Recent technological breakthroughs have turned the art world upside down, and nowhere is this more evident than in Europe. The rise of NFTs and virtual currencies has reshaped the way artists create, sell, and distribute their work. From historic galleries in Paris to emerging digital artists in Berlin, the influence of blockchain technology has opened new opportunities and challenges for the European art scene. Accordingly, these breakthroughs have allowed the scene to attract more eyes as well as an increased interest in the current AI16Z price. This article explores how NFTs and cryptocurrencies have transformed art and culture across the continent.

4 Ways Cryptos and NFTs Have Impacted The European Art Scene and Culture

Empowering Artists with NFTs

Before the advent of NFTs, many artists faced difficulties in monetizing their work, particularly in the digital space. With these digital assets, artists can now tokenize their works, proving their legitimacy and ownership on the blockchain. This has enabled European creators, from traditional painters to digital designers, to sell their work directly to collectors without the need for third parties.

One notable example is French artist Pascal Boyart, who combines street art with blockchain technology. His mural paintings include hidden cryptocurrency rewards, creating interactive experiences for art enthusiasts. Similarly, German digital artist Mario Klingemann has embraced NFTs, making his AI-generated artworks widely accessible to collectors around the world.

New Revenue Streams for European Museums and Galleries

NFTs and cryptocurrencies are impacting European museums and galleries. Many institutions have begun exploring NFT exhibitions and digital collections to engage younger audiences and generate new sources of funding.

The Uffizi Gallery in Italy, home to masterpieces from the Renaissance era, has ventured into the NFT space by tokenizing some of its iconic artworks. This allows art lovers to own a digital representation of famous pieces while providing museums with much-needed financial support. Meanwhile, galleries in cities like London and Amsterdam have started hosting NFT exhibitions, blending traditional and digital art in innovative ways.

Cultural Democratization and Accessibility

One of the most profound effects of NFTs and cryptocurrencies is the democratization of art. Traditionally, high-end art collecting was reserved for the wealthy elite. However, blockchain technology has made art ownership more inclusive by allowing fractionalized ownership and microtransactions.

For instance, platforms such as Artpool and LaCollection have emerged in Europe, enabling art enthusiasts to buy shares of artwork instead of purchasing an entire piece. This model allows more people to invest in art while ensuring artists and museums receive fair compensation.

Moreover, decentralized autonomous organizations (DAOs) focused on art curation have gained traction in Europe. These blockchain-based organizations empower communities to collectively decide on which artists or artworks to support, fostering a more inclusive art ecosystem.

NFTs in Music and Performing Arts

NFTs and cryptocurrencies have also influenced other cultural sectors, such as music and performing arts. European musicians have started releasing exclusive content as NFTs, giving fans direct access to limited-edition albums, concert tickets, and behind-the-scenes material.

In the UK, musicians like Imogen Heap have embraced blockchain technology to revolutionize the music industry. By tokenizing their work, artists can bypass record labels, retain more control over their intellectual property, and earn fair royalties.

Similarly, in the world of theatre and dance, NFT-based ticketing systems are emerging. These systems reduce fraud and allow cultural institutions to connect more directly with their audiences. Theatres in Germany and Spain have started experimenting with blockchain-powered ticketing to ensure authenticity and prevent scalping.

Challenges and Criticisms

Despite its many advantages, the rise of NFTs and cryptocurrencies in the art world has also sparked controversy. Environmental concerns concerning the energy demand and use of blockchain have led to debates on the sustainability of NFT transactions. While solutions like Ethereum’s shift to proof-of-stake and eco-friendly blockchain alternatives are being explored, the environmental impact remains a key issue.

Additionally, the everchanging values of virtual coins can pose risks for artists and collectors. The fluctuating value of digital assets has led to uncertainties in pricing artworks, making it difficult for some creators to predict their earnings.

Fraud and copyright infringement are also challenges within the NFT space. While blockchain provides a digital certificate of ownership, it does not automatically combat unauthorized plagiarism. European regulatory bodies are currently developing guidelines to address these concerns and create a more secure digital art environment.

The Future of NFTs and Cryptos in European Art

Looking ahead, the role of NFTs and cryptocurrencies in the European art scene is expected to grow further. More institutions, from traditional museums to cutting-edge galleries, will likely adopt blockchain technology to enhance engagement and revenue streams. Additionally, European artists will continue to experiment with NFTs, pushing the boundaries of digital creativity.

As regulatory frameworks evolve and sustainable solutions become more widespread, NFTs and cryptocurrencies could revolutionize the way art is created, sold, and appreciated in Europe. The fusion of technology and culture is opening new doors for both artists and collectors, ensuring that the art world remains dynamic and inclusive in the digital age.

Conclusion

NFTs and cryptocurrencies have undeniably altered the landscape of European art and culture. From empowering artists and democratizing ownership to transforming museums and music, blockchain technology has created a new era of artistic expression and economic possibilities. While challenges remain, the future of NFTs and cryptocurrencies in Europe’s art world looks promising. Continued innovation and adaptation will shape the next chapter of digital creativity.

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Gaston La-Gaffe

Gaston is a Belgian writer born in 1975. He writes on various subjects, Health, Fashion, Technology, CBD and Art for various publications including Spirou. He is based in Brussels.

The new Princeton University Art Museum (PUAM) will house 32 galleries, a two-story conservation studio, and an 8,800 square-foot education center — all housed in a hulking aggregate stone exterior.

Ahead of PUAM’s opening in October, The Daily Princetonian received an exterior tour of the building from Chris Newth, Senior Associate Director for Collections and Exhibitions. The tour included an overview of the museum’s architectural design and interior features.

The exterior design of the new art museum, however, has garnered some controversy among members of the campus community.

“There’s going to be a range of comments on the architecture; some people love it, some people won’t. That’s true with anything,” Newth explained. “That echoes the experiences people are going to have with the arts. Not everybody loves every piece of art that’s in the museum.”

“The style of architecture itself is very different to what we’re used to seeing on campus,” said architecture student Kayleen Gowers ’25 in an interview with the ‘Prince.’ “It’s an exciting way for students to see how contemporary architecture can fit into the more historic style of campus,” she added. 

At a luncheon on Alumni Day, PUAM Director James Steward ’76 described the building as made of fundamentally classic materials: “cast in-place concrete … as well as steel, bronze, glass, and a pioneering use of heavy timber.”

The renovated museum, whose size was restricted on the east side by a dawn redwood tree and on the west by the path behind Dod Hall leading up towards Nassau Hall, is split into nine sections, referred to as “pavilions.”

The central north pavilion is home to Marquand Library of Art and Archaeology. During PUAM’s construction, its collections have been temporarily relocated to the C-floor of Firestone Library but will be returned to the building following its completion in the coming months.

