As part of its ongoing provenance research, the Art Institute of Chicago is returning a 12th-century artifact to its place of origin in Thailand.
The museum has initiated the transfer of the fragment of a pilaster with Krishna lifting Mount Govardhana, according to an announcement Tuesday.
The pilaster — a rectangular architectural column in the side of a door frame — was previously attributed to Cambodia. A specialist reevaluated the item for nearly eight months, conducting research that included examination, documentation and a visit to Thailand. Once the specialist determined the item had origins at the Phanom Rung temple, the Art Institute contacted the country’s government to share the findings.
“We have always said, if we learn new information that leads us to believe we should not have something, we will return it,” said Sarah Guernsey, the museum’s deputy director and senior vice president for curatorial affairs, in an email to the Sun-Times. “This is an example of us living up to that commitment.”
The Art Institute previously returned a Vishnu lintel to the temple in 1988. The lintel has since been restored to the structure. The Art Institute said it hopes to see the same outcome for the pilaster.
The last time the Art Institute made a return was in 2010. Two sculptures were given back to the Kingdom of Thailand, according to the museum.
The latest repatriation effort comes amid claims that the Art Institute acquired a watercolor that was allegedly looted by the Nazis from a cabaret performer who later died in a concentration camp. In February, the Manhattan district attorney’s office demanded the museum turn over “Russian War Prisoner” by Austrian expressionist Egon Schiele. In a subsequent court filing, the Art Institute argued that the allegations were groundless, stating that decades of investigation and litigation determined the painting was “lawfully sold by surviving family members after World War II.”
When asked how the evaluation of the watercolor compared to that of the pilaster, the Art Institute executive director of public affairs, Megan Michienzi, said, “The only similarity between the two is the seriousness with which we approach our provenance research into these objects. Specific to ‘Russian War Prisoner,’ we have done extensive research and there is no evidence that would lead us to pursue a return.”
In recent years, museums in Chicago, along with others across the country, have taken steps to reevaluate their collections, particularly regarding Native American art and items. In January, the Field Museum covered a bulk of its display cases of items from the present-day United States following updates to the Native American Graves Protection and Repatriation Act.
The Art Institute said it continues to prioritize provenance research and is working to grow its provenance team. It also has established a task force of senior leaders to assist curators and researchers in those initiatives. Following the departure of the curator for provenance research in 2023, the museum will share details about a new executive director of provenance research in the near future.
