DOCSLIB.ORG

Art Tours for Book Lovers: Enliven Your Book Club with Docent Led Discussions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art Tours for Book Lovers: Enliven Your Book Club with Docent Led Discussions Art Tours for Book Lovers: Enliven Your Book Club with Docent Led Discussions The Monuments Men: Allied Heroes, Nazi Thieves, and the Greatest Treasure Hunt in History by Robert M. Edsel 2014-2015 Utah Museum of Fine Arts Tours for Book Lovers Selection ABOUT THE BOOK “At the same time Adolf Hitler was attempting to take over the Western world, his armies were methodically seeking and hoarding the finest art treasures in Europe. The Fuehrer had begun cataloguing the art he planned to collect as well as the art he would destroy: ‘degenerate’ works he despised. In a race against time, behind enemy lines, often unarmed, a special force of American and British museum directors, curators, art historians, and others, called the Monuments Men, risked their lives scouring Europe to prevent the destruction of thousands of years of culture.” From product description. BOOK DISCUSSION GUIDE Use the information and discussion guide on the following pages to facilitate your book club’s conversation about this book. Then visit us at www.umfa.utah.edu/arttoursforbooklovers to schedule a group tour. 1. Robert Edsel calls the Monuments Men “The Heroes of Civilization.” What do you think he means by that? Discuss the original group of eleven men recruited to salvage Europe’s artwork. What were the men's individual qualifications, both personal and professional, that made them the right people for the job? 2. Why was the service of George Stout and James Rorimer so invaluable to the mission? Who else stood out among the Monuments Men? 3. Robert Edsel has said, “Rose Valland is my candidate for the greatest heroine of WWII.” Do you agree? Why was she willing to risk her life to protect the art? 4. Why do you think Hitler was so intent on creating his Führermuseum? 5. Why did Hitler and Göring covet Jan van Eyck’s Ghent Altarpiece, and how was it eventually located? 6. Why was the Bruges Madonna especially desired by Hitler? 7. In your opinion, is protecting art worth the price of a human life—or diverting resources otherwise used to protect lives? 8. Harry Ettlinger states, “My knowledge of the Holocaust started really with the realization that it was not only the taking of lives—that I learned much later in my experience—but the taking of all their belongings…” Compare stealing personal belongings with stealing national treasures. Is there a difference? What effect does this have on a nation’s collective mental health? 9. Are there similar atrocities taking place today? Examples? What’s different? 10. Discuss what you found most fascinating about The Monuments Men. The brazen theft of the Bruges Madonna with the Allies mere days away? The discovery of the Ghent Altarpiece in the Altaussee mine? Which story touched you the most? Or shocked you? 11. If you have seen the George Clooney-directed movie, how does it compare to the book? 12. Why do you think this is a relatively unknown story? 13. What motivated the impulse to save and recover art that belonged to other countries, including the enemy – Germany? 14. How is it possible that there are still thousands of missing works of art? Once found, should they be returned to their original owners? ABOUT THE AUTHOR Robert M. Edsel is the #1 New York Times best-selling author of the non-fiction books, Rescuing Da Vinci, The Monuments Men, and Saving Italy. Mr. Edsel is also the co-producer of the award-winning documentary film The Rape of Europa. In addition, he is the Founder and Chairman of the nonprofit Monuments Men Foundation for the Preservation of Art, which received the National Humanities Medal. Mr. Edsel has been awarded the "Texas Medal of Arts" Award, the "President's Call to Service" Award, and the "Hope for Humanity" Award, presented by the Dallas Holocaust Museum. He also serves as a Trustee at the National WWII Museum in New Orleans. ADDITIONAL READING AND VIEWING Berge, Richard. The Rape of Europa. Menemsha Films (September 16, 2008). Charney, Noah. Stealing the Mystic Lamb: the True Story of the World’s Most Coveted Masterpiece. Public Affairs (October 2010). Edsel, Robert M. Rescuing Da Vinci: Hitler and the Nazis Stole Europe’s Great Art – American and Her Allies Recovered It. Laurel Publishing LLC (December 15, 2006). Edsel, Robert M. Saving Italy: The Race to Rescue a Nation’s Treasures from the Nazis. W.W. Norton and Company (February 3, 2014). Nicholas, Lynn H. The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War. Vintage Publishing (April 25, 1995). Poole, Robert M. “Monumental Mission,” Smithsonian Magazine (February 2008): 44. RELATED WEBSITES Charney, Noah. “Inside Hitler’s Fantasy Museum.” http://www.thedailybeast.com/articles/2014/02/07/inside-hitler-s-fantasy-museum.html “Monuments Man Harry Ettlinger Interview.” http://www.historyvshollywood.com/video/monuments-man-harry-ettlinger-interview/ Monuments Men Foundation for the Preservation of Art. http://www.monumentsmenfoundation.org/ Monuments Men, History vs. Movie. http://www.historyvshollywood.com/reelfaces/monuments- men.php Morrison, Jim. Smithsonianmag.com (February 7, 2014). http://www.smithsonianmag.com/history/true-story-monuments-men-180949569/ AVAILABILITY 125 copies available through the Salt Lake County Library system (one audio copy). 10 copies available through the Salt Lake City Library system (one audio copy). Available at area bookstores. New and used hardbound and paperback copies available through various online book companies. Amazon Kindle and Barnes and Noble Nook versions are available. Area booksellers, Frost’s Books and The King’s English offer discounts on UMFA Art Tours for Book Lovers books. .
