Abstract
This chapter considers the claims we make on works of art, and the claims works of art make on us, in the context of the construction and deconstruction of national sovereignty. It takes as case studies the troubled and troublesome provenance of two modernist masterpieces: The Guitar Player (1914) by Georges Braque, and Angelus Novus (1920) by Paul Klee. It proposes, inter alia, that the investigation of provenance is itself highly revealing of international politics in general and the study of sovereignty in particular.
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CITATION STYLE
Danchev, A. (2016). Claims. In Art and Sovereignty in Global Politics (pp. 121–140). Palgrave Macmillan. https://doi.org/10.1057/978-1-349-95016-4_5
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