Simon Jenkins says "French art historian André Malraux" as the authority to argue that "a museum is always an artificial concept, not a contradiction of objects but from her" (Stolen objects are not in our museums, November 24 ). Malraux himself seems to be too complicated in his attitude to "stolen objects," as well as in his political and intellectual life.
A episode that received a new career was an attempt to figure out four figures and selling Banteay Sree Temple at Angkor, Cambodia. At a visit there in 1923, he and a friend "pretend they … with a plan to sell the wounded much to the art in London or New York" (The Full Life of André Malraux, Apollo, August 26, 2017) . When he was, he was unexpected, arrested and imprisoned, an inscription by French intellectuals confirmed the upheaval of his sin, and he would be a violent collector of Eastern Antiquities and (the article of & # 39; and contains an Apollo article) "a patron of world culture of neglected nature".
Alaw, Malraux seems to be a curious connection to Sir Simon in his campaign against museums – as "mausoleums", only with "acknowledgment, property and status" – that this future minister of culture (under Charles the Gaulle's presidency) does not seem to be intersection of 'realization of objects' from their context.
Prof. Nick Havely
• The case for the return of Easter Island statue should be reflected in its merits, as the others like the Parthenon marble. My first choice to go back would be Sphinx, which does not make sense in the British Museum, but would make a lot more on the spinx's. Simon Jenkins, however, does not strengthen the case by calling on the linking of nationalism (he does not use the word, expects him to express himself as "the ordinary politics of national self-confidence").
The counter-argument for internationalism was made best by the great Greek novel Nikos Kazantzakis. No one in Anglophile tried England just before the second world war was a guest of British Council. He spent much time in the British Museum, where he described the Assyrian sculptures, powerful, but barbaric, and the Persian miniatures, exquisite but episodic. Of course, it is obvious Elgin, that the Greek ideal does not represent superfluous. "When the time had a home," he wrote, "and if it was even a sense of pride, to love and to consider his beautiful pastime, the British Museum would be home."
(British ambassador to Greece, 1993-96), Oxford
• Simon Jenkins argues that President Emmanuel Macron is entitled to replace the historical objects of Africa, Asia and South America. In principle, this is a respected restitution. And what? Is he sure that these countries come back to him? Why did not a French president or an African or Asian?
At a visit to London a few years ago, I took the Catholic Archdiocese of Sokoto in Nigeria, Matthew Kukah, to the African Galleries of the British Museum. When we brushed to the Benin and saw the ivory masks, I asked if they returned to Nigeria. He said, "I think it would be best if they stay here."
His argument was that if you returned to a museum in Nigeria, some people would try to get back in ships that were once or they were stuck. In addition, he said, a few people in Nigeria will be interested.
The last point was in visit to museums in Africa over the last 40 years. Outside Egypt, Kenya and South Africa, some tourists and school groups go to museums. They are dark places, awesome by the distinct imperial powers in the 1960s or part of an independent package. Today, governments are directly supported. In Uganda, the president Yoweri Museveni wanted to tap the museum in Kampala. I get a taste that many Africans of his generation shed their past.
The offensive solution is for the objects in the world of # 39; the world republic is or will be rotated.
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