More coverage of the Promakhos movie which is now scheduled to open in Greek cinemas from November 27th onwards.

Promotional image for the Promakhos movie

from:
Kathimerini (English Edition)

Monday November 24, 2014
New film, ‘Promakhos,’ makes case for return of Parthenon Marbles

Two lawyers fight for the return of the Parthenon Marbles from the British Museum to Greece in a film produced by Greek-American brothers Coerte and John Voorhees, due to open at theaters on Thursday, November 27.

The brothers were in the Greek capital last week to promote “Promakhos,” which they have also written and directed, and spoke to the press about the project and what they hope it can achieve. John and Coerte are the sons of a US-based lawyer who has been an active campaigner for the return of the Parthenon Marbles to Athens. Coerte studied history and classics at Georgetown University. “Promakhos” is their first film.
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Following Kwame Opoku’s reponse to British Museum Director Neil MacGregor’s recent comments on the Parthenon Marbles, the Greek Ministry of Culture have also forwarded me their own response, highlighting the many inaccuracies & inconsistencies in MacGregor’s interview.

Parthenon Marbles in British Museum

From:
Greek Ministry of Culture (by email)

Response to comments made by Neil MacGregor in an interview in the Times on 7th November

1. UNESCO, which has invited the Greek and the British Governments to take part in a mediation process to resolve the issue, is an intergovernmental organization. However, the Trustees of the British Museum are not part of the British government. It is the Trustees and not the Government that own the great cultural collections of the country.

UNESCO is indeed an intergovernmental organization. It is hard to believe that a Government would discuss an issue it does not have competence on. It is hard to believe that if there were political will from the UK for the return of the Marbles to Greece the BM would resist this will. Negotiations conducted all those years with the good services of UNESCO were between the two States (Greece and the UK). Yet, a BM representative was always there. In any case the links at all levels between the BM and the UK Government are well known. Returns have already been effected in Britain on the basis of changes in the law such as the enactment of the Human Tissue Act 2004. This Act enabled the return of human remains located in UK museum collections (under the same status as the one applying to the Marbles). Those were unethically removed from Australian Aboriginals, New Zealand Maori and Native Americans and were returned to their countries of origin. In this light persistence in formalities can only be used as an evasion of the real issue.
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The heightened interest in the Parthenon Marbles following the visit by a team of lawyers to Athens has prompted many recent articles on the subject.

Here, Vicky Pryce & Dominic Selwood argue the cases on opposite sides of the restitution debate.

Remember to vote in the poll on the website at the top of the original article.

Part of the Parthenon frieze in the British Museum

From:
Prospect

Duel: should we return the Elgin marbles?
Did Lord Elgin liberate or steal these priceless historic artefacts? Our panellists battle it out
by Vicky Pryce, Dominic Selwood / November 13, 2014
Published in December 2014 issue of Prospect Magazine

About authors

Vicky Pryce (Yes)
Vicky Pryce is a Greek economist and former joint head of the UK’s Government Economic Service

Dominic Selwood (No)
Dominic Selwood is a historian and barrister

Yes
At the beginning of the 19th century, Thomas Bruce, Lord Elgin, was the British Ambassador to the Ottoman Empire, which occupied Greece. He entered the Parthenon in Athens and documented the sculptures, making moulds and casts. He bribed Turkish officials to allow him to engage in daily excavations before removing a large part of the marbles to Britain. Bribing occupying powers to purloin national treasures is not the sort of behaviour usually deemed worthy of a British Ambassador.

The looting that happened during the Second World War has, on the whole, been made good. No one accepts the right of those who occupied half of Europe to walk off with the revered relics of those subjugated nations in the 20th century. So why was it acceptable to do so in the 19th century?
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Neil MacGregor’s comments earlier this week about the Parthenon Marbles and why he believed that they should remain in his museum.

Parthenon Marbles in British Museum

From:
Modern Ghana

Feature Article | 14 November 2014 Last updated at 12:28 CET
British Museum Director Defends Once More Retention Of Parthenon Marbles
By Kwame Opoku, Dr.

