After a first inventory carried out in June by the Spanish government, which mentioned 5,000 pieces looted by the Franco regime, the portrait Don Francisco Giner de los Ríos, by Manuel Ojeda y Siles, marks the starting point of a long series of restitutions of works of art.
The portrait of Don Francisco Giner de los Ríos, childby the painter manuel Ojeda y Siles, is this time at the center of all eyes, in front of the authorities and journalists. « The canvas now returns to the foreground of our history, returns home »Ernest Urtasun said during the official restitution ceremony. The latter thus marks the first return to their rightful owners by his department of works of art seized during the civil war and dictatorship.The work went to the Francisco Giner de los Ríos Foundation, guardian of Spain’s intellectual heritage, declared illegal by the Franco regime in 1940.
An inventory of 5,000 pieces
In June 2024 and eight months late,the Spanish government published a first inventory of the 16 state museums dependent on the Ministry of Culture,putting more than 5,000 pieces on the table: paintings,jewellery,ceramics,sculptures,fans,furniture,crockery. They mainly come from seizures carried out by the Republic during the civil war to protect artistic assets. The dictatorship thus never returned them to their owners once the conflict ended. But long-term work remains to be done. In an article published on June 30, the newspaper The contry suggests that the inventory be extended to all other ministries, national museums, regional or municipal museums, universities and a host of other institutions that could have received the seized works.
in 2022, the Spanish government approved the recognition of victim status to those who do so « suffered economic repression with seizures and total or partial loss of assets, fines, confiscations and expulsions ». And in his article 31 he recognizes « the right to compensation for seized assets ». For the Spanish Minister of Culture, yes “an act of return, which is part of a firm will on the part of this Ministry of culture and the Spanish government: to guarantee respect for the spirit and law on democratic memory and to repair, much later, the true status and ownership of a heritage violated and plundered by the dictatorship”.
How does the restitution of art impact cultural heritage and ancient justice in Spain?
Interview with Art Restitution Expert Dr. Laura Fernández
Q: Thank you for joining us, Dr. Fernández. To start, can you share the significance of the recent restitution of the portrait Don Francisco Giner de los Ríos by Manuel Ojeda y siles in the context of Spain’s artistic heritage?
A: Absolutely, and thank you for having me. The restitution of Don Francisco Giner de los Ríos is monumental. It symbolizes a crucial step toward addressing the historical injustices stemming from the Franco regime. This painting’s return not only represents the recovery of a notable work of art but also acts as a catalyst for the larger movement of restituting over 5,000 pieces that were looted or seized during the civil war and subsequent dictatorship.
Q: The inventory released by the Spanish government identified over 5,000 pieces. What types of artworks are included, and why is this inventory significant?
A: The inventory encompasses a wide range of artworks, including paintings, jewelry, ceramics, sculptures, and even furniture. Its significance lies in the acknowledgment of the illegal seizures that occurred under the Franco regime. By systematically cataloging these works, the Ministry of culture is laying the groundwork to facilitate future restitutions and ensuring the public awareness that these assets were taken unjustly. It highlights the need for accountability and cultural reparations.
Q: The government aims to extend this inventory to other institutions. Can you elaborate on the potential impact of this broader scope?
A: Extending the inventory to include regional and municipal museums, universities, and other institutions means a more comprehensive understanding of the scale of looted art. This broader approach can uncover many more works that need to be returned to their rightful owners or descendants. It could possibly transform the narrative around Spain’s cultural heritage and promote a more inclusive dialog about restoration and access to art.
Q: You mentioned the idea of “victim status” and compensation for those affected by the Franco regime. How does this relate to the restitution process?
A: Granting “victim status” to those who suffered under the Franco regime is crucial for recognizing the personal and collective trauma caused by the regime’s actions. It acknowledges the profound economic and cultural loss experienced by many individuals and communities. Linking restitution to this status ensures that reparations are not only financial but also restore dignity and recognition to victims and their families, making the process of restitution more holistic.
Q: What practical advice can you give to art institutions and the public regarding the ongoing restitution efforts in Spain?
A: Art institutions should actively engage with legal frameworks and historical research to identify looted works in their collections. They should also collaborate with historians and legal experts to ensure that they are following best practices in restitution. For the public, raising awareness through advocacy and education about the importance of restitution can foster a supportive surroundings that encourages these initiatives. Additionally, descendants of affected families should be aware of their rights regarding compensation and restitution procedures.
Q: what does the future hold for art restitution efforts,both in Spain and globally?
A: The future looks promising,especially in Spain,as the government has shown a commitment to reparative justice. Globally, we are witnessing a similar movement gaining momentum, as many countries are reckoning with their colonial past and the illicit art trade. The hope is that these efforts will not only recover lost cultural heritage but also foster a broader understanding and appreciation of the importance of art in our shared history. The conversation around art restitution is essential for justice and reconciliation, and it’s gaining the attention it rightly deserves.
Q: Thank you for your insights, Dr. Fernández. This data is invaluable for understanding the complexities of art restitution and its implications for cultural heritage.
A: Thank you for having me. I’m glad to share this vital conversation with your audience. It is indeed a crucial time for art restitution, and every step taken towards justice is a significant step forward for society as a whole.