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Works of Art Stolen by the Nazis the Double Looting

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Nazi looting in WWII

Nazi plunder ( Raubkunst in German) was the stealing of fine art and other items which occurred every bit a result of the organized annexation of European countries during the time of the Nazi Political party in Federal republic of germany. The looting of Shine and Jewish holding was a key part of the Holocaust. The plundering was carried out from 1933, beginning with the seizure of the belongings of German Jews, until the terminate of World War Ii, particularly by military units which were known as the Kunstschutz, although well-nigh of the plunder was caused during the war. In addition to gilded, silver, and currency, cultural items of great significance were stolen, including paintings, ceramics, books, and religious treasures.

Although most of these items were recovered by agents of the Monuments, Fine Arts, and Archives program (MFAA, also known as the Monuments Men), on behalf of the Allies immediately following the war, many of them are still missing. An international effort to identify Nazi plunder which nevertheless remains unaccounted for is underway, with the ultimate aim of returning the items to their rightful owners, their families, or their respective countries.

Background [edit]

Jean Metzinger, 1913, En Canot (Im Kicking), oil on canvas, 146 cm × 114 cm (57 in × 45 in), exhibited at Moderni Umeni, S.V.U. Mánes, Prague, 1914, caused in 1916 by Georg Muche at the Galerie Der Sturm, confiscated by the Nazis c. 1936, displayed at the Degenerate Art show in Munich, and missing always since

Albert Gleizes, 1912, Landschaft bei Paris, Paysage près de Paris, Paysage de Courbevoie, oil on canvass, 72.viii cm × 87.1 cm (28.7 in × 34.3 in), missing from Hannover since 1937

Adolf Hitler was an unsuccessful creative person who was denied admission to the Vienna Academy of Fine Arts. Even so, he thought of himself as a connoisseur of the arts, and, in Mein Kampf, he ferociously attacked modern art as degenerate, including Cubism, Futurism, and Dadaism, all of which he considered the product of a decadent 20th-century society. In 1933 when Hitler became Chancellor of Germany, he enforced his artful ideal on the nation. The types of art that were favored amongst the Nazi political party were classical portraits and landscapes by Erstwhile Masters, especially those of Germanic origin. Modern fine art that did not friction match this was dubbed degenerate art past the Third Reich and all that was found in Frg's state museums was to exist sold or destroyed.[1] With the sums raised, the Führer's objective was to found the European Art Museum in Linz. Other Nazi dignitaries, like Reichsmarschall Hermann Göring and Foreign Affairs minister von Ribbentrop, were also intent on taking reward of High german war machine conquests to increase their private art collections.[i]

Plunder of Jews [edit]

The systematic dispossession of Jewish people and the transfer of their homes, businesses, artworks, financial assets, musical instruments,[2] books, and fifty-fifty home furnishings to the Reich was an integral component of the Holocaust.[3] [4] In every country controlled by Nazis, Jews were stripped of their assets through a wide array of mechanisms[5] [six] [seven] and Nazi looting organizations.[8] [9] [10] [11]

Sale of art confiscated from German museums [edit]

Art dealers Hildebrand Gurlitt, Karl Buchholz, Ferdinand Moeller, and Bernhard Boehmer prepare up shop in Schloss Niederschonhausen, just outside Berlin, to sell a cache of about-xvi,000 paintings and sculptures which Hitler and Göring removed from the walls of German language museums in 1937–1938. They were first put on display in the Haus der Kunst in Munich on 19 July 1937, with the Nazi leaders inviting public mockery by 2 1000000 visitors who came to view the condemned mod art in the Degenerate Art Exhibition. Propagandist Joseph Goebbels in a radio broadcast called Frg'southward degenerate artists "garbage". Hitler opened the Haus der Kunst exhibition with a speech. In it, he described German art as suffering "a great and fatal illness".

Public burning of art [edit]

Hildebrand Gurlitt and his colleagues did non have much success with their sales, mainly considering art labeled "rubbish" had small appeal. And so, on 20 March 1939, they set fire to 1,004 paintings and sculptures and three,825 watercolors, drawings, and prints in the courtyard of the Berlin Fire Department, an human activity of infamy similar to their earlier well-known volume burnings. The propaganda human activity raised the attending they hoped. The Basel Museum in Switzerland arrived with l,000 Swiss francs to spend. Shocked art lovers came to purchase. What is unknown subsequently these sales is the number of paintings kept by Gurlitt, Buchholz, Moeller, Boehmer, and later sold by them to Switzerland and America—ships crossed the Atlantic from Lisbon—for personal proceeds.[12]

Public auctions and individual sales in Switzerland [edit]

The virtually notorious auction of Nazi looted art was the "degenerate art" sale organized past Theodor Fischer on thirty June 1939 at the Grand Hotel National in Lucerne, Switzerland. The artworks on offer had been "de-accessioned" from German museums by the Nazis, yet many well known art dealers participated alongside proxies for major collectors and museums.[thirteen] In addition to public auctions, there were many individual sales by art dealers. The Committee for Art Recovery has characterized Switzerland as "a magnet" for assets from the ascent of Hitler until the end of World War II.[14] Researching and documenting Switzerland's part "as an art-dealing centre and conduit for cultural assets in the Nazi period and in the firsthand post-war period" was one of the missions of the Bergier Commission, under the directorship of Professor Georg Kreis.[15]

Nazi annexation organizations [edit]

While the Nazis were in power, they plundered cultural belongings from Germany and from every territory they occupied, targeting Jewish property in particular.[16] This was conducted in a systematic manner with organizations specifically created to decide which public and private collections were most valuable to the Nazi Regime. Some of the objects were earmarked for Hitler's never realized Führermuseum, some objects went to other high-ranking officials such equally Hermann Göring, while other objects were traded to fund Nazi activities.