Load more

Recommended publications
  • Guarding the Historical Record from the Nazi-Era Art Litigation Tumbling Toward the Supreme Court
    ESSAY GUARDING THE HISTORICAL RECORD FROM THE NAZI-ERA ART LITIGATION TUMBLING TOWARD THE SUPREME COURT † JENNIFER ANGLIM KREDER When the modern wave of claims against museums to recover paintings “displaced” during the Nazi era began, I, as an academic, approached the claims cautiously because I assumed that our es- teemed institutions would not have knowingly profited from the spoli- ation of property belonging to millions of persecuted refugees. I was wrong. I have come to understand, based on objective, historically sound records, that a significant number of our museums during and in the aftermath of the Holocaust actively acquired art that they knew or should have recognized likely came from Jewish homes and busi- nesses. These museums acquired this exquisite art despite widespread knowledge of Nazi looting and governmental warnings about the in- fection of the art market.1 Now, museums are using American courts to shut down inquiries into such art’s history by blocking claims on technical grounds,2 contrary to their own ethics guidelines3 and U.S. executive policy.4 † Jennifer Anglim Kreder is a Professor of Law at the Salmon P. Chase College of Law, Northern Kentucky University. She has been involved in Holocaust-era and art litigation since 1999 and currently serves as Co-Chair of the American Society of Inter- national Law Interest Group on Cultural Heritage and the Arts. 1 See Raymond J. Dowd, Federal Courts and Stolen Art: Our Duty to History, FED. LAW., July 2008, at 4, 4-6 (discussing a 1950 U.S. State Department bulletin on re- ports of stolen art).
    [Show full text]
  • Eisenhower, Hitler, and the Monuments
    The Monuments Men Education Website http://www.monumentsmeneducation.com/ Eisenhower, Hitler, & the Monuments Men Document-Based Learning for the Classroom In a war, commanders must balance their directives, the realities on the ground, and the needs of their men in the face of resistance by the enemy. During World War II, the cultural treasures of Europe were under threat as Adolf Hitler wanted to strip the cultural heritage of his enemies away to weaken their spirit. He directed his forces to confiscate Europe’s greatest works of art for the benefit of the Nazi Party. Trying to simultaneously liberate and protect Europe, the Allies, under the command of General Dwight D. Eisenhower, sought to safeguard Europe’s art and culture within the realities of war. The Monuments Men formed as a special unit with the objective to save as much of Europe’s material culture from Nazi destruction as possible. In this lesson, students will use primary sources to compare the objectives of each side and reflect on the significance of a society’s cultural heritage. OBJECTIVE: By reading documents from General Dwight D. Eisenhower and Adolf Hitler, students will be able to describe the significance of art and cultural symbols to a society and be able to differentiate the points of view of each leader as to the treatment of art and culture. GRADE LEVEL: 7-12 COMMON CORE STANDARDS: ELA Anchor Standards for Reading: CCRA.R.1 Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.
