Art repatriation

Art repatriation

Art repatriation is the return of art or cultural objects, usually referring to ancient or looted art, to their country of origin or former owners (or their heirs). The disputed cultural property items are physical artifacts of a group or society that were taken from another group usually in an act of looting, whether in the context of imperialism, colonialism or war. The contested objects range widely from sculptures and paintings to monuments and human remains.



War and looting

Ancient world

Victory Stele of Naram Sin, Akkadian Dynasty, reign of Naram-Sin (2254-2218 BC). Musée du Louvre, Paris.

War and the subsequent looting of defeated peoples has been common practice since ancient times. The stele of King Naram-Sin of Akkad, which is now displayed in the Louvre Museum in Paris, is one of the earliest works of art known to have been looted in war. The stele commemorating Naram-Sin's victory in a battle against the Lullubi people in 2250 BCE was taken as war plunder about a thousand years later by the Elamites who relocated it to their capital in Susa, Iran. There, it was uncovered in 1898 by French archaeologists.[1]

The Palladion was the earliest and perhaps the most important stolen statue in western literature.[2] The small carved wooden statue of an armed Athena served as Troy's protective talisman, which is said to have been stolen by two Greeks who secretly smuggled the statue out of the Temple of Athena. It was widely believed in antiquity that the conquest of Troy was only possible because the city had lost its protective talisman. This myth illustrates the sacramental significance of statuary in Ancient Greece as divine manifestations of the gods that symbolized power and oftentimes possessed supernatural abilities. The sacredness characterizing statues is further illustrated in the supposed suffering of the victorious Greeks afterward, including Odysseus, who was the mastermind behind the robbery.[2]

According to Roman myth, Rome was founded by Romulus, the first victor to dedicate spoils taken from an enemy ruler to the Temple of Jupiter Feretrius. In Rome's many subsequent wars, blood-stained armor and weaponry were gathered and placed in temples as a symbol of respect toward the enemies' deities and as a way to win their patronage.[3] As Roman power spread throughout Italy where Greek cities once reigned, Greek art was looted and ostentatiously displayed in Rome as a triumphal symbol of foreign territories brought under Roman rule.[3] However, the triumphal procession of Marcus Claudius Marcellus after the fall of Syracuse in 211 is believed to have set a standard of reverence to conquered sanctuaries as it engendered disapproval by critics and a negative social reaction.[4]

Modern era

One of the most infamous cases of esurient art plundering in wartime was the Nazi appropriation of art from both public and private holdings throughout Europe and Russia. The looting began before World War II with illegal seizures as part of a systematic persecution of Jews, which was included as a part of Nazi crimes during the Nuremberg Trials.[5] During WWII, Germany plundered 427 museums in the Soviet Union and ravaged or destroyed 1,670 Russian Orthodox churches, 237 Catholic churches and 532 synagogues.[6]

The National Museum of Iraq after the 2003 invasion of Iraq. A hole caused by a shell can be seen in the wall above the tank. The museum was looted after the invasion and many antiquities were missing or destroyed.

A well-known recent case of wartime looting was the plundering of ancient artifacts from the National Museum of Iraq in Baghdad at the outbreak of the war in 2003. Although this was not a case in which the victors plundered art from their defeated enemy, it was result of the unstable conditions of war that allowed looting to happen and which some would argue was the fault of the invading US forces.