“Yes. It’s not even a Greek monument. Many other Greek cities and islands protested bitterly about the money taken from them to build this in Athens.”— Neil MacGregor on the Parthenon Marbles.

On reading the recent statements of Neil MacGregor, director of the British Museum, regarding the restitution of the Parthenon Marbles, I had to remind myself constantly that I was not reading an old article but a fresh report of an interview with Richard Morrison, in the British newspaper, the Times.

The director of the British Museum has not changed, improved or modified his position on the issues. (1) He is singing the same song as James Cuno even though in a different key. (2) We shall spare the reader the time and effort of going through all the untenable British arguments which have been discussed elsewhere. (3)
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Only a few days after publishing a list of disputed artefacts, the Guardian has now also published a list of looted artefacts..

Many of the comments I made in my introduction to the original piece still stand. It has been stated in the past that each artefact dispute is unique & should be judged on its own merits (i.e. the argument that return would set a precedent is unfounded). This lists shows just how diverse the category of looted artefacts is.

I’m also not quite sure how a list of the ten most notorious looted artworks can manage to omit the Parthenon Marbles.

The bust of Nefertiti in Germany’s Neues Museum, claimed by Egypt

From:
Guardian

From Napoleon to the Nazis: the 10 most notorious looted artworks
Romans, Nazis, Victorian-era Brits, noughties cat-burglars – they have all stolen priceless works. Here are the most shocking art thefts of the last two millennia
Ivan Lindsay
Thursday 13 November 2014 17.31 GMT

Looting has been part of human behaviour since ancient times. The Romans did it in their very first conquest, in 396 BC. They stripped the city of Veii of anything valuable and established a template for looting that lasted over 2,000 years. It was only in 1815 that the Congress of Vienna made the first serious effort at post-conflict restitution of plundered art.

After the Romans it became standard practice for a victor to remove all treasure from the vanquished, to weaken their status. Booty also provided handy funds to pay for military campaigns.
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No one expects the British Museum to just suddenly acquiesse on the issue of the Parthenon Sculptures. Even by their own standards though, some of what is in the latest interview with their Director, Neil MacGregor, is pushing the bounds of credibility.

Now – to the best of my knowledge, the only firman (or permit) that Elgin ever managed to show to anyone (in Italian translation) stated that he had permission to make measure, sketch & make casts of the sculptures and buildings on the site. It also stated that they could dig up inscribed blocks that might have been preserved in the rubble. Some of the Parthenon Sculptures may fall into this category, but the vast majority were sawn from the building by Elgin. The firman is fairly specific in its wording regarding taking casts, so it seems that it would be an odd omission to describe other things in such detail, but not to mention that he was also allowed to remove large chunks of the ancient monument & saw it apart to remove the sculptures from it. On this basis alone, I think it would be safe to say that the legality of the removal is called into question.

Neil MacGregor however seems to see things a different way – and he believes that most other people do too. He asks himself “Was the acquisition legal?” and then immediately responds “I think everybody would have to agree that it was.” Hearing things such ass this only helps to convince me that a major change of tactics is needed if the sculptures are to return to Greece any time soon. When the institution that holds them is so emphatically certain that they are right, it is hard to start any sort of serious negotiations.

MacGregor falls on a peculiar fallacy, that because it took a long time to remove the sculptures (this is true & well documented), that therefore lots of people must have seen him do it & therefore as he was not stopped, what was doing must have been legal. If a criminal used this as a defence today, we wouldn’t use it as evidence of the legality of their actions though – merely that they were adept at avoiding getting caught.

It is clear from his statements that the British Museum has no fear of the UNESCO mediation request – they believe that UNESCO should deal only with governments, so it does not apply to them. The British Government will of course take the line that it is not the decision for the government can make, and note that the responsibility falls to the Trustees of the British Museum. This is a true assessment of things – but if the government had a will to do something, I’m sure they would not be adverse to leaning on the Trustees & trying to get them to deal with the issue.