According to Newth, the central south pavilion will house a two-floor conservation studio, an area which “combines science and research and activity.” Notably, this is the only section of the building without a flat roof. Because it is on the south side of the building, and natural northern sunlight is ideal for conservation, the designers “developed this skylight that actually takes the northern light and bounces it down,” Newth explained.

The themes of the remaining seven pavilions have not yet been announced, although Newth confirmed that the northwest pavilion will be primarily European art.

“That doesn’t mean there’s just European art in there, because we don’t believe in presenting art that way,” Newth explained. “While this will primarily be European art, there are other cultures and multiple time periods in there to make sure we’re trying to present the full picture with the collections we have.”

PUAM spokesperson Morgan Gengo wrote in a statement to the ‘Prince’ that “information about the organizing principles of each area of the building, including the pavilions, will be forthcoming.”

The museum will feature 32 galleries, all but one of which will be spread on the same level throughout the second floor of the building. Newth explained that, in the early 20th century, “it was very common for museums to put their best things on the main level, and then having additional objects below.”

“All our collections will all be on the same floor, so it will be hard for somebody to argue that we put any collection lower than another,” Newth explained.

“One of our biggest objectives in [the PUAM project] was to break down the traditional hierarchies of display that have dominated in most art museums around the world,” Steward said. 

The last of the 32 galleries is located in the building’s northwest corner on the first floor. Its exterior-facing windows are boarded up at time of publication — however, Newth described that this gallery may be thought of as “a project space” for year-long exhibitions. 

Due to the large windows opening into the room, only certain pieces of art can be exhibited there, Newth said. “I’m excited that people can see in and out [of the gallery].” 

Newth noted that the second floor would house three viewing rooms, each of which will have only a few objects in it. 

“We all understand that sometimes museum-goers need a rest … or they need a space where they can actually just get immersed with an individual object,” he said of the viewing rooms.

According to Gengo, two of the 31 galleries on the second floor will be temporary exhibition spaces in addition to the individual gallery on the first floor.

“We want to keep it vibrant for all the students and non-students, [but] we also don’t want to have [the exhibits] up for such a short period of time that you can’t get to them,” Newth told the ‘Prince’ during the tour.

An additional temporary exhibition space is Art@Bainbridge, which will remain open even after PUAM opens in October.

Four percent of Princeton’s collections will be on show in PUAM at any time, equivalent to around 4,700 articles from the collections. The old art museum had around half of this volume visible at any time.

The final 29 galleries will house the collections, which will also be rotated regularly. Newth explained that certain materials need to have restricted access to light, but noted that rotation of collections might be due to other reasons.

“We might get new acquisitions, or there might be a course that needs something [from the collections],” he described.

The education center is made up of two art studios, two seminar rooms, an auditorium, and five object study rooms, totalling 8,800 square-feet of the building. The studios, called ‘creativity labs,’ are visible from the east side of the building, and are where the “art making process can happen,” Newth said. These spaces will be available for drop-in or through PUAM’s programming. 

“Somebody can come in and have an experience with art that’s not the collection art; it’s making art,” said Newth.

The five object study rooms in the education center will allow students to interact directly with pieces in the collection. Object study rooms are “where classes with art on the table will be held, and we had about 200 classes a semester in our object study rooms when we were open previously,” described Newth. 

Leela DuBois ’26, an Art and Archaeology student, said that her experience with art history classes has been different with the art museum under construction. In a semester-long assignment, DuBois described going through the museum collection catalog online to complete her project. “Often we weren’t able to see those pieces in person,” she said in an interview with the ‘Prince.’

“It’s a very different experience when you can grasp the size and scope of a piece and how it looks in a three-dimensional space versus on a screen,” said DuBois.

The new museum has been conceived as a way of connecting the University and the broader community. The new building, for instance, will feature four entrances that are lined up so students and community members can walk through the museum to cross campus. The corridors, referred to as ‘Art Walks,’ form a cross through the building and will be lined with art for those who are simply walking through. “We wanted a location where people could really experience art in their daily life,” said Newth. “We want people to live with art.”

Newth emphasized the proximity of a museum on campus and its convenience. “Somebody can go to New York — that’s great, there are great museums there — but they don’t have to. They can come right here and they can do it at the last minute.” 

Kelly Park ’25, the president of the PUAM Student Advisory Board, agreed. “Very soon, students won’t have to wander far to immerse themselves in such an extensive art collection,” she said.

PUAM has sparked several controversies since the beginning of its renovation. The building was designed by Adjaye Associates, an architecture firm headed by David Adjaye, a renowned Ghanaian-British architect who was accused of sexual assault, sexual harassment, and fostering a toxic workplace in 2023. Additionally, the style of the building has sparked much debate among students.

In an interview with the ‘Prince’ in November, University architect Ron McCoy GS ’80 advised students to “stand back and put a layer of campus between yourself and the museum.” 

“When you look from, say, in front of Witherspoon, down the diagonal, you see the echelon of the different pavilions linking to Brown Hall,” McCoy said. “If you look at the base of Brown Hall, you see that the gray granite of Brown Hall is picked up by the precast concrete [of PUAM].”

“I think it’s hard to appreciate it if you don’t have more [of an] architecture background,” Gowers said. “I do think they could have done the same design, the same grid, but with less concrete.”

The PUAM is set to open in October 2025, with the exact date to be announced in late March. 

Victoria Davies is a head News editor for the ‘Prince.’ She is from Plymouth, England and typically covers University operations.

Cynthia Torres is an assistant News editor and an Archives contributor. She is from New Bedford, Mass. and typically covers University administration.

Please send any corrections to corrections[at]dailyprincetonian.com.

Correction: a previous version of this article said that the education center will be 80,000 square feet. In fact, it is 8,800; the total gallery and object display spaces have an area of 80,000 square feet. The ‘Prince’ regrets this error. Additionally, this article has been updated to clarify that there will be two galleries for temporary exhibitions on the second floor, not three.

by Catherine Tsounis

In our traditional Astoria home, we heard about El Greco, the artist who gave hope to the conquered people of the former Byzantine Empire. I never got to Toledo, Spain to see his masterpieces. We went with friends to the National Gallery Alexandros Soutsos Museum of Athens, Greece to enjoy his art.

Victor Davis Hanson, one of America’s best known military historians, in his book ”The End of Everything: How Wars Descend Into Annihilation” said “The most infamous of wartime extinctions was the destruction of Byzantine Constantinople on May 29, 1453, ‘Black Tuesday’, While the Greek language and Orthodox Christian religion survived scattered in Southern Europe and in the outlands of Asia after the fall of the Byzantine Empire, the millennium long reality of an Eastern, Greek speaking Roman Empire and attendant cult in Asia Minor disappeared”1

The National Gallery described Post Byzantine Art in exhibit posters. “After the fall of Constantinople, the Byzantine tradition was carried on in the new centers created outside the Ottoman Empire, in particular in Venetian occupied Crete. The icons of the Cretan School were in demand outside of the island. Many of the painters were bilingual, painting in the Byzantine and Renaissance styles. After the full of Crete to the Turks, many artists led to the Venetian rule Ionian islands. The painters gradually left the Byzantine style and painted realistically. Paintings of these artists, many unknown, are on display in the Athens National Gallery.”