Archaeologists and scholars criticized the US military for not taking the measures to secure the museum, a repository for a myriad of valuable ancient artifacts from the ancient Mesopotamian civilization.[7] In the several months leading up to the war, scholars, art directors, and collector met with the Pentagon to ensure that the US government would protect Iraq's important archaeological heritage, with the National Museum in Baghdad being at the top of the list of concerns.[8] Between April 8, when the museum was vacated and April 12, when some of the staff returned, an estimated 15,000 items and an additional 5,000 cylinder seals were stolen.[9] Moreover, the National Library was plundered of thousands of cuneiform tablets and the building was set on fire with half a million books inside; fortunately, many of the manuscripts and books were preserved.[8] A US task force was able to retrieve about half of the stolen artifacts by organizing and dispatching an inventory of missing objects and by declaring that there would be no punishment for anyone returning an item.[9] In addition to the vulnerability of art and historical institutions during the Iraq war, Iraq's rich archaeological sites and areas of excavated land (Iraq is presumed to possess vast undiscovered treasures) have fallen victim to widespread looting.[10] Hordes of looters disinterred enormous craters around Iraq's archaeological sites, sometimes using bulldozers.[11] It is estimated that between 10,000 and 15,000 archaeological sites in Iraq have been despoiled.[10]

Modern imperialism and looting

Paris Louvre ca. 1845

The scale of plundering that took place under Napoleon's French Empire was unprecedented in modern history with the only comparable looting expeditions taking place in ancient Roman history.[12] In fact, the French revolutionaries justified the large-scale and systematic looting of Italy in 1796 by viewing themselves as the political successors of Rome, in the same way that ancient Romans saw themselves as the heirs of Greek civilization.[13] They also supported their actions with the opinion that their sophisticated artistic taste would allow them to appreciate the plundered art.[14] Napoleon's soldiers crudely dismantled the art by tearing paintings out of their frames hung in churches and sometimes causing damage during the shipping process. Napoleon's soldiers appropriated private collections and even the papal collection.[15] Of the most famous artworks plundered included the Bronze Horses of Saint Mark in Venice (since returned), and the Laocoön in Rome, with the later being considered the most impressive sculpture from antiquity at the time.

Laocoön group, ca. 40-20 BCE. Museo Pio Clementino, Vatican.

The Laocoön had a particular meaning for the French because it was associated with a myth in connection to the founding of Rome.[16] When the art was brought into Paris, the pieces arrived in the fashion of a triumphal procession modeled after the common practice of ancient Romans.[15] Napoleon's extensive plunder of Italy was criticized by such French artists as Antoine-Chrysostôme Quatremère de Quincy (1755–1849), who circulated a petition that gathered the signatures of fifty other artists.[17] With the founding of the Louvre Museum in Paris in 1793, Napoleon's aim was to establish an encyclopedic exhibition of art history, which later both Stalin and Hitler would attempt to emulate in their respective countries.[13]

L Expedition D Egypte Sous Les Ordres De Bonaparte by Leon Cogniet, ca. 1835. Musée du Louvre, Paris. Depicts Napoleon and his savants studying Egypt.

Napoleon continued his art conquests in 1798 when he invaded Egypt in an attempt to safeguard French trade interests and to undermine Britain's access to India via Egypt. His expedition in Egypt is noted for the 167 "savants" he took with him including scientists and other specialists equipped with tools for recording, surveying and documenting ancient and modern Egypt and its natural history.[18] Among other things, the expedition discoveries included the Rosetta Stone and the Valley of the Kings near Thebes. The French military campaign was short-lived and unsuccessful and the majority of the collected artifacts (including the Rosetta Stone) were seized by British troops, ending up in the British Museum. Nonetheless, the information gathered by the French expedition was soon after published in the several volumes of Description de l'Égypte, which included 837 copperplate engravings and over 3,000 drawings. In contrast to the disapproving public reaction to the looting of Italian works of art, the appropriation of Egyptian art saw widespread interest and fascination throughout Europe, inciting a phenomenon which came to be called "Egyptomania".[19]

Demands for restitution

A precedent for art repatriation was set in Roman antiquity when Cicero prosecuted Verres, a senate member and illegal appropriator of art. Cicero's speech influenced Enlightenment European thought and had an indirect impact on the modern debate about art repatriation.[20] Cicero's argument uses military episodes of plunder as "case law" and expresses certain standards when it comes to appropriating cultural property of another people.[21] Cicero makes a distinction between public and private uses of art and what is appropriate for each and he also asserts that the primary purpose of art is religious expression and veneration. He also sets standards for the responsibilities of imperial administration abroad to the code of ethics surrounding the collection of art from defeated Greece and Rome in wartime. Later, both Napoleon and Lord Elgin would be likened to Verres in condemnations of their plundering of art.[22]

The Allied victory in 1815 at the Battle of Waterloo marked the end of the Napoleonic Era.