MacGregor also highlights another major stumbling block (although I’m sure that he does not see it this way), that Greece must acknowledge that the British Museum is the legal owner of the sculptures, before any negotiations can begin. As a large part of Greece’s claim rests on the fact that the marbles were not legally acquired, then to state that they were before any negotiations would be a disaster. Why would they want to relinquish a big chunk of their arguments before they even start? If the same thing happened in trials over the ownership of Nazi loot, there would be a public outcry.

Throwing one final stone over his parapet, MacGregor shows that the museum is entirely remorseless on the issue (or perhaps entirely misunderstands the issue), stating that even if Elgin was to do the same now, it would still be legal by the standards of the museum. Using as an example (an entirely different situation of) archaeological digs in Sudan, where they have been invited to excavate by the authorities. To understand just how spurious this example is, note that:
1. The government of Sudan is not seen by Britain to be an occupying power.
2. The permits & what they allow them to do / not do, are presumably carefully documented, checked by various lawyers & certified copies filed away somewhere securely.
3. The terms of the permits are presumably adhered to, without massive ad-hoc undocumented changes to the mission.

I’m sure if I looked into it in more detail, many more details would show just what a ridiculous comparison is being made here.

British Museum Director Neil MacGregor

From:
The Times

Neil MacGregor: ‘There is no possibility of putting the Elgin Marbles back’
Richard Morrison
Published at 12:01AM, November 7 2014

The British Museum director explains why the Parthenon Sculptures will not be returned to Greece during his tenure

If he’s a man under pressure he seems blithely unaware of it. At precisely 8.58am last Tuesday morning a dapper 68-year-old docks his Boris bike and walks through the great gates of his institution, which are still closed to the public. “Morning, Neil,” says the security guard. “Gentleman from The Times waiting to see you.” The director of the British Museum has arrived for work.
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Reading some of this article feels a bit like history repeating itself. Back in late 2002, when Evangelos Venizelos was Culture Minister, he presented the UK with a summary of the limitations of Greece’s demands for the Marbles, along with what they might expect to receive in return. In effect, what he came up with was a win-win situation, although the British Museum refused to recognise it as such.

Many changes of government later, after being finance minister during possibly the toughest of times during the unravelling of the Greek debt crisis, Venizelos is now Deputy Prime Minister in the current coalition government. He has take the opportunity of announcing loans of artefacts to an exhibition in Canada, as an opportunity to re-iterate these demands. This is great news, as for many years, there was no clear offer on the table & there was much speculation in the absence of a new offer, as to whether the old one was still valid. What Venizelos describes here sounds remarkable similar – if anything more flexible (perpetual loan, rather than a series of separate short term loans).

As a separate point, in the past, I have highlighted that Greece has never really withdrawn cooperation from Britain to put pressure on them in the way that other countries (notably Iran) have tried to, to secure artefact returns. From what Venizelos describes though, it seems that the deal with Canada could be the evidence of a similar sort of strategy. Greece will not stop cooperating with Britain – but it will offer greater levels of cooperation to other countries wanting to organise temporary exhibitions etc.

PASOK leader Evangelos Venizelos

From:
Ottawa Citizen

Greece hopes exhibit at Museum of History will help free Elgin Marbles from Britain
Don Butler
Published on: November 3, 2014Last Updated: November 3, 2014 1:30 PM EST

ATHENS • Greece hopes a blockbuster exhibit coming to the Canadian Museum of History next year will boost its argument for repatriating the Elgin Marbles from the British Museum, foreign minister Evangelos Venizelos said Monday.

In an act the Greeks have long characterized as looting, British diplomat Lord Elgin removed about half of the surviving classical Greek sculptures from the Parthenon in Athens between 1801 and 1812 and shipped them to Britain.

The British government purchased the artifacts in 1816 and passed them to the British Museum in London, where they remain on display to this day.

