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Parthenon Notes

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Repatriation Notes

Famous artworks
Artwork
Image
Country of origin
Acquiring country
Date of acquisition
Current Location
Related articles
Notes
1
Benin Bronzes
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Nigeria
Britain
1849
British Museum
Open
Open
2
Parthenon Marbles
image.png
Greece
1801-1804
British Museum
Open
Open
3
Koh-i-noor diamond
image.png
India
Britain
1897
British Crown jewels
Open
Open
4
Rosetta Stone
image.png
Egypt
France, then England
1801
British Museum
Open
Open
5
Moai Hoa Hakananai’a
image.png
Orongo, Rapa Nui (Easter Island)
Britain
1868
British Museum
Open
Open
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Map of artworks


Arguments

Arguments for repatriation
Moral
It is morally correct, and reflects basic property laws, that stolen or looted property should be returned to its rightful owner.
Cultural
Cultural objects belong together with the cultures that created them; these objects are a crucial part of contemporary cultural and political identity.
Colonialism
To not return objects stolen under colonialist regimes is to perpetuate colonialist ideologies that perceived colonized peoples as inherently inferior (and often “primitive” in some way).
Lack of access
Museums with international collections, often called universal or encyclopedic museums, are located in the Global North: France, England, Germany, the US, places which are expensive to visit and therefore not somewhere most of the world can go to see art. It is precisely a colonial legacy that allowed so many “universal” museums to acquire the range of objects in their collection.
Change of attitudes
Even if objects were originally acquired legally, our attitudes about the ownership of cultural property have changed and collections should reflect these contemporary attitudes.
Arguments against repatriation
Empty museums
If all museums returned objects to their countries of origin, a lot of museums would be nearly empty.
Inadequate facilities and resources
Source countries do not have adequate facilities or personnel (because of poverty and/or armed conflict) to receive repatriated materials so objects are safer where they are now.
Increased visibility
Universal museums enable a lot of art from a lot of different places to be seen by a lot of people easily. This reflects our modern globalist or cosmopolitan outlook.
Original creators are gone
The ancient or historical kingdoms from which many objects originally came no longer exist or are spread across many contemporary national borders, such as those of the ancient Roman empire. Therefore, it’s not clear to where exactly objects should be repatriated.
Does not make-up for colonialism
Returning cultural objects which were obtained under colonial regimes to their countries of origin does not make up for the destruction of colonialism.
Legally obtained
Most objects in museums and collections, at the time of their acquisition, were legally obtained and therefore have no reason to be repatriated.

Movements toward repatriation

Slow-moving efforts
France
In 2017 France commissioned a report which recommended the repatriation of objects in French museums acquired during France’s colonial occupation of parts of western Africa.
Germany
In 2019, the German government passed a resolution to lay the groundwork to establish conditions for the repatriation of human remains and objects from German public collections derived from colonial rule.
The Netherlands’ Nation Museum of World Cultures

Successful repatriation

Progress forward
Museum of Fine Arts Boston
National Gallery of Australia
Museum of the Bible in Washington, D.C.
In 2020 The Museum of the Bible in Washington, D.C. returned nearly 11,500 looted objects to Iraq and Egypt, including approximately 5,000 papyri fragments and 6,500 clay tablets.
Metropolitan Museum of Art
The Vatican
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Legislation to address repatriation

Concrete actions
United States
Australia
Card 3

Resources

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