Art was repatriated for the first time in modern history when Arthur Wellesley, 1st Duke of Wellington overturned art plundered by Napoleon to Italy after defeating the French at the Battle of Waterloo in 1815.[19] This decision contrasted sharply to a long-held tradition to the effect that "to the victors go the spoils."[19] This is remarkable considering that in the battle of Waterloo alone, the financial and human costs were colossal; the decision to not only refrain from plundering France but to repatriate France's prior seizures from the Netherlands, Italy, Prussia, and Spain, was extraordinary.[23] Moreover, the British paid for the restitution of the papal collection to Rome because the Pope could not finance the shipping himself.[24] When British troops began packing up looted art from the Louvre, there the was a public outcry in France. Crowds reportedly tried to prevent the taking of the Horses of Saint Mark and there were throngs of weeping ladies outside the Louvre Museum.[25] Despite the unprecedented nature of this repatriation effort, there are recent estimations that only about 55 percent of what was taken was actually repatriated: the Louvre Director at the time, Vivant Denon, had sent out many important works to other parts of France before the British could take them.[26] Wellington viewed himself as representing all of Europe's nations and he believed that the moral decision would be to restore the art in its apparently proper context.[27] In a letter to Lord Castlereagh he wrote:

The Allies then, having the contents of the museum justly in their power, could not do otherwise than restore them to the countries form which, contrary to the practice of civilized warfare, they had been torn during the disastrous period of the French revolution and the tyranny of Bonaparte. ... Not only, then, would it, in my opinion, be unjust in the Sovereigns to gratify the people of France on this subject, at the expense of their own people, but the sacrifice they would make would be impolitic, as it would deprive them of the opportunity of giving the people of France a great moral lesson.

—Excerpt from letter of Wellington to Viscount Castlereagh, K.G., Paris, September 23, 1815[25]

Wellington also forbade pilfering among his troops as he believed that it led to the lack of discipline and distraction from military duty. He also held the view that winning support from local inhabitants was an important break from Napoleon's practices.[28]

The great public interest in art repatriation helped fuel the expansion of public museums in Europe and launched museum-funded archaeological explorations. The concept of art and cultural repatriation gained momentum through the latter decades of the twentieth century and began to show fruition by the end of the century when key works were ceded back to claimants.

Legal issues

National government laws

In 1863 US President Abraham Lincoln summoned Francis Lieber, a German-American jurist and political philosopher, to write a legal code to regulate Union soldiers' behavior toward Confederation prisoners, noncombatants, spies and property. The resulting General Orders No.100 or the Lieber Code, legally recognized cultural property as a protected category in war.[29] The Lieber Code had far-reaching results as it became the basis for the Hague Convention of 1907 and 1954 and has led to Standing Rules of Engagement (ROE) for US troops today.[30] A portion of the ROE clauses instruct US troops not to attack "schools, museums, national monuments, and any other historical or cultural sites unless they are being used for a military purpose and pose a threat".[30]

In 2004 the US passed the Bill HR1047 for the Emergency Protection for Iraq Cultural Antiquities Act, which allows the President authority to impose emergency import restrictions by Section 204 of the Convention on Cultural Property Implementation Act (CCIPA).[31] In 2003, Britain and Switzerland put into effect statutory prohibitions against illegally exported Iraqi artifacts. In the UK, the Dealing in Cultural Objects Bill was established in 2003 that prohibited the handling of illegal cultural objects.

