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Editorial


  • Get a hold of this beauty!

    2 April 2008, by Didier Rykner
    The Louvre is still offering great deals. If you are a millionaire and would like to organize an exhibition, this is definitely the place to come: ask for a couple of masterpieces and it will see you get them on condition you pay the right price. It seems that only the Mona Lisa is not for rent. At least officially. But you can have any other Leonardo you want.
    After Lens, Atlanta and Abou Dhabi, it is now Verona’s turn. Or how to go about leasing 140 of the most important works in the (...)  continue continue
  • UK deaccessioning

    1 March 2008, by Didier Rykner
    In France, the danger which could have threatened museum collections in the form of deaccessioning seems to be fading from sight. The Minister of Culture, Christine Albanel, has in fact just stated that inalienability “is an excellent principle which needs to be strengthened”, following a series of negative conclusions from a report on the subject submitted by Jacques Rigaud, former high government employee and former president of an association to develop art funding by businesses.
    In (...)  continue continue
  • Deaccessioning : will France be next ?

    2 November 2007, by Didier Rykner
    American museums have practiced deaccessioning for a long time. In the case of private establishments, this can be justified, although it may present a certain number of risks, among them that of selling today a work that will be direly missed tomorrow. In most European countries, objects in museums or other public institutions are considered “inalienable” and thus cannot be sold. Yet this excellent principle is now being threatened in France. Once more, after the leasing of the Louvre’s (...) continue continue
  • The Art Tribune is born

    15 September 2007, by Didier Rykner
    La Tribune de l’Art is a French website born in April 2003 and devoted to art history from the Middle Ages to the 1930’s. It is the only art journal to publish both news and scholarly articles. Over the last four years, in France and abroad, it has quickly become a reference for those interested in art history, either professionally or for their enjoyment . Today we are continue continue


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