Who was El Greco, The Greek? The National Gallery poster explained El Greco in a few words. “Domenicos Theotokopoulos (El Greco) was born in 1541 in Venetian occupied Candia, present day Heraklion, Crete, to well to do Greek orthodox parents. Along with painting, he studied Classics. In Candia, he painted icons in the style of the post Byzantine Cretan School. In 1567, he left Candia for Venice where he studied under the great Venetian painter Titian and was influenced by the Venetian school of the Renaissance that was full of color. He lived in Rome from 1570-1577 as a guest at the Palace of Cardinal Alexandro Farnese where he met many intellectuals. In 1577, he left for Spain in order to work on the decoration of the Escorial Palace. He settled in Toledo, the former imperial capital of Spain. He received important commissions and painted some of his most famous works. Far from the influence of the Italians and the intrigues of Court, El Greco discovered his inner self and created an art of deep spirituality. The elements of Byzantium, the Renaissance, and Mannerism were fused into his original unique style. He died in Toledo in 1614, never returning to his home. He always sighed his words in Greek with Byzantine characters Domenicos Theotokopoulos the Greek.

“The Concert of Angels” El Greco painting is one of his last paintings in 1614. The painting is vibrant with inner life. “St. Peter” is a realistic gazing beyond the viewer. “The Entombment of Christ” belongs to the Roman period of El Greco’s life. He conveys feelings of sadness of the holy women.

The National Gallery is an art museum located on Vasilisis Sofias avenue in the Pangrati district, Athens, Greece. It is devoted to Greek and European art from the 14th century to the 20th century. The newly renovated building reopened after an 8 year refurbishment, on 24 March 2021, a day before the 200th anniversary of the Greek War of Independence.4 Special Appreciation to our friends Erica and Doris who were our guides.

References:

1, Hanson, Victor Davis. “The End of Everything: How Wars Descend Into Annihilation,” Hachette Book Group, Inc., New York, 2024, p.8

2. https://en.wikipedia.org/wiki/National_Gallery_(Athens)

A new platform is set to transform the European art landscape.The Spider is an innovative network designed to connect and unite some of the most influential Art Weeks, Weekends, and Gallery Weekends across Europe. The initiative brings together key events, including Stockholm Art Week, Amsterdam Art Week, Antwerp Art Weekend, London Gallery Weekend, Zurich Art Weekend, Berlin Art Week, Barcelona Gallery Weekend, Prague Art Week, Vienna Art Week, Lisbon Art Weekend, and Art Weekend Budapest.

A Mission to Strengthen Collaboration and Visibility

At its core, The Spider aims to foster mobility, collaboration, and knowledge exchange among curators, journalists, collectors, and other art professionals. By bridging the gap between Europe’s leading art events, the platform will enhance cross-border engagement and create new opportunities for cultural exchange.

Through this initiative, The Spider will:

Facilitate Art Professionals’ and Press Trips – Organizing exclusive visits to participating cities, offering deeper insights into local art scenes.

Develop Cross-Event Communication – Strengthening ties between art events, encouraging joint projects, and fostering dialogue.

Amplify European Art Scenes – Utilizing newsletters, press releases, and strategic media outreach to highlight each city’s unique artistic identity on an international stage.

2025 Art Week Calendar

• Stockholm Art Week – 13–18 May
• Amsterdam Art Week – 20–25 May
• Antwerp Art Weekend – 29 May–1 June
• London Gallery Weekend – 6–8 June
• Zurich Art Weekend – 13–15 June
• Berlin Art Week – 10–14 September
• Barcelona Gallery Weekend – 18–21 September
• Prague Art Week – 25–28 September
• Vienna Art Week – 7–14 November
• Lisbon Art Weekend – 6–9 November
• Art Weekend Budapest – 28–30 November

Creating New Opportunities for the Art World

By joining The Spider, participating cities and their art professionals will benefit from:

Increased International Visibility – Positioning their art scenes as must-visit destinations for collectors, curators, and media.

Expanded Professional Networks – Encouraging collaborations and new projects between institutions, galleries, and artists.

Enhanced Public Engagement – Making contemporary art more accessible to both local and global audiences.

A Platform for the Future

With The Spider, Europe’s cultural and artistic institutions will be more interconnected than ever before. By fostering an inclusive and dynamic art ecosystem, this initiative will empower artists, curators, and professionals while strengthening ties across the continent’s vibrant art world.

MORE: @artweekspider

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Mark Westall

Mark Westall is the Founder and Editor of FAD magazine –

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Trump has horrified European allies with his attacks on Volodymyr Zelenskyy and what critics say is a soft take on Vladimir Putin. Enter Emmanuel Macron.

• Trump called French President Macron “a very special man.”
• Macron sought to warn Trump of appearing weak by rushing into a peace agrement with Putin.
• European allies have offered peacekeepers to guarantee Ukraine’s security after a peace agreement – but they want a U.S. backstop.
• “Come to the table with more, if you want a bigger seat at the table,” National Security Advisor Michael Waltz told his European counterparts.

WASHINGTON – Call it the art of the deal.

A gentle pat on the leg. An affectionate grab of the arm. French President Emmanuel Macron managed to do what no other European leader could so far: charm President Donald Trump.

“President Macron is a very special man in my book,” Trump said Monday in the Oval Office.

Macron has taken a leading role in Europe’s push to keep Trump from legitimizing Vladimir Putin and rewarding the Russian invasion with a hurried deal to end the Ukraine war.

More: Whiplash: Trump orders U-turn after 3 years of U.S. support for Ukraine in war with Russia

“We are personal friends, because we work very well together,” Macron said at the White House. “The U.S. and France always stand on the same side − the right side, I would say, of history.”

U.S. allies are shocked at the rapid pace of Trump’s talks with Putin’s government and suggestions from the White House that the aggressor nation could be allowed to retain territory it seized unlawfully, in order to conclude the three-year war.

Trump’s assault on Ukrainian President Volodymr Zelenskyy, who he lambasted last week as a “dictator without elections” and blamed for the Russian invasion, has stunned America’s military partners. He is pushing Zelenskyy to sign a critical minerals agreement that would allow the U.S. to recoup money it has spent − and far more − on Ukraine’s defense.