International conventions

The Hague Convention of 1907 aimed to forbid pillaging and sought to make wartime plunder the subject of legal proceedings, although in practice the defeated countries did not gain any leverage in their demands for repatriation.[6] The Hague Convention of 1954 for the Protection of Cultural Property in the Event of Armed Conflict took place in the wake of widespread destruction of cultural heritage in World War II is the first international treaty of a worldwide vocation focusing exclusively on the protection of cultural heritage in the event of armed conflict.

The UNIDROIT (International Institute for the Unification of Private Law) Convention on Stolen or Illicitly Exported Cultural Objects of 1995 called for the return of illegally exported cultural objects [32]


The 1970 UNESCO Convention against Illicit Export under the Act to implement the Convention (the Cultural Property Implementation Act) allowed for stolen objects to be seized if there were documentation of it in a museum or institution of a state party and the following agreement in 1972 promoted world cultural and natural heritage[33]

The 1978 UNESCO Convention strengthened existing provisions; the Intergovernmental Committee for Promoting the Return of Cultural Property to its Countries of Origin or its Restitution in case of illicit Appropriation was established. It consists of 22 members elected by the General Conference of UNESCO to facilitate bilateral negotiations for the restitution of "any cultural property which has a fundamental significance from the point of view of the spiritual values and cultural heritage of the people of a Member State or Associate Member of UNESCO and which has been lost as a result of colonial or foreign occupation or as a result of illicit appropriation".[34] It was also created to "encourage the necessary research and studies for the establishment of coherent programmes for the constitution of representative collections in countries whose cultural heritage has been dispersed".[34]

In response to the Iraqi National Museum looting, UNESCO Director-General, Kōichirō Matsuura convened a meeting in Paris on April 17, 2003 in order to assess the situation and coordinate international networks in order to recover the cultural heritage of Iraq. On July 8, 2003, Interpol and UNESCO signed an amendment to their 1999 Cooperation Agreement in the effort to recover looted Iraqi artifacts.[35]

Political issues

Colonialism and identity

From early on, the field of archaeology was deeply involved in political endeavors and in the construction of national identities. This early relationship can be seen during the Renaissance and the proto-Italian reactions against the High Gothic movement, but the relationship became stronger during 19th century Europe when archaeology became institutionalized as a field of study furnished by artifacts acquired during the rise of European colonialism led by the British and French.[36] Colonialism and the field of archaeology mutually supported one another as the need to acquire knowledge of ancient artifacts justified further colonial dominance.

As further justification for colonial rule, the archaeological discoveries also shaped the way European colonialists identified with the artifacts and the ancient people who made them. In the case of Egypt, colonial Europe's mission to bring the glory and magnificence of ancient Egypt closer to Europe and incorporate it into knowledge of world history, or better yet, European history placed ancient Egypt in a new spotlight.[37] With the archaeological discoveries, ancient Egypt was adopted into the Western historical narrative and came to take on a significance that had up until that time been reserved for ancient Greek and Roman civilization.[38] The French revolutionaries justified the large-scale and systematic looting of Italy in 1796 by viewing themselves as the political successors of Rome, in the same way that ancient Romans saw themselves as the heirs of Greek civilization;[39] by the same token, the appropriation of ancient Egyptian history as European history further legitimated Western colonial rule over Egypt. But while ancient Egypt became patrimony of the West, modern Egypt remained a part of the Muslim world.[38] The writings of European archaeologists and tourists illustrate the impression that modern Egyptians were uncivilized, savage, and the antithesis of the splendor of ancient Egypt.[38]

Museums furnished by colonial looting have largely shaped the way a nation imagines its dominion, the nature of the human beings under its power, the geography of the land, and the legitimacy of its ancestors, working to suggest a process of political inheriting.[40] It is necessary to understand the paradoxical way in which the objects on display at museums are tangible reminders of the power held by those who gaze at them.[41] Eliot Colla describes the structure of the Egyptian sculpture room in the British Museum as an assemblage that “form[s] an abstract image of the globe with London at the center”.[42] The British Museum, as Colla describes, presents a lesson of human development and progress: “the forward march of human civilization from its classical origins in Greece and Rome, through Renaissance Italy, to modern-day London”.[42]