In a meeting with Canadian journalists and officials from the Canadian Museum of History, Venizelos was asked if Greece’s willingness to allow more than 500 rare artifacts to travel to Canada and the United States was partly a tactic to ramp up pressure on the British to return the long-sought sculptures.
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In this interview, Smithsonian curator Masum Momaya talks (amongst other things) about the patronising way that the British Museum continues to rebuff any claims made by India for the restitution of artefacts taken from the country during the time of the Raj.

The Sultanganj Buddha is one of many artefacts in the UK subject to ownership claims by India

From:
Financial Chronical (India)

A sense of history
By Gargi Bhattacharya
Nov 03 2014

Smithsonian curator Masum Momaya on the ethics of art repatriation and the moral responsibility of countries to preserve their culture and heritage

A curator at the Smithsonian Institution, Masum Momaya has a 20-year experience working for gender, race and class equality, and her curatorial portfolio includes multimedia, multilingual and themed exhibitions. The Stanford University graduate and Harvard University post-graduate is in India to showcase her exhibition, Beyond Bollywood: Indian Americans Shape the Nation, in collaboration with the American Center. Of Indian-American descent herself, Momaya prides herself on being able to situate her work in the best of both worlds. Excerpts from the interview…

As a curator of some experience, how would you say Indian heritage is represented in western museums?
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In the coverage of the visit to Greece by a team of Lawyers, much has been made of the presence of one particular individual on the team. This person is of course Amal Clooney, previously known as Amal Alamudddin. While the amount of additional publicity she created for the issue is amazing, the interpretation of her presence and the level of the questions asked by many of the newspapers is somewhat lacking.

Some stories claim that she is there to rescue the Marbles for Greece (with the implication that it would be done singlehandedly). Other stories take the opposite line & claim that she is only there because of her celebrity status. This claim is a blatant untruth based on nothing more than spurious conjecture, as she was in fact involved with research into this case since well before she became associated with George Clooney.

Still other papers criticise her (& often her husband too) for having opinions – as though when one becomes famous their opinions cease to have any basis. Unsurprisingly to many, these are the same papers that spend the rest of their time focusing on celebrities, speculating on their every move & reflecting on their choice of outfit every time they leave the house.

Amal Alamuddin & Geoffrey Robertson

From:
Independent

Amal Alamuddin calls for the return of the Elgin Marbles from Britain: ‘Injustice has persisted for too long’
The human rights barrister said Greece has ‘just cause’ to wish for the repatriation of the artifacts
Wednesday 15 October 2014

Amal Alamuddin – who recently changed her name to Amal Clooney following her marriage – today spoke of the “injustice” that the Elgin Marbles have not yet been returned from Britain to Greece.

The human rights barrister has been enlisted to advise the Greek government on the issue.
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The list of disputed artefacts from The Guardian is different to many others, in that it has widened its remit, to include any artefact that have some dispute relating to them. as a result, while some are well know restitution cases such as the Bust of Nefertiti or the Parthenon Marbles, in other cases the dispute relates to who the work itself actually depicts, or who originally produced the painting. as a result, it ends up a rather confused list, presenting a mixed message, where well grounded restitution cases such as the Parthenon Sculptures are mixed up with discussions over the authenticity of works by Pollock.

That is not to say that the list is without interest however – if anything, it helps to reinforce the importance of provenance in giving the true value to a work of art. Without it, the matter of where it came from & who created it will always be the subject of debate.

Picasso’s Boy leading a horse in the MoMA is subject to claims that it was looted during the holocaust

From:
Guardian

The 10 best disputed artworks
Laura Cumming
Friday 31 October 2014 12.00 GMT

As Greek efforts to reclaim the Parthenon Marbles receive a boost from Amal Clooney, Laura Cumming considers other artworks caught up in legal and artistic wrangling

The Parthenon Marbles
The great frieze of figures removed from the Parthenon by Lord Elgin in the early 19th century remains the most perennially disputed of all artworks, the arguments as divided as the sculptures themselves – the goddess Iris’s head is in Athens, her body in the British Museum; Poseidon’s torso is split between them. Defenders argue that Elgin bankrupted himself to save the marbles from local destruction, with full Greek authority, and London is their legal home. The opposition (which has included Byron, Christopher Hitchens and of course now the Clooneys) argues that the marbles were literally “ripped off” the Parthenon, and ruinously scoured, and must be returned to Greece.