In 1940, an organization known equally the Einsatzstab Reichsleiter Rosenberg für die Besetzten Gebiete (Reichsleiter Rosenberg Institute for the Occupied Territories), or ERR, was formed, headed for Alfred Rosenberg past Gerhard Utikal [de]. The kickoff operating unit, the western co-operative for France, Kingdom of belgium, and the netherlands, called the Dienststelle Westen (Western Bureau), was located in Paris. The chief of this Dienststelle was Kurt von Behr. Its original purpose was to collect Jewish and Freemasonic books and documents, either for devastation or for removal to Federal republic of germany for further "study". However, late in 1940, Hermann Göring, who in fact controlled the ERR, issued an gild that effectively inverse the mission of the ERR, mandating it to seize "Jewish" art collections and other objects. The war boodle had to be collected in a primal place in Paris, the Museum Jeu de Paume. At this collection signal worked art historians and other personnel who inventoried the boodle before sending it to Deutschland. Göring also allowable that the boodle would first be divided between Hitler and himself. Hitler afterwards ordered that all confiscated works of art were to be fabricated directly available to him. From the end of 1940 to the end of 1942, Göring traveled 20 times to Paris. In the Museum Jeu de Paume, art dealer Bruno Lohse staged twenty expositions of the newly looted fine art objects, especially for Göring, from which Göring selected at least 594 pieces for his own collection.[17] Göring made Lohse his liaison-officer and installed him in the ERR in March 1941 as the deputy leader of this unit. Items which Hitler and Göring did not desire were made bachelor to other Nazi leaders. Under Rosenberg and Göring's leadership, the ERR seized 21,903 art objects from German-occupied countries.[18]

Albert Gleizes, 1911, Stilleben, Nature Morte, Der Sturm postcard, Sammlung Walden, Berlin. Collection Paul Citroen, sold 1928 to Kunstausstellung Der Sturm, requisition by the Nazis in 1937, and missing since

Other Nazi looting organizations included the Sonderauftrag Linz [de], the system run past the fine art historian Hans Posse, which was especially in charge of assembling the works for the Führermuseum, the Dienststelle Mühlmann, operated by Kajetan Mühlmann which operated primarily in the Netherlands and in Kingdom of belgium, and a Sonderkommando Kuensberg connected to the minister of foreign affairs Joachim von Ribbentrop, which operated get-go in France, then in Russia and North Africa. In Western Europe, with the advancing German troops, were elements of the "von Ribbentrop Battalion", named after Joachim von Ribbentrop. These men were responsible for inbound individual and institutional libraries in the occupied countries and removing whatsoever materials of interest to the Germans, especially items of scientific, technical, or other informational value.[19]

Art collections from prominent Jewish families, including the Rothschilds, the Rosenbergs, the Wildensteins,[20] and the Schloss Family unit, were the targets of confiscations because of their pregnant value. Also, Jewish art dealers sold art to German organizations—often under duress, due east.thou., the art dealerships of Jacques Goudstikker, Benjamin and Nathan Katz,[21] and Kurt Walter Bachstitz. Also, non-Jewish art dealers sold fine art to the Germans, e.thou., the art dealers De Boer[22] and Hoogendijk[22] in the netherlands.

By the end of the state of war, the Tertiary Reich clustered hundreds of thousands of cultural objects.

Fine art Looting Investigation Unit [edit]

On 21 November 1944, at the request of Owen Roberts, William J. Donovan created the Art Looting Investigation Unit [de] (ALIU) within the OSS to collect information on the looting, confiscation, and transfer of cultural objects by Nazi Germany, its allies and the various individuals and organizations involved; to prosecute war criminals and to restitute property.[23] [24] The ALIU compiled information on individuals believed to take participated in art looting, identifying a group of primal suspects for capture and interrogation well-nigh their roles in carrying out Nazi policy. Interrogations were conducted in Bad Aussee, Austria.

ALIU reports and index [edit]

The ALIU Reports detail the networks of Nazi officials, art dealers, and individuals involved in the Hitler'southward policy of spoliation of Jews in Nazi-occupied Europe.[25] The ALIU's concluding report included 175 pages divided into 3 parts: Detailed Interrogation Reports (DIRs), which focused individuals who played pivotal roles in German language spoliation; Consolidated Interrogations Reports (CIRs); and a "Ruby Flag list" of people involved in Nazi spoliation.[23] The ALIU Reports grade one of the key records in the United states of america Government Athenaeum of Nazi Era Assets[26]

Detailed Intelligence Reports (DIR) [edit]

The commencement grouping of reports detailing the networks and relations between art dealers and other agents employed by Hitler, Göring, and Rosenberg are organized by proper name: Heinrich Hoffmann, Ernst Buchner, Gustav Rochlitz, Gunter Schiedlausky, Bruno Lohse, Gisela Limberger, Walter Andreas Hofer, Karl Kress, Walter Bornheim, Hermann Voss, and Karl Haberstock.[24] [27]

Consolidated Interrogation Reports (CIR) [edit]

A second set of reports detail the art looting activities of Göring (The Goering Collection), the art annexation activities of the Einsatzstab Reichsleiter Rosenberg (ERR), and Hitler's Linz Museum.

