Blog Subscription via Follow.it

March 30, 2011

Wednesday, March 30, 2011 - ,,, No comments

A New Exhibition at Rome's Palazzo Farnese and the Pope Behind the Art Collection

Titian's Pope Paul III and his Grandsons (Museo di Capodimonte)
by Catherine Schofield Sezgin, Editor-in-Chief

Today ARTINFO.com published an article by Noah Charney, ARCA's founder, about a special exhibition at the French embassy in Rome, "Rome's Palazzo Farnese Opens Its Doors to Offer a Rare Glimpse of Renaissance Art Marvels"in the family's former Renaissance home.  The Farnese family piqued my interest in 2009 while visiting Napoli's Museo di Capodimonte where paintings by Titian and Raphael depict the life of Alessandro Farnese, cardinal, grandfather, and pope.

Alessandro Farnese, born in 1468, was elected as a cardinal at the age of 25 and fathered four illegitimate children before he was ordained a priest at the age of 51.  Reigning as Pope Paul III from 1534-1549, he opened the Council of Trent in 1545 to discuss church doctrine and correct abuses such as the selling of salvation to parishioners; urged a crusade against the Turks; befriended François I (Leonardo da Vinci's last patron); and was unable to resolve Henry VIII's break with Rome over his numerous divorces.

Napoli is a complex city where civilians honk at the carabinieri cars to drive faster, the trash piles up on the street, the archaeological museum displays erotic art from Pompeii, and art works by Caravaggio, on the run from a murder charge in Rome, decorate the chapel of one of the city's charitable institutions.  On the top of a hill overlooking the Bay of Naples, the Museo di Capodimonte, the former palazzo of Charles of Bourbon displays the Farnese art and antiquities collection inherited when his mother, Elizabeth Farnese, married King Philip II of Spain in 1715.  The second room of the Farnese Gallery has three paintings of Alessandro Farnese: Raphael's Portrait of Alessandro Farnese (1509-1511); Titian's Pope Paul III (1545-46); and Titian's Pope Paul II with his Grandsons (1545 circa).

Alessandro's sister, Giulia, was the mistress of Pope Alexander VI who made her brother cardinal of Santi Cosma e Damiano, an ancient church that included the Temple of Romulus, the best preserved pagan temple of Rome.  In 1513, after discontinuing his relationship with the mother of his children, Alessandro Farnese began the planning and construction of one of the grandest residences in Rome, Palazzo Farnese, built of huge blocks plundered from ancient monuments.  When he was elected pope, he appointed his teenage grandsons cardinals and employed Michelangelo to complete the third story of Palazzo Farnese.  As an art patron, Pope Paul III commissioned Michelangelo for the Last Judgement in the Sistine Chapel; the Conversion of St. Paul and The Crucifixion of St. Peter in his private chapel in the Vatican (the Cappella Paoline), and appointed him architect to the new Saint Peter's Basilica after the death of Antonio da Sangallo.  Titian visited Rome in 1545-6 and painted the family portraits.

Pope Paul III died after his son, the Duke of Parma, was murdered during a period of conflict regarding family control of the papal territories.  He was buried in St. Peter's Basilica in a tomb designed by Michelangelo.  His family continued to amass power and wealth, marrying into nobility and collecting art.  His grandson, Cardinal Alessandro Farnese, spent much of his wealth on artistic projects, including building up the largest collection of antiquities in Rome which today composes much of the archaeological museum in Napoli today.

March 29, 2011

Tuesday, March 29, 2011 - ,, No comments

Press Release Prepared by Lana Rushing on Behalf of the Governor of Marche Region, Italy: "Italy to Getty: We're Not Here to Declare War!"

Governor Spacca at the press conference in Century City
This is the press release prepared by Lana Rushing of Rushing PR on behalf of the Governor of Marche Region, Italy. You may find it as informative as I did.


Italy to Getty: We’re Not Here to Declare War!