The restoration of monuments was often made in colonial states to make natives feel as if in their current state, they were no longer capable of greatness.[43] Furthermore, sometimes colonial rulers argued that the ancestors of the colonized people did not make the artifacts.[43] Some scholars also argue that European colonialists used monumental archaeology and tourism to appear as the guardian of the colonized, reinforcing unconscious and undetectable ownership.[43] Colonial rulers used peoples, religions, languages, artifacts, and monuments as source for reinforcing European nationalism, which was adopted and easily inherited from the colonial states.[43]

Nationalism and identity

As a direct reaction and resistance to colonial oppression, archaeology was also used for the purpose of legitimating the existence of an independent nation-state.[44] For example, Egyptian Nationalists utilized its ancient history to invent the political and expressive culture of “Pharaonism” as a response to Europe’s “Egyptomania”.[45]

Masada fortress, Israel

Some argue that in colonized states, nationalist archaeology was used to resist colonialism and racism under the guise of evolution.[46] While it is true that both colonialist and nationalist discourse use the artifact to form mechanisms to sustain their contending political agendas, there is a danger in to viewing them interchangeably since the latter was a reaction and form of resistance to the former. On the other hand, it is important to realize that in the process of emulating the mechanisms of colonial discourse, the nationalist discourse produced new forms of power. In the case of the Egyptian nationalist movement, the new form of power and meaning that surrounded the artifact furthered the Egyptian independence cause but continued to oppress the rural Egyptian population.[45]

Some scholars argue that archaeology can be a positive source of pride in cultural traditions, but can also be abused to justify cultural or racial superiority as the Nazis argued that Germanic people of Northern Europe was a distinct race and cradle of Western civilization that was superior to Jewish race. In some conflicts that involve land ownership, archaeology is used to encourage confrontation by means of constructing of national myth as seen with the ancient fortress of Masada in Israel.[47] In other cases, archaeology allows rulers to justify the domination of neighboring peoples as Saddam Hussein used Mesopotamia's magnificent past to justify his invasion of Kuwait in 1990.[48]

Some scholars employ the idea that identity is fluid and constructed, especially national identity of modern nation-states, to argue that the post-colonial countries have no real claims to the artifacts plundered from their borders since their cultural connections to the artifacts are indirect and equivocal.[49] This argument asserts that artifacts should be viewed as universal cultural property and should not be divided among artificially created nation-states. Moreover, that encyclopedic museums are a testament to diversity, tolerance and the appreciation of many cultures.[50] Other scholars would argue that this reasoning is a continuation of colonialist discourse attempting to appropriate the ancient art of colonized states and incorporate it into the narrative of Western history.[citation needed]


The debate surrounding art repatriation differs case by case due to the specific nature of legal and historical issues surrounding each case, but below are listed general arguments commonly used:

Arguments against repatriation

  • Artifacts are a part of a universal human history and encyclopedic museums like the Musée du Louvre, British Museum, and Metropolitan Museum of Art cultivate the dissemination of knowledge, tolerance, and broad cultural understanding.
  • Oftentimes the artifacts were excavated or uncovered by the work of the looters, bringing to light a piece of artwork that would have never been seen; foreign-led excavation teams have uncovered much knowledge and we are indebted to their hard work and discoveries.
  • Nationalist retentionist cultural property laws claiming ownership are founded on constructed boundaries of modern nations with weak connections to the culture, spirit, and race to the ancient peoples who produced those antiquities.[51][52] Cultural identities are dynamic, inter-related and overlapping so no modern nation-state can claim cultural property as their own or else they are promoting a sectarian view of culture.
  • Having artwork disseminated around the world encourages international scholarly and professional exchange.
  • The encyclopedic museums in Paris, London, New York, etc., are located in diverse cosmopolitan cities and if the artworks were to be moved, it would be seen by far fewer people[53]

