|La dea di Morgantina, as she was displayed at the Getty|
We would like to revisit Hugh Eakin's review of Chasing Aphrodite: The Hunt for Looted Antiquities at the World’s Richest Museums (“What Went Wrong at the Getty” July 13, 2011). As Mr. Eakin points out, the central antagonist, the former Getty curator Marion True, stands for many as a symbol representing the heart of the larger problem of museums purchasing illicit antiquities. And yet she was the museum-world’s most outspoken critic of the acquisition of looted antiquities. Chasing Aphrodite tells the story of the scandals at the Getty Museum, related to their purchase of looted antiquities and the use of fraudulent appraisals to secure grossly-exaggerated tax benefits. The authors admirably demonstrate that key officials at the Getty new full-well that the treasures they were purchasing were illicit, yet they bought them anyway. Pressure from the Italian government, particularly on the part of the former Minister of Culture, Francesco Rutelli, and the brilliant lawyers, Maurizio Fiorilli and Paolo Giorgio Ferri, has led to the return of numerous looted artifacts purchased by major American museums, including the Met and the MFA, but most of all, the Getty.
Mr. Eakin does well to note that Dr. True, while certainly guilty of serious wrongdoing, is not the central villain in the story of looted art, nor is she even the most culpable individual featured in Chasing Aphrodite, a point mentioned by Paolo Giorgio Ferri as well as others such as Fiorilli and Rutelli, who have collaborated with our our organization, ARCA (Association for Research into Crimes against Art), an international non-profit research group on art crime. When one compares the number of returned objects acquired under the direction of Philippe de Montebello at the Met, one should perhaps wonder why he received accolades and a grand retirement while Dr. True was made an example of. Italian officials had a case against her and in order to prevent further illicit acquisitions they chose to frighten and deter other curators, officials, and museums and drag them into cooperation with the cultural heritage laws of nations like Italy. She was selected because the Italian legal team had a vast array of damning evidence against her, much more so than they had against others who were equally guilty, at the Getty and other museums. As Chasing Aphrodite notes, the Getty in many ways “threw her under the bus” when this came to light, in an effort to distance the institution from the person.
Since long before her trial in Rome began, Dr. True has tried to preach against other curators and museums making the mistake of violating heritage laws. The cynic would say that her only regret was having been caught, but there seems to be a genuine passion in her call for resisting the temptation of a beautiful but looted object, and working to end the purchase by museums of illicit antiquities. Indeed, few have spoken out against the perpetuation of the illicit trade in antiquities with greater fervor.
|Becchina sold the Getty this Kouros, which may be fake|
Adjunct Professor of Art History, American University of Rome & Founder and President, Association for Research into Crimes against Art (ARCA)
Asst. Prof. South Texas College of Law & Academic Director, Association for Research into Crimes against Art (ARCA)