Glad to hear that Culture Secretary Jeremy Hunt is finding consolation in art - according to his blog, the arrival of new artwork for his office is taking the edge off discussions about his department's cultural settlement.
Those who work in the film industry may be less inclined to look on the bright side after the axing of the UK Film Council.
The body - established less than 10 years ago - has funded work by Andrea Arnold, Peter Mullan, Lynne Ramsay and Kevin MacDonald - to name but a few.
It's also been responsible for setting up training and other schemes to nurture newer, younger talent and for pushing for better distribution.
Its support of the festival circuit was also important. And although its funding of the Edinburgh International Film Festival had already ended ahead of the 2012 Olympics - many were hopeful its support would resume.
Like any quango, it has its detractors, and there are plenty of disenchanted film-makers ready to weigh in about what it chooses to fund. Do commercially viable films like Street Dance require public subsidy?
Or should it concentrate on arthouse films, seen by only a limited audience? Did it really take enough risks? Or was it simply trying to repeat the success of films like Four Weddings and a Funeral?
Some feel the UK Film Council never successfully achieved that balance - although from a Scottish point of view, In the Loop, Touching the Void and Red Road seem to offer a fair range of both talent and content. And in the current climate - the demise of any source of revenue is to be lamented.
The UK government says support for film - largely via the lottery - will continue. But the big question is who will decide who gets the cash?
The quango was created to allow an arms-length body to take those tough decisions. Will the funding now be administered directly from Westminster?
That must surely cause concern among film-makers north of the border, even those who've been previously unsuccessful in their bids for money.
And it must put added pressure on the newly formed Creative Scotland, to support and appease a film-making community which already feels compromised by the change.