For over 150 years the marbles of Greece have been placed in the British museum, they are recognized as the Elgin Marbles. The Elgin Marbles continue to be the main point of an ongoing debate that will basically determine the historical influence of an important culture. Some of the sculptures that were removed were the marble figures, metopes (sculptures in high relief) and friezes. To this day the Greek government has correctly requested the return of the Elgin Marbles a few times while the British government has frequently refuse any action. Greece is in pursuance of an agenda to pressure the British Parliament to pass a law to authorize the British Museum to return the collection to its original site at the Acropolis. All of this is being done through the direct lobbying efforts that have the support of UNESCO and the European Union. The Greek government is also acknowledging international channels to resolve the problem, especially the European Court of Justice.…
The “Elgin Marbles” are Ancient Greek art from The Parthenon in Greece, named this after Lord Elgin. The ancient art was acquired by Britain, initially through Lord Elgin’s removal from the Parthenon during his time as an Ottoman ambassador in Athens, Greece. He somehow convinced the Ottoman emperor to allow him to take the ancient art, beginning in 1805. The British government purchased the ancient artifacts from Lord Elgin and placed them in the British Museum, where they have remained since 1816. Currently, Greece’s government argues that the artifacts should be returned. Britain states that it is a bad idea due to the irreversible damage that…
Athough from two entirely different cultures and entirely different times, the Pantheon and the Parthenon share similarities, along with a world of differences, in form, function, themes, ideology, and messages about their respective civilizations. By comparing these two structures, it is easy to see why knowledge of context and culture is important to understanding and interpreting art.…
The Governments interest toward the statue is for the benefit of Greece. It would bring money to their land and people. They do not want Victor Parmalee to steal it from them and sale it to some other country. The government feels the statue belongs to them since it was found off the coast of their country and since it is art that is a part of their ancient history.…
The Parthenon is the most important and perfectly formed temple on the acropolis. It is dedicated to Athena, and held an enormous cult image of her and was built as a temple of worship. It was regarded as an enduring symbol which holds high points of Greek art. The cost of the Parthenon cannot be translated into a modern equivalent amount of money but in the 5th century it cost them 469 silver talents. The Parthenon was made of local stone. Stone was denser, white, a finer stone but also much heavier. Blocks of stone were cut at the quarry using wooden wedges, hammers and chisel pulleys. The parthenon's main function was the house the statue of Athena that was create in 438 BC. The cella held the statue of Athena which meant it was an unusually…
The Pantheon and the Parthenon have been studied for thousands of years as two of the most influential and advanced designs of their time. Coming from different cultures and eras, both structures are as similar as they are different. The architecture of these buildings have been copied and edited in various places around the world. The influence of the temples is present throughout architectural history and will be for time to come.…
Cited: Cuno, James, “Museums, Antiquities, Cultural Property, and the US Legal Framework for Making Acquisitions,” in Who Owns The Past Cultural Policy, Cultural Property, and The Law, ed. Kate Fitz Gibbon. New Brunswick: Rutgers University Press, 2005.…
When considering cultures in collision a museum is a fine example of a clash of positives and negatives. This can be a troubling idea for the curators and visitors of museums because their collective pursuit of further cultural knowledge is often pure. However, in constructing a museum more often than not items of important significance are transplanted from their original location to be viewed and studied by a foreign people in a foreign land. The concept of the “rightful owners” of history and artifacts is a complicated one that leads to many cultural collisions. This is because multiple cultures often lay claim to the same artifacts leading to conflict among the claimants. With all of these ideas in mind the process of selecting a piece of art from the Cornell Fine Arts Museum for analysis became far more difficult. In examining the thought-provoking piece Lonesome George by Juan Travieso a warning message is telegraphed loud and clear.…
The Parthenon sculptures typically “alluded to the Greeks' struggle against the Persians, for instance, through famous mythological contests...” (Destruction and Memory...) While the metopes of the Parthenon show…
When it comes to ancient art, it is immensely difficult to state that antiquities belong to a certain group of people or the world. In a contemporary example, antiquities have been cheaply smuggled by Westerners from Middle Eastern countries such as Egypt, Iraq, and Syria, and sold in the black market for millions of dollars. Due to the lack of international laws protecting the ancient arts, smugglers can hardly be classified as heroic or villainous people, thus raising several attitudes towards the entitlement of the ancient arts.…
Imagine if a country took the Declaration of Independence from our country and put it in their own museum for visitors to see. This document has so much importance to the United State of America and it just would not be right for someone else to be showing it off. This is the issue that has risen with the Elgin Marbles. These marbles hold such a large part of Greek history and art but they are being seen by others in the British Museum. The Greeks have tried for decades to get these important items returned but the British Museum just does not want to let them go.…
The controversy of whether the Elgin or Parthenon Marbles should be kept in Britain, or returned to Greece, has been a frenzied dispute since the early 1800’s. Lord Elgin originally took possession of the Marbles to either salvage them from being further destroyed, or he bought them and re-sold them to the British Museum. Whether Lord Elgin, ambassador to the then ruling Ottoman empire, had the authority to handle the Marbles presents great confusion, “[a]s to whether Elgin had legal authority to remove the marbles, the Ottomans being the ruling power, as the British maintain… “The problem is not legal,” he [Mr. Pandermalis] decided. “It’s ethical and cultural” (Kimmelman).The British can return the Marbles to Greece, where they originally belonged, or Greece can be satisfied with the casts of the Marbles. Despite the casts of the real Marbles in the Acropolis Museum in Greece, there are still requests by the Greek government to return the Marbles from Britain. Lord Elgin’s decision to salvage the Marbles finds a way to appear as vandalism in the eyes of others. Britain has a strong argument as to why they should remain the owners of the Marbles, but because of Greece’s ownership of the Marbles before Britain, and their capability of protecting the Marbles in the new Acropolis Museum, it is perfectly understandable as to why Greece believes the Marbles should be returned.…
In the art world today, the question of whether antiquities should be returned to their country of origin is both controversial and crucial, because museums in Europe and America own many disputed items in its collections. The most glaring example is the British museum, where the refusal to return the Elgin Marble to Greece has brought the issue to international attention. In response to the problem, James Cuno in Who Owns Antiquity? argued that although antiquities should be protected from looting, they should not have to be kept in the counties in which they were found. This is because the basis of the retention laws is political, and that antiquity is international heritage. I agree with Cuno’s general principle that no country could be the sole inheritors of a particular civilisation, because art is a result of symbiosis from different cultures and therefore must be shared. Even Classical art, long presumed to be archetypically western, grew from and influenced art in the eastern world. However the question of who owns antiquity is specific as well as broad. We should return artefacts which were obviously stolen, but it has to be proven beyond reasonable doubt.…
Ancient artifacts and works of art can be seen as some of the most important elements of the past in today’s museums. Some considerations for acquisitions upon an ancient piece must be made. Research and correct installation are just the beginning parts of securing a particular artifact. Preparation of grant proposals and ensuring proper storage are two needed steps in the process of decision. The message that the museum seeks to convey to the audience is quite imperative. It is important that only the artifacts that accurately describe the past be selected to show and tell their stories.…
In 1812, a controversy began over where the ancient remains of the Parthenon marble figures should be located. Although these famous statues originated in Greece, for the past two centuries, these historical pieces of artwork were not located in their homeland. Currently, they are being preserved and stored within the British Museum where they are displayed for many tourists and travelers from all around the world to see. Greece has requested to have them returned, which has in turn created an international conflict between England and Greece. Just like any conflict, there are two sides to every story, but it is within those stories that a clear answer emerges. It is simple in answer, however it is turning out to be much more difficult solution…