European leaders are scrambling, with Macron summoning his counterparts to two separate emergency sessions and calling Trump twice. He then appealed to the president face-to-face on Monday, on the third anniversary of Russia’s invasion.

Their discussion served as a “turning point” for Europe’s role in peace talks, Macron said.

European countries are ready to put forward security guarantees for a postwar Ukraine − with a U.S. backstop. “And now there’s a clear American message that the U.S. as an ally is ready to provide that solidarity for that approach, that is a turning point in my view,” Macron added.

“We want peace swiftly, but we don’t want an agreement that is weak,” Macron said at a news conference. “President Putin violated the peace,” he added.

European leaders have walked a careful line between publicly defending Zelenskyy and rebuking Trump in a way that provokes him to dig in.

“I think that we should not spend time on commenting on the comments. I think that we have to mobilize ourselves and do our job,” a European official told USA TODAY. “We still believe in the transatlantic alliance.”

European leaders are descending on Washington to plead with Trump and his advisers not to be duped by Putin.

More: 3 years later: What started the Ukraine war, and where does the conflict stand?

Leaders of the G7, a group of seven leading industrialized nations and the European Union, also convened a call Monday about Ukraine, which Trump and Macron joined from the Oval Office.

Polish President Andrzej Duda met with Trump on Saturday at the Conservative Political Action Conference outside Washington. British Prime Minister Keir Starmer will visit the White House on Thursday.

Starmer has offered to deploy UK troops to Ukraine as postwar peacekeepers if they are backstopped by the U.S. The proposal would reportedly involve around 30,000 European troops.

“Other countries are ready to join in this effort. Solidarity and support from the U.S. will be crucial to this,” Macron said Monday. “But we do need this American backup, because this is part of the credibility of the security guarantees,” he said later.

European officials were hopeful Macron could get through to Trump, who he hosted at France’s Élysée Palace in December. He is the first European leader to visit the White House since the Republican’s return to office.

Trump told Fox News last week that he considered Macron “a friend of mine” and thinks Starmer is a “very nice guy.” But, he argued, “they didn’t do anything” to bring the war to an end.

Tearing into Zelenskyy, Trump said, “He’s been in the meetings for three years and nothing got done, so I don’t think he’s very important to be at meetings, to be honest with you.” He added, “He’s been there for three years; he makes it very hard to make deals.”

On the other hand, Putin is ready to negotiate, Trump said − horrifying allies abroad and many at home. “And he doesn’t have to make a deal, because if he wanted, he’d get the whole country eventually.”

Europe drifting – or pushed – from the US

After Germany’s elections on Sunday, center-right leader Friedrich Merz, who is poised to be the country’s next chancellor, offered a dire assessment.

Merz said he’s been urging EU leaders to “strengthen Europe as quickly as possible, so that we achieve independence from the U.S.,” Deutsche Welle reported.

“I never thought that I would ever need to say something like that, on television, but after the latest statements made by Donald Trump last week, it is clear, that the Americans − at any case these Americans, this administration − mostly don’t care about the fate of Europe one way or another,” Merz said.

A European Council on Foreign Relations survey found that 50% of EU residents across 11 countries now consider the U.S. a “necessary partner,” rather than an “ally,” with just 21% saying the latter.

Repeating Obama’s mistakes on Putin?

Cristian Terhes, a far-right Member of the European Parliament from Romania, told USA TODAY Trump is repeating the mistakes of the Obama administration, which “tried to reset ties with Russia and was played by Putin.”

“Trump is correct in asking Europe to invest more in its defense, and that will happen,” Terhes said. “However, what shocked many European leaders is the way he is going about it, by undermining NATO, questioning U.S. commitments, and treating long-standing allies with hostility while praising and caving to Putin.”

“From ‘America First,’ Trump is turning it into ‘America Alone,’ which, for the United States, is a recipe for failure,” he added.

Russia annexed part of Ukraine in 2014 and launched a full-scale invasion in 2022. 

Donald Trump says Ukraine ‘should have never started’ war

President Donald Trump suggested Ukraine “should have never started” the war in Ukraine.

Defense Secretary Pete Hegseth told U.S. allies it’s “unrealistic” for Ukraine to expect a return to its pre-2014 borders. NATO membership is also not “a realistic outcome” of the negotiations, Hegseth said of the security guarantee Ukraine has long sought. 

NATO allies promised Ukraine last June that eventual membership was irreversible, as they tried to fortify Ukraine before the U.S. election in case Trump won.

Trump, in an angry tirade against Zelenskyy last week, suggested Zelenskyy could have prevented Putin’s invasion. “You should have never started it,” Trump declared. “You could have made a deal.”

European leaders were caught off guard, having assumed figures like national security adviser Michael Waltz and Secretary of State Marco Rubio would advance a “smart version” of Trump’s vision, former U.S. Ambassador to Poland Daniel Fried said.

“It’s not been a good couple of days,” said Fried, who was in Brussels and Poland last week. “That could change, but they’re appalled, and I don’t blame them.”

Poland’s Duda said he warned Zelenskyy that Ukraine would not see peace without U.S. support. He said he suggested Zelenskyy “remain committed to the course of calm and constructive cooperation” with Trump. 

Officials including European Commission president Ursula von der Leyen made the long journey to Kyiv on Monday to show support for Ukraine and Zelenskyy, who offered Trump a resignation-for-NATO deal on Sunday.

“If you need me to leave this chair, I am ready to do that, and I also can exchange it for NATO membership for Ukraine,” Zelenskyy said.

Peacekeeping troops a possibility

European leaders are offering peacekeeper forces to guarantee Ukraine’s security without NATO membership. But the Trump administration hasn’t explicitly agreed to provide backup to a European force.

“I think that Europeans will step up, and definitely we will, but the U.S. is an indispensable alliance, because of their defense capabilities,” the European official who spoke on the condition of anonymity said.

The U.S. could provide logistical support and defend European peacekeepers using existing air bases in Poland, former U.S. officials say. This would allow Washington to keep boots off the ground in Ukraine while playing the supporting role sought by allies.

Retired U.S. Navy Rear Adm. Mark Montgomery, a former director for transnational threats at the National Security Council, said the only way for Europe to force Trump’s hand is by detailing the type of support it’s willing to provide.

Eiffel tower shows support for Ukraine amid war with Russia

Paris is showing solidarity with Ukraine in the war with Russia by lighting the Eiffel tower up with the country’s colors.

“If Europe is providing a security force to enforce any kind of cessation of hostilities on the Ukrainian side, they’re going to have to be included in the negotiations,” Montgomery said. “So they’ll have to put a little skin in the game to get their seat at the table.”

Macron stressed that European peacekeepers wouldn’t take part in combat and would be deployed as part of “an assurance force.”

The question is whether, and in what form, the U.S. will assist, he said.