Top Italian Official Offers Innovative Peace Treaty to Resolve Long-Raging Battle with World’s Richest Museum; Share Custody of Stolen “Victorious Youth” Bronze Statue - or Risk Losing it to Italy Forever

Governor of antiquities-rich Marche Region Implores Getty: “Act Like a World-Class Cultural Institution and Behave Ethically”

Los Angeles – A senior Italian government official today offered an innovative peace treaty in an historic antiquities battle with the J. Paul Getty Museum, imploring the world’s richest cultural institution to “behave ethically” by returning knowingly looted art to its homeland – or risk losing it forever.

“We have not come to declare war on the Getty,” said Gian Mario Spacca, the Governor of Italy’s Marche Region on the Adriatic Sea – one of the richest sources of archeological antiquities and Renaissance era works of art. “We are here to try to' resolve the dispute in a way that will benefit this great museum, the people of Italy – and, most important, art lovers around the world."

Speaking at a news conference in Los Angeles, the Governor unveiled a novel “cultural exchange” proposal to share custody of the 2,300-year-old bronze statue “Victorious Youth” (also known as the “Athlete of Fano”), a nearly five-foot antiquity sculpted by the Greek artist Lisippo. The antiquity mysteriously arrived at the Getty in 1974 and was displayed to great fanfare. It was showcased as “The Getty Bronze”.

The Bronze is one of several star attractions at the Getty, including the iconic seven-foot marble and limestone “Aphrodite” which Italian police escorted home last week following a long-raging legal fight with the museum. Italy says its rare antiquities had been buried for centuries and discovered by unsuspecting citizens who sold them at a fraction of their worth to art thieves - and then purchased by the prestigious Los Angeles-based museum without legitimate historical ownership credentials. The antiquities were showcased over the past several decades to build the Getty’s reputation as a global cultural force.

The Getty’s previous curator of antiquities, Marion True, was indicted in Italy in 2005 (along with famed art dealer Robert Hecht Jr.) on criminal charges of trafficking in stolen antiquities.

“The Italian people expect a museum as prestigious as the Getty should not be trafficking in illegal art. Further, the Getty should show the world it can act like a world-class cultural institution and behave ethically,” Governor Spacca told reporters today in unveiling his proposal.

Governor Spacca characterized his proposal as a significant proactive effort to break the deadlock in the Getty stolen-art conflict and speed a resolution after decades of failed negotiations and legal wrangling.

In a separate action, the legal dispute is expected to be decided by an Italian high court later this week following multiple failed appeals by the museum, which continues to assert its legal ownership of the “Victorious Youth”. A final ownership ruling favoring Italy, could subject the priceless Bronze to the same fate as “Aphrodite,” which was one of the leading attractions at the Getty until its confiscation by Italy earlier this month.

“The Victorious Youth” by Lisippo is a very important testimonial for the Italian culture. It is of great interest for Marche to have the statue returned to Fano, from where it disappeared years ago,” said Governor Spacca.

The “Victorious Youth” was discovered by fishermen in 1964 and sold for $1600 to an art dealer. The whereabouts of the statue were shrouded in mystery until the Getty purchased it for about $3.9 million and put it on display 37 years ago.

March 28, 2011

Monday, March 28, 2011 - ,, No comments

"The Getty Bronze" and the Region of Marche: In the shadow of a pending court case in Italy, officials from Marche visit Los Angeles, meet with the Getty, and hold a press conference to underscore their desire for a 'cultural relationship' between Los Angeles and Marche

by Catherine Schofield Sezgin, Editor

CENTURY CITY - 'Governor' Gian Mario Spacca, president of the Marche region of Italy, held a press conference this morning to discuss his proposal to the Getty Museum for a cultural relationship between the institution which owns the "Getty Bronze" and the region from which it was fished out of the ocean almost six decades ago, weeks before an Italian judge reaches a decision about the status of the 'Victorious Youth', known in the Adriatic region as 'Atleta di Fano.'

