupiers found millions of paintings, books, manuscripts, and pieces of sculpture, from the mediocre to the priceless, hidden in thousands of secret hideaways. This book tells the story of how the American Military Government in Germany, spearheaded by a few dozen dedicated Monuments, Fine Arts and Archives (MFA&A) officers and enlisted men, coped with restoring Europe's cultural heritage.
Defending National Treasures explores the fate of art and cultural heritage during the Nazi occupation of France. The French cultural patrimony was a crucial locus of power struggles between German and French leaders and among influential figures in each country. Karlsgodt examines the preservation policy that the Vichy regime enacted in an assertion of sovereignty over French art museums, historic monuments, and archeological sites. The limits to this sovereignty are apparent from German appropriations of public statues, Jewish-owned art collections, and key "Germanic" works of art from French museums. A final chapter traces the lasting impact of the French wartime reforms on preservation policy. In Defending National Treasures, Karlsgodt introduces the concept of patrimania to reveal examples of opportunism in art preservation. During the war, French officials sought to acquire coveted artwork from Jewish collections for the Louvre and other museums; in the early postwar years, they established a complicated guardianship over unclaimed art recovered from Germany. A cautionary tale for our own times, Defending National Treasures examines the ethical dimensions of museum acquisitions in the ongoing noble quest to preserve great works of art.
A major scholarly work, published in conjunction with the exhibition titled "Splendors of Imperial China: Treasures from the National Palace Museum, Taipei" (on display at the Metropolitan Museum of Art during 1996, and scheduled for several other American cities during 1996-1997). Written by scholars of both Chinese and Western cultural backgrounds and conceived as a cultural history, the book synthesizes scholarship of the past three decades to present the historical and cultural significance of individual works of art and analyses of their aesthetic content, as well as reevaluation of the cultural dynamics of Chinese history. Includes some 600 illustrations, 436 in color. Annotation copyright by Book News, Inc., Portland, OR
The biggest question in the world of art and culture concerns the return of property taken without consent. Throughout history, conquerors or colonial masters have taken artefacts from subjugated peoples, who now want them returned from museums and private collections in Europe and the USA. The controversy rages on over the Elgin Marbles, and has been given immediacy by figures such as France's President Macron, who says he will order French museums to return hundreds of artworks acquired by force or fraud in Africa, and by British opposition leader Jeremy Corbyn, who has pledged that a Labour government would return the Elgin Marbles to Greece. Elsewhere, there is a debate in Belgium about whether the Africa Museum, newly opened with 120,000 items acquired mainly by armed forces in the Congo, should close. Although there is an international convention dated 1970 that deals with the restoration of artefacts stolen since that time, there is no agreement on the rules of law or ethics which should govern the fate of objects forcefully or lawlessly acquired in previous centuries. Who Owns History? delves into the crucial debate over the Elgin Marbles, but also offers a system for the return of cultural property based on human rights law principles that are being developed by the courts. It is not a legal text, but rather an examination of how the past can be experienced by everyone, as well as by the people of the country of origin.