The essays in this book arise from a course of lectures and seminars given at the Catholic University of Louvain by a group of leading Belgian and Dutch art law experts. Ranging widely across a diverse terrain, these essays provide a unique resource and perspective on problems old and new confronting those interested in the relationship between art and law. Unusually for a work of legal scholarship the book is attractively illustrated, thus lending greater force to essays which are both analytical and exploratory. The topics covered extend from preservation of archaeological heritage across droit de suite, artistic freedom, erotic art, art in time of war, the moral rights of artists and much more, to provide a uniquely provoking and subtle investigation of this area of law. The book is a co-publication with the Belgian publishers Die Keure and Mercatorfonds.
Publisher: Bloomsbury Publishing PLC
Number of pages: 440
Weight: 680 g
Dimensions: 234 x 156 x 34 mm
This book is a very welcome addition to this literature... The illustrations help the text come alive and each image (and there are many) has a helpful commentary which includes the art historical context... This is a book which any art lawyer will want to have and regularly dip into- either to find some useful commentary and background on the current issue, or simply to be challenged and refreshed by the wealth of critical material in the book and the fantastic images. The fact that the book is primarily written from the continental perspective adds value for any common lawyer reading the book, as it sheds light on the areas where there is not necessarily much commentary in English. This is an excellent text, attractive and of considerable value to all those with an interest on the growing field of art law. The publishers, as well as the editors and contributors, are to be commended for investing the time, money and effort in publishing such a worthwhile and beautiful book. Simon Stokes Entertainment Law review Volume 20 issue 4 This lavishly presented and competitively priced work concerns a growing area of geal scholarship - the relationship between art and the law - and in this case the visual arts of painting and sculpture in both classical and modern art. In a truly panoramic exploration, both the areas of 'art and cultural heritage law' and the operation of the art business are explored. The use of the illustrations and the commentaries on them will I think attract a wider readership for this work and it will not be seen as a dry tome in relation to a fairly arcane area of law. There is plenty here to stimulate a wider general readership. This is a stimulating and interesting work, and the Research Commission at KU Leuven are to be congratulated on their commissioning foresight. Anyone interested in the world of the visual arts and its relationship to the legal system will find reading this work beneficial. Howard Johnson Communications Law Volume 14, No. 3 2009