Fibres torn from the brain

Body in ancient Greek artQQ:99362012 height="505" srcset="http://www.thejackdaw.co.uk/wp-content/uploads/2016/06/Body-in-ancient-Greek-art.jpg 442w, http://www.thejackdaw.co.uk/wp-content/uploads/2016/06/Body-in-ancient-Greek-art-263x300.jpg 263w, http://www.thejackdaw.co.uk/wp-content/uploads/2016/06/Body-in-ancient-Greek-art-48x55.jpg 48w" sizes="(max-width: 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 have noticed a weekly disappearance of prize pieces from the Greek and Roman galleries. Indeed, for two months

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in advance of the show half the Duveen gallery exhibiting Parthenon

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material was crudely boarded off like a building site.

Art google_ad_client = "ca-pub-3967079123942817"; critics, many of whom nowadays are at sea dealing with anything made before last weekend, were bowled middle stump by Defining 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

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been seen free any time in the preceding 262 google_ad_slot = "7160667483"; years and will be free src="//pagead2.googlesyndication.com/pagead/show_ads.js"> again after July 5th when the

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spectacle /* xin2 */ closes.
It serves the
museum right that attendance for what was doubtless planned as a cash-cow blockbuster hasn’t risen above a
trickle. A sad irony is that works are better appreciated in src="//pagead2.googlesyndication.com/pagead/show_ads.js"> the deserted exhibition than they are normally when enveloped by noisy swarms of disaffected foreigners shuffling

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along

with scarcely a glance at anything deemed unworthy of a selfie. It goes without saying that the more important works illustrated in the accompanying book
(which google_ad_height = 90; isn’t a catalogue), indeed the crucial ones to the show’s thesis, were not included in
the exhibition: they live in Greece, a country with whom regrettably we have no dealings.

We’ve google_ad_slot = "6023194682"; become inured to the scam operated by many museums whereby they demand payment for what should

be gratis. And the Department
of Culture, the House of Commons’ Select Committee, and assorted
museum trustees, all otherwise so proudly defensive of our free museums,
let them get away with it. However, Defining Beauty set

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new standards in

of a visit there. We’ve been told often, mainly by the Director, that the museum tells a definitive google_ad_client = "ca-pub-3967079123942817"; story of classical sculpture
and civilisation and shouldn’t be tampered with – this is their Elgin Marbles Sicilian defence. The collection is too patchy to attempt any google_ad_width = 970; such thing. And even

the Mausoleum of

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Halicarnassus were, google_ad_client = "ca-pub-3967079123942817"; as usual, shut. But at least the wondrous, blissfully empty architecture galleries,

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in my experience closed

only one 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

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where I discovered escape,
EMAIL:baiwei5000@126.com
solitude, inspiration /* xin-1 */ 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

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its replacement
by venal opportunism. At the same time, I’m grateful

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to have

experienced the best of it while it lasted.

David Lee

July/August 2015