Governor Spaaca & "The Athlete of Fano"
Spacca said that the purpose of his trip was not to fight with the Getty Museum, but to establish cooperation 'on universal values such as culture', he said through an interpreter at a conference room in the Intercontinental Hotel in Century City on the westside of Los Angeles, just 12 miles from where the Greek statue resides today in Malibu as it has since 1977 after being purchased for nearly $4 million.

The ancient Greek bronze, the subject of a book by Carol C. Mattush published by the J. Paul Getty Museum, "is one of a very few life-size bronzes from ancient Greece known to exist in the world today," according to The Getty website. "It was found in the sea in international waters," The Getty explains here.

The 'Victorious Youth', which even has its own Facebook page, known as the 'Atleta di Fano', has been a subject of controversy for years. Governor Spacca, as he's identified by his press release, said that he hopes to avoid another ugly 'Morgantina experience" referring to last week's return of the Getty's $18 million Aphrodite to Sicily after years of dispute and revelations of illegal excavation and smuggling, as reported by Jason Felch in The Los Angeles Times ("Getty Ships Aphrodite Statue to Sicily"). You may read further about the Fano Athlete here, here, here, and here.

At the press conference today, Governor Spacca said that 'our goal' is to place it in one of the many museums in either Ancona or Fano in the region of Marche on the Adriatic, a place that was once the "Iron Curtain" between the ancient Roman and Greek cultures. 'Our goal is to give the people the possibility of admiring the statue and of knowing their great cultural heritage,' Governor Spacca said through an interpreter. "Having the statue back would be an extraordinary feeling and going back to ancient identity of the Adriatic culture."

Governor Spacca had met with the Getty Museum who had said that the institute would be waiting for the end of the legal proceedings in Italy before starting to deal with the Italian government. Jason Felch continued his in-depth coverage yesterday here.

"Our proposal is regardless of the judge's ruling," Governor Spacca told the media Monday. "We offer a region rich in cultural and Renaissance heritage."

You may see more about the Region of Marche through the website here.

March 23, 2011

Wednesday, March 23, 2011 - ,,, No comments

UNESCO 1970 Convention Today: Last week's conference

Dr. Jorge Sánchez-Cordero speaking at the public debate.
by Catherine Schofield, Editor

Home from Paris, I will continue coverage of the UNESCO meeting on the commemoration of the 40th anniversary of the 1970 Convention, the still to be ratified by one-third of the signatories of an international effort to stop the illicit trafficking of cultural property, as does the looting of archaeological sites all over the world.

The 1970 Convention, formerly known as the Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property 1970, can be read here on UNESCO's website.

On March 15, in one of the auditoriums at the UNESCO building in the 7th arrondissement of Paris just a few minutes walk from Napoleon's Tomb, the meeting, "The 1970 Convention: Past and Future", began with a public debate moderated by journalist Louis Laforge. The speakers included Irina Bokova, Director-General, UNESCO; Bernd Rossbach, Director, Specialized Crimes and Analysis, INTERPOL; Dr. Jorge A. Sánchez Cordero, Director of the Mexican Center of Uniform Law; Stéphane Martin, President, Musée du Quai Branly; and Jane Levine, Worldwide Compliance Director and Senior Vice President, Sotheby's Auction House.

One of the scheduled speakers, Dr. Zahi Hawass, Egyptian's brief former Minister of Culture, was 'unable to leave Cairo' to attend the meeting. Instead, he sent a message that said he supported the fight against the illicit theft of cultural property and asked that people help Egypt find the items recently stolen from the Cairo museum.

"The art market is sometimes painted as the enemy," Jane Levine, a former American prosecutor said, after UNESCO's introductor remarks. Her job at Sotheby's, she said, is to train staff on how to ask questions about the provenance of objects. She works with a full-time department of lawyers and admits that her appointment is a change in the market's "new attitude" of focusing on the due diligence aspect of archaeological objects.

Mr. Rossbach told the audience that INTERPOL is a "crucial partner with UNESCO" in fighting the illicit trafficking in art and cultural objects. INTERPOL seeks the cooperation of specialized organizations like UNESCO and stressed the importance of training. INTERPOL released a summary of his statements on the group's website here.

