Discriminating Thieves: Nazi-Looted Art and Restitution Library Guide
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K E W E N I G
K E W E N I G Sean Scully “Four Days” 4 September to 7 November 2015 Opening on 4 September from 6 to 9 pm; the artist will be present. Opening hours: Monday to Saturday from 10 am to 6 pm “Four Days” is the first solo exhibition of the internationally acclaimed artist Sean Scully (b. in Dublin in 1945) at Kewenig in Berlin. New oil paintings by the Irish-American artist will be on view, as well as a selection of works on paper and one sculpture. Among the pieces executed especially for Berlin is the four-part painting Four Days after which the exhibition was named, Landline Blue, and an impressive triptych titled Arles-Abend-Vincent 2 – all works dating from 2015. Sean Scully is one of the most prominent contemporary exponents of abstract painting. He stands for an absolute, non-figurative style decisively distinguished by color. Pictorial compositions consisting of grid-like blocks or beam-like stripes are characteristic of his œuvre, as is the haptic quality resulting from the forceful brushstroke and impasto application of the paint and accounting for the works’ strong physical presence. Rather than simple canvas, the artist prefers to paint on higher-quality materials such as linen or aluminum, which lend the surfaces greater suppleness and heighten the radiance of the colors. Assembled from squares, rectangles and stripes, Scully’s motifs are based on basic geometric elements that are brought to life, however, by intense emotional impetus and the energy-charged painting manner. In their rectilinear structure and abstraction, his compositions thus exhibit not only conceptual stringency and order but also a high degree of emotionality. -
The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-5-2021 The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 Denali Elizabeth Kemper CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/661 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 By Denali Elizabeth Kemper Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2020 Thesis sponsor: January 5, 2021____ Emily Braun_________________________ Date Signature January 5, 2021____ Joachim Pissarro______________________ Date Signature Table of Contents Acronyms i List of Illustrations ii Introduction 1 Chapter 1: Points of Reckoning 14 Chapter 2: The Generational Shift 41 Chapter 3: The Return of the Repressed 63 Chapter 4: The Power of Nazi Images 74 Bibliography 93 Illustrations 101 i Acronyms CCP = Central Collecting Points FRG = Federal Republic of Germany, West Germany GDK = Grosse Deutsche Kunstaustellung (Great German Art Exhibitions) GDR = German Democratic Republic, East Germany HDK = Haus der Deutschen Kunst (House of German Art) MFAA = Monuments, Fine Arts, and Archives Program NSDAP = Nationalsozialistische Deutsche Arbeiterpartei (National Socialist German Worker’s or Nazi Party) SS = Schutzstaffel, a former paramilitary organization in Nazi Germany ii List of Illustrations Figure 1: Anonymous photographer. -
Sabine Brantl Haus Der Kunst, Munich a Locality and Its History in National Socialism
edition monacensia Published by: Monacensia Literary Archive and Library Dr Elisabeth Tworek Sabine Brantl, born in 1969, is a historian and curator at Haus der Kunst in Munich. She freelanced for the Bavarian Television and Je- wish Museum Munich and was a research assistant at the Academy of Fine Arts, Munich. On behalf of Haus der Kunst she conceptualised the design of the historical archive in 2004, which she has headed since 2005. Among other things, Sabine Brantl was curator of the exhibition “Histories in Conflict: Haus der Kunst and the Ideological Uses of Art, 1937-1955” (2012) and is responsible for the Archive Gallery, a perma- nent exhibition room on the history of Haus der Kunst (since 2014). Sabine Brantl Haus der Kunst, Munich A Locality and its History in National Socialism Published by Haus der Kunst, Munich Information on the publisher and its programme can be found at: www.allitera.de Published by Haus der Kunst, Munich www.hausderkunst.de Oktober 20156 Allitera Verlag A publishing house of Buch&media GmbH, Munich © 2016 Buch&media GmbH, München Translation: Dialogticket, Reinbek b. Hamburg Cover design using the photograph “Great German Art Exhibition” 1938 Selection of works by Adolf Hitler © Bayerische Staatsbibliothek Munich Printed in Germany isbn 978-3-86906-922-7 Inhalt Foreword by Dieter Reiter, Lord Mayor of Munich . 7 Introduction by Sabine Brantl ............................ 10 1 A new Glass Palace .................................. 13 1.1 The Glass Palace fire ............................. 13 1.2 Adolf Abel’s preliminary project .................... 23 2 The “Führer’s First Builder” ........................... 29 2.1 Paul Ludwig Troost ............................. -