The Household of Philip IV, ‘Las Meninas’, Kingston Lacy, Dorset
In 1814 an Englishman abroad thought he had come upon Velázquez’s first version of Las Meninas (1656) – not that he, or practically anyone else at that time, had seen the original in the Spanish royal palace. William Bankes MP bought the canvas for Kingston Lacy, his Dorset home, calling it “the pride of England”. It shows the celebrated scene on a much smaller scale and with strange anomalies, not least the fact that the famous mirror at the back is empty. Some believe it to be a preliminary oil sketch, most that it is undoubtedly a copy by his son-in-law Juan Bautista Martínez del Mazo. The row still rages: the Prado held a conference only this year.
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The British Museum has just announced that it is going to make available 3D models of some of its artefacts, that anyone can use to create 3D prints, or view from different angles on screen.

3D prints are in some ways better than the actual artefacts in the museum, as they can be studied from any angle & handled without worrying about damaging a priceless treasure. On the other hand though, no matter how realistic they might be, they are not the actual object – they do not carry its history & they do not typically contain the depth of information, that might allow later studies using newer technologies, to understand more about the piece (e.g. to more accurately date it, to analyse the chemical makeup of the surface etc).

In the past, the British Museum has provided copies to the original owners of disputed works In this case though, one wonders why it can’t be the other way round – that the British Museum keeps the copy & the actual treasure is returned to its rightful owners.

You can view the artefacts currently available for 3D printing at the Sketchfab website.

The statue of Amenhotep III is among those available to be 3D printed

From:
Slash Gear

British Museum now lets you 3D print artifact replicas
Oct 31, 2014

3D printing is slowly but surely becoming more available to the average consumer, and the possibilities for it are vast. While the technology is being used to tackle projects as expansive as home construction and food in space, it is also being utilized at the simpler level for creating things like replacement knobs and personalized action figures. Among those simpler uses is the ability to print your own replica of historical items.

Do you fancy have a replica of Amenemhat III’s granite bust? Now you can, thanks to a new collection of downloadable 3D models the British Museum has made available through Sketchfab, which is the first service to host the collection.
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James Cuno will be a familiar figure to long time readers of this blog. Representing the anti-restitution side of the museum establishment in the USA, he has been one of the most outspoken critics of the return of artefacts. At times in recent years, it has seemed as though his stance has been mellowing, but his latest article shows that this is clearly not the case.

Following James Cuno’s article, is a critique of it by Dr Kwame Opoku – who is amongst other things a long standing detractor of Cuno’s Encyclopaedic Museum theory.

James Cuno, President and CEO of the J. Paul Getty Trust

From:
Foreign Affairs

Culture War
The Case Against Repatriating Museum Artifacts

By James Cuno
From our November/December 2014 Issue

In December 2007, the Italian government opened an exhibition in Rome of 69 artifacts that four major U.S. museums had agreed to return to Italy on the grounds that they had been illegally excavated and exported from the country. Leading nearly 200 journalists through the exhibition, Francesco Rutelli, Italy’s then cultural minister, proclaimed, “The odyssey of these objects, which started with their brutal removal from the bowels of the earth, didn’t end on the shelf of some American museum. With nostalgia, they have returned. These beautiful pieces have reconquered their souls.” Rutelli was not just anthropomorphizing ancient artifacts by giving them souls. By insisting that they were the property of Italy and important to its national identity, he was also giving them citizenship.

Rutelli has hardly been the only government official to insist that artifacts belong to the places from which they originally came. In 2011, the German government agreed to return to Turkey a 3,000-year-old sphinx that German archaeologists had excavated from central Anatolia in the early twentieth century. Afterward, the Turkish minister of culture, Ertugrul Gunay, declared that “each and every antiquity in any part of the world should eventually go back to its homeland.”
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