ALIU Listing of Red Flag Names [edit]

The Art Annexation Intelligence Unit published a list of "Red Flag Names", organizing them past country: Germany, French republic, Switzerland, Holland, Kingdom of belgium, Italia, Espana, Portugal, Sweden, and Luxembourg. Each name is followed by a description of the person'southward activities, their relations with other people in the spoliation network and, in many cases, information concerning their arrest or imprisonment by Centrolineal forces.[24] [28]

Soviet Union [edit]

To investigate and estimate Nazi plunder in the USSR during 1941 through 1945, the Soviet State Boggling Commission for Ascertaining and Investigating the Crimes Committed past the German language-Fascist Invaders and Their Accomplices was formed on two Nov 1942. During the Swell Patriotic War and afterward, until 1991, the Commission nerveless materials on Nazi crimes in the USSR, including incidents of plunder. Immediately following the state of war, the Commission outlined damage in detail to 64 of the most valuable Soviet museums, out of 427 damaged ones. In the Russian SFSR, 173 museums were found to accept been plundered by the Nazis, with looted items numbering in the hundreds of thousands.

After the dissolution of the USSR, the Government of the Russian Federation formed the Land Commission for the Restitution of Cultural Valuables to supervene upon the Soviet Commission. Experts from this Russian institution originally consulted the work of the Soviet Commission, yet keep to itemize artworks lost during the war museum by museum. As of 2008[update], lost artworks of xiv museums and the libraries of Voronezh Oblast, Kursk Oblast, Pskov Oblast, Rostov Oblast, Smolensk Oblast, Northern Caucasus, Gatchina, Peterhof Palace, Tsarskoye Selo (Pushkin), Novgorod, and Novgorod Oblast, besides as the bodies of the Russian Country Archives and CPSU Athenaeum, were cataloged in 15 volumes, all of which were made bachelor online. They incorporate detailed information on 1,148,908 items of lost artworks. The total number of lost items is unknown so far, because cataloging work for other damaged Russian museums is ongoing.[29]

Alfred Rosenberg allowable the so-called ERR, which was responsible for collecting art, books, and cultural objects from invaded countries, and also transferred their captured library collections dorsum to Berlin during the retreat from Russian federation. "In their search for 'inquiry materials' ERR teams and the Wehrmacht visited 375 archival institutions, 402 museums, 531 institutes, and 957 libraries in Eastern Europe alone".[30] The ERR besides operated in the early days of the blitzkrieg of the Low Countries. This acquired some confusion about authority, priority, and the chain of command amid the German language Army, the von Rippentropp Battalion and the Gestapo, and as a result of personal looting among the Army officers and troops. These ERR teams were, however, very effective. One business relationship estimates that from the Soviet Spousal relationship alone: "one hundred thousand geographical maps were taken on ideological grounds, for bookish research, as ways for political, geographical and economic information on Soviet cities and regions, or equally collector's items".[30]

Poland [edit]

After the occupation of Poland by German forces in September 1939, the Nazi regime attempted to exterminate its upper classes every bit well as its culture.[31] Thousands of art objects were looted, as the Nazis systematically carried out a programme of annexation prepared even before the start of hostilities. 25 museums and many other facilities were destroyed.[32] The full cost of German Nazi theft and destruction of Shine art is estimated at 20 billion dollars, or an estimated 43 percentage of Smoothen cultural heritage; over 516,000 individual art pieces were looted, including ii,800 paintings by European painters; 11,000 paintings by Shine painters; 1,400 sculptures; 75,000 manuscripts; 25,000 maps; 90,000 books, including over twenty,000 printed before 1800; and hundreds of thousands of other items of creative and historical value. Deutschland still has much Shine material looted during World State of war II. For decades, there have been negotiations between Poland and Germany concerning the render of the looted Polish holding.[33]

Austria [edit]

The Anschluss (joining) of Austria and Germany began on 12 March 1938. Churches, monasteries, and museums were domicile to many pieces of art before the Nazis came but after, the majority of the artwork was taken. Ringstrasse, which was a residence for many people but as well as a community centre, was confiscated and all of the art inside equally well.[34] Betwixt the years 1943 and 1945, salt mines in Altaussee held the majority of Nazi looted art. Some from Austria and others from all effectually Europe. In 1944, around 4,700 pieces of art were then stored in the salt mines.

Führermuseum [edit]

Later Hitler became Chancellor, he made plans to transform his home metropolis of Linz, Austria, into the Tertiary Reich's capital city for the arts. Hitler hired architects to work from his own designs to build several galleries and museums, which would collectively exist known as the Führermuseum. Hitler wanted to fill his museum with the greatest fine art treasures in the world and believed that most of the globe'southward finest fine art belonged to Germany subsequently having been looted during the Napoleonic and Beginning World wars.

