\ Distribution: limited UNESCO/TEMO/ PARIS, 12 May 1966 Translated fron the French UNITED NATIONS EDUCATIONAL, SCIENTIFIC AND CULTURAL ORGANIZATION EXPERT MEETING ON EXCHANGES OF ORIGINAL OBJECTS BETWEEN MUSEUMS AND THE RECONSTITUTION OF DISMEMBERED WORKS OF ART Unesco House, 27 June-2 July 1966 EXCHANGES OF ORIGINAL OBJECTS BETWEEN MUSEUMS IN DIFFERENT COUNTRIES, AND MEANS OF IMPLEMENTING SUCH EXCHANGES by H.J. Reinink 1. Introduction The author of this report hesitated for some time before accepting the Unesco Secretariat's much appreciated invitation to carry out a survey of the exchanges of original objects between museums in different countries, more especially the developing countries, and on means of implementing such exchanges. The reason for his hesitation was not that the subject did not interest him - far from it - but that ICOM had already produced an admirable report covering the same topic and partly based on a statement of the results of the survey conducted by Mr. A.B. de Vries, Director of the Mauritshuis and an expert in this field. ‘The report in question was the outcome of an ICOM conmittee meeting held in July 1963 and attended by 15 experts from ten countries (France, India, Italy, Netherlands, New Zealand, Nigeria, Poland, Southern Rhodesia, Switzerland, and Tunisia), and it reviewed all the possibilities and problems involved in exchanging original cultural objects between museums in different parts of the world. ‘The foreword to the report indicated the importance of these exchanges but goes on to express regret that "in spite of all the potential advantages, however, exchanges have not become common. Since the war, there have been only a few examples; and, apart from private collections of western art, the countries of Iatin America, the Middle East, Africa and Asia (even Japan) rarely possess works of art either from neighbouring or from distant cultures” The report, entitled "Measures to facilitate international exchanges of cul- tural property", also contains a great deal of extremely useful information concerning exchanges carried out through the agency of bodies other than museums, and the present author strongly commends it to readers in consequence. Section I of the report describes various possible types of exchange of art objects and notes that such exchanges may take the form of short-term loans, long-term loans, or gifts, and may likewise be bilateral. 2, The idea of an international pool As the idea of an international pool is often mooted, let us quote the relevant passage of the report in full. c8/0466(CLI)66.2TEMO/4 - page 2 "An international pool to facilitate the international exchange, bilateral and miltilaterel, of museum objects, represents a form of indirect exchange which has been suggested many times but never yet put into practice and has, in fact, been the subject of severe criticism. ‘The idea is that the various museums of a country or a more centralized museum service, if one exists, would place items they are prepared to release at the disposal of an international body, so creating a kind of public and professional market for museum objects. With such a varied supply to draw upon, it should theoretically be easier to satisfy demends. In practice, there would certainly be more drawbacks than advantages; not knowing what would be offered in exchange, curators would be strongly tempted to release only the objects which interested them least. The pool would rapidly degenerate into an International Junk shop, and the very idea of exchanges, poten- tially so fruitful, might also be debased. The idea of a pool seems much too impersonal and to have little chance of success." 3- Methods of arranging exchanges between museums Logically, the present author should have declined to take on the task entrusted to him, since it was solely a question of examining the exchanges of original objects between rmseums, end this subject had already been dealt with admirably. He realized, however, that it was not so much the rdle of museums as intermediaries which interested Unesco, and that it would be very ready to consider any other method of carrying out this project which has a far wider scope, namely, to promote reciprocal knowledge of the cultures of different parts of the world with a view to fostering mutual appreciation. Following discussions with the Secretariat, therefore, he decided to investigate whether other and better ways than those so far used might lead to the much-desired end. In the circumstances, it 1s necessary to explain clearly why, in his opinion, the exchange of works of art through the agency of museums is not the ideal solution. Whatever system may be adopted, certain major difficulties referred to in section II of the ICOM report will have to be faced. But other difficulties sten from the fact that museums have been chosen as the most appropriate bodies for carrying out the exchanges, and the effect of this may be to create certain obstacles which are insurmountable. The inmediate consequences of this procedure would be the automatic exclusion from implementation of the project of countries which have no museums (and in the present context, it is precisely those countries which are of special interest). However, setting aside this aspect of the question, for the moment, stress must be laid