Suchergebnisse

This book studies the complex and often tempestuous relationship between Art and Nationalism. It is clear that a work of art is part of the history and cultural heritage of a nation, and that it transforms society as much as the artist who gave it birth. But Art, synonym of universality and timelessness, poorly lends itself to nationalistic appropriation. The Art and Nation dyad is complex? Exile produced among the uprooted African peoples a music that had not existed in Africa and that has now traveled the world. But it destroyed their genius as sculptors: nothing in Brazil or Haiti is comparable to the bronzes of Benin (Nigeria). The issue naturally leads to the debate about Art and cultural property and cultural heritage. Art in the colonial eighteenth century bought by collectors and reputed museums and galleries is generally stolen or looted. 0The book focuses also on the illicit appropriation of art in time of war, an specifically during the Nazi hegemony on Europe and the looted of Jewish families and collectors. The awakening of countries with ancient civilizations regarding the importance of collective memory and cultural heritage, coming in step with their emergence on the international scene (China, India, Iran, Egypt, Turkey, Korea?) prompts them to exercise increasing pressure on and continuously issue claims to museums, art dealers and collectors which can no longer be ignored or treated with condescension. This trend is irreversible, flying in the face of the illusory concept of universal cultural heritage propounded by the curator of the British Museum. The restitution of works of art that are listed as unique within the cultural heritage of the mobilized countries (Mexico, Peru, China, Bolivia, Cyprus, Guatemala, Korea, Egypt?) must be considered