Gracefully? Because usually you pay for loans of paintings? Naive or innocent Michelaise? Anyway, although Professor of Management, a bit dreamy and not really aware of commercial morals of museums today. I just I searched and found for example that the Centre Pompidout provided for a loan from work, an impressive list of expenses:
- restoration, management, technical equipment or consumables,
- billing of copies of films, Video
- packaging, insurance and transportation,
- convoy
- administrative costs of provision.
I guess this last chapter, the amounts are left to the discretion of all and one can imagine that it is trading sharply. I just dug up the subject and I found this excerpt from Eye, which has better informed my lantern
" Tomorrow, the organization of an exhibition could become even more uncertain. The loans from one museum to another, usually free, they will remain while the competition is also fierce between the institutions? Negotiations loan of works from Western museums already delicate yet customary due, appear more more complex with some emerging countries that are negotiating counterparties: training of personnel, restoration works, or financial compensation as did Egypt for the exhibition "Tutankhamun" in London, requiring that 75% of ticket prices and revenue from its gift shop are donated to preserve these treasures and build a new museum Cairo.
works she may become scarce due to the competition? Especially as the traffic has become the ratings of museums, such exhibitions often observe the same seasonality, serve the same phenomena mode to make recipe. Thus, on the occasion of the commemoration of the death of Gauguin in 2003, many museums wishing to make a large retrospective of this artist, none of these candidates has been willing to lend his works! Pierre Rosenberg, former president and director of the Louvre, already denounced in 2004 as an editorial written for the magazine of the French Federation of Societies of Friends of Museums, "the event at all costs at the expense of permanent collections, running event at the expense of research and scientific work ... museums exhibitions kill. "
And that is the subject that we discuss at length the ticket: the price of the democratization of art would these invasive crowds during the "great events" media, and therefore unavoidable All will see, even if not their hot little Monet. Hence these presses unfortunate in rooms sometimes too narrow, the endless queues to enter the holy of holies, the jostling in front of intrusive paintings that deserve contemplation, inappropriate comments that you confuse the understanding, for they are ostentatiously proclaimed by those who believe they have finally understood why all the fuss. For
going through the deserted halls of the museum to Bordeaux which contains the wonders we still struggling to see between two and three backs shaken heads when on loan to exhibitions at major shows, I agree of Mr. Rosenberg. Unfortunately, as we do not know what to do in the "event", which is trading very expensive because the organizers will know how to "sell" their service, the key exhibitions, relayed by the press and media, saturating at 913 064 visitors (figure proudly announced by the Grand Palais for Monet, as a remarkable record), and museums that are even partially, in the calm, the same works, are empty.
So I can not too welcome the initiative of the loan, which allows a provincial museum to "create event" cheap, offering visitors a free web development in relation to other paintings of the place. Here the hurdy-gurdy to dog De La Tour, on display until March 28, 2011, is one of five paintings on the theme of these old blind musicians that made the artist. Madrid Remiremont, Nantes and other Brussels home. That Bergues is sober and if one admires a dog uncommon in the master's work of Lorraine, the latter including mania naturalistic approach with psychological intensity and verve we love home. It is also a great excuse to review in detail the wonderful lutenist Ter Bruggen, the always surprising Saint Sebastian Tended by Saint Irene Trophime Bigot, disputes Giordano to stick to Caravaggio. Our provincial museums are rich and you have to enjoy it. Serenity!
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