Cultural Property Law and Restitution: A Commentary to by Irini A. Stamatoudi

By Irini A. Stamatoudi

Cultural estate and restitution: the theories of cultural nationalism and cultural internationalism -- foreign conventions -- ecu Union legislations -- different resources of law and the position of overseas firms -- Dispute answer in cultural estate situations -- Evolution and easy tendencies

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Extra resources for Cultural Property Law and Restitution: A Commentary to International Conventions and European Union Law (Ihc Series in Heritage Management)

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See also Abungu, G. V. ), ibid, 121. 54 See the comment by W. H. Merryman (ed), Imperialism, Art and Restitution, n. 44 above, 82. He later on (at 94–95) offers more arguments against the notion of ‘universal museum’. He first refers to the fact that the ideal of the universal museum was part of the aspiration of the European Enlightenment with the aim that the general public should have access to artistic achievements of the present and the past by plaster casts or copies. The signatories to the Declaration are only interested in exhibiting originals (it could perhaps be added to that that today no problems of accession to artistic achievements are encountered as was the case during the European Enlightenment).

Their functions are set out specifically in articles 5 and 14 of the Convention. Before we explore their functions, we need to mention that these services are to be set up ‘as appropriate for each country’. This phrase works perhaps as a reservation for those countries that do not have the financial means to support such services. However, they are under a clear obligation to direct their best efforts towards such an aim. The same phrase could also be held to mean that according to each country’s administration system, such national services may differ.

54 See the comment by W. H. Merryman (ed), Imperialism, Art and Restitution, n. 44 above, 82. He later on (at 94–95) offers more arguments against the notion of ‘universal museum’. He first refers to the fact that the ideal of the universal museum was part of the aspiration of the European Enlightenment with the aim that the general public should have access to artistic achievements of the present and the past by plaster casts or copies. The signatories to the Declaration are only interested in exhibiting originals (it could perhaps be added to that that today no problems of accession to artistic achievements are encountered as was the case during the European Enlightenment).

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