Delingpole: Museum Curator Tweets Advice on How to Destroy Bronze Statues

A statue of former British Prime Minister Robert Peel, is pictured in Piccadilly Gardens, Manchester, north west England on June 10, 2020. - Peel was British Prime Minister twice, and is regarded as the founder of the Police in Britain. (Photo by PAUL ELLIS / AFP) (Photo by PAUL ELLIS/AFP …
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A wealthy, Oxford-educated, American-born museum curator has been advising Black Lives Matter/Antifa protestors on Twitter how to do permanent damage to bronze statues using corrosive chemicals.

Madeline Odent, curator of Royston Museum in Hertfordshire in England’s picturesque, rural east, has been using her art conservation knowledge to advise the mob how best to harm what she calls ‘memorials of genocidal racists’.

She has told her 5,000 followers:

‘from an art conservation perspective, it’s honestly fine to throw paint on memorials of genocidal racists! paint is pretty easy to clean off. What would be an absolute SHAME is if people were to throw certain common HOUSEHOLD ITEMS that can cause IRREVERSIBLE BRONZE DISEASE.’

In subsequent tweets, the privately educated curator, married to a millionaire French banker goes into detail about how to create this ‘irreversible bronze disease.’

Yes, it can be removed, but ‘the chemical needed is super carcinogenic, so, it rarely is. Instead, conservators usually ‘pause’ the disease by removing either moisture or oxygen using specialised storage.’

When challenged on her behaviour, Odent was snarky and defiant.

She tweeted disingenuously:

‘no I’m pretty sure I’m telling people how to avoid damaging precious and extremely valuable relics of history, without which we would immediately forget about the entirety of the british empire.’

and

‘like I could be wrong, what do I know, I’m just a dumb chick with a twitter handle’

More dispiritingly still, the spoilt rich missy appears to have the support of her museum’s bosses.

To anyone familiar with the world of museums and galleries this will come as sadly little surprise. The sector has largely been hijacked by leftist political activists more interested in identity politics, cultural Marxism and post-modernism than they are in the history of art.

The kind of Year Zero, Maoist mentality exhibited by Odent is not the exception but, increasingly, the rule.

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