Arguments for repatriation

  • The encyclopedic museums like the Musée du Louvre, British Museum, and Metropolitan Museum of Art were established as repositories for looted art during imperial and colonial rule and thus are located in European metropolitan cities out of view and reach of the cultures they were appropriated from.
  • Precedence of repatriated art has already have been set in many cases but the artworks that museums currently refuse to repatriate are the most valuable and famous artworks.
  • Foreign-led excavations have justified colonial rule; in the pursuit of obtaining knowledge about the artifacts, there was a need to establish control over the artifacts and the countries where they were located.
  • The argument that art is a part of a universal human history is a derivative of colonial discourse that appropriated ancient art of other cultures into the Western historical narrative.
  • The encyclopedic museums that house much of the world's artworks and artifacts are located in Western cities and privilege European scholars, professionals, and people.
  • The argument that artwork will not be protected outside of the Western world is hypocritical as much of the artwork transported out of colonized countries was crudely removed and damaged and sometimes lost in transportation. The Elgin marbles for example, were also damaged during the cleaning and "preservation" process.
  • Art is best appreciated and understood in its original historical and cultural context.
  • Art taken out of the country as a spoil of war, looting, imperialism, and colonialism is unethical, even if it isn't reflected in legislation. The possession of artwork taken under these conditions is a form of continued colonialism.
  • The lack of existing legal recourse for claiming the return of illicitly appropriated cultural property is a result of colonization.
  • Cultural property is a symbol of cultural heritage and identity and the appropriation of historical artworks is an affront to a nation's pride.

International examples

The iconic bust of Nefertiti


Egypt is currently seeking the repatriation of the Rosetta Stone from the British Museum and the Nefertiti bust from the Neues Museum in Berlin.


Greece is currently seeking to repatriation of the Elgin Marbles from the British Museum, taken from the Parthenon by Thomas Bruce, 7th Earl of Elgin. Since 1816, the British Museum has held the Parthenon Marbles ("In Britain, the acquisition of the collection was supported by some, while other critics compared The British Consul at Greece Elgin's actions to vandalism or looting", text from the Marbles article), and, despite the tortuous and ill explained path from Greece to England, the museum strongly defends its right to own and display the marbles.

Euphronios Krater


In February 2006, Metropolitan Museum of Art negotiated the repatriation of the Euphronios krater to Italy, from where it was thought to have been looted in the early 1970s.


The Haisla totem Pole of Kitimat, British Columbia was originally prepared for chief hövding G'psgoalux in 1872. This aboriginal artifact was donated to a Swedish museum in 1929. According to the donor, he had purchased the pole from the Haisla people while he lived on the Canadian west coast and served as Swedish consul. After being approached by the Haisla people, the Swedish government decided in 1994 to return the pole, as the exact circumstances around the acquisition were unclear. The pole was returned to Kitimat in 2006 after a building had been constructed in order to preserve the pole.

South Korea

In November 2010, Japan agreed to return some 1,000 cultural objects to South Korea that were plundered during its colonial occupation from 1910-45. The collection includes a collection of royal books called Uigwe from the Joseon Dynasty (1392-1910).[54]