Hermann Göring collection [edit]

The Hermann Göring drove, a personal collection of Reichsmarschall Hermann Göring, was another large collection including confiscated property, consisted of approximately fifty percentage of works of fine art confiscated from the enemies of the Reich.[35] Assembled in large measure by art dealer Bruno Lohse, Göring's adviser, and ERR representative in Paris, in 1945, the collection included over 2,000 private pieces including more than 300 paintings. The US National Athenaeum and Records Administration'south Consolidated Interrogation Report No. ii states that Göring never crudely looted, instead he always managed "to notice a way of giving at least the appearance of honesty, past a token payment or promise thereof to the confiscation authorities. Although he and his agents never had an official connexion with the German confiscation organizations, they nevertheless used them to the fullest extent possible."[35]

Nazi storage of looted objects [edit]

German loot stored at Schlosskirche Ellingen, Bavaria (April 1945)

Altaussee, May 1945 afterwards the removal of the 8 500-kilogram (1,100 lb) bombs at the Nazi stolen art repository.

The Ghent Altarpiece during recovery from the Altaussee common salt mine at the end of World State of war Ii.

The Third Reich amassed hundreds of thousands of objects from occupied nations and stored them in several central locations, such as Musée Jeu de Paume in Paris and the Nazi headquarters in Munich. As the Centrolineal forces gained advantage in the war and bombed Frg's cities and historic institutions, Germany "began storing the artworks in salt mines and caves for protection from Allied bombing raids. These mines and caves offered the appropriate humidity and temperature atmospheric condition for artworks."[36] Well known repositories of this kind were mines in Merkers, Altaussee, and Siegen. These mines were not but used for the storage of looted art but also of art that had been in Germany and Austria before the outset of the Nazi rule.[37] Degenerate art was legally banned by the Nazis from inbound Federal republic of germany, and so ones designated were held in what was chosen the Martyr's Room at the Jeu de Paume. Much of Paul Rosenberg's professional person dealership and personal drove were so later on designated by the Nazis. Following Joseph Goebbels's before individual decree to sell these degenerate works for foreign currency to fund the building of the Führermuseum and the wider war effort, Hermann Göring personally appointed a series of ERR approved dealers to liquidate these avails and then pass the funds to swell his personal art collection, including Hildebrand Gurlitt. With the looted degenerate fine art sold onward via Switzerland, Rosenberg'southward drove was scattered across Europe. Today, some 70 of his paintings are missing, including: the large Picasso watercolor Naked Adult female on the Beach, painted in Provence in 1923; seven works by Matisse; and the Portrait of Gabrielle Diot by Degas.[1]

Plunder of Jewish books [edit]

One of the things Nazis sought after during their invasion of European countries was Jewish books and writings. Their goal was to collect all of Europe'due south Jewish books and burn them. 1 of the commencement countries to exist raided was France, where the Nazis took 50,000 books from the Alliance Israélite Universelle; 10,000 from L'Ecole Rabbinique, i of Paris'due south most significant rabbinic seminaries; and 4,000 volumes from the Federation of Jewish Societies of France, an umbrella group. From there, they went on to take a total of 20,000 books from the Lipschuetz Bookstore and another 28,000 from the Rothschild family's personal collection, earlier scouring the private homes of Paris and coming up with thousands of more books. Afterwards sweeping France for every Jewish book they could detect, the Nazis moved on to the Netherlands where they would accept millions more than. They raided the house of Hans Furstenberg, a wealthy Jewish banker and stole his 16,000 volume drove; in Amsterdam, they took 25,000 volumes from the Bibliotheek van het Portugeesch Israelietisch Seminarium; 4,000 from Ashkenazic Beth ha- Midrasch Ets Haim; and 100,000 from Bibliotheca Rosenthaliana. In Italy, the central synagogue of Rome contained 2 libraries, one was owned by the Italian Rabbinic College and the other one was the Jewish customs Library. In 1943, the Nazis came through Italy, packaged up every book from the synagogue, and sent them dorsum to Germany.[38]

Immediate aftermath [edit]

The Allies created special commissions, such equally the MFAA system to help protect famous European monuments from destruction and, later the war, to travel to formerly Nazi-occupied territories to find Nazi art repositories. In 1944 and 1945, one of the greatest challenges for the "Monuments Men" was to go on Allied forces from plundering and "taking artworks and sending them home to friends and family"; When "off-limits" warning signs failed to protect the artworks the "Monuments Men" started to marker the storage places with white tape, which was used by Centrolineal troops every bit a alarm sign for unexploded mines.[36] They recovered thousands of objects, many of which had been pillaged by the Nazis.