Mr. Sanchez-Cordero said in Spanish, according to UNESCO's English translator, that the 1970 Convention 'has to play a prominent role in the new cultural order'. He said that the convention 'only protects objects placed on an inventory list, a problem in implementing the 'effectiveness' of tackling this problem and one that 'runs counter to archaeological sites and is a problem for countries of origin.' Another shortfall, he said, was that it was just not enough to adopt the international convention. "We shouldn't stop at that but follow-up and give countries of origin (of cultural objects) a system to follow up the convention and to take remedial action.'

Mr. Martin said in French, and I also paraphrase him through UNESCO's English translator, that French museums will not complete collections with objects that unlawfully entered the market. 'Most objects in museums haven't been created to be in a museum,' he said, 'so the wish to place them there doesn't fit in with all cultures, such as placing a religious object outside of a church. What is La Jaconde? Is it an Italian object because Leonardo da Vinci painted it? Or French because François I purchased it? Or is it Japanese because it's viewed by the Japanese?' It's a fascinating and complex issue. Everyone rejects a nationalistic view of the world. It's a cultural issue for everyone and counter to trade.'

UNESCO's Director-General, Madame Irina Bokova, said that she wanted to "ring the bell of the alarm" and find out how to "strengthen and implement" the 1970 Convention, mentioning that there was a "new conscience" in the past 40 years that supports cultural exchange, diversity, knowledge and art, but is against the "pillaging" of archaeological sites, the trafficking of illicit cultural objects which is "robbing" people of their identity, rights, and destroying archaeological sites and excavations. She commended the countries of Belgium, The Netherlands, and Switzerland who recently signed the convention. "Without international cooperation, it would be difficult to curb this trade."

Mr. Laforge asked INTERPOL's Rossbach if there are any major routes for illegal trafficking of cultural objects. "There is always a reaction and an action," Rossback said. "We cannot be fixed on one route. We are working with partners to identify those gaps."

Interpol has opened a new office in Singapore, Laforge asked as translated from French to English, is this indicative of a new market? "Yes," Rossbach answered. "Singapore is a sign."

According to UNESCO:
"The illicit trafficking of antiquities is estimated to be superior to US $6 billion per year, according to research conducted by the United Kingdom's House of Commons on July 2002.  Ten years later, the UN report on transnational crimes calculated that the world traffic in cocaine reached US $72 billion; arms, $52b; heroine, $33b; counterfeiting, $9.8B; and cybercrime, $1,253B.  Together with the trafficking in drugs and arms, the black market of antiquities and culture constitutes one of the most persistent illegal trades in the world."
We'll continue coverage of this UNESCO 1970 Convention meeting tomorrow.

Wednesday, March 23, 2011 - ,, No comments

Elizabeth Taylor and the Van Gogh Painting

Vincent Van Gogh's "View of the Asylum and Church at Saint-Remy/Sage Recovery
by Catherine Schofield Sezgin, Editor

Elizabeth Taylor, actress, film star and the founder of the Elizabeth Taylor AIDS Foundation, was also the owner of an 1889 painting by Vincent van Gogh, "View of the Asylum and Church at Saint-Remy", she had to assert legal ownership of in 2007 when the descendants of the former owners claimed that the painting had been stolen by the Nazis during World War II.

According to media reports here and here, the U.S. Court of Appeals for the Ninth Circuit in San Francisco affirmed Taylor's ownership of the painting that her father had purchased for her at Sotheby's in 1963. The heirs of the former owners had waited until 2004 to claim that the painting had been stolen although it had not been listed in any database for stolen or Holocaust-looted art database.  I was wondering about this case this morning so I made unofficial inquiries through my experts on Holocaust looted art to get their opinion: although the strict interpretation of Military Law 59 'any transaction is null and void between 1933 and 1945 and the onus is on the good faith purchaser to demonstrate his or her good faith' but that conditions around the sale of the painting may not have constituted a forced sale.  For me, this is the importance of using the courts to settle these disputes.