on the fact that in order to carry a project of this kind, the institutions concerned must take s certain interest in its implementation, and this is not the case with museums. Their curators are interested in only those exchanges from which they consider the establishments under their control will benefit. Experience has shown that the exchanges already effected were of direct benefit to the already existing museums but served very little Purpose as fer as Unesco's project was concerned.TEMO/4 ~ page 3 4, Unescots aims as regards exchanges between mseuns From the standpoint of Unesco's aims, it 1s of no great importance that the Louvre and the Amsterdam Rijksmuseum should have exchanged a Rembrandt or a painting by the Master of the Aix Annunciation, or that the Musée Guimet should have reached an agreement with the National Museum in Tokyo, to exchange a few valuable examples of oriental ert. Even efforts within the framework of exchanges between the National Museum of Damascus and the National Museum of Cairo to enable these two cities to give a reasonably complete picture of the civilizations of the Middle East are not wholly in line with the project recommended by Unesco, although they come very close to it in so far as they aim at doing something at the regional level which Unesco hopes to bring about at the international level. The same applies to the efforts - of great importance as far as museums are concerned - to carry out exchanges designed to bring together fragments of works of art which have been dispersed in the course of time. Co-operation between museums thus contributes to the implementation of the project to only a very limited degree. On the other hand, the Indian Government!s efforts to assemble a collection of western art in New Delhi are fully in line with Unesco's objectives. 5. Results of the missions entrusted by Unesco to a consultant for the, ose of carrying out the New Delhi project It is therefore with considering the results of the missions which Unesco entrusted to a highly qualified consultant, Miss Jeannine Auboyer, for the purpose of seeing how far European museums were prepared to contribute to the establishment of a collection of western art for the New Delhi museum. The results are not encoureging. Various possibilities did, of course, come to light, but the final report on the missions embodied the following conclusion: "From this investigation, in the course of which the consultant visited ten Member States of Unesco, it emerges that the project has little chance of success in its original form. That form, though undoubtedly a logical one, is also an ideal one. The spirit of international co-operation is not yet sufficiently developed, especially in those countries which have the largest art collections, for a gesture of this kind to be made without a great deal of hesitation and cautious study. A key difficulty is the fact that, with few exceptions, the lending museums are not themselves potential recipients. The result has been the more or less categorical refusal to send old paintings and sculptures, and these two categories are lacking in all the tentative lists proposed orally. It would there- fore seem that the project must be amended; and for that purpose, consideration might be given to the possibility of making 1t didactic rather than aesthetic - in other words, combining reproductions and originals, although this would seem to me a makeshift solution running counter to the original aim". Mr. de Vries, who has Likewise worked hard on the execution of the Unesco project, also arrived at the same conclusion: "when I consider how arducus and gradual has been the process of building up the collection intended for the New Delhi Museum - and even so, with unsatisfactory results - and when I consider the degree to which the instinct of possessiveness is developed among governnents and museum curators, even when it is not a question of making gifts but merely one of long-term loans, I am not very hopeful of positive results from any new study on the exchange of museum items".TEMO/4 - page 4 6. A new approach towards Unesco!s aims In the Light of these considerations and the results obtained by the two experts, the present author feels that only a new approach can lead to the achievement of Unescots aims. We have already observed that museum curators cannot reasonably be expected to exchange their treasures out of regard for considerations unrelated to their museums. Their duty is to preserve and if possible enlarge the collections entrusted to them, but not to develop a knowledge of their country's culture in other parts of the world. The question therefore arises as to whether there are other bodies responsible for this latter task. Fortunately, the answer is in the affirmative. In principle, it 1s open to all Member States of Unesco who wish to present their culture abroad to take part in exchanges, and many of them have actually set up departments for that purpose. A considerable number of countries are likewise ready to spend substantial sums in order to present their culture abroad. There is no reason to assume thet these countries would not be prepared, when it comes to exchanges of works of art, to do what they are already doing for tours by their operatic and theatre groups, ballet companies and orchestras. In the field of plastic art, they may perhaps at one stage have hoped to be able to carry out exchanges which would cost nothing by using the resources in their museums, but having recognized their mistake, they would probably be ready to adopt another approach and agree to the necessary expenditure, especially as the latter would initially be relatively inconsiderable, by reason of the fact that circumstances allow of only slow progress in this field. Furthermore, the funds available for that purpose would continue to bear fruit over a long period of time, unlike most subsidies for tours. Under these conditions, if relatively small sums could be allocated each year, it would be possible within ten years to obtain significant results. 