The Allies found these artworks in over ane,050 repositories in Frg and Republic of austria at the end of World War II. In summer 1945, Capt. Walter Farmer became the collecting point'southward beginning director. The commencement shipment of artworks arriving at Wiesbaden Collection Indicate included cases of antiquities, Egyptian art, Islamic artifacts, and paintings from the Kaiser Friedrich Museum. The collecting point also received materials from the Reichsbank and Nazi-looted, Polish, liturgical collections. At its height, Wiesbaden stored, identified, and restituted approximately 700,000 private objects, including paintings and sculptures, mainly to go along them abroad from the Soviet Ground forces and wartime reparations.[39]

The Allies collected the artworks and stored them in collecting points, in particular the Cardinal Collection Point in Munich until they could exist returned. The identifiable works of fine art, that had been acquired by the Germans during the Nazi rule, were returned to the countries from which they were taken. It was up to the governments of each nation if and nether which circumstances they would return the objects to the original owners.[40]

When the Munich collection point was closed, the owners of many of the objects had not been found. Nations were also unable to find all the owners or to verify that they were dead. There are many organizations put in place to assistance return the stolen items taken from the Jewish people. For example: Projection Heart, the World Jewish Restitution Organization, and the Conference on Jewish Textile Claims Against Germany. Depending on the circumstances, these organizations may receive the art works in lieu of the heirs.

Later developments [edit]

Although virtually of the stolen artworks and antiques were documented, institute, or recovered "by the victorious Allied armies [...] principally subconscious away in salt mines, tunnels, and secluded castles",[41] many artworks accept never been returned to their rightful owners. Art dealers, galleries, and museums worldwide have been compelled to research their collection's provenance in order to investigate claims that some of the work was acquired after it had been stolen from its original owners.[42] Already in 1985, years before American museums recognized the upshot and before the international conference on Nazi-looted assets of Holocaust victims, European countries released inventory lists of works of fine art, coins, and medals "that were confiscated from Jews by the Nazis during World War 2, and announced the details of a procedure for returning the works to their owners and rightful heirs."[43] In 1998, an Austrian advisory panel recommended the return of half-dozen,292 objets d'fine art to their legal owners (most of whom are Jews), nether the terms of a 1998 restitution law.[44]

Nazi concentration army camp and death army camp victims had to strip completely earlier their murder, and all their personal belongings were stolen. The very valuable items, such equally golden coins, rings, spectacles, jewelry, and other precious metal items, were sent to the Reichsbank for conversion to bullion. The value was then credited to SS accounts.

Pieces of fine art looted by the Nazis can still exist plant in Russian/Soviet[45] and American institutions: the Metropolitan Museum of Fine art revealed a list of 393 paintings that have gaps in their provenance during the Nazi Era, the Art Institute of Chicago has posted a listing of more than 500 works "for which links in the chain of ownership for the years 1933–1945 are still unclear or not yet fully adamant." The San Diego Museum of Art[46] and the Los Angeles County Museum of Art[47] provide lists on the net to decide if art items within their collection were stolen past the Nazis.

Stuart Eizenstat, the Under Secretary of State and head of the US delegation sponsoring the 1998 international conference on Nazi-looted assets of Holocaust victims in Washington briefing stated that "From at present on, [...] the sale, purchase, commutation and brandish of art from this period volition be addressed with greater sensitivity and a higher international standard of responsibility."[48] The conference was attended by more than 49 countries and xiii unlike individual entities, and the goal was to come to a federal consensus on how to handle Nazi-Era Looted Art. The conference was built on the foundation of the Nazi Gold Briefing held in London in 1997. The U.s.a. Department of State hosted the conference with the Us Holocaust Memorial Museum from 30 Nov to 3 December 1998.[49]

After the briefing, the Clan of Fine art Museum Directors developed guidelines which crave museums to review the provenance or history of their collections, focussing especially on art looted by the Nazis.[50] The National Gallery of Art in Washington identified more than 400 European paintings with gaps in their provenance during the World War Ii era.[50] One item slice of art, "Still Life with Fruit and Game" past the 16th-century Flemish painter Frans Snyders, was sold by Karl Haberstock, whom the World Jewish Congress describes as "one of the virtually notorious Nazi art dealers."[50] In 2000, the New York Metropolis's Museum of Modern Art withal told the US Congress that they were "not aware of a single Nazi-tainted piece of work of art in our collection, of the more 100,000" they held.[50]

In 1979, two paintings, a Renoir, Tête de jeune fille, and a Pissarro, Rue de village, appeared on Interpol's "12 Most Wanted List", but, to appointment, no-one knows their whereabouts (ATA Newsletter, November. '79, vol. one, no. 9, p. 1. '78, 326.1–2). The New Bailiwick of jersey owner has asked the International Foundation for Art Research (IFAR) to republish data about the theft, with the hope that someone will recognize the paintings. The owner wrote IFAR that, when his parents emigrated from Berlin in 1938, 2 of their paintings "mysteriously disappeared". All of their other possessions were shipped from Federal republic of germany to the Usa via the netherlands, and everything except the box containing these two paintings arrived intact. After Earth War Two, the possessor's father fabricated a considerable effort to locate the paintings but was unsuccessful. Over the years, numerous efforts have been fabricated to recover them, articles have been published, and an advertising appeared in the German magazine, Die Weltkunst, xv May 1959. A considerable reward has been offered, subject to usual conditions, only there has been no response.