Erich Mercker and “Technical Subjects”: Industrial Painting in the Eras of Weimar and Nazi Germany
H-Labor-Arts Erich Mercker and “Technical Subjects”: Industrial Painting in the Eras of Weimar and Nazi Germany Discussion published by Patrick Jung on Saturday, October 7, 2017 (Copyright 2008, Society of Industrial Archeology and reprinted with permission) From the author: This article was published earlier in Industrial Archaeology: The Journal of the Society for Industrial Archeology, vol. 34, nos. 1 & 2. It is reproduced here on H-Labor Arts to make it available to a wider audience. I wrote this article while I was in the midst of finishing a book-length manuscript on Erich Mercker, who was, undoubtedly, one of the top industrial artists in Germany from 1919 to 1945. He and his contemporaries (e.g., Fritz Gärtner, Franz Gerwin, Ria Picco-Rückert, Leonhard Sandrock, and Richard Gessner) constituted a school of artists who I have provisionally labeled the “Heroic School” of German industrial art from 1919 to 1945. The Grohmann Museum in Milwaukee, Wisconsin has paintings produced by virtually all of these artists. It also has more than 90 paintings by Erich Mercker, more than any other art museum in the world. Thus, it is fitting this article should appear on the H-Labor Arts site titled “From the Grohmann….” I also hope this essay will spur more research into Mercker and his “Heroic School” contemporaries, all of whom produced some of the most stunning examples of industrial art during the course of the early twentieth century. Those interested in reading the full-length biography on Erich Mercker (for which this article paved the way) should contact the Grohmann Museum at [email protected]. -
Orientierung Deutsch
DIE PINAKOTHEKEN IM KUNSTAREAL MÜNCHEN Schelling- ORIENTIERUNG straße Bus 154 Bus 154 U H H Universität Arcisstraße H 7/28 2 6 DEUTSCH m U a / 3 NEUE Tr Heßstraße PINAKOTHEK U e ß e MUSEUM REICH a U2 ß r a t e DER KRISTALLE Bus 100 r s t ß n s a e Theresienstraße g i U H H H i l w a sstr i Pinakotheken MUSEUM d m c u A BRANDHORST L Ar TÜRKENTOR e ALTE ß ra PINAKOTHEK PINAKOTHEK t DER MODERNE Gabelsbergerstraße r S re H a e B Bus 100 ß 00 1 ra ÄGYPTISCHES s st LENBACH- n MUSEUM Karolinen- Bu e HAUS platz k H r ü GLYPTOTHEK T NS-DOKU- U U Königsplatz ZENTRUM Brienner S traße H KUNSTBAU STAATL. GRAPH. Odeonsplatz SAMMLUNG 00 STAATLICHE 1 s ANTIKEN- Bu SAMMLUNGEN U4/U5 6 U / 3 U Alter B otanischer 7/28 ALTE PINAKOTHEK Garten 2 m a Täglich außer MO 10.00–18.00 | DI 10.00–20.00 www.pinakothek.de/alte-pinakothek Tr NEUE PINAKOTHEK H S U S U S1–S8 Täglich außer DI 10.00–18.00S U H | MI 10.00–20.00Karlsplatz (Stachus) Marienplatz www.pinakothek.de/neue-pinakothekS1–S8 Hauptbahnhof DB PINAKOTHEK DER MODERNEU2 Täglich außer MO 10.00–18.00 | DO 10.00–20.00 www.pinakothek.de/pinakothek-der-moderne MUSEUM BRANDHORST Täglich außer MO 10.00–18.00 | DO 10.00–20.00 www.museum-brandhorst.de SAMMLUNG SCHACK MI–SO 10.00–18.00 | Jeden 1. und 3. -
City-Map-2017.Pdf
3 New Town Hall 11 Hofbräuhaus The Kunstareal (art quarter) Our Service Practical Tips Located in walking distance to one another, the rich variety contained in the museums and galleries in immediate proximity to world-renowned München Tourismus offers a wide range of services – personal and Arrival universities and cultural institutions in the art quarter is a unique multilingual – to help you plan and enjoy your stay with various By plane: Franz-Josef-Strauß Airport MUC. Transfer to the City by treasure. Cultural experience is embedded in a vivacious urban space offers for leisure time, art and culture, relaxation and enjoyment S-Bahn S1, S8 (travel time about 40 min). Airport bus to main train featuring hip catering and terrific parks. In the Alte Pinakothek 1 , in the best Munich way. station (travel time about 45 min). Taxi. Neue Pinakothek 2 and Pinakothek der Moderne 3 , Museum By railroad: Munich Hauptbahnhof, Ostbahnhof, Pasing Brandhorst 4 and the Egpytian Museum 5 as