A new report on the restitution of Holocaust-era artworks condemns a number of US museums for failing to resolve claims straightforwardly and instead resorting to legal maneuvers to have them dismissed.
In 2013, UNESCO asked the British Museum to let it mediate a deal between it and the government of Greece, which has been calling for the return of the Elgin Marbles with ever-growing fervor for the past 30 years.
This week, we learned that two important Cambodian sandstone sculptures from the 10th century — one in the collection of the Norton Simon Museum in Pasadena, California, and the other seized from Sotheby’s New York in 2012 — will be returned to the Kingdom of Cambodia after being looted in the 1970s.
The German government and the octogenarian who last fall was discovered to be hiding a trove of nearly 1,500 Nazi-era artworks have reached an agreement about the future of the collection.
The Toledo Museum of Art is unhappy with its representation in a Times piece about the increasing failure of American museums to restitute Nazi-looted art.
Germany between the two world wars was a time of stunning creativity. Although it saw the rise of Nazism, the Weimar Era also included the flourishing of Neue Sachlichkeit (New Objectivity) and Dada in visual art, avant-garde theater by the likes of Bertolt Brecht, German Expressionist films, critical writing by a still-renowned group of intellectuals including Theodor Adorno, a huge cabaret scene, and the art and design school the Bauhaus.