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17-261 271-Matelski.Pdf (407.9KB) STUDIA Z HISTORII SPOŁECZNO-GOSPODARCZEJ 2012 Tom X ARTYKUŁY RECENZYJNE, RECENZJE I OMÓWIENIA Robert M. Edsel, Bret Witter, Obrońcy dzieł sztuki. Alianci na tropie skradzionych arcydzieł. Przeł. Paweł Kruk, Wydawnictwo Dolnoślą- skie, Wrocław 2009, ss. 390, il. Od lat trwają poszukiwanie europejskiego dziedzictwa kultury1 zagrabionego w latach II wojny światowej zarówno przez Trzecią Rzeszę i Włochy, jak i woj- ska alianckie okupujące Niemcy, Włochy i Austrię. Książka Roberta M. Edse- la i Bret Witter omawia działania dziesięciu członków alianckiej grupy poszuki- wawczej – zwanej Sekcją Zabytków, Dzieł Sztuki i Archiwów (ang. Monuments, Fine Arts, and Archives Section – MFAA)2, która tworzyli: mjr Ronald Edmund 1 Dziedzictwo kultury to „zasób rzeczy nieruchomych i ruchomych wraz ze związanymi z nim wartościami duchowymi, zjawiskami historycznymi i obyczajowymi uznawanymi za podstawę ochrony prawnej dla dobra konkretnego społeczeństwa i jego rozwoju oraz dla przekazania ich następnym pokoleniom, z uwagi na zrozumiałe i akceptowane wartości historyczne, patriotyczne, religijne, naukowe i artystyczne, mające znaczenie dla tożsamości i ciągłości rozwoju politycznego, społecznego i kulturalnego, dowodzenia prawd i upamiętniania wydarzeń historycznych, kultywo- wania poczucia piękna i wspólnoty cywilizacyjnej”. J. Pruszyński, Dziedzictwo kultury. Teorie. Dy- lematy restytucji, „Przegląd Wschodni”, t. VIII, 2002, z. 2 (30), s. 360; tenże, Dziedzictwo kultury Polski. Jego straty i ochrona prawna, t. I–II, Kraków 2001. Zob. także: D. Matelski, Problemy restytucji polskich dóbr kultury od czasów nowożytnych do współczesnych. Archiwa – księgozbiory – dzieła sztuki – pomniki, Poznań 2003; tenże, Grabież i restytucja polskich dóbr kultury od czasów nowożytnych do współczesnych, t. I–II, Kraków 2006. 2 Powstała formalnie w końcu 1943 r. jako wspólne przedsięwzięcie armii Stanów Zjednoczo- nych i Wielkiej Brytanii. Choć już w styczniu tegoż roku Departament Stanu USA powołał Komisję Rewindykacyjną pod przewodnictwem sędziego Sądu Najwyższego USA Owena J. Robertsa pod nazwą – American Commission for the Protection and Salvage of Artistic and Historic Monuments in Europe (Amerykański Komitet ds. Ochrony i Ratowania Artystycznych i Historycznych Zabyt- ków Europy). Zaś rząd brytyjski powołał Komisją Rewindykacyjną lorda Macmillana w Londynie. Z obydwu instytucjami blisko współpracował mjr dr Karol Estreicher jr, który od 1940 r. kiero- wał Biurem Rewindykacji Strat Kulturalnych przy Ministerstwie Prac Kongresowych Rządu RP na Uchodźstwie. W Londynie w kwietniu 1944 r. rządy brytyjski i amerykański powołały do życia tzw. Komitetem Vauchera (Komitet ds. Ochrony Skarbów Kultury na Obszarach Objętych Wojną – Committee for the Protection of Cultural Treasures in War Areas), który przygotował podsta- wy wniosków rewindykacyjnych dla aliantów zachodnich. Polskę w Komitetem Vauchera repre- zentowali: Karol Estreicher i Jerzy Żarnecki. Zob.: J. B. Eggen, La Commission américaine pour la Protection et le Sauvetage des Monuments d’Art et d’Histoire dans les Zones de Guerre, „Mouseion”, vol. 55–56, 1946, nr 1–2, s. 61 in.; L. Woolley, A