    [Show full text]
  • Rose Valland Finalemail
    Chapter 1 In the Footsteps of Rose Valland Today, any inquisitive user of the Internet can immediately find numerous references to Rose Valland. But in all of France, even with a navigation system, a driver will be out of luck trying to locate a street, an avenue, a boulevard, a cul-de-sac, or a central square in a large urban area that is named after Valland. However tourists visiting the small town of Saint-Étienne-de-Saint-Geoirs (population about two thousand), in the Isère department*, may come upon the middle school named for Rose Valland. And they may notice a marker, installed in 2003 next to the town hall, naming the central square after her. The marker notes that Valland had been a Resistance fighter who contributed to the rescue of the French cultural heritage during World War II. Wandering through the local cemetery, a tourist may also come upon Valland's gravestone inscribed with the dates 1898–1980. Rose Valland was the daughter of Francisque Valland (1864–1926), a modest mechanic who became a blacksmith, and of Rose Maria Viardin, his spouse. Rose Valland's given name was Rosa Antonia. As an adult, she rarely mentioned her childhood, and then only in passing. If villagers were asked about her, they may have mentioned that her father patronized the local bar after work. It was her mother who encouraged Rose to study hard even though she started school late due to poor health. Nevertheless, Rose showed surprising ambition and drive. She attended the Côte Saint- André elementary school, the Grenoble Teachers College from 1914 to 1918, and the Lyon Fine Arts Academy from 1919 to 1922.
    [Show full text]
  • The Greatest Treasure Hunt in History Educato
    DISCUSSION GUIDE Grades 3–7 HARDCOVER 978-1-338-25119-7 $18.99 EBOOK 978-1-338-25131-9 $11.99 Audio versions also available The Common Core State Standards addressed by the discussion questions and activities in this guide are listed below. For more information on the Common Core, visit corestandards.org. CCSS.ELA-LITERACY.RI.3.1–7.1; CCSS.ELA-LITERACY.W.3.1–7.1; CCSS.ELA-LITERACY.W.3.2–7.2; CCSS.ELA-LITERACY.W.3.3–7. 3 Scholastic.com/Focus ACTIVITIES FOR STUDENTS Captain Walter “Hutch” Huchthausen worked diligently to restore the Aachen • Cathedral, a German cultural landmark. A reporter wondered why an American Monuments Man would focus his efforts on saving a German church. On pages 184–185, reread Hutch’s response to the reporter. Do you agree or disagree with his stance on saving the German landmark? Write an opinion piece that presents your point of view on the topic. Include reasons and examples to support your opinion. Incorporate a counterargument in your essay. The Monuments Men were consumed with locating, protecting, and safely returning • specific pieces of art, includingThe Last Supper by Leonardo da Vinci, the Ghent Altarpiece, The Astronomer by Johannes Vermeer, the Madonna of La Gleize, and the Bruges Madonna by Michelangelo. Select one of these masterpieces and research it. What made the piece so significant? Compile your research into a poster report that can be shared with others in your class. What gives a piece of art significance? Why do we attach meaning to an object or • place? Consider these questions as you select a piece of art, object, building, or landmark that is important to you—something from your daily life or something special and out of the ordinary.
    [Show full text]
  • A Moral Persuasion: the Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013
    A MORAL PERSUASION: THE NAZI-LOOTED ART RECOVERIES OF THE MAX STERN ART RESTITUTION PROJECT, 2002-2013 by Sara J. Angel A thesis submitted in conformity with the requirements for the degree of PhD Graduate Department Art University of Toronto © Copyright by Sara J. Angel 2017 PhD Abstract A Moral Persuasion: The Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project, 2002-2013 Sara J. Angel Department of Art University of Toronto Year of convocation: 2017 In 1937, under Gestapo orders, the Nazis forced the Düsseldorf-born Jewish art dealer Max Stern to sell over 200 of his family’s paintings at Lempertz, a Cologne-based auction house. Stern kept this fact a secret for the rest of his life despite escaping from Europe to Montreal, Canada, where he settled and became one of the country’s leading art dealers by the mid-twentieth century. A decade after Stern’s death in 1987, his heirs (McGill University, Concordia University, and The Hebrew University of Jerusalem) discovered the details of what he had lost, and how in the post-war years Stern travelled to Germany in an attempt to reclaim his art. To honour the memory of Max Stern, they founded the Montreal- based Max Stern Art Restitution Project in 2002, dedicated to regaining ownership of his art and to the study of Holocaust-era plunder and recovery. This dissertation presents the histories and circumstances of the first twelve paintings claimed by the organization in the context of the broader history of Nazi-looted art between 1933-2012. Organized into thematic chapters, the dissertation documents how, by following a carefully devised approach of moral persuasion that combines practices like publicity, provenance studies, law enforcement, and legal precedents, the Max Stern Art Restitution Project set international precedents in the return of cultural property.
