More coverage of the proposed legal case being pursued in the European Court of Human Rights by the Athenian Association.

Syllogos ton Athinaion logo

From:
Athens News Agency

Private citizens’ association sues Britain at European Court of Human Rights for Parthenon Marbles
18/ 02/ 2016
Last update: 14:05

A private citizen’s group called the “Athenians’ Association” said on Thursday they filed a lawsuit at the European Court of Human Rights against the United Kingdom over the removal of the Parthenon Marbles by Lord Elgin in the 19th century, the association said in a press conference in Plaka on Thursday.

The association, which opened in 1895 and among whose aims is to research the history of Athens and help preserve of its cultural monuments, said the decision was taken after its board was informed about Britain’s refusal to participate in a mediation procedure, as part of the UNESCO Intergovernmental Committee for Promoting the Return of Cultural Goods in the Country of Origin.
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A lawsuit is being brought in the European Court of Human Rights over the reunification of the Parthenon Sculptures. The case is being brought by The Athenian Association, an Athens based organisation chaired by Eleftherios C. Skiadas, the vice mayor of Athens.

This case is interesting, as it is happening outside of the remit of the Greek Government, although it is unclear what knowledge the government has of the process. The Athenian Association were prompted to take action following the rejection of UNESCO mediation prior to the prorogation of Parliament in 2015.

It will be interesting to find out more details of this case in due course, in particular what arguments they are basing their case on.

Syllogos ton Athinaion logo

From:
The Athenian Association

APPEAL OF THE «ATHENIANS’ ASSOCIATION» BEFORE THE EUROPEAN COURT OF HUMAN RIGHTS FOR THE ACROPOLIS SCULPTURES

The historical “Athenians’ Association” (Syllogos ton Athinaion), which celebrated 120 years of existence this year (1895-2015), instituted proceedings at the European Court of Human Rights against the United Kingdom regarding the Acropolis Sculptures. The natives of the Greek capital set out the array of violations to their human rights regarding the cultural treasures of their city, characterised by Paul the Apostle as the «devotions of the Athenians». Indeed, this is the sole case worldwide of a UNESCO World Heritage Monument (1987) being despoiled through the removal of structural elements, such as the metopes and sculptures of the Parthenon.

Among the statutory objectives of the “Athenians’ Association”, special mention is made to “the making provision for the preservation and conservation of the monuments, works of art, etc., linked to the history of Athens”. Its founding members comprised descendants of the Athenians who stood up against the despoilment of the Parthenon by Lord Elgin. Besides, one of the very first actions undertaken by the Association was an event organised in 1896 to commemorate the liberation of the Acropolis from the Ottoman Turks and during which its deputy chairman, professor Theodossios Benizelos (1821-1900) mentioned that the Parthenon was a place of daily worship, the holy of holies, a life good for our ancestors and that the Athenians strongly protested against the despoilment of the Acropolis’ extant statues by Elgin.
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A common claim made by museums is that restitution of artefacts would lead to gaps in their collection. They like to leave the impression that is the Parthenon Marbles went back to Greece, then the Duveen gallery would end up just lying empty, with nothing of interest to fill it.

As I have noted before though, the reality could not be further from the truth. The British Museum only has 1% of its items on display at any one time.

This article looks at various other examples, such as the fact that 108 Picasso paintings are not on permanent display in any museum, compared to 139 that are. This means that 44% of his works held by museums can not be viewed by casual visitors unless they are part of a special temporary exhibition.

Museums are not private collections – they get various tax benefits & government grants because of this fact. Surely their purpose is to display items for the benefit of the public – not to put it in storage?

It is worth looking at the original article, for the extensive graphs that it has to back up its case.

Alte Mühle, (1916) Egon Schiele. None of his works are on public display in museums

From:
Quartz

Museums are keeping a ton of the world’s most famous art locked away in storage
Christopher Groskopf
January 20, 2016

Most of Georgia O’Keeffe’s work is in storage.

Nearly half of Pablo Picasso’s oil paintings are put away.

Not a single Egon Schiele drawing is on display.

Since the advent of public galleries in the 17th century, museums have amassed huge collections of art for society’s benefit. But just a tiny fraction of that art is actually open for people to view and enjoy—including, it turns out, many works that are considered masterpieces. The dynamic raises questions about who actually benefits when museums collect so much of the world’s best art.
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Iraq’s oldest Christian Monastery has been destroyed by ISIS, according to analysis of recent satellite photos of the area.

St Elijah’s monastery in Mosul had been used as a place of worship for 1,400 years.

US Soldiers celebrate Easter Mass at St Elijah’s monastery in 2010

From:
Guardian

Isis has destroyed Iraq’s oldest Christian monastery, satellite images confirm
Associated Press
Wednesday 20 January 2016 12.16 GMT

New satellite photos confirm what church leaders and Middle East preservationists had feared: the oldest Christian monastery in Iraq has been reduced to rubble, yet another victim of Islamic State’s relentless destruction of heritage sites it considers heretical.

St Elijah’s monastery stood as a place of worship for 1,400 years, including most recently for US troops. In earlier millennia, generations of monks tucked candles in the niches, prayed in the chapel and worshipped at the altar. The Greek letters chi and rho, representing the first two letters of Christ’s name, were carved near the entrance.
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