The Ghent altarpiece after World War II: Restitution, restoration, and redemption

IF 0.6 0 HUMANITIES, MULTIDISCIPLINARY
J. Graham
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引用次数: 0

Abstract

Abstract Few Old Master paintings possess as turbulent an object history as the Ghent altarpiece, now restored, since World War II, to the city’s cathedral for which it was made. While most accounts focus on the longue durée perspective, especially the work’s looting by Napoleon and Hitler, this article examines the altarpiece’s history following its return to Belgium in 1945. The altarpiece was subject to increased sensitivity at home after its wartime wanderings, and a major controversy ensued when the government backed a radical conservation project, which took place under the direction of Paul Coremans at the Royal Museum in Brussels between 1950 and 1951. The project served to emphasize the rift between north and south in Belgium in the newspaper press and became a focus for the international community as it battled to establish new standards in art restoration in the aftermath of the war.
第二次世界大战后的根特祭坛:恢复、恢复和救赎
摘要很少有老大师的画作能像根特祭坛画那样具有动荡的实物历史,自第二次世界大战以来,这幅祭坛画现在被修复为这座城市的大教堂。虽然大多数叙述都集中在长期视角上,尤其是作品中拿破仑和希特勒的掠夺,但本文考察了祭坛画在1945年返回比利时后的历史。这幅祭坛画在战时漫游后,在国内受到了越来越大的关注,当政府支持一项激进的保护项目时,引发了一场重大争议,该项目于1950年至1951年间在保罗·科雷曼斯的指导下在布鲁塞尔皇家博物馆进行。该项目在报纸上强调了比利时南北之间的裂痕,并成为国际社会在战后努力建立艺术修复新标准的焦点。
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来源期刊
International Journal of Cultural Property
International Journal of Cultural Property HUMANITIES, MULTIDISCIPLINARY-
CiteScore
1.30
自引率
14.30%
发文量
13
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