7. Possible difficulties Very few of the developing countries have suitable museums, and no rapid inorease in this number is to be expected because of the need for capital invest~ ment in the construction of buildings and especially for the training of qualified staff. The latter are particularly necessary in view of the fact that beneficiary countries, when museum collections are constituted for them, must be capable of taking part in decision-making. We touch here on a most important, if not the most important, aspect of museum administration. It may be noted in passing that, in those countries which meet this vital requirement, {t will be possible to display various exhibitions in addition to the collections they already possess. As ICOM has repeatedly stressed, it is obvious that exchanges should not necessarily be limited to works of art, but might also cover natural history specimens, technical objects and examples of modern industrial art. Reverting to the art objects with which we are primarily concerned in this report, the author would 1ike to point out that collaboration between states does away with a serious disadvantage which arises when reliance is placed on museums, and which Miss Auboyer referred to in the following terms: "A key difficulty is the fact that, with few exceptions, the lending museums are not themselves potential recipients". On the other hand, exchanges between states concern two partners with an equal interest in the matter.TEMO/4 - page 5 We should consider whether the fact that certain countries have expressed their readiness to provide funds for such activities is sufficient to ensure the desired exchanges of art objects. It is in this respect and, in my opinion, in this respect only, that museums are more favourably situated than states. The former already possess art objects, whereas states, or the services responsible for cultural exchanges, will have to acquire them; and the author assumes that they will have to do so without encroaching on the collections of their museums. In this context, we have to bear in mind that money cannot buy everything, and we will probably find that it is impossible to present certain art periods in other parts of the world because the market for the works concerned has shrunk too much or is non-existent. If the Unesco project is to be carried through, however, we must decide whether it is necessary or even desirable to take account of this relatively limited category of art objects. The author feels that it is not, and the experts who favour exchanges of items between museums have certainly not had that category in mind. 8. Practical measures ‘This latter category of art works, furthermore, is not essential to the assembly of a representative collection. It is not certain that the masterpieces produced by a given people are sufficient to make others appreciate its culture. The author believes that a collection comprising works by less important masters but giving, say, a good idea of the evolution of landscape treatment would be more likely than Botticelli's "Spring" to achieve the objectives aimed at. Other collections of art objects are available in sufficient numbers to give an accurate picture of western art. In this connexion, it must be recognized that it 4s useful for peoples not only to acquire a Imowledge of each other's art history but also to learn something of the evolution of world art. As to the question of what those European states prepared to collaborate in assembling a collection of western art for the New Delhi museum would be able to buy with their money, 1t would seem reasonable to make the following comments: (a) The purchase of contemporary works of art involves no insurmountable difficulties. (b) Generally speaking, the same applies to somewhat less recent works of art. A number of western museums (museums of modern art, in the main) will soon have-to consider how the term "modern art" is to be interpreted. In many cases, yesterday's modern art is cluttering up the available spece and making 4t impossible to house today's modern art. Museums in this situation will have to work out their future policy very carefully, probably by regrouping their collections. It can be assumed that if the state wished to take over a part of those works representing yesterday's modern art for the benefit of the Unesco project, the museums would be prepared in a number of cases to accept this suggestion, especially if it were a matter of long-term loans. (c) A supply of more or less antique paintings sufficient to provide a solid basis for