record of the work done by the mili- tary authorities for the protection of the treasures of art and history in war areas, London 1947, s. 5 in. Por. K. Estreicher jr (red.), Straty kultury polskiej. Katalog strat kultury polskiej pod okupacją 262 Artykuły recenzyjne, recenzje i omówienia Balfour z armii kanadyjskiej (1904–1945) – historyk z Cambridge University; szeregowy Harry Ettlinger z armii amerykańskiej (ur. 1926) – w 1938 r. uciekł z Niemiec przed prześladowaniami antysemickimi; kapitan Walker Hancock z ar- mii amerykańskiej (1901–1998) – rzeźbiarz; kapitan Walter Huchthausen z armii amerykańskiej (1904–1945) – architekt, prof. University of Minnesota; Jacques Jaujard (1895–1967) – dyrektor Francuskich Muzeów Narodowych; st. szerego- wy Lincoln Kirstein z armii amerykańskiej (1907–1996) – impresario kulturalny; kapitan Robert Posey z armii amerykańskiej (1904–1953) – architekt z Auburn University; porucznik James J. Rorimer z armii amerykańskiej (1905–1966) – ku- stosz w Metropolitan Museum of Art w Nowym Jorku; porucznik Georges Leslie Stout z armii amerykańskiej (1897–1978) – konserwator dzieł sztuki; Rose Val- land (1898–1980) – kustosz muzeum Jeu de Paume w Paryżu. Po znakomitej pra- cy Lynn H. Nicholas, Grabież Europy. Losy dzieł sztuki w Trzeciej Rzeszy i pod- czas II wojny światowej (Kraków 1997), książka Roberta M. Edsela i Breta Wittera to kolejna publikacja podejmująca tematykę nazistowskich grabieży w dziedzinie kultury w latach II wojny światowej. Publikacja składa się z pięciu części podzielonych na rozdziały. Pierwsza część została zatytułowana Marzenia Hitlera (s. 25–69) i omawia niemiecką koncepcję panowania nad światem – wyrażoną w hymnie Deutschland, Deutschland über alles, Über alles in der Welt (Niemcy, Niemcy ponad wszystko, Ponad wszystko na świecie), a realizowaną w latach 1938–1943 poprzez aneksję poszczególnych obszarów europejskich (Austria, Sudety, Kłajpeda, Wolne Miasto Gdańsk, Pol- ska, Dania, Norwegia, Belgia, Holandia, Luksemburg, Francja, Jugosławia, Gre- cja, część europejskiego obszaru ZSRR)3. Preludium do nazistowskich grabieży było założenie w 1938 r. w Linzu muzeum poświęconego latom dziecięcym Füh- rera (Führerauftrag Reichsmuseum zu Linz) Adolfa Hitlera (1889–1945), któ- re miało być „rekompensatą” za nieprzyjęcie go do Akademii Sztuk Pięknych w Wiedniu. Do „zbierania” arcydzieł sztuki wyznaczono założoną w ramach SS w 1935 r. organizację „Ahnenerbe” (Dziedzictwo Przodków) z siedzibą w Berlinie-Dahlem, przemianowaną w 1937 r. na „Forschungs- und Lehrgeme- inschaft – Das Ahnenerbe e.V.” (Towarzystwo do Badania Spuścizny Przodków), która zbierała dla SS informacje dotyczące „obszaru działalności ducha dziedzic- niemiecką 1939–1943, Londyn 1944, s. XVII, ss. 497 (wyd. w j. angielskim: Curtural Losses of Po- land. Index of Polish cultural losses during the German occupation 1939–1943. Ed. Charles Estre- icher jr, London 1944); K. Estreicher jr, Straty kultury polskiej pod okupacją niemiecką 1939–1944 wraz z oryginalnymi dokumentami grabieży (Cultural Losses of Poland during the German occu- pation 1939–1944 with original documents of the looting), Kraków 2003; Z. K. Witek, Dokumenty strat kultury polskiej pod okupacją niemiecką 1939–1944 z archiwum Karola Estreichera (Cultural Losses of Poland during the German Occupation 1939–1944. Dokuments from the Archives of Karol Estreicher), Kraków 2003. 