    [Show full text]
  • Spooky Times in Maysville
    Spooky Times in Maysville, KY Yes, the town is located in MASON county. Maysville native George Clooney is known to come from a well-connected Hollywood family. It’s also admitted in the mainstream press that George is related to Abraham Lincoln. What got me going on this paper, though, is George’s great-great grandfather Andrew Clooney, who was born in Maysville in 1874 and died on Halloween in 1947. That’s a particularly spooky set of dates. Looking more into Andrew Clooney, we find he married Crescentia Koch , who was also born in 1874. Crescentia’s father was an eyewitness to the Lincoln assassination, which Miles has previously exposed as a spook event. Andrew Clooney was mayor of Maysville over multiple terms. With a modern-day population of 9,000, you wouldn’t think “Mayor of Maysville” meant all that much back in the 30s, though Mayor Clooney apparently met with FDR in 1933 to discuss local flooding issues. The Clooneys often talk about Maysville and George premiered one of his movies in this little town on the banks of the Ohio River (see photo to the right). I found this interesting, as Maysville doesn’t seem impressive at first glance. But let’s take a deeper look. Daniel Boone, whom Miles has written about before, is one of Maysville’s founders. Next we learn George’s aunt Rosemary Clooney was a huge Hollywood star, and grew up in Maysville’s spooky John Brett Richeson House, located at 331 W. 3rd St. Already, we’ve found a lot of numerology in this little town.
    [Show full text]
  • THE MONUMENTS MEN FILM and BOOK DISCUSSION QUESTIONS
    THE MONUMENTS MEN FILM and BOOK DISCUSSION QUESTIONS 1. Consider the question, “Is art worth a life?” Discuss. 2. Which of these four do you most agree? a. Fighting for art is worth risking one’s life. b. I’d fight for art if I had to. c. I’d fight passionately for other things, but not for art. Art is important—but it’s not worth risking a life. d. No lofty idea is ever as important as a human life. Debate these four positions. 3. The Monuments Men were not typical soldiers. What qualities did they demonstrate that made them heroes? 4. In a battle, which do you think is more powerful: intelligence or strength? How did the story of the Monuments Men affect your opinion? 5. How conscious were you of the collateral damage war can wreak upon a civilization before reading The Monuments Men? What had you not been aware of that you are now? 6. Why are works of art or monuments meaningful to the countries they are created in? In what ways does art belong to a country or culture? What are the moral repercussions of stealing art or destroying monuments? 7. Hitler wanted to gain ownership of art in order to place it in the Third Reich’s museums—ones that already existed, and then in the Führermuseum that he planned on building in his hometown of Linz, Austria. Why did he want art that was from all over Europe? Why did he think that appropriating art from other people and countries would glorify the Third Reich? 8.
