LEADER 04176nam 22006495 450 001 9910731470603321 005 20251008163627.0 010 $a9783031271601 010 $a3031271602 024 7 $a10.1007/978-3-031-27160-1 035 $a(MiAaPQ)EBC30601975 035 $a(Au-PeEL)EBL30601975 035 $a(DE-He213)978-3-031-27160-1 035 $a(CKB)27060358000041 035 $a(OCoLC)1392347336 035 $a(EXLCZ)9927060358000041 100 $a20230615d2023 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aArt Discovery and Censorship in the Centre William Rappard of Geneva $eBuilding the Future /$fby Edmundo Murray 205 $a1st ed. 2023. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Macmillan,$d2023. 215 $a1 online resource (227 pages) 311 08$aPrint version: Murray, Edmundo Art Discovery and Censorship in the Centre William Rappard of Geneva Cham : Springer International Publishing AG,c2023 9783031271595 327 $a1. The Art Paradox: Between Love and Fear of the Image -- 2. 1926 ? Metaphors of Hope -- 3. 1930 ? ?Sex and drunkenness and, yes, sin?: The Geneva Window that never arrived in Geneva -- 4. 1937 ? ?He wishes that it be removed?: Hiding Pygmalion -- 5. 1977 ? ?Profane, almost sentimentalist, almost human?: The GATT Secretariat in the Centre William Rappard -- 6. 2013 ? Fresh Air: Rediscovering and Restoring Artworks -- 7. 2020 ? The end of humour -- 8. Ars celare artem. 330 $aThis is a history of the Centre William Rappard, the first building designed to house an international organization in Geneva, and its art treasures. For nearly a century, these works of art and decorations offered by governments and institutions encouraged smooth diplomacy and fluent international negotiations in the fields of labour, trade and human rights. On occasions hidden, removed and forgotten, and then recovered and restored, the history of the artworks in the Centre William Rappard represents the confrontation between art as diplomatic device and aesthetic experience, between representation and represented, between censorship and free expression. Even before its opening in 1926, the building started receiving works from the International Labour Organization member governments. Some pieces, such as the Geneva Window by Harry Clarke, never arrived in Geneva since it was censored by the Irish government. The Spanish Pygmalion by Eduardo Chicharro y Agüera was latter covered for its female nudity and remained hidden during decades. Later in the 1970s the secretariat of the General Agreement on Tariffs and Trade occupied the building and requested the removal of other major works. This was reversed in the 2010s by its successor the World Trade Organization, when many artworks were rediscovered, restored and placed in their original locations. However, new values in the world scene contributed to further changes in the building art, including the removal of Claude Namy?s caricature In GATT We Trust from public view in 2019. Art in the Centre William Rappard continues to speak to the viewer after waves of positive reception, censorship and recovery. . 606 $aArt$xHistory 606 $aArchitecture 606 $aEthnology$zEurope 606 $aCulture 606 $aCities and towns$xHistory 606 $aArt History 606 $aArchitecture 606 $aEuropean Culture 606 $aUrban History 615 0$aArt$xHistory. 615 0$aArchitecture. 615 0$aEthnology 615 0$aCulture. 615 0$aCities and towns$xHistory. 615 14$aArt History. 615 24$aArchitecture. 615 24$aEuropean Culture. 615 24$aUrban History. 676 $a709 676 $a701.03 700 $aMurray$b Edmundo$01369208 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910731470603321 996 $aArt Discovery and Censorship in the Centre William Rappard of Geneva$93395265 997 $aUNINA