Description du livre
An illuminating exploration of the relationship between the restitution of looted art, global status, and the international construction of national cultural heritage.
Why is art restitution a matter of politics? How does the artwork displayed in national museums reflect the international status of the state that owns it? Why do some states agree to return looted art and others resist?
National art collections have long been a way for states to compete with each other for status, prestige, and cultural worth in international society. In many former imperial nations, however, these collections include art looted during imperial expansions and colonial occupations. While this was once a sign of high international standing, the markers of such status, particularly in the context of art, have since significantly changed. A new international legal and normative architecture governing art provenance developed after World War II and became institutionalized in the 1990s and 2000s. Since then, there have been national and global social movements demanding the return of looted art. This shift has established not only that looting is wrong but, more importantly, that restitution is morally right. As a result of this reframing of what it means to own art, an artifact's historical provenance has become a core element of its value and the search for provenance and demands for restitution a direct threat to state status. The same objects that granted states high international status now threaten to provoke status decline.
In The Art of Status, Jelena Subotic examines this relationship between the restitution of looted art and international status, with a focus on the Parthenon ('Elgin') Marbles, the Benin Bronzes, and a collection of paintings looted during the Holocaust that are now housed at the Serbian National Museum. Subotic tells the story of these artworks, how they were looted, how they ended up on display in national museums, and how the art restitution disputes have unfolded. While these cases are different in terms of their historical context of looting and ownership claims, the movements for their restitution, and resistance to it, illustrate the larger questions of how national cultural heritage is internationally constructed and how it serves states' desire for international status and prestige.
An in-depth and nuanced account of art restitution disputes, The Art of Status illuminates the shifting political significance of art on the international stage, from ownership to restitution.