Our conversation with Knauss reveals the balance between a deep love for ancient art and the contemporary demands placed on a museum director in the 21st century. Having led the Glyptothek and the State Collection of Antiquities for the past 15 years, he discusses his role, how he fell in love with ancient art, and his views on whether cultural institutions should host events of a different nature.
First of all, we would like to congratulate you on your recent award—the “Friedrich von Thiersch” prize from AHEPA, the largest organization of Greeks abroad worldwide…
“Yes, indeed, I received this award for promoting and strengthening the coexistence of Greeks and Germans in Munich and more broadly in Bavaria. But for the reasons behind this distinction, it would be better to ask the judges.
It should be noted, of course, that Friedrich von Thiersch was an important figure. He was the founder of the humanistic Gymnasium in Bavaria. He had a close personal relationship with Ludwig I of Bavaria and greatly reinforced his philhellenism. Ludwig I’s philhellenism is also important for the history of Greece, as he supported the Greek struggle for independence.”
How did you become involved in archaeology, and what sparked your interest in ancient art?
“I have always had a strong interest in history. At first, I was mainly interested in the Middle Ages, but when I went to secondary school and learned Latin and Ancient Greek, my interest shifted toward antiquity. In my final three years of school, I was taught archaeology. So from my school years onward, I was already familiar with antiquity—especially Greek antiquity, Greek architecture, sculpture, and pottery.
Although I attended school in Bielefeld, in northern Germany, I visited Munich twice during my school years to see the State Collection of Antiquities and the Glyptothek. It was therefore natural for me to study classical archaeology.”
How much did your family environment influence this choice?
“In my family there was a general interest in culture and history. My father was a professor of philosophy. He was interested in everything and had a strong interest in history. And of course, as an academic, he also engaged with Greek philosophy, although his specialization was in Immanuel Kant and René Descartes.”
Do you have a favorite space or sculptures in the Glyptothek?
“My favorites are constantly changing. Whenever I work with the pieces in our collection and stand in front of the statues, I find them all wonderful. Nevertheless, if I had to choose one, then Laomedon, from the eastern pediment of the Temple of Aphaia, is perhaps the most magnificent sculpture for me.”
As director of the Glyptothek, what exactly are your responsibilities?
“My responsibilities are varied. If I had to quantify them, I would say that a large part concerns administration and bureaucracy. The most important thing, however, is that as a museum director you must know how your museum—or in my case, the two museums I am responsible for—should be presented.
This means that together with my colleagues, we try to make our remarkable collections, which are unique in the world, accessible to as many people as possible.
I want not only graduates of humanistic Gymnasiums—those who have studied Latin and Ancient Greek—or only Greeks to visit us, but others as well. I believe that this art—Greek, Roman, and Etruscan—has much to say, and that we all have much to learn from it.
Personal guided tours for groups of visitors are very important to me. During these tours, we try to convey our enthusiasm for these works. Why do they remain important, even though they are 2,000–2,500 years old? What do they still tell us? It is crucial to awaken interest in these museums, because if people no longer care about this art, then we become unnecessary.
As director, I must also ensure funding. State funding is enough for us to survive, but not to achieve our goals. That means I must also find private or institutional sponsors to implement new initiatives.”
What makes the Glyptothek unique compared to other European museums?
“First of all, the Glyptothek is the only museum in the world that exhibits exclusively Greek and Roman sculptures. Historically, it was the first museum in the world where sculptures were displayed in chronological order. We have a museum with works of exceptional quality and an outstanding method of presentation.
The architecture of the building further enhances the value of the exhibits. We use natural light in such a way that every day—or almost every hour—it feels as though you are entering a new museum and constantly discovering something new.
The Glyptothek is a museum that serves as a model for many. I believe that even the Acropolis Museum in Athens has been influenced by it to some extent.”
What would you most like to achieve during your tenure as director?
“My most important goal is to renovate the State Collection of Antiquities as well. The Glyptothek was renovated between 2018 and 2021, and I believe we did this very successfully. The façade is now much more harmonious, and the technology is modern.
The Antiquities Collection building is certainly just as important as the Glyptothek, but it does not yet meet the standards of what a 21st-century museum should be. Personally, I believe we can present the quality of our exhibits there much better, and that the museum will become far more attractive to visitors once it is renovated.”
Do you believe new technologies can make museums more interactive and appealing to younger audiences?
“Yes, they can make visits more engaging and help explain the construction, use, and craftsmanship behind the exhibits. However, they should not replace the original works, which are always more important for the visitor.
New technologies—such as video—aid understanding, but they cannot replace the exhibits themselves. The most important thing for visitors is always to see the authentic works. Today, there are already museums where objects, paintings, or sculptures are displayed on screens at a much larger scale—and some visitors no longer look at the originals.”
Recently, following the opening of the Grand Egyptian Museum, Cairo requested the repatriation of the bust of Nefertiti from Berlin’s Neues Museum. Who do archaeological treasures belong to—the countries where they were discovered, or the museums that exhibit them?
“In my opinion, Nefertiti was acquired legally. Much has been published on this issue—the dispute has lasted for over a hundred years—but there is a very good study by Egyptologist Susan Voss, which describes the history of the case in detail and concludes that the statue was legally acquired.
I also believe that, because of its history, Nefertiti is now closely linked to Berlin and has become a symbol of the city. The Grand Egyptian Museum is so large, with so many exhibits, that no visitor will feel something is missing. On the contrary, visitors won’t know where to look first.
The history of all ancient artifacts begins where they were created. However, their movement to other regions is not new—it already happened in antiquity. It makes no sense for every vase created in Athens to return to Athens. I believe it is not right for all antiquities to be returned to the places where they were once created. They are part of global heritage, and it is important that they are accessible and not all concentrated in a single museum or city.
Of course, there are cases of looting, and these must be resolved, with stolen items returned. But when something has been in a museum for more than 100 years, it belongs there. There is no point in turning history back.”
A recent high-profile charity gala was held at the British Museum among the Parthenon sculptures. Many criticized this. What is your view?
“I do not consider it reprehensible. Of course, during such events, one must be careful to ensure that the sculptures are not damaged. But museums also need funding. This is especially true for the British Museum, which does not charge admission and relies on donations.
At the Glyptothek, we allow similar events of a certain type, always ensuring that nothing happens to the sculptures. We have very strict conditions. If events are conducted properly and organizers respect the works of art, I do not see it as negative. It is something museums are, in a way, obliged to do—we must attract attention and secure financial support.
For example, a dinner with a guided tour or an interview like this one is acceptable. Nevertheless, we are not an event venue. Maintaining this balance is certainly difficult, but we have strict rules that can be clearly defined in writing.
Respect for the sculptures is absolutely essential. However, sculptures are not objects of worship, like those in a church. Therefore, if, for example, Greeks or Italians wish to celebrate national holidays at the Glyptothek or at the State Collection of Antiquities building, I consider that acceptable.”
