Edvard Munch, The Scream, 1893, oil, tempera and pastel on cardboard, stolen from the National Gallery, Oslo in 1994, recovered later that year.
DAY 12 Today is Thursday, June 16,th and we turn to the Illicit Art Market. Most people are familiar with the high-profile theft of the Mona Lisa,
stolen from the Louvre by employee Vincenzo Perrugia in 1911 (returned in 1913), and the Scream, stolen from the National Museum of Art, Oslo
in 1994 (recovered later that year). These and other notable art thefts, including wartime looting, have led to international enforcement and recovery
collaborations between Interpol and the FBI Art Crime Team as well as the establishment of the Art Loss Registry, the world's largest database of
stolen art and antiquities. More recently, notorious cases of state art theft and museum misappropriation have raised questions about cultural patri-
mony and the return of antiquities to their national homeland. How does the value of art change once it has been stolen, looted or confiscated?
Read the short chapter on "Art Theft" from the Art Business and watch the documentary the Rape of Europa, about the Nazi regime's policy of
looting art for sale or removal to museums in the Third Reich from 1933-1945. Choose a controversial or high profile case of art theft, looting or
confiscation to discuss with regards to the value of the work of art on the art market as well as the cultural/political ramifications of its theft and/
or return. A good example is the case of Gustav Klimt's Portrait of Adele Bloch-Bauer, returned to an heir of the original owner in Austria after its
confiscation by the Nazis and later sold to billionaire philanthropist Ronald Lauder for $135 million in 2006, reportedly the most expensive painting
ever sold at the time.
Readings
Read the following excerpt from the Art Business
Watch the Rape of Europa about the Nazi art theft during WWII available from Netflix or at the Africana Library.
See the trailer and check out the website for the film http://www.rapeofeuropa.com/aboutTheStory.asp and related links:
http://www.rapeofeuropa.com/theTrailer.aspx
Individual Contributions
Vincent Anthony Falkiewicz
Erica Gilbert-Levin
The phenomenon of art theft and its consequences highlights several important issues in our exploration of the art market. It underscores the inexorably interdependent, if often conflicting and complicated relationships among art, economics, politics, law/law enforcement, and international socioeconomic conditions. Many thefts of this kind serve as political statements and are perpetrated in the context of war, disenfranchisement, and international or regional strife. A plundering of art work, such as that perpetrated by the Nazis during World War II, may be intended, in line with all the other actions taken by the Nazis, for example, to obliterate a culture in the eyes of the international community; yet – ironically – art theft often serves to raise the profile of the stolen piece and effectively raises its value on the art market.
The armed robbery of Edvard Munch
's paintings, including a copy of The Scream, from Oslo's Munch Museum in 2004, was perpetrated by a group of outlaws from Kosovo who had found themselves "on the downside of the global economy and international social development" (Robertson and Chong, 209). This act may have reflected the thieves socioeconomic plight, an outcry, intentional or otherwise, against their falling status. But the theft was also very likely a "distraction crime," a way to get the Norwegian police to back off in their hunt for the murderer of a police officer a few months prior (Robertson and Chong, 208). The painting was recovered when one of the (convicted) thieves betrayed its whereabouts, likely in exchange for conjugal visits (Robertson and Chong, 209). The fact that the police were "very shy about explaining" why the convict agreed to speak underscores the conflict between the motivations of law enforcement and the values of the art world: "The police tend to be preoccupied with catching crooks, not with recovering stolen art. [...] The police fail to see art crime as an Achilles heel for a crook who commits other crimes as well" (Robertson and Chong, 210).
A black and white version of Munch's The Scream
Edvard Munch
Kimberly Ann Phoenix I would be funny if it was not a crime, in Madrid thieves stole a truck thinking they were getting goods they could sell for money. What they stole was a truck filled with 35 paintings, belonging to 6 different galleries worth about 7 million dollars. The police found the van the art work was transferred to after a tip from a junk yard who gave the thieves $42.00 for the Eduardo Chillida sculpture, 'Topos IV', worth more then a million dollars. When the police found the van most of the art work inside was still in the shipping crates and undamaged, showing the thieves didn't know what to do with the stole art. Art that is stolen is very hard to sell in the Art market. There is the registry of stolen work that can be check by reputable dealers when works are offered for sale. It is interesting there are those who would steal art for once it is stolen it can never be displayed publicly again without risk of being caught. In this case the biggest question would have to be why was this truck that was transporting art works for six museums left unattended? Was there more to this story that will never be known because someone at a junk yard thought the piece of scrap metal looked like something and tipped off police? Just more questions the Art world may never be able to answer
Consider & comment:
What did you think of today's readings and wiki features? What issues if any did they raise for you? How did the audio visual material provided support your understanding of this topic? Comment on your classmates' posts. Leave your comments in the box below.