See also


  1. ^ According to the Sumerian poem titled Curse of Akkad, Naram-Sin was responsible for the collapse of the Akkadian Empire as he looted and destroyed the Temple of Enlil and incited the wrath of the gods as a result, see Miles, p. 16
  2. ^ a b Miles, p. 20
  3. ^ a b Miles, p. 13
  4. ^ Miles, p. 65
  5. ^ See film, Rape of Europa: The Fate of Europe's Treasures in the Third Reich and the Second World War by L.H. Nicholas, New York, 1994
  6. ^ a b "Unplundering Art". Economist. 1997. 
  7. ^ Barry Meier and James Glanz (26 July 2006). "Looted treasure returning to Iraq national museum". New York Times. Retrieved 5 November 2010. 
  8. ^ a b Greenfield, p. 263
  9. ^ a b Poole, Robert M. (February 2008). "Looting Iraq". Smithsonian Magazine. Retrieved 4 November 2010. 
  10. ^ a b Greenfield, p. 268
  11. ^ Greenfield, p. 267
  12. ^ Well known examples include Lucius Mummius' sack of Corinth or Marcus Claudius Marcellus' plunder of Syracuse, See Miles, p. 320
  13. ^ a b Miles, p. 320
  14. ^ See Miles, p. 320
  15. ^ a b Miles, p. 321
  16. ^ The Laocoön was the fabled Trojan priest who warned the Trojans not to accept the Wooden Horse that the Greeks offered to Athena. A god hostile to Troy sent sea serpents to kill him and his sons, which led to the fall of Troy and heralded the eventual founding of Rome, see Miles, p. 321
  17. ^ Ironically one of the names included Vivant Denon, the future Director of the Louvre and future facilitator of Napoleon's despoliation of artifacts from Egypt (see Miles, p. 326)
  18. ^ Miles, p. 328
  19. ^ a b c Miles, p. 329
  20. ^ Miles, p.4
  21. ^ Miles, p.5
  22. ^ Miles, p. 5
  23. ^ Miles, p. 330
  24. ^ Miles, p. 331
  25. ^ a b Miles, p. 334
  26. ^ Miles, p. 341
  27. ^ Miles, p. 332
  28. ^ Miles, p. 144
  29. ^ Miles, p. 350
  30. ^ a b Miles, p. 352
  31. ^ Miles, p. 271
  32. ^[dead link]
  33. ^ Greenfield, p. 270
  34. ^ a b Riviere, Francoise (2009). "Editorial". Museum International, UNESCO Publishing and Blackwell Publishing Ltd.. 1-2 61. 
  35. ^ Bouchenaki, Mounir (2009). "Return and restitution of cultural property in the wake of the 1970 Convention". Museum International, UNESCO Publishing and Blackwell Publishing Ltd.. 1-2 61. 
  36. ^ Silberman, pp. 249-50
  37. ^ Said 86
  38. ^ a b c Colla 103
  39. ^ Miles 320
  40. ^ Anderson 164
  41. ^ Colla 4
  42. ^ a b Colla 5
  43. ^ a b c d Anderson 181
  44. ^ Diaz-Andreu, p. 54
  45. ^ a b Colla 12
  46. ^ Kohl, Fawcett, pp. 3-11
  47. ^ Moss, Paul (16 January 2009). "Masada legend galvanizes Israel". BBC. Retrieved 6 November 2010. 
  48. ^ Kohl, Fawcett, p. 5
  49. ^ Cuno, pp. xx-xxxvi
  50. ^ Cuno, pp. xxxv
  51. ^ Cuno, James (2008). Who Owns Antiquity? The Battle Over Our Ancient Heritage. Princeton University Press. 
  52. ^ Cuno, James (2 November 2010). "Who’s Right? Repatriation of Cultural Property". Retrieved 19 November 2011. 
  53. ^ If the Rosetta Stone were to be moved from The British Museum to The Cairo Museum, the number of people who view it would drop from about 5.5 million visitors to 2.5 million visitors a year. <>
  54. ^ Tong, Xiong (8 November 2010). "S Korea to retrieve stolen cultural property from Japan: media". Xinhua News Agency. Retrieved 15 November 2010. 


Further reading

  • Merryman, John Henry (2006). Imperialism, Arts and Restitution. Cambridge University Press. 
  • Reid, Donald Malcolm (2002). Whose pharaohs?: archaeology, museums, and Egyptian national identity from Napoleon to World War I. University of California Press. 
  • Waxman, Sharon (2008). Loot: The Battle Over the Stolen Treasures of the Ancient World. Times Books. 

External links

Art repatriation

Looted art

Cultural repatriation

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