    [Show full text]
  • Division, Records of the Cultural Affairs Branch, 1946–1949 108 10.1.5.7
    RECONSTRUCTING THE RECORD OF NAZI CULTURAL PLUNDER A GUIDE TO THE DISPERSED ARCHIVES OF THE EINSATZSTAB REICHSLEITER ROSENBERG (ERR) AND THE POSTWARD RETRIEVAL OF ERR LOOT Patricia Kennedy Grimsted Revised and Updated Edition Chapter 10: United States of America (March 2015) Published on-line with generous support of the Conference on Jewish Material Claims Against Germany (Claims Conference), in association with the International Institute of Social History (IISH/IISG), Amsterdam, and the NIOD Institute for War, Holocaust, and Genocide Studies, Amsterdam, at http://www.errproject.org © Copyright 2015, Patricia Kennedy Grimsted The original volume was initially published as: Reconstructing the Record of Nazi Cultural Plunder: A Survey of the Dispersed Archives of the Einsatzstab Reichsleiter Rosenberg (ERR), IISH Research Paper 47, by the International Institute of Social History (IISH), in association with the NIOD Institute for War, Holocaust and Genocide Studies, Amsterdam, and with generous support of the Conference on Jewish Material Claims Against Germany (Claims Conference), Amsterdam, March 2011 © Patricia Kennedy Grimsted The entire original volume and individual sections are available in a PDF file for free download at: http://socialhistory.org/en/publications/reconstructing-record-nazi-cultural- plunder. Also now available is the updated Introduction: “Alfred Rosenberg and the ERR: The Records of Plunder and the Fate of Its Loot” (last revsied May 2015). Other updated country chapters and a new Israeli chapter will be posted as completed at: http://www.errproject.org. The Einsatzstab Reichsleiter Rosenberg (ERR), the special operational task force headed by Adolf Hitler’s leading ideologue Alfred Rosenberg, was the major NSDAP agency engaged in looting cultural valuables in Nazi-occupied countries during the Second World War.
    [Show full text]
  • NEWSLETTER May 2020 – N°6
    NEWSLETTER May 2020 – N°6 | EDITORIAL | NEWS | CASE STUDIES The Netherlands Art Property Collection Egon Schiele, Four Trees/Autumn Allée | REPORTS Provenance Research at the V&A Museum Two conference reports Rose Valland: En quête de l’art spolié | FIELD REPORT Seeking heirs for Austrian art restitution | ADDENDUM Art Restitution in the United States May 2020 – N°6 EDITORIAL It might seem redundant here to mention the spread of way. The existence of the Network has already given rise Sars-CoV-2 and the attempts to contain it, but it is in the to inquiries regarding the formation of commissions in nature of pandemics that they infiltrate and change all as- other countries, and we would like to extend an invitation pects of life. That being the case, this short editorial to our to them to proceed in this direction and to notify us of their Newsletter cannot close its eyes to the situation either. progress. At the beginning of 2020, when Austria took over from The planned follow-up to the question of what has been France as chair of the Network of European Restitution happening outside of our Network can also be found in Committees, Clemens Jabloner, chairperson of the Aust- this Newsletter in the Addendum section. It starts with a rian Art Restitution Advisory Board, stated in Newsletter presentation of the work of the HCPO in New York, which 5/2020 that he was looking forward “to intensifying our we are now bringing to Europe in this way as we cannot knowledge of one another and of striving to maintain the visit it in person.
    [Show full text]
  • EDWARD DOLNICK for Lynn It Is in the Ability to Deceive Oneself That the Greatest Talent Is Shown
    THE FORGER’S SPELL A True Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieths Century EDWARD DOLNICK For Lynn It is in the ability to deceive oneself that the greatest talent is shown. —Anatole France We have here a—I am inclined to say the—masterpiece of Johannes Vermeer. —Abraham Bredius CONTENTS Epigraph iii Preface ix Part One OCCUPIED HOLLAND 1 A Knock on the Door 3 2 Looted Art 6 3 The Outbreak of War 9 4 Quasimodo 14 5 The End of Forgery? 