Fibres torn from the brain

Body in ancient Greek art通过金名网( 中介交易

442px) 100vw, 442px" />In all the doting coverage of ‘Defining Beauty: The Body in Ancient Greek Art’ at the British Museum, no mention was made of the fact that the bulk of major exhibits featured were from the museum’s own //--> collection. Stupidly,

I had believed – and perhaps was even misled by advance publicity – that the exhibition
would feature
a range of major sculptures
I hadn’t seen before. I should have known better. During the months before the display opened, regular visitors would src="//"> have noticed a weekly disappearance of prize pieces from //--> the Greek and Roman galleries. Indeed,


for two months
in advance of the
show half the Duveen gallery
exhibiting Parthenon material was crudely boarded off like a building site. Art critics, many of whom nowadays are at sea dealing with anything

made before last weekend, were bowled middle stump by
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Art. They didn’t know the BM sufficiently well to realise that many works for which they were recommending
the public pay handsomely could have been


seen free any time in the

the Department of Culture, the House of
Commons’ Select Committee, and assorted museum trustees, all otherwise so proudly defensive google_ad_client = "ca-pub-3967079123942817"; of our free museums, let them get away with it. However, Defining Beauty set new standards in such fraud. With the exception of
a rare
bronze of middling quality recently trawled from the Adriatic


off Croatia, the influential Belvedere torso

in my experience closed for years, were open ­– a red letter day indeed.

­ As I write, news arrives that the BM has leased for five years

500 works to a Qatari museum for an undisclosed fee. Depletions to galleries of the sort mentioned above will, it seems, google_ad_client = "ca-pub-3967079123942817"; become a permanent fixture as the museum realises its main financial asset is the quality of collections they can pimp to the google_ad_width = 970; highest bidder (which, conveniently, fucks Greece). Am I the only one google_ad_slot = "6023194682"; who thinks renting masterpieces in bulk to the Middle East is just a tad risky?

We are entering a different age to that post-war world of museums where I discovered escape, solitude, inspiration

and willing expertise on tap. Museums no longer principally exist to benefit those dedicated to what they preserve. I regret this loss of

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innocence and its replacement by venal opportunism. At the same time,