Looted Artifacts

Historical Heists and Their Impact on Cultural Heritage

Authors

  • Ines Ramirez-Trelles Johhny Lopez
  • Mariana Vivoni Commonwealth-Parkville School
  • Johnny Lopez-Figueroa Commonwealth-Parkville School

DOI:

https://doi.org/10.47611/jsrhs.v13i2.6689

Keywords:

Privatization, culture, heritage, restitution, case study

Abstract

This investigation sought to understand how art theft works. Then, understand its implications on cultural legacy, museums, and the black market. Art theft has its category due to its complexity compared to other crimes. It is often associated with other illegal practices like drug trafficking. Stolen art then enters the black market. These stolen pieces often have emotional and historical significance. For example, the Nazis stole many pieces that belonged to Jewish individuals. Pieces that had been in a family for years were taken and displaced. Museums need to be careful about how they obtain their pieces with provenance. Art is a way to express emotions, depict history, and capture culture. When it is stolen, it causes adverse effects on cultural heritage. This investigation studies this phenomenon to bring awareness of the legal importance of obtaining art.

Downloads

Download data is not yet available.

Author Biography

Johnny Lopez-Figueroa, Commonwealth-Parkville School

Research Advisor

Literature teacher

Apple Learning Coach

Digital Instructional Coach

References or Bibliography

Boser, U. (2009). Art’s Shadowy Underworld. U.S. News Digital Weekly, 1(17), 17.

Curry, A. (2003). History’s loss. U.S. News & World Report, 134(14), 30.

Gaudenzi, B. (2021). The “Return of Beauty”? The politics of restitution of Nazi-looted art in Italy, the Federal Republic of Germany and Austria, 1945-1998. European Review of History, 28(2), 323–346.

Gietz, N. (2018). How Venice Lost Its Art. History Today, 68(9), 42–51.

Iglesias Kuntz, L. (1999). Tracking down looted art. UNESCO Courier, 52(3), 40.

James C. Harris, M. (2013, June 1). Leonardo da Vinci’s Mona Lisa. JAMA Psychiatry. https://jamanetwork.com/journals/jamapsychiatry/article-abstract/1695571

J. Kolbe et al. (2022) The global rise of private art museums a literature review, Poetics.

Morris, N. (1998). On the trail of looted art. Maclean’s, 111(30), 48.

Shindell, L. M. (2016, September 30). Provenance and title risks in the art industry: Mitigating these risks ... Taylor & Francis Online-https://www.tandfonline.com/doi/full/10.1080/09647775.2016.1227569

Polk, K. (1999). Who wins and who loses when art is stolen or forged?. Citeseerx. https://citeseerx.ist.psu.edu/document?repid=rep1&type=pdf&doi=2a4c526c5f89f03cefd33bfce5f8b82 44209b971

Ramírez, I. (2024, February 23). The Theft of 2010. personal.

Rooney , P. (2019). A 21st Century empire: The British Museum and its Imperial Legacies. Digital commons. https://digitalcommons.calpoly.edu/cgi/viewcontent.cgi?article=1161&context =forum

Published

05-31-2024

How to Cite

Ramirez-Trelles, I., Vivoni, M. ., & Lopez-Figueroa, J. (2024). Looted Artifacts: Historical Heists and Their Impact on Cultural Heritage. Journal of Student Research, 13(2). https://doi.org/10.47611/jsrhs.v13i2.6689

Issue

Section

HS Research Projects