exchanges is available on the general market and in museums! reserves. The success of the project does not depend on major master pieces, which could be subsequently presented by means of temporary exhibitions.TEMO/# - page 6 (a) Particular attention mst be paid to the not insignificant possibilities offered by sculpture of all periods, and ICOM already did so at its meeting on 3 July 1959. The final report of that meeting contained the following observation: “Without lingering on the question of substitutes, the experts examined the possibility, ih the case of sculptures and elenents of architecture, of producing good casts". Bronze statues are pre-eminently sutted to play a réle in exchanges. Should it be desired to expedite the execution of the project in connexion with the installation of new museums, it would be possible in some cases to rely on exhibitions of sculptures, which can also be shown out-doors. (e) There 4s no difficulty in obtaining etchings, engravings, Lithographs and wood engravings representing various periods. ‘The author therefore considers that there are still sufficient possibilities of assembling western art collections within the framework of the Unesco project. However, it would be as well to recognize realistically that a relatively long period will be needed for the construction of buildings, and especially, the training of experts. 9. Supplementary measures During this inevitable waiting period, an effort will have to be made in the various parts of the world where the collections are to be sent to arouse an interest in world art sufficiently intense to develop into a genuine need. One wey of contributing to this consists of providing the countries concerned with the maximum quantity of illustrated books and reproductions. It would also be advisable to continue to send to both the developing and the more advanced countries educa- tional exhibitions.on the lines of "Who was Van Gogh?" and "who was Rembrandt?". Agein, encouragement should be given to the staging of exhibitions of reproductions similar to the exhibitions of masterpieces organized every two years by the Council of Europe. 10. Promotion of exchanges of art objects between Europe and Asia Like his predecessors, the author paid particular attention in his studies to exchanges between Europe and Asia. It might be concluded, ftom that fact, that exchanges between other perts of the world interested him less. This 1s by no means the case, but in view of all the work already done to bring about exchanges between European museums and the New Delhi Museum, it is more practical to concen- trate on this example, using it as a basis for examining the difficulties and possibilities inherent in such exchanges. The experience acquired in solving the problems and exploiting the possibilities existing in this case may be of assistance in many other cases. It will then be possible to apply to other parts of the world whichever method has proved most profitable in respect of exchanges between Europe and Asia. It will be necessary, in any event, to encourage peoples to take a mitual interest in their respective cultures. What is the position in respect of Europe- Asia? It can be agreed that Europe is keenly interested in all the cultural aspects of Asia; but is the reverse true? Science and technology, literature and sometimes music are warmly welcomed; but as far as the fine arts are concerned, it is still difficult to say exactly what the position is.TEMO/4 - page 7 It is essential, not only in the interest of Asta but above all in the interests of Europe, to counterpose the distorted image of western culture - gangster films, comic strips, and pornogrephic publications disseminated on a large scale thoughout ‘the East through commercial channels - by a more accurate and more idealistic one. It is to be hoped that most of the western countries will see this as an important problem requiring solution. Once this point has been grasped, we shall find a whole series of countries ready to provide the project with the means necessary for its implementation even if they do not receive art objects of equal value in return. ‘It will be possible to carry out much of the work on a bilateral basis under Unescots auspices; but as soon as the question of assembling collections arises, 4t will be essential to make contact with other participants so as to ensure that individual objects are not grouped together indiscriminately. 11. Executive Committee and promotion of a pilot exchange experiment: establishment of a gallery of western art in New Delhi It will naturally be asked whether there would be any advantage, as regards the execution of the project, in establishing an executive committee similar to the one already existing for the preservation of the monuments of Nubia, which incidentally has done admirable work. It would seem, however, that this possibility can only arise when an adequate number of developing countries and more advanced countries have shown a real interest in the implementation of the project. At this stage, it would be more advisable to concentrate on carrying out a pilot experiment in New Delhi which would consist of assembling a representative collection of western art and making an appeal to Unesco!s western Menber States accordingly. Should the plan prove