Trump emerged from talks with Macron in apparent agreement.

“We will see you again soon,” he told Macron. “We’ll be speaking often. We’ll get this thing worked out.”

National security adviser Michael Waltz said last week that the Trump administration would “certainly welcome more European assistance.”

“As I told my counterparts, ‘Come to the table with more, if you want a bigger seat at the table,'” he said.

Fried, the former ambassador, said, “Trump’s plan is getting traction in Brussels. It is clear to me that the Europeans are taking this seriously, both EU and NATO.”

Trump needs to get out of his own way, figure out what he wants the Europeans to do − and then push them to do it, Fried added, “If you’re asking Europeans to put troops on the ground, you’d better have their back, and they need confidence that you know what you’re doing.”

The Renaissance is often imagined as a period of European artistic and intellectual flourishing, yet its depictions frequently erase the presence of Black Africans who lived in cities like Venice, Florence, Lisbon and Paris.

“We Were Here: The Untold History of Black Africans in Renaissance Europe,” a documentary by Italian filmmaker Fred Kudjo Kuwornu, seeks to correct this omission.

The film, which screens at UC Santa Barbara’s MultiCultural Center (MCC) 5-6:30 p.m. Thursday, Feb. 27, sheds light on the often-overlooked lives of Black Africans in 15th- and 16th-century Europe, challenging dominant narratives about race, identity and history. 

The event, part of the MCC’s Cup of Culture series, features a screening followed by a Q&A and reception with Kuwornu. A reception and Q&A with Fred Kudjo Kuwornu will follow the screening. To register, visit cglink.me/2dD/r2264608.

The Italian-Ghanaian filmmaker, known for his work on race and identity in European history, will discuss the research and artistic approach behind his film.

“History is an attempt to articulate the human experience of the past for those living in the present and those who will come in the future,” Kuworno said. “History is not a fixed container but a dynamic space where what is included or excluded depends on the narrator.

“Minorities, forgotten voices and overlooked events are as much a part of history as the more widely known ones, but without a proper frame, they risk becoming invisible.”

At the Venice Biennale Arte 2024, Kuworno noted that if you are traveling in Venice right now, you might never see a Black gondolier, but in the 15th, 16th and 17th centuries, they were commonplace.

His film explores how Black Africans were depicted in Renaissance art, appearing in masterpieces by celebrated artists such as a work by Venetian painter Vittore Carpaccio, which features a Black gondolier.

In doing so, Kuworno’s research helps to restore the narratives of Black individuals who shaped European history.

One of the film’s central themes is the evolution of racial constructs. Kuwornu highlights how, in the Renaissance, race as we understand it today did not exist.

“Of course, you have different skin colors, but this was not the main difference,” he said. “The main difference was religion.”

In 15th- and 16th-century Europe, the distinction between Christian and Muslim identities played a greater role in determining social status than skin color alone.

By reframing history, “We Were Here” invites viewers to reconsider the foundations of modern racial ideologies. “Racism is a social construct that was created in the 17th and 18th centuries — and every social construct can be, in some sense, deconstructed,” Kuwornu said.

His film suggests that understanding this history is a step toward dismantling contemporary racial biases.

Italian-Ghanaian filmmaker Fred Kudjo Kuwornu’s documentary “We Were Here: The Untold History of Black Africans in Renaissance Europe” has garnered international attention, including an exhibition in the Central Pavilion at the Venice Biennale.

Since its premiere the film has garnered international attention, including an exhibit in the Central Pavilion at the Venice Biennale. “We Were Here” weaves together perspectives from historians, artists and activists, offering a multilayered view of Black European identity.

The UCSB screening offers an opportunity for students and the Santa Barbara community to engage directly with Kuwornu’s research and creative process.

As an artist who has long felt like an outsider, Kuwornu said he sees his work as a bridge between cultures.

“Being a foreigner is something that at the same time attracts people that look like you,” he said. “So I always like to interact with people that have my same background. It doesn’t matter if it’s a background of being a foreigner geographically or in the sense of being an outsider.”

By restoring erased narratives, “We Were Here” asserts that Black history is not separate from European history — it is an integral part of it.

Those who are well-versed in Greek mythology likely recognize many scenes from myths in famous artworks. In fact, apart from religious scenes, images from Greek mythology are one of the most common themes in European art.

Greek mythology is prominent in art dating from antiquity through to the renaissance and even in contemporary artwork.

During the Renaissance particularly, Greek and Roman mythology became very popular due to a renewed interest in antiquity brought about by humanism.

The cultured and educated elite prided themselves on deep knowledge of ancient Greek and Roman art, literature, culture, and history, which naturally involved a study Greek mythology.

Scenes of nymphs, gods, and mythic creatures such as satyrs are common in art of the Renaissance, and as the period served as the foundation for much of later European art, these themes carried on throughout the centuries.

While mythology is a popular theme in art generally, there are a number of specific myths that are particularly common in great works of art.

The Three Graces are common figures from Greek mythology found in art

While Botticelli’s masterwork “Primavera” features countless figures from Greek and Roman mythology, the three women in diaphanous garments in the foreground are particularly iconic figures — the three Graces.

The three Graces, or Charities, are found throughout centuries of art history. They are easily identifiable as they are almost always depicted together.

Most often, they are shown as three beautiful, nude women clasping hands or holding onto each other’s shoulders. Frequently, the two Graces flanking the third are depicted facing the viewer, while the woman in the middle has her back to the viewer.

In Greek mythology, the three figures are known as the Charities, but they were called the “Gratiae,” or Graces, in Roman myth. Collectively, they are considered the goddess of beauty, charm, creativity, and goodwill, and their roles often changed from myth to myth.

The Graces, Aglaea, “Shining,” Euphrosyne,”Joy,” and Thalia, “Blooming,” are often referred to as the daughters of Zeus and an Oceanid named Eurynome. Homer associates the three women with Aphrodite, the goddess of Love.

Their most important role in Greek myth was as attendants to the twelve Olympian gods. Often, they are described as either preparing a feast for the gods, or dancing for them. They also help Aphrodite bathe and get dressed, and even weave her clothes.

Worship of the goddesses is quite ancient, as many scholars argue that their cult dates back to the Pelasgians, or the archaic ancestors of the ancient Greeks.

The story of the Trojan War

Scenes from the Iliad and Odyssey are very common in art, as knowledge of the “Iliad” and the “Odyssey” was considered a part of basic education for centuries. It was expected that most educated people would immediately recognize scenes from the war upon seeing them depicted in a painting.

Although many scholars have debated whether or not the Trojan War as we know it from the works of the great poet Homer truly occurred, it is generally agreed upon that the Trojan War as described in the Iliad and the Odyssey can be considered myth.

