More typical are disputes like one between Turkey and the J. Paul Getty Museum in Los Angeles over a fifth-century bronze bed known as a Lydian kline, which has been an item of contention since 1995.

Acquired by J. Paul Getty Museum in 1982, this Lydian masterpiece has never been on display. Looted from a tumulus chamber in Lydia in 1979. Identified as the Alahidir tumulus in Turkey, the bed will be reclaimed by the Turkish Authorities, who have visited the bed in the Getty storerooms.

The Metropolitan Museum of Art repatriated the Lydian Hoard in 1993 back to Turkey. Journalist Sharon Waxman wrote about "Chasing the Lydian Hoard" in Smithsonian Magazine in 2008.

Canadian conservator Ann Shaftel has written on "The art and craft of preserving art", especially the maintenance of sacred textiles. Strong cleaning chemicals and modern lighting affect religious cloths and change the way the materials are cared for, Ms. Shaftel points out in the May-June 2013 for Tashi Delek:

For centuries, old treasures in monasteries and private homes have been cared for by resident nuns and monks. The longevity of these precious treasures is determined every day as the caretakers handle, clean and display these treasures on Buddhist shrines. Every Bhutanese home has an altar with thangkas and statues. Some shops and businesses also have an area with a thangka and offerings. Kiras, ghos (Bhutanese dress for me) and other everyday sacred family treasures that are woven into the fabric of daily life in Bhutan hold profound importance for the continuity of traditional Bhutanese culture. Yet the task of caring for them can baffle most. 

So there is robust logic in training nun, monks and private individuals in the care of these objects in their homes, nunneries and monasteries to enable them to gain basic preservation know-how. Though it is necessary to have some scientific understanding of materials and their behaviour, it can be combined with the dedication of caretakers and traditional rspect and methods to help preserve the treasures of Bhutan.

Hong Kong police officer Toby Bull presents at ARCA's International Art Crime Conference in Amelia. (Photo by Illicit Cultural Property)

Spoleto

by Yasmin Hamed, ARCA Intern


Yasmin Hamed has a B.A. Double Honours in Ancient History and Archaeology with French. Last year, Ms. Hamed completed her masters in Classical Archaeology at Trinity College in Dublin.

Here's a link to other posts by the ARCA Interns: orientation and the first week of classes with Dr. Tom Flynn. You may find out more about ARCA's education program here on the website.

Spoleto

by Yasmin Hamed, ARCA Intern


Yasmin Hamed has a B.A. Double Honours in Ancient History and Archaeology with French. Last year, Ms. Hamed completed her masters in Classical Archaeology at Trinity College in Dublin.

Here's a link to other posts by the ARCA Interns: orientation and the first week of classes with Dr. Tom Flynn. You may find out more about ARCA's education program here on the website.

Crowd at Van Gogh's Potato Eaters Sunday afternoon

In the 19th century, artists normally learned their trade by taking lessons at an academy or in a well-known artist's studio. They were taught by the traditional method, drawing from plaster copies of ancient sculptures and from nude models. Van Gogh, too, took lessons of this kind, although never for very long: no more than eight months in total. In 1880 he studied at the academy in Brussels and in 1881 in Anton Mauve's studio in the Hague; in 1885 at the academy in Antwerp, and in 1886 in the atelier of the painter Fernand Carmon in Paris. In the end, Van Gogh learned his craft mainly by spending countless hours at home copying drawings and paintings. He chose subjects of all kinds, from plaster models of the kind used at the art academy to a worn-out pair of shoes.

Eugène Delacroix (1798-1863), Apollo Slays Python, is a preliminary study for his painting ceiling at the Louvre.

In Nuenen, Van Gogh read books about colour theory. He learned about complementary colours (red and green, yellow and purple, blue and organge), which contrast and thereby heighten each other's effect. Yet this did not lead him to use brighter colours right away. Instead, he mixed complementary colours into his dark earth tones. It was only later, in Paris, that he saw paintings with powerful colour effects and gradually began to appreciate the potential of colour. Eugène Delacroix became his chief model. Other major influences included Neo-Impressionists such as Seurat and Signac. They used dots and short brushstrokes to set up contrasts between complementary colours, creating bright, colourful paintings. Van Gogh incorporated these diverse influences into his own personal style. This opened the way to the expressive works for which his is well known, in which colour plays the leading role.

In addition to the famous two-month living arrangement with Paul Gauguin in Arles (for which occasion he painted the series of sunflower pictures), Vincent had other relationships with painters, including Emile Bernard (1868-1941). Vincent asked Gauguin and Bernard for their self-portraits in a trade, and those paintings are on display (with each of them showing the other in the background).

Paul Gauguin (1848-1903), Les Misérables  (Self-portrait with portrait of Bernard)

Metal Detectors at the VGM

As you may know, we never speak about our security in public. But in general, I can tell you that one of the main challenges for every museum is to create the optimum balance between protecting the collection and offering the best hospitality for all visitors.

And with free Wi-Fi, the Van Gogh Museum also encourages visitors to promote the institute through social media.

The exhibit ended with 'probably' the last known painting by Vincent Van Gogh, Tree Roots, 1890: "He did not complete it: the top is almost finished, but the lower half had not yet been worked out in detail."

Vincent Van Gogh, Tree Roots, 1890

The exhibit is a result of the research project 'Van Gogh's Studio Practice', initiated in 2005 by the Van Gogh Museum, the Cultural Heritage Agency of the Netherlands and Shell Netherlands. A symposium on the subject is scheduled for June 24-26, 2013.

Inside the Rijksmuseum bike tunnel

by Catherine Schofield Sezgin, ARCA Blog Editor-in-chief

Crowd at Rembrandt's  Night Watch extends all day

The crowd in front of the Vermeer paintings

Jan Asselijn (1610-1652), The Threatened Swan, 1650

Biblioteek open to public

A distinguished gentleman and Rembrandt's Night Watch before closing.