However, restitution efforts initiated by German politicians have non been costless of controversy, either. As the German law for restitution applies to "cultural avails lost equally a outcome of Nazi persecution, "which includes paintings that Jews who emigrated from Germany sold to back up themselves,[51] pretty much any trade involving Jews in that era is afflicted, and the benefit of the doubt is given to claimants. High german leftist politicians Klaus Wowereit (SPD, mayor of Berlin) and Thomas Flierl (Linkspartei) were sued in 2006 for being overly willing to requite away the 1913 painting Berliner Straßenszene of expressionist Ernst Ludwig Kirchner, which was in Berlin's Brücke Museum. On display in Cologne in 1937, it had been sold for iii,000 Reichsmark by a Jewish family unit residing in Switzerland to a High german collector. This sum is considered past experts to have been well over the market price.[52] The museum, which obtained the painting in 1980 after several ownership changes, could non prove that the family unit actually received the money. Information technology was restituted[53] to the heiress of the former owners, and she had it auctioned off for $38.1 one thousand thousand.[54]

In 2010, every bit work began to extend an underground line from Alexanderplatz through the celebrated urban center middle to the Brandenburg Gate, a number of sculptures from the degenerate art exhibition were unearthed in the cellar of a private house close to the "Rote Rathaus". These included, for case, the bronze cubist fashion statue of a female dancer by the artist Marg Moll, and are now on brandish at the Neues Museum.[55] [56] [57]

From 2013 up to 2015, a committee researched the collection of the Dutch Royal family. The committee focussed on all objects acquired by the family unit since 1933 and which were made prior to 1945. In total, i,300 artworks were studied. Dutch musea had already researched their collection in order to find objects stolen by the Nazis. It appeared that one painting of the woods near Huis x Bosch by the Dutch painter Joris van der Haagen came from a Jewish collector. He was forced to mitt the painting over to the former Jewish bank Lippmann, Rosenthal & Co. in Amsterdam,[58] which collected money and other possessions of the Jews in Amsterdam. The painting was bought past Queen Juliana in 1960. The family unit plans to return the painting to the heirs of the owner in 1942, a Jewish collector.[59]

Effects of Nazi looting today [edit]

Approximately xx percent of the art in Europe was looted by the Nazis, and there are well over 100,000 items that have not been returned to their rightful owners.[lx] The majority of what is withal missing includes everyday objects such as cathay, crystal, or silver. The extent to which looted art was taken was seen according to Spiegler every bit, "The Nazi art confiscation program has been chosen the greatest displacement of art in human history."[61] : 298 the end of World War 2, "The United States Government has estimated that German forces and other Nazi agents earlier and during World War II had seized or coerced the auction of one 5th of all Western art and then in existence, approximately a quarter of a one thousand thousand pieces of art."[61] : 298 Considering of such wide displacement of Nazi looted art from all over Europe, "to this solar day, some tens of thousands of artworks stolen past the Nazi'south have still not been located."[61] : 299

Some objects of swell cultural significance remain missing, though how much has yet to exist determined. This is a major issue for the fine art market, since legitimate organizations do not want to bargain in objects with unclear ownership titles. Since the mid-1990s, afterwards several books, magazines, and newspapers began exposing the subject field to the general public, many dealers, auction houses, and museums accept grown more careful virtually checking the provenance of objects that are available for purchase in instance they are looted. Some museums in the US and elsewhere have agreed to bank check the provenance of works in their collections.[62]

In add-on to the part of courts in determining restitution or compensation, some states have created official bodies for the consideration and resolution of claims. In the U.k., the Spoliation Informational Console advises the Department for Civilization, Media and Sport on such claims.[63] IFAR, a not-for-profit educational and inquiry organization, maintains a database of looted art.[64]

In 2013, the Canadian regime created the Holocaust-era Provenance Enquiry and Best-Practice Guidelines Projection, through which they are investigating the holdings of half-dozen art galleries in Canada.[65]

1992 International Archives for the Women'southward Move discovery [edit]

On fourteen Jan 1992, historian Marc Jansen reported in an article in NRC Handelsblad that archival collections stolen from the Netherlands including the records of the International Athenaeum for the Women'south Movement (Dutch: Internationaal Archief voor de Vrouwenbeweging (IAV)), which had been looted in 1940, had been found in Russia.[66] The confiscated records were initially sent to Berlin and later was moved to Sudetenland for security reasons. At the end of the war, the Red Ground forces took the documents from German-occupied Czechoslovakia and, in 1945–1946, stored them in the KGB'due south Osobyi Archive [de] (Russian: Особый архив), meaning special archive, which was housed in Moscow. Though agreements were drafted nearly immediately after the discovery, bureaucratic delays kept the archives from existence returned for 11 years. In 2003, the fractional recovery of the papers of some of the near noted feminists in the prewar menses, including Aletta Jacobs and Rosa Manus, some 4,650 books and periodicals, records of the International Council of Women and International Woman Suffrage Alliance, among many photographs were returned. Approximately one-half of the original collection is still unrecovered.[67] [68]

2012 Munich artworks discovery [edit]

In early on 2012, over 1,000 pieces of artwork were discovered at the home of Cornelius Gurlitt, the son of Hildebrand Gurlitt, of which about 200–300 pieces are suspected of being looted art, some of which may have been exhibited in the degenerate art exhibition held by the Nazis earlier Earth War Ii in several large German language cities.[69] The drove contains works past Marc Chagall, Otto Dix, and Henri Matisse, Renoir, and Max Liebermann among many others.[69]