In fact, it is believed to be one of the most important and foundational stories in Greek mythology. Featuring some of the most iconic figures from myth, including Agamemnon, Achilles, Paris, Hector, and of course a number of the Olympian gods, scenes from the Trojan War feature prominently in European art.

The Trojan War began after the Trojan prince Paris took Helen, wife of the Spartan king Menelaus, back with him to Troy. Paris had been promised the hand of the most beautiful woman in the world after he deemed Aphrodite the most beautiful in a competition against Hera and Athena.

This act brought about 10 years of fighting, and the Greeks besieged the city of Troy for a decade before finally gaining access to the city by using the famous Trojan horse.

Some of the most widely-depicted fighters from the Trojan War are Achilles, Patroclus, and Hector, who were involved in one of the most famous episodes from the war.

Hector was the greatest of all Trojan warriors — so great that even his enemies, the Greeks, admired him. Achilles, the greatest of the Greek warriors, soon became the target of Hector.

The Trojan warrior wanted nothing more than to defeat his enemy in battle, but Achilles refused to fight after the Mycenaean king Agamemnon took away his “battle prize,” a Trojan woman named Briseis.

While Achilles sat in his tent, fuming over the loss of Briseis, Patroclus, his closest friend and who many argue may have been his lover, donned the Greek hero’s distinctive armor and went to battle.

Thinking that Patroclus was Achilles, as he was wearing the warrior’s iconic armor, Hector killed him.

When word got back to Achilles, he was so enraged that he went on a killing spree, massacring the Trojan forces, while seeking out Hector.

When he finally found the warrior, he chased him around the walls of Troy three times until Hector was convinced to face Achilles face-to-face by the goddess Athena.

Hector accepted that he would likely be killed by Achilles after he tried to strike the hero and missed. Rather than plead for his life, Hector simply requested that his body be treated with respect after his death.

But Achilles, full of rage, dragged Hector’s body by its heels with his chariot around the city’s walls. The corpse of Hector was a frequent subject of paintings, and is even alluded to in the famous work “Liberty Leading the People” by French painter Delacroix.

American artist Cy Twombly, who frequently drew inspiration from Greek myth in his artwork, explored the story of Achilles, Hector, and Patroclus in his 1978 work “Fifty Days at Iliam: Shades of Achilles, Patroclus, and Hector.”

Leda and the Swan: Greek mythology and eroticism in art

Zeus, king of the Olympian gods, was known for his infidelity to his wife, Hera. In one of the most famous and surely most bizarre myths on the subject, Zeus transforms into a swan in order to seduce the beautiful Leda, who was already married to the Spartan king Tyndareus.

As a swan, Zeus tricked Leda by falling into her arms after being pursued by an eagle. According to myth, the sexual act, which many consider nonconsensual, occurred on the same night that Leda had sex with her husband.

So, after falling pregnant, Leda “gave birth” to two eggs, one of which contained Helen of Troy, Clytemnestra, famed wife and murderer of Agamemnon, and the twins Castor and Pollux, who were known as the Dioscuri.

The paternity of the children varies from myth to myth, but most commonly, Helen and one of the twins, Pollux, are the children of Zeus, and the others, Clytemnestra and Castor, are fully mortal.

The story of Leda and the Swan became wildly popular in Renaissance artwork. Both Leonardo da Vinci and Michelangelo both painted the scene, but the originals of their work are now lost, and only copies from other artists remain.

Most art historians believe that the two works were likely destroyed deliberately, as the scene was considered highly erotic at the time.

Painters were more free to paint overtly erotic works on the theme than they would be if the couple had been two human beings, but the scene still inspired controversy amongst people who objected to eroticism in art.

The most famous surviving work featuring the scene in Renaissance art is “Leda and the Swan” by Coreggio, but it was not immune from damage and controversy either. It was attacked with a knife by Louis, son of Philippe II, the Duke of Orleans, while in his collection.

Louis was known to love painting, but was also guilty about his life of excess and sex, which was likely the reason for the attack.

The story of Leda and the Swan was also the inspiration for William Butler Yeats’ 1923 sonnet of the same name. The work is known as a masterpiece, as it both tells of the violent rape of Leda, as well as the events that the attack brings about — the Trojan War and the death of Agamemnon.

Perseus freeing Andromeda

The scene in which the Greek hero Perseus swoops in to save Andromeda, perhaps the first “damsel in distress,” was a favorite of painters, as it allowed them to paint a beautiful nude woman, a fearsome sea monster, and a beautiful seaside landscape.

According to Greek myth, Andromeda, an Ethiopian princess is chained to a rock as a sacrifice to a horrifying sea monster. The monster, named Cetus, began to torment the kingdom after the princess’ mother Cassiopeia began to claim that she was more beautiful than the Nereids, or the sea nymphs who accompanied Poseidon.

The god of the sea punished Cassiopeia for her arrogance by sending Cetus to the Ethiopian coasts. After seeking advice from an oracle, Andromeda’s father, the king Cepheus, learns that he must sacrifice his daughter.

He then chained her to a rock along the sea, where she could be eaten by the terrifying sea monster.

Luckily, however, Perseus happened to be flying by the coast of Ethiopia on his winged sandals after killing Medusa.

Upon seeing her as he flew by, Perseus fell in love with Andromeda, and immediately went to ask her father Cepheus for her hand in marriage. The king agreed, but only if Perseus could save his daughter and kill the monster in his seas.

The hero manages to kill the beast with the same sword, called “Harpe,” that he had used to kill Medusa.

Icarus

The famous story of Daedalus and Icarus, the boy who flew too close to the sun, is one of the most well-known tales from Greek myth.

According to the story, variations of which are found in the works of Greek writers Homer and Herodotus, and the Romans Ovid and Virgil, the great artisan Daedalus searches for a way to escape the complex labyrinth of his own making with his son, Icarus.

The father and son were trapped in the maze by King Minos, who ordered Daedalus to construct the labyrinth to hide the Minotaur, a fearsome creature and the product of his wife Pasiphae’s affair with a bull.

In order to leave the labyrinth, Daedalus decided to construct wings of wax and feathers for himself and his son, Icarus, so they could fly.

When the moment to escape arrived, Daedalus warned Icarus not to fly too close to the sun, but the disobedient boy did not listen to his father and he fell into the sea when the wax in his wings melted and fell apart from the heat of the sun’s rays.

While many depictions of the famous myth focus on the figure of Icarus and the moment he begins to fall, the most well-known depiction of the painting almost ignores the crucial moment completely.

Most viewers standing before Pieter Bruegel the Elder’s “Landscape with the Fall of Icarus” likely do not even spot Icarus at first glance.

Instead, they admire the intricate landscape, which features men working in the fields, the sea, and even cities far in the background.

Upon closer inspection, however, one can make out a small pair of legs flailing in the sea in the lower right corner of the work.

The scene depicts the moments after Icarus plunged from the sky into the sea, and focuses on the world around him instead of on the dramatic moment.

In this work, Bruegel is exploring the version of the myth told by the ancient Roman poet Ovid in his famous work “Metamorphoses,” which describes a fisherman, plowman, and shepherd at the scene. Ovid describes them as “astonished” as they marvel at the pair flying above them, yet Bruegel shows them all hard at work, except for the shepherd, who presumably looks up at Daedalus, who is not featured in the painting.

“ICARUS” Henri Matisse: The Cut-Outs #matisse #tatelondon #icarus pic.twitter.com/F4owkZmSYJ

— M 2 3 (@M23projects) July 3, 2014

The great French artist Matisse also explored the theme of Icarus in one of his famous Cut-Outs, which were made out of paper. His work “Icarus” was included in his illustrated book “Jazz,” which was released in 1947.

Notably, Matisse’s figure does not have wings at all, and seems to float in space, surrounded by the stars. In his version, the once tragic figure may not have fallen at all after losing his wings, but ascended even further into space. Conversely, it could depict the moment before Icarus falls out of the sky.

Brokerage Willis, a WTW business, has announced the appointment of Derrick Easton as the new Global Head of Alternative Risk Transfer (ART) and Head of Western Europe for Risk and Analytics, where he will report to John Merkovsky, Global Head of Risk & Analytics, and Hugo Wegbrans, Head of Risk & Broking Europe.

Easton has led Willis’ ART team in the United States since he joined the company in 2015.

In his new role, Easton will primarily focus on growing ART globally for Willis, as well as building on the company’s Risk and Analytics delivery across Western Europe.

Overall, Easton brings over 30 years of expertise within alternative risk towards his new role.

Easton started his career in the industry in 1994, where he quickly gained experience in sales and client service before moving to a more nuanced alternative risk role at insurance broker Marsh.

After spending just over a decade working at insurance broker Marsh, Easton went on to work at broker Aon, where he held roles within risk finance, captive consulting, and captive reinsurance.

Commenting on Easton’s appointment, Merkovsky said: “I am looking forward to partnering with Derrick to grow our Alternative Risk Transfer business globally and drive a renewed Risk & Analytics strategy in Europe. His innovative way of working has made a significant impact on growth within the business and as a global leader, he will strengthen our Risk & Analytics capabilities and drive even greater success.

“With his dual remit, Derrick will ensure our clients continue to receive value from our Risk & Analytics and alternative risk solutions.”

Hugo Wegbrans added: “I am very excited to welcome Derrick to the Western European team to further develop both the Risk & Analytics and ART services for our clients and prospects in the region.”

Asheville, North Carolina
CNN
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His devotees call themselves “Potheads,” and they feverishly collect and trade his pottery online. He says he’s just trying to build an ethical brand that benefits his workers and his community – a business model that was put to the test when Hurricane Helene tore through his adopted home here in the Blue Ridge Mountains.

He’s Alex Matisse, a potter-turned-businessman whose East Fork Pottery is a proud hybrid of art and American manufacturing. And, oh yeah, he’s also the great-grandson of the French painter and sculptor Henri Matisse.

The late French artist was known for his expressive use of color. His great-grandson is known for collectible rustic stoneware that often has a distinctive speckled finish.

Most people who collect East Fork Pottery don’t know who’s behind the brand – or of the connection to the French artist, Matisse says. He doesn’t use his name to market his products, and he has created a quieter, outdoorsy life for himself in the North Carolina mountains, one largely removed from the art world.

“The vast majority of people who are buying this stuff have no idea. So that’s just one more little layer to this story. East Fork in and of itself is a force. And that’s what I love.”

Matisse grew up in Massachusetts in a family of artists. After his great-grandfather gained worldwide fame, his grandfather, Pierre, moved from France to New York and became a renowned art dealer – some say he was the most important dealer of his era – who introduced European artists to the American market.

Pierre’s son, Paul Matisse, is Alex’s father and works as an artist and inventor. Alex’s sister, Sophie Matisse, is a painter in New York.

Matisse says one thing ingrained in family members was not trading on the famous last name of their ancestor.

“His work was not to be exploited,” Matisse says.

“It’s an amazing thing that I was born into this family…it’s an interesting legacy. But I’m doing my own thing.”

Matisse left Massachusetts and went to North Carolina for college, where he planned to pursue an academic path, convinced he did not want to be an artist. But a high school pottery class had left an impression. He ended up dropping out of college and doing an apprenticeship with a potter, and then retreated to an old tobacco farm just north of Asheville to experiment with a wood kiln.

Soon he’d created a successful business hand-throwing large, decorative pots that furnished hotels and local estates.

They sold for around $2400.00. “This is not the art world…We weren’t going to Art Basel…” he says, referring to the international art fair. “This was a very specific niche of North Carolina pottery.”

After making several pieces for Calvin Klein Home he realized there was a mass market for unique, quality pottery.

In 2009, East Fork was born. But the new pottery, which had a uniform look and was not wood-fired, cost him some fans.

“I had a lot of collectors. Then we switched over to what we make now; we lost all those collectors overnight. It felt commercial in the context of what we used to make,” he says.

“It was so totally different. (Like going) from playing classical music to suddenly doing some avant garde noise music,” Matisse says.

To Matisse, East Fork Pottery was always going to be a different kind of company.

“We were not founded by MBAs,” he says. “We’re all artists.”

Matisse founded the company with his fellow potter, John Vigeland, and with his now-wife, Connie Matisse, a writer who ran much of the company’s social media. Both are still involved with East Fork Pottery but have stepped away from the day-to-day operations.

East Fork specializes in distinctive home goods – especially dining ware – that is expensive enough to be pay its workers a fair wage but still affordable enough to make it accessible to consumers with disposable income.

The plates, bowls and mugs come in a wide variety of creatively named colors from Amaro to Lamb’s Ear to Wine Dark Sea.

The quality is different from a mass market set of plates “and it feels different in your hand,” says Matisse.

“We’re proudly a factory but there’s so much handwork,” Matisse says. “There’s craft in everything we do.

In North Carolina, where the minimum wage is $7.25 an hour, the lowest-paid worker makes $22.10, according to Matisse. East Fork employs about 100 people in Asheville and 115 company-wide.

Matisse hesitates to disclose revenue numbers but concedes he’d make a lot more if he gave away less to community non-profits or lowered wages, even just a little. “But we’d never do that,” he says.

Trying to run an ethical business isn’t the easiest way to become profitable but he looks to companies like Patagonia, Dr. Bronner’s and Ben and Jerry’s as business models he admires. A cold call he made to Patagonia’s former CEO was answered just because “she used to be a potter. She has a soft spot there,” he says.

Flooding from Hurricane Helene devastated Asheville in late September. Even residents who didn’t sustain damage to their property found themselves in a precarious existence without cell service or clean water. It took 53 days for Asheville’s boil water advisory to be lifted.

East Fork works out of three buildings in Asheville: a store downtown, a factory located a few blocks from downtown, and an office building in the River Arts District, an area ravaged by Helene’s floodwaters. The office space was ruined and is being rebuilt. The other two buildings didn’t sustain much damage and were back up and running in a couple of weeks.

All of East Fork’s employees made it through the hurricane (although several had damage to their homes) and all returned to work.

To keep his payroll going after the disaster, Matisse went on social media to ask his customers to buy “seconds” – pottery with slight imperfections that is still usable.

He also pledged to donate 5% of all sales to community non-profits working to restore Asheville. Most of the inventory sold out that day, he says.

In the wake of Helene, East Fork has opened its Asheville shop to other makers and craftspeople who lost their storefronts. Along with the pottery they always sell, they are now highlighting items from artists across Western North Carolina. “We’ve been in this community for a long time. People come together, people show up for each other.”

In the three-and-a-half months since Helene hammered North Carolina, East Fork has raised more than 500-thousand dollars for relief efforts, Matisse says.

“We want to make a positive impact in the lives of our employees, our community, our customers and the environment,” he says. “It’s not just about what you make, it’s how you make it.”

That’s a sentiment that resonates with “Potheads” Glen Blount and Chuck Kaylor, who run the Instagram account eastforkpotheads, one of more than 50 active fan pages for East Fork’s pottery.

They describe their first experience going to an East Fork sale as “kinda like Willy Wonka’s chocolate factory. It was love at first sight.”

They fell in love with the colors, they say, but what turned them into “potheads” was the people – East Fork’s potters and also their fellow collectors.

The couple line up hours early for pop-up sales at locations across the Southeast, where they mingle with other fans, often bringing a mini speaker to play music. “For us, it’s a big party,” says Blout. “We get to hang out with people who love it, talk about this year’s glazes, we speculate about next year’s glazes…”

Potheads rival Swifties in their devotion and their detective skills. They pore over official East Fork social media posts, looking for Easter eggs that may hint at future colors and collections.

“Sometimes they drop little nuggets on their instagram page so all the community on Instagram will be like: ‘Did y’all see that?’ says Kaylor.

And then there are the speckles.

Some collectors believe an abundance of speckles on certain glazes make them more desirable. “Speckles are everything,” Kaylor says of the East Fork trademark. “The more speckles, the better.”

Older East Fork Pottery pieces on eBay can go for thousands more than the original price tag.

Fancy a millennial pink popcorn bowl from East Fork’s 2019 collection? That’ll set you back $2500.00 on eBay right now.

But it’s East Fork’s focus on community that resonates with Blunt and Kaylor most. “It’s really easy to get behind a company that puts their money where their mouth is and gives back in that way. We’re gonna be in their corner even more because they were in our corner, in North Carolina’s corner, when we went through something so tough,” says Kaylor.

In recent years East Fork has survived a tough economy, Covid, and now Hurricane Helene. Each time, loyal customers like Blount and Kaylor have kept the brand going.

East Fork even expanded in December, opening a store in Brooklyn. It joins two other brick and mortar shops in Asheville and Atlanta.

Matisse says his focus now is getting the company stable and profitable. “The last couple of years have been really hard,” he admits. “We’ve also endured. A lot of companies have come and they’ve gone away. We’ve endured.”

The Worcester Art Museum announced Thursday that it has voluntarily agreed to return a pair of antiquities that were likely removed illegally from Italy. The returns are part of a long-term loan agreement that enables the museum to display the objects for up to eight years before exchanging them for comparable antiquities from Italian museums.

The arrangement, a first for the Worcester museum, comes roughly a year after the museum hired its first provenance researcher to work with its collections.

“We are deeply grateful to the Italian Ministry of Culture for their collaboration, which will enable the Worcester Art Museum to regularly showcase new antiquities,” Claire Whitner, WAM’s director of curatorial affairs and curator of European art, said in a statement. “Provenance research is vital to ethical collecting, and we look forward to continuing this work.”

The objects in question — a ceramic storage jar and drinking cup — both hail from Greece around 500 BCE. The Worcester museum purchased the black-figure storage jar, or amphora, from Elie Borowski in 1956. Borowski, a well-known antiquities collector who founded the Bible Lands Museum in Jerusalem, donated the drinking cup, or kylix, to the museum that same year.

Daniel Healey, WAM’s inaugural provenance research specialist, said he was alerted to potential problems in the objects’ provenances when he discovered Borowski had acquired both objects from the late Robert Hecht, an antiquities dealer who was often accused of trafficking in looted artifacts.

“That’s quite a big red flag,” said Healey, who along with Whitner decided to take a “proactive approach,” sending photographs and other information to the Italian authorities. “They got back to us and basically said, yes, these are matches to our database of looted and stolen items.”

He added that the museum did not ask to see Italy’s files on the objects.

“We’re trying to do the right thing by Italy and uphold our own standards of collecting,” he said. “We trusted them and took their word. Obviously, the outcome was very good, because we now have this agreement with them, which is quite exciting.”

Dr. Paolo D’Angeli, head of the department of general affairs of the Italian Ministry of Culture, praised the Worcester museum’s “ethical integrity” in researching objects in its collections while “understanding that the findings could potentially indicate illicit provenance.”

“The Ministry of Culture can only express its utmost appreciation for the Museum’s voluntary decision to return” the objects to Italy, he said in a statement. “This gesture marks the beginning of an agreement that will engage the Museum and the Italian Ministry of Culture in a fruitful policy of loans and cultural exchanges.”

Under the terms of the agreement, the Worcester museum has transferred ownership of the two objects to Italy, which has in turn agreed to loan them to WAM for a period between four and eight years. WAM will then return the antiquities to Italy in exchange for a loan of equivalent objects from Italian museums. The loans will recur on a rotating basis.

The Worcester Art Museum announced it would hire a provenance researcher after the Manhattan district attorney’s office seized an ancient bronze bust from the museum in 2023 as part of a broader smuggling investigation. The museum purchased that sculpture, which was valued at $5 million, from Hecht in 1966.

The storage jar and drinking cup, which were taken off view for planned gallery renovations, will go on view this Saturday in the museum’s new highlights gallery.

He added that although WAM “is not actively acquiring antiquities,” the new agreement will enable the museum to display new works of art from the ancient world.

“The opportunity to get really high-quality objects from Italian museums is very exciting,” he said. “We don’t lose an object and get nothing in return.”

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Malcolm Gay can be reached at malcolm.gay@globe.com. Follow him @malcolmgay.