unsuccessful, it would be better to abandon the project’ for the time being and wait for a more appropriate moment. In India itself, there is nothing to prevent the implementation of the project. It already has an admirable and very well arranged museum and a group of first-rate experts. What is necessary, therefore, is to convince a certain number of western countries of the value of making works of art available to this museum without demanding works of art of the same value in return. It is essential to appreciate that the advantages of being able to present western art in Asia in so satisfactory a setting already represent a return on the release of the necessary funds and art objects. This one-way traffic is of benefit to both parties, and in this context ‘the author would like once again to quote Miss Auboyer: "Me case of the three countries (United Kingdom, Netherlands and Belgium) visited during this second trip differs from that of the five countries visited earlier. Thetr miseums already have very fine collections of Asian art. In consequence, they do not regard the quality of the items suggested by New Delhi for exchange as being adequate. In the case of the United Kingdom, the question arises in a Gifferent fashion: the United Kingdom does not wish to receive anything in exchange for the following reasons: (a) Its position in relation to India; (b) the fact that its collections are very extensive and that display space is limited; (ce) the exceptional quality of the works held in the British Museum and the Victoria and Albert Museum.THMO/4 - page 8 In regard to the Netherlands, the problem is one of both quality and space. Quite definitely 1t 1s only the Asian Department of the Amsterdam Rijksmuseun that could accept one or more Indian works, and there is not much room there. However, in view of the aesthetic and financial value of the pictures which their museums propose to send, it would seem fair to offer in exchange severel works of outstanding quality in order to ensure a precisely equal counterpart." 12. Summary and conclusion 1. The appeal made to museum directors for a partial exchange of their collections is not meeting with mich response. Several exchanges have taken place which, from the point of view of the museums, have been significant. But with one exception, they are of only very minor or no importence as regards the Unesco project, which aims at spreading a knowledge of different cultures throughout the world. This exception concerns the efforts made in the Near East with a view to carrying out exchanges of museum items so that capitals in this region can learn something of the various civilizations which have developed there. This is an example worth following. 2. The method adopted could hardly have succeeded, in view of the fact that muscum directors, by the very nature of their functions, will only agree to exchange art objects if such exchanges improve their own collections. To ensure the success of its project, Unesco will have to approach bodies which have a direct and obvious interest in the matter, that is to say, certain Menber States. 3. If the services responsible for ensuring that their countries are repre- sented in other parts of the world wish to obtain lasting results as regards the plastic arts, they will have to recognize the necessity of investing money for the purpose. They will also have to recognize that they will not obtain any significant success by relying on museum collections. 4, ‘The numerous administrative difficulties met with by Unesco experts will vanish as soon es they seek to interest states, rather than museums, in the project. 5. It would be desirable for all those concerned to concentrate on establishing a representative collection of western art for the New Delhi Museum. All the con- @itions required to obtain satisfactory results exist there. If we fail to obtain a favourable response in the Mest in these circumstances, it would be better to Grop the project for a period of time. 6. In order to ensure the success of the undertaking, 1t would be advisable for the Directorate of the New Delhi Museum to draw up a list of its desiderata in collaboration with the experts appointed by Unesco in agreement with ICOM. ‘This method offers better prospects than the one so far adopted, which consists of asking the various countries what they have available. 7. Should the collection for New Delhi be a success, we could consider pro- ceeding with the execution of the project. Through bilateral contacts (in some cases within the framework of a cultural agreement), it will be possible to col= laborate in equipping museums and training experts in the developing countries.TEMO/4 - page 9 In order to constitute representative collections, it will be necessary for several countries to collaborate. If the project grows in scope, it will be desirable to consider setting up an executive committee. The Secretariat could for the moment undertake to give the necessary impetus, possibly with the assistance of one or more experts. 8. Pending the execution of the project, 1t would be destrable, in order to Prepare the ground for the establishment of museums, to arouse the interest of a large number of countries in the art of other countries and of other parts of the world by means of exhibitions and other techniques.