18 6 Forgery 101 22 7 Occupied Holland 26 8 The War Against the Jews 30 9 The Forger’s Challenge 33 10 Bargaining with Vultures 40 11 Van Meegeren’s Tears 44 Part Two HERMANN GOERING AND JOHANNES VERMEER 12 Hermann Goering 51 13 Adolf Hitler 55 vi con t e n t s 14 Chasing Vermeer 57 15 Goering’s Art Collection 62 16 Insights from a Forger 66 17 The Amiable Psychopath 77 18 Goering’s Prize 82 19 Vermeer 85 20 Johannes Vermeer, Superstar 88 21 A Ghost’s Fingerprints 93 Part Three THE SELLING OF CHRIST AT EMM AUS 22 Two Forged Vermeers 105 23 The Expert’s Eye 109 24 A Forger’s Lessons 115 25 Bredius 121 26 “Without Any Doubt!” 127 27 The Uncanny Valley 132 28 Betting the Farm 137 29 Lady and Gentleman at the Harpsichord 139 30 Dirk Hannema 145 31 The Choice 150 32 The Caravaggio Connection 163 33 In the Forger’s Studio 167 34 Christ at Emmaus 170 35 Underground Tremors 173 con t e n t s vii Photographic Insert 36 The Summer of 1937 179 37 The Lamb at the Bank 186 38 “Every Inch a Vermeer” 192 39 Two Weeks and Counting 198 40 Too Late! 201 41 The Last Hurdle 203 42 The Unveiling 207
    [Show full text]
  • The Monuments Men Monuments Men – Ungewöhnliche Helden
    WETTBEWERB THE MONUMENTS MEN MONUMENTS MEN – UNGEWÖHNLICHE HELDEN George Clooney Nach der Landung US-amerikanischer und britischer Truppen in der USA/Großbritannien/Deutschland 2013 Normandie erlässt Hitler den Befehl, dass dem Feind keine bedeu- 120 Min. · DCP · Farbe tenden Kunstschätze in die Hand fallen dürfen. Was die deutschen Truppen nicht mitnehmen oder in Geheimverstecken unterbringen Regie George Clooney können, soll vernichtet werden. Doch die Alliierten sehen diesem bar- Buch George Clooney, Grant Heslov, nach einem Buch von Robert M. Edsel und barischen Akt nicht tatenlos zu. Sie installieren eine Truppe von „Kunst- Bret Witter schutzoffizieren“, die die Aufgabe erhält, hinter den feindlichen Linien Kamera Phedon Papamichael nach gefährdeten Gemälden und Skulpturen zu fahnden und sie in Sam Jones Foto: Schnitt Stephen Mirrione Sicherheit zu bringen. Angeführt von dem Kunstexperten Frank Sto- Musik Alexandre Desplat Geboren 1961 in Lexington, USA. Seit Mitte kes machen sich Museumsdirektoren, Kuratoren und Historiker auf Tonmischung Edward Tise der Neunzigerjahre einer der gefragtesten den Weg. Dabei haben sie nicht nur gegen Nazi-Offiziere anzutreten, Tonschnitt Oliver Tamey Hollywood-Stars, ist Clooney heute zugleich die sich gern auch privat mit der Kunst schmücken würden, sondern Production Design Jim Bissell Schauspieler, Regisseur und Produzent. 2003 müssen sich auch mit Ignoranz und Arroganz in den eigenen Reihen Kostüm Louise Frogley präsentierte die Berlinale sein Regiedebüt Maske Christine Beveridge CONFESSIONS OF A DANGEROUS MIND. auseinandersetzen. Basierend auf dem Buch von Robert M. Edsel, be- schreibt der Film die gefährlichste Jagd nach Kunstschätzen, die es je in Casting Jina Jay, Simone Bär 2006 Oscar als bester Nebendarsteller für Erste Regieassistenz David Web der Geschichte gab.
    [Show full text]
  • Taking Responsibility on the Future of Looted Art
    I N T E R N A T I O NA L CO N F E R E N C E RCIC’20 Redefining Community in Intercultural Context Cluj-Napoca, 7-9 May 2020 EVERY OBJECT HAS AN OWNER – TAKING RESPONSIBILITY ON THE FUTURE OF LOOTED ART Shirit Ovadia KEESSEN* * International Relations and European Studies, Babes-Bolyai University, Cluj-Napoca, Romania/ Director of Museums and Visual Art Department at the Ministry of Culture and Sport of Israel Abstract: This paper aims to analyze the difficulties of conducting a provenance research for Nazi era looted art, in order to function within the premise that every object has an owner. Public and private collections worldwide contain an unknown number of objects for which there is no provenance, no history. Therefore, there is no understanding of who owned these objects. The purpose of this paper is to illuminate the axiom that no object is heirless unless it is labeled as such. Every object begins with an owner, its maker or its creator. Therefore, once it leaves its original, primal owner, the path of the object will be either licit or illicit depending on the circumstances of its removal, transfer, transactions that it was subjected to and the larger historical context in which these movements or translocations took place. This paper begins with a brief history of Nazi’s organized plunder. The paper then moves to describe Provenance research and its importance within the field of Looted Art of Nazi Era. Furthermore, the paper reviews the efforts made by various actors, to raise the issue of looted art to an international level, and the attempts made to set various European Governments Cultural agendas.
    [Show full text]