The photo for this painting was obtained from the website for Sage Recovery, which helps to recover objects looted during the Nazi era.  Their review of the case can be found here.

March 22, 2011

Tuesday, March 22, 2011 - ,, No comments

UNESCO 1970 Convention Today: Turkey's statement to the 40th anniversary commemoration meeting last week

 Reconstructed Temple of Trajan, Pergamum, Turkey
by Catherine Schofield Sezgin, Editor

By marriage, Turkey is my adopted country, so I approached one of the Turkish attendees at last week's UNESCO meeting to ask for the statement from the Turkish delegate.  Mr. Murat Suslu, Director General of Cultural Assets and Museums for the Turkish Ministry of Culture and Tourism, delivered a prepared statement in English to UNESCO last week at the 40th anniversary commemoration of the 1970 Convention, the international agreement signed by 193 and ratified by 120 countries that promotes cooperation between states to stop the looting of archaeological sites and the trafficking of illicit cultural property. His short statement was one of many delivered by delegates on the second day. The ARCA blog invites other state delegates to also send us a copy of their statement for distribution. Many delegates stressed the importance of creating awareness of this problem on a global scale, and ARCA, a non-profit organization for research into crimes against art, can help facilitate.

According to UNESCO, at least 17,500 investigations were opened in Turkey for looting of art from 1993 to 1995.

Mr. Suslu addressed the international group in English and it was translated audibly in French and Spanish to the audience. The meeting was chaired by Dr. Davidson L. Hepburn, Chairman of the Antiquities, Monuments, and Museums Corporation of The Bahamas.
"Mr. Chairman, Turkey as a source country has had to fight very hard; both to prevent illegal trafficking of its cultural property and also for the return of its stolen objects. In fact, this struggle goes back as far as the 19th Century.

All our diplomatic efforts for return are under the framework established by the 1970 convention. We have several bilateral agreements with neighboring and market countries in line with the 1970 Convention. Last year we returned four objects to Iraq that were captured at the border from traffickers. We will continue to cooperate further with Iraq.

We show goodwill by lending cultural objects for exhibitions in other countries. We expect similar goodwill to be shown by market countries in return.

We are stıll expectıng the return of thousands of objects that were illegally exported from Turkey, rangıng from the tiles of Sultan's tombs and library to the stele of Samsat, many of you will be familiar with the case of the Boğazköy Sphinx.

There are countries ın our region which show exemplary cooperation. I would like to thank the authorities of the Republic of Serbia for returning to Turkey last month almost 2,000 archaeological objects seized at the border.

Mr. Chairman, the 1970 Convention has been of help. However, it has not fully solved outstanding issues of stolen, illegally excavated and illicitly exported properties of the past.

The convention does not cover the objects coming from clandestine excavations. So an entire sector is not covered by the convention as already mentioned by Mexico and other source country representatives.

It also does not cover those artifacts which come from regular excavations; which are stolen before they are registered and then illicitly exported.

Under the 1970 Convention, the burden of proving ownership is placed on the claiming state and not the present possessor. Thus it becomes almost impossible for the source country to obtaın the return of its cultural objects that were illicitly excavated or illegally trafficked right after excavation before being registered.

Another important issue is the application of the convention. The legal regulations of some states parties do not support the return of cultural properties to their country of origin.

Besides the ICPRCP [Intergovernmental Committee for Promoting the Return of Cultural Property to its Countries of Origin or its Restitution in Case of Illicit Appropriation], a body to facilitate returns within the framework of the 1970 Convention is also needed.

Of course, in the end, it all depends on the states parties.  Thank you."
If you would like to read more about UNESCO's 1970 Convention, you may read the column, The Secret History of Art, on ARTINFO.com by Noah Charney, founder of ARCA, the Association for Research into Crimes against Art.

