Around midweek, the Minister of Culture, Ernest Urtasun, confirmed that his department is moving forward with registering artworks that were looted during the Franco era, aligning with the directives of the French Democratic Memory Law. He noted that once the catalog is finalized, decisions on returns will be assessed on a case-by-case basis.
In an interview on the La Cafetera program, Urtasun added that the ministry will disclose the total number of works and the process once the catalog is complete. He was asked whether the state might consider returning any of these items in the future. His response stressed that any possible restitutions must be evaluated individually in light of the applicable law, and that the next steps would hinge on what the law permits after a full review.
The Prado Museum’s collection is noted for including seventy artifacts seized during the Civil War and the Franco regime, with the potential addition of seven medals and eighty-nine drawings. Research published by the museum last March traced the origins of these pieces, though some details remain unknown. Among the works are paintings attributed to Brueghel the Younger, Joaquín Sorolla, Eugenio Lucas Villaamil, and Francisco de Osona.
Art historian Arturo Colorado, a scholar versed in heritage and Civil War history, led a study that identified the provenance of ten paintings by name or definite origin. Notable owners cited in the process include Pedro Rico, who served twice as mayor of Madrid (1931-1934 and 1936), the Yebes Church in Guadalajara, and the Marquess of Villalonga, illustrating the varied lineage of the works under scrutiny.
Urtasun recalled his first actions upon taking the helm at the Ministry last November. He requested comprehensive information on the topic and highlighted ongoing efforts to digitize archives related to more than 150,000 Republican refugees in Paris. The project also encompasses the files of Jorge Semprún, with the aim of making them more accessible to memory and family associations.
Museum decolonization and its framing
Shifting to the broader discourse around decolonization, the minister acknowledged some surprise at what he described as a chronic dispute fomented by political opponents over the process. He argued that the public discussion about decolonization museums should be viewed through a contemporary lens. Museums, he said, are living institutions that evolve over time, and the material they present today inevitably reflects changing historical perspectives compared with half a century ago. He urged museum directors and subject matter experts to lead thoughtful, responsible curation that responds to current social contexts while honoring the past, rather than clinging to outdated practices.
The minister framed the decolonization effort as a collaborative enterprise involving curators, researchers, and cultural institutions. He emphasized that museums must adapt to present-day expectations and standards of accountability, while ensuring that the stories they tell remain anchored in rigorous scholarship and transparent provenance.
In discussing the future of these cultural assets, Urtasun stressed that any decisions about restitution must align with established law and historical evidence. The process will be meticulous, with careful documentation, public transparency, and input from affected communities and legal authorities. The overarching objective is to safeguard Spain’s cultural heritage while acknowledging past wrongs and seeking just redress where appropriate.
Witnesses in the field agree that this approach to cultural restitution requires patience, rigorous research, and a willingness to confront uncomfortable histories. The ministry’s ongoing work to catalog looted pieces and digitize refugee archives signals a broader commitment to memory, accountability, and the responsible stewardship of museums for future generations.