well as in the art By car: A8, A9, A92, A95, A96. Since 2008 there has been a low-emission galleries around Königsplatz 6 – the Municipal Gallery in Lenbach- Information about Munich/ zone in Munich. It covers the downtown area within the “Mittlerer Ring” haus 7 , the State Collections of Antiques 8 , the Glyptothek 9 and Hotel Reservation but not the ring itself. Access is only granted to vehicles displaying the the Documentation Center for the History of National Socialism 10 appropriate emission-control sticker valid all over Germany. – a unique range of art, culture and knowledge from more than 5,000 Mon-Fr 9am-5pm Phone +49 89 233-96500 www.muenchen.de/umweltzone 9 Church of Our Lady 6 Viktualienmarkt 6 Königsplatz years of human history can be explored. -
NEWS RELEASE Press Preview: Tues., May 24 9
NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 CONTACT: Katie Ziglar Anne Diamonstein (202) 8*?-6353 Press Preview: Tues., May 24 9:00 a.m. - 2:00 p.m. OLD MASTER PAINTINGS FROM MUNICH ON VIEW IN WASHINGTON Washington, D.C., May 4, 1988 - Sixty-two European masterworks from one of the most distinguished public collections in Europe are featured in an exhibition opening at the National Gallery of Art on May ?9, 1988. Masterworks from Munich: Sixteenth- to Eighteenth- Century Paintings from the Alte Pinakothek is the first major showing in this country of works of art from the renowned Bavarian art museum. Masterworks from Munich highlights examples of all the major schools of baroque painting within the wider context of the style's 16th-century antecedents and 18th-century evolution into the rococo. Included in the exhibition are Rubens' The Rape of the Daughters of Leucippus, Rembrandt's Risen Christ, Titian's Vanity, El Greco's The Disrobing of Christ, and Fragonard's Girl with a Dog as well as important works by Guardi, Tintoretto, Brueghel, Van Dyck, Ruisdael, Elsheimer, Murillo, Velazouez, Poussin, and Boucher. masterworks from Munich ... page two "An extraordinary loan has made this exhibition possible," said J. Carter Brown, director of the National Gallery. "The Alte Pinakothek has been extremely generous in offering works by old masters from its collection illustrating its wealth of northern and southern baroque painting. The quality level is superb. The American public is in for a rare treat." The collection was started by members of the ruling Wittelsbach family, Duke Wilhelm IV of Bavaria (ruled 1508-1550) and his wife Jacobaea of Baden, and augmented by subsequent family members, including Maximilian I (ruled 1597-1651), a passionate collector of Durers, and Max Emanuel (ruled 1679-1726). -
Mapping the Limits of Repatriable Cultural Heritage: a Case Study of Stolen Flemish Art in French Museums
_________________ COMMENT _________________ MAPPING THE LIMITS OF REPATRIABLE CULTURAL HERITAGE: A CASE STUDY OF STOLEN FLEMISH ART IN FRENCH MUSEUMS † PAIGE S. GOODWIN INTRODUCTION......................................................................................674 I. THE NAPOLEONIC REVOLUTION AND THE CREATION OF FRANCE’S MUSEUMS ................................................676 A. Napoleon and the Confiscation of Art at Home and Abroad.....677 B. The Second Treaty of Paris ....................................................679 II. DEVELOPMENT OF THE LAW OF RESTITUTION ...............................682 A. Looting and War: From Prize Law to Nationalism and Cultural-Property Internationalism .................................682 B. Methods of Restitution Today: Comparative Examples............685 1. The Elgin Marbles and the Problem of Cultural-Property Internationalism........................687 2. The Italy-Met Accord as a Restitution Blueprint ...689 III. RESTITUTION OF FLEMISH ART AND POSSIBLE SOLUTIONS IN PUBLIC AND PRIVATE LAW .........................................................692 A. Why Should France Return Flemish Art Now?.........................692 1. Nationalism .............................................................692 2. Morality and Legality ..............................................693 3. Universalism............................................................694 † J.D. Candidate, 2009, University of Pennsylvania Law School; A.B., 2006, Duke Uni- versity. Many thanks to Professors Hans J. Van Miegroet -
The Stolen Museum: Have United States Art Museums Become Inadvertent Fences for Stolen Art Works Looted by the Nazis in World War Ii?
Cleveland State University EngagedScholarship@CSU Law Faculty Articles and Essays Faculty Scholarship 1999 The tS olen Museum: Have United States Art Museums Become Inadvertent Fences for Stolen Art Works Looted by the Nazis in Word War II? Barbara Tyler Cleveland State University, [email protected] How does access to this work benefit oy u? Let us know! Publisher's Statement Copyright permission granted by the Rutgers University Law Journal. Follow this and additional works at: https://engagedscholarship.csuohio.edu/fac_articles Part of the Fine Arts Commons, and the Property Law and Real Estate Commons Original Citation Barbara Tyler, The tS olen Museum: Have United States Art Museums Become Inadvertent Fences for Stolen Art Works Looted by the Nazis in Word War II? 30 Rutgers Law Journal 441 (1999) This Article is brought to you for free and open access by the Faculty Scholarship at EngagedScholarship@CSU. It has been accepted for inclusion in Law Faculty Articles and Essays by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. +(,121/,1( Citation: 30 Rutgers L.J. 441 1998-1999 Content downloaded/printed from HeinOnline (http://heinonline.org) Mon May 21 10:04:33 2012 -- Your use of this HeinOnline PDF indicates your acceptance of HeinOnline's Terms and Conditions of the license agreement available at http://heinonline.org/HOL/License -- The search text of this PDF is generated from uncorrected OCR text. -- To obtain permission to use this article beyond the scope of your HeinOnline license, please use: https://www.copyright.com/ccc/basicSearch.do? &operation=go&searchType=0 &lastSearch=simple&all=on&titleOrStdNo=0277-318X THE STOLEN MUSEUM: HAVE UNITED STATES ART MUSEUMS BECOME INADVERTENT FENCES FOR STOLEN ART WORKS LOOTED BY THE NAZIS IN WORLD WAR II? BarbaraJ. -
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). -
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. -
Conference on Jewish Material Claims Against Germany
CONFERENCE ON JEWISH MATERIAL CLAIMS AGAINST GERMANY The Conference on Jewish Material Claims Against Germany (Claims Conference) is pleased to participate in the International Research Portal for Records Related to Nazi-Era Cultural Property. Founded in 1951 by 23 major international Jewish organizations, the Claims Conference is the principal negotiator for compensation and restitution for survivors of the Holocaust and heirs of victims. The partner of the State of Israel in founding Yad Vashem, the Claims Conference is the principal supporter of Holocaust-related archives and archival projects generally in the United States and many other countries, and it strives to encourage cooperation among archival institutions in the interests of providing both a measure of justice to victims and their heirs and of furthering Holocaust research, education and documentation. The Claims Conference and the World Jewish Restitution Organization (WJRO) conduct a comprehensive program toward the restitution of Jewish-owned art and cultural property lost and plundered during the Holocaust (see http://www.claimscon.org/art). Regarding archival provenance research, this program aims to reconstruct the historical-archival record so as to: 1. Develop listings of items plundered by the Nazis and their allies 2. Assemble listings of cultural property known to have been restituted; and thereby 3. Produce net listings of outstanding items of cultural property that have yet to be returned. The projects under this initiative form a major part of the records and information being offered through the International Research Portal by a number of participating countries and institutions. In particular, the Claims Conference has made available the following set of interlocking projects regarding the scattered records of the Einsatzstab Reichsleiter Rosenberg (ERR), the largest of the Nazi agencies engaged in the plunder of art, libraries, archives, and Judaica: 1.