March 20, 2011

Sunday, March 20, 2011 - , No comments

Art Theft History: Judge Arthur Tompkins Writes about Veronese's "The Wedding at Cana"

by Judge Arthur Tompkins

The recent reference in the ARCA Blog to the oft-overlooked Wedding at Cana, hanging opposite the Mona Lisa in the Louvre, triggered the recollection that this monumental painting, the largest hanging in the Louvre, is also the largest plundered painting on public display, either in the Louvre, or, probably, anywhere.


Veronese, The Wedding at Cana
http://en.wikipedia.org/wiki/File:Paolo_Veronese,_The_Wedding_at_Cana.JPG

Originally painted, over about 15 months beginning in 1562, by the late-Renaissance Italian mannerist Paolo Veronese, it was completed in 1563 when the artist was aged 35. It was specifically painted for, and hung in, the refectory of the Benedictine Monastery of San Giorgio Maggiore, on a small island off the entrance to Venice’s Grand Canal. It was so famous, in its original location, that at the beginning of the 18th century, the monks of the Monastery began restricting entry to visitors who wished to see it . There it hung for 235 years.


The Refectory, Monastery of San Giorgio Maggiore
http://www.factum-arte.com/eng/conservacion/cana/Default.asp

In the early summer of 1797 Napoleon, fresh from the looting (by forced treaty) of Modena, Parma, Milan and the “incomparable treasure house” of Rome, turned his attention to Venice. He did not stage a frontal attack, but rather engineered the rebellion of a number of the city-state’s vassal states and then, following a year of negotiations, on Friday 12 May 1797, the Venetian Grand Council voted itself into extinction. Thus ended an unbroken 1070 years of proud independence.

Four days later the Treaty of Milan was signed, which allowed the French to remove Venice’s artistic treasures. The Treaty of Campo Formio in October 1797 ultimately divided Venice and its territories between France and Austria. But the Austrians were slow to arrive to take control of their prize, and did not arrive until January 1798. In the intervening period, the French plundered the city, including the Four Horses of San Marco (returned in 1815 after a short spell adorning the Tuileries), and the Veronese.

The painting is vast. It measures 33’6” across, and is 22’ high. In its elaborate frame, it weighs over 1 ½ tons. It was cut into pieces to allow for transportation to Paris, and there reassembled. The Louvre website simply states that the painting “Entered the Louvre in 1798”, and gives no further clue as to the manner of its arrival.

Although the Venetians claimed the painting after the Congress of Vienna in 1815, in the end the French were able to send a substitute - Charles Le Brun’s “Feast in the House of Simon” – back to Venice in its place.

Its long sojourn in Paris has not been without incident. Napoleon married Marie-Louise of Austria in the Louvre’s refurbished Great Gallery in 1810. About 6,000 guests were expected to attend the wedding, and one commentator described the preparations:
“ … there was a tremendous scurry to rearrange pictures and furniture in order to accommodate the 6000 people expected. The size of the Marriage at Cana was an embarrassment. ‘Since it cannot be moved – burn it’, was Napoleon’s soldierly decision – one which, fortunately, [Baron Dominique Vivant] Denon ignored.”
During the Franco-Prussian War in 1870-1871, it was stored in a box in Brest, and during World War II it was rolled and trucked around France to avoid capture by the Nazis. Then at the end of a controversial three-year cleaning in begun in the late 1980s, it was, in the space of a few days, sprayed by water from a leak during a rainstorm, and then dropped. The canvas was ripped in five places, including one tear four feet long.

In late summer 2007, after a meticulous process conducted under strenuous conditions over about 18 months , a full size digitally copied replica was reinstalled back into the refectory at San Giorgio Maggiore – salving but not healing the wound left by Napoleon 210 years before.

So, Veronese’s masterpiece hangs still across from La Joconde – bruised, battered, dismembered, stolen, drenched, torn, displaced, far from home, and, as 9 million visitors a year jostle for a view of the painting across the floor, often overlooked.

It deserves better.

Judge Arthur Tompkins of New Zealand is a graduate of Cambridge University and teaches "Art and War"at ARCA's program in Amelia.

Subscribe to: Posts (Atom)