3 Zob.: D. Matelski, Koncepcja narodowościowa niemieckiej Europy w 1943 roku, „Sprawy Narodowościowe – seria nowa”, tom V, z. 1 (8), 1996, s. 153–192. Artykuły recenzyjne, recenzje i omówienia 263 twa nordyckiego Indeogermanów”. Na jej czele stał prof. Heinrich Harmjanz (1904–1994)4. Nadzór nad budową muzeum w Linzu kanclerz Trzeciej Rzeszy powierzył dyrektorowi Państwowej Galerii Malarstwa w Dreźnie dr Hansowi Posse (1879–1942). Zaś grabież mienia kulturalnego w państwach okupowanych przez Niemcy jasno została sprecyzowana w rozkazie feldmarszałka Wilhelma Keitla (1882–1946) z 17 września 1940 r.: „W uzupełnieniu do rozkazu Führera wydanego w stosowanym czasie, a dotyczącym przeszukiwania siedzib dyrekcji bibliotek i archiwów5 na ternach okupowanych Zachodu w celu pozyskania ma- teriałów cennych dla Niemiec i zabezpieczenia tychże przez Gestapo, Führer po- stanowił: a) prawo własności sprzed wojny we Francji, poprzedzające deklarację wypowiedzenia wojny z 1 września 1939 roku, będzie stanowiło kryterium; b) ja- kiekolwiek przewłaszczenia na rzecz państwa francuskiego lub inne dokonane po tej dacie będą nieważne i pozbawione mocy prawa (na przykład polska i słowac- ka biblioteka w Paryżu, dobra z Palais Rothschild6 lub pozostałe dobra niemające właścicieli a pozostające w rękach żydowskich). Z wyżej wymienionych powo- dów nie będą uznawane rezerwacje dotyczące poszukiwań, przejęcia i transportu do Niemiec; c) Reichsleiter Rosenberg7 i/lub jego zastępca Reichshauptstellenle- iter [prof. Georg] Ebert otrzymali jasne instrukcje Führera, by osobiście dopilno- wać przejęcia; jest on upoważniony do przewiezienia do Niemiec i zabezpiecze- nia tam dóbr kulturalnych, które uzna za wartościowe. Führer osobiście podejmie decyzję dotyczącą ich wykorzystania” (s. 36, zob. również s. 162). W odniesieniu do dziedzictwa kultury najbardziej interesujący nas będzie roz- dział ósmy książki zatytułowany „Zabytki, dzieła sztuki i archiwa” (s. 58–67). Poszukiwała je Sekcją Zabytków, Dzieł Sztuki i Archiwów (ang. MFAA), podle- 4 Zob.: M. Grüttner, Biographisches Lexikon zur nationalsozialistischen Wissenschaftspolitik, Heidelberg 2004. 5 Zob. najnowszą publikację na ten temat: P. Kennedy Grimsted pt. Reconstructing the Record of Nazi Cultural Plunder. A Survey of the Dispersed Archives of the Einsatzstab Reichsleiter Ro- senberg (ERR), Amsterdam 2011, ss. 474 [http://www.iisg.nl/publications/errsurvey/errsurvey_to- tal-110322.pdf (30.03.2011)]. Por. także inne publikacje tejże autorki: Trophies of War and Empire: The Archival Legacy of Ukraine, World War II, and the International Politics of Restitution (Cam- bridge 2001); The Return of the „Smolensk Archive” (Moscow 2005); Returned from Russia: Nazi Plunder of Archives in Western Europe and Recent Restitution Issues (Leicester 2007). 6 Chodzi o pałac żydowskiego magnata finansowego Nathaniela Mayera Anselma von Roth- schilda w Wiedniu, w którym zgromadzono ogromne kolekcje archiwaliów, księgozbiorów, dzieł sztuki i pomników kultury żydowskiej i innych narodów,
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