Whose Art Is It?
American museums are returning some of the world's great antiquities to their original homes. Should they? A new debate over who owns the past is underway.
In 1972, New York's Metropolitan Museum of Art paid a record-smashing $1 million for an ancient Greek vase known as the Euphronios Krater. It was worth every penny. The krater—a 12-gallon pot for mixing wine and water—was one of only two dozen surviving examples by the great painter Euphronios, and it even had his signature. Thomas Hoving, then the Met's director, was so smitten by its classic beauty he called it "positively the finest work of art I've ever seen." (Take that, Michelangelo.) But the 2,500-year-old krater did have one major flaw. It was stolen—dug up by looters from an Etruscan tomb near Rome and smuggled out of Italy just months before it was sold, an inconvenient truth the Met finally copped to last year. When the museum debuts its lavish new Greek and Roman galleries next month, its most notable antiquity will be left in a side gallery. Next year the Met is sending it back to Italy for good.
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In 1972, New York's Metropolitan Museum of Art paid a record-smashing $1 million for an ancient Greek vase known as the Euphronios Krater. It was worth every penny. The krater—a 12-gallon pot for mixing wine and water—was one of only two dozen surviving examples by the great painter Euphronios, and it even had his signature. Thomas Hoving, then the Met's director, was so smitten by its classic beauty he called it "positively the finest work of art I've ever seen." (Take that, Michelangelo.) But the 2,500-year-old krater did have one major flaw. It was stolen—dug up by looters from an Etruscan tomb near Rome and smuggled out of Italy just months before it was sold, an inconvenient truth the Met finally copped to last year. When the museum debuts its lavish new Greek and Roman galleries next month, its most notable antiquity will be left in a side gallery. Next year the Met is sending it back to Italy for good.