2014 Nuremberg artworks discovery [edit]

In Jan 2014, researcher Dominik Radlmaier of the city of Nuremberg announced that eight objects had been identified as lost art with a farther 11 beingness under potent suspicion. The city's research project was started in 2004 and Radlmaier has been investigating full-fourth dimension since then.[70] [71]

2015 Wałbrzych, Poland rumored armored railroad train [edit]

In Wałbrzych, Poland two amateur explorers—Piotr Koper and Andreas Richter—claim to accept found a rumored armored train that is believed to be filled with aureate, gems, and weapons. The train was rumored to be sealed in a tunnel in the closing days of World War II before the collapse of the Tertiary Reich. But x percent of the tunnel has been explored because much of the tunnel has collapsed. Finding the train will be an expensive and complicated operation involving a lot of funding, excavation, and drilling. Nonetheless, to back up their claims the explorers said experts have examined the site with ground-penetrating, thermal, and magnetic sensors that picked up signs of a railway tunnel with metal tracks. The legitimacy of these claims has yet to exist adamant, yet the explorers are requesting ten percentage of the value of whatever is within the train if their findings are correct. Poland'due south deputy culture minister, Piotr Zuchowski, said he was "99 per centum convinced" that the railroad train had finally been found, but scientists merits that the explorers' findings are imitation.[72] [73]

The Jewish Digital Cultural Recovery Project [edit]

The Jewish Digital Cultural Recovery Projection (JDCRP) is a comprehensive database that focusses on the Jewish-owned fine art and cultural objects plundered past the Nazis and their allies from 1933 to 1945. The JDCRP was initiated in May 2016 by the Conference on Jewish Material Claims Against Germany in collaboration with the Commission for Art Recovery.[74] Their goal was to further expand on the already existent database of objects stolen by the Einsatzstab Reichsleiter Rosenberg, one of the principal Nazi agencies involved with the plunder of cultural artifacts in Nazi-occupied nations during World War Ii.[75]

By creating this database, the JDCRP is positioned to accomplish numerous goals. The collection of this data on looted Jewish objects during WWII tin can provide a deeper agreement of various annexation agencies employed by the Nazi political party, current whereabouts of individual artifacts, and details on persecuted Jewish artists. In add-on, the information collected by the JDCRP tin provide further guidance to families and heirs of art, museums, and the fine art market. Lastly, the JDCRP tin serve as a way to memorialize Jewish artists that were victims of the Nazi party's looting and gloat their creative legacies.[76] Overall, the goal of the JDCRP is not to supervene upon existing databases and publications regarding stolen art during the Third Reich but rather to supplement the already available information and build upon information technology with a focus on art plundered from Jews.[77] Furthermore, the mission of the JDCRP is not only to establish a cardinal database for this data and make it hands accessible but as well to develop a network of institutions that can work to promote boosted research on this topic.[76]

The JDCRP accumulates data from a variety of sources. A few examples include inventories of looted objects establish past Centrolineal forces, lists of stolen objects submitted by victims, and lists of looted and restituted cultural objects compiled past governments. In one case data is gathered on a specific object, the JDCRP strives to exhibit the following pieces of data: details regarding the stolen object, background on the perpetrators and victims of the theft, information on those who profited from the thefts, and specifics on the locations at which the stolen object(s) were held.[76]

On 1 Jan 2020, the JDCRP launched its Pilot Project centered around the famous art collection of Adolphe Schloss. The purpose of this initial launch is to test the feasibility of a central database for stolen Jewish artifacts and to determine the mode in which the JDCRP database will be synthetic and maintained. This venture is funded past the European Union and is intended to establish the framework necessary for the JDCRP.[74]

Other looted artworks [edit]

  • Franz Marc's Pferde in Landschaft, 1 of the artworks discovered in Munich in 2012

Run across also [edit]

  • Amber room
  • Art theft and annexation during Earth War II
  • Aryanization
  • Berlinka
  • Evacuation of the Louvre museum art collection during World State of war Two
  • Vugesta
  • Reichsleiter Rosenberg Taskforce
  • Arthur Seyss-Inquart
  • Bruno Lohse
  • Fuhrermuseum
  • Kajetan Mühlmann
  • Listing of claims for restitution for Nazi-looted fine art
  • Listing of missing treasure
  • Menzel v. List
  • The Monuments Men (motion picture)
  • Nazi gilt
  • Nazi-looted artworks of Vincent van Gogh
  • Adult female in Gold (film)
  • Vugesta
  • M-Aktion

References [edit]

Notes

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  3. ^ "Nazification and Early Stages of Persecution: Identification, Expropriation; Aryanization; and Emigration | Kenyon Higher". digital.kenyon.edu . Retrieved 10 February 2022.
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  6. ^ "Nazis Exacted $lxx,000,000 "flight Taxation" in 4 Years". Jewish Telegraphic Agency. xviii May 1937. Retrieved 10 February 2022.
  7. ^ "Nazi Restrictions, Special Taxes Strip Jews of Wealth". Jewish Telegraphic Agency. 25 December 1938. Retrieved 10 February 2022.
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Further reading

  • Campbell, Eastward. (2020). Claiming National Heritage: Land Appropriation of Nazi Art Plunder in Postwar Western Europe. Journal of Contemporary History.
  • Edsel, Robert M. (Contributions by Brett Witter) (2009). Monuments Men: Allied Heroes, Nazi Thieves and the Greatest Treasure Chase in History. Eye Street. ISBN 978-1-59995-149-2
  • Edsel, Robert M. (2006). Rescuing Da Vinci. Laurel Publishing. ISBN0-9774349-0-7.
  • Aly, Götz (2007). Hitler's Beneficiaries: Plunder, Racial War, and the Nazi Welfare Land. Metropolitan Books. ISBN 978-0-8050-7926-5
  • Feliciano, Hector (1997). The Lost Museum. New York: Harper Collins.
  • Hadden, R. Fifty. (2008). "The Heringen Collection of the Usa Geological Survey Library, Reston, Virginia". Globe Sciences History Journal of the History of the Earth Sciences Social club v.27, n.ii, pp. 242–265.
  • Harclerode, Peter and Pittaway, Brendan (1999). The Lost Masters: WWII and the Annexation of Europe's Treasurehouses. London: Orion Books.
  • Löhr, Hanns Christian (2005): Das Braune Haus der Kunst: Hitler und der Sonderauftrag Linz, Akademie-Verlag,ISBN 3-05-004156-0
  • Löhr, Hanns Christian (2018): Kunst als Waffe – Der Einsatzstab Reichsleiter Rosenberg, Ideologie und Kunstraub im „Dritten Reich", Gebr. Isle of man, ISBN 978-3-7861-2806-9.
  • Nicholas, Lynn (1994). The Rape of Europa. London: Macmillan Publishers.
  • O'Connor, Anne-Marie (2012). The Lady in Gilt, The Boggling Tale of Gustav Klimt's Masterpiece, Portrait of Adele Bloch-Bauer, Alfred A. Knopf, New York, ISBN 0-307-26564-1.
  • OSS Report: Activity of the Einsatzstab Rosenberg in France, 15 August 1945
  • Petropoulos, Jonathan (1996). Art as Politics in the Tertiary Reich. Chapel Loma: University of North Carolina Press.
  • Petropoulos, Jonathan (2000). The Faustian Bargain: The Art World in Nazi Germany. London: Penguin Press.
  • Roxan, David; Wanstall, Ken (1965). The Rape of Art: The Story of Hitler's Plunder of the Great Masterpieces of Europe. New York: Coward-McCann. OCLC 846620.
  • Schwarz, Birgit (2004). Hitler's Museum. Die Fotoalben Gemäldegalerie Linz, Wien, Böhlau Verlag. ISBN 3-205-77054-4
  • Simpson, Elizabeth (1997). The Spoils of War – World War II and Its Aftermath: The Loss, Reappearance, and Recovery of Cultural Belongings. New York: Harry Northward. Abrams in association with the Bard Graduate Centre.
  • Slany, William Z. "U.S. Interagency Written report on U.Southward. and Allied Wartime and Mail Postwar Relations and Negotiations with Argentina, Portugal, Spain, Sweden, and Turkey on Looted Golden and German External Avails." American Academy International Law Review 14, no. one (1998): 147–153.
  • Yeide, Nancy H. (2009). Beyond Dreams of Avarice: The Hermann Göring Collection. Laurel Publishing. ISBN 978-0-9774349-one-6 (Foreword by Robert M. Edsel)

External links [edit]

  • New York Times, "Holocaust and the Nazi Era" (Archived)
  • Nazi Plundering from Holocaust Survivors' Network—iSurvived.org
  • Looted Art Recovery
  • Department of National Heritage, Wartime losses
  • Holocaust Claims Processing Office (HCPO) of the New York Land Cyberbanking Section
  • The Commission for the Compensation of Victims of Spoliation (Commission pour l'Indemnisation des Victimes de Spoliations), CIVS, France
  • The Holocaust Victims' Information and Back up Middle (HVISC), Republic of austria
  • Washington Conference Principles On Nazi-Confiscated Art
  • Council of Europe Resolution 1205
  • Vilnius International Forum Declaration on Holocaust Era Looted Cultural Assets
  • European Parliament Resolution and Written report of Committee on Legal Affairs and the Internal Marketplace
  • Nazi Gold and Art – Hitler'south Third Reich in the News
  • Project for the Documentation of Wartime Cultural Losses – Website of the Cultural Holding Research Foundation, Inc.
  • Article The DIA does the Correct Thing
  • The Central Registry of Information on Looted Cultural Holding 1933–1945
  • International Foundation for Art Research
  • Rape of Europa – documentary about the Nazi plunder of Europe.
  • Greatest Theft in History – an educational program well-nigh Nazi plunder of Art (Unavailable)
  • Exhibition: Looted Art in the Netherlands/Roofkunst voor, tijdens en na WO II, Deventer, Kingdom of the netherlands 2017 [ permanent dead link ]
  • Records nigh Recovery of Holocaust-Era Assets available in the Archival Inquiry Catalog of the National Athenaeum and Records Administration
  • Nazi Agencies Engaged in the Looting of Cloth Culture
  • Database on the Sonderauftrag Linz (Special Committee: Linz)
  • Cultural Plunder by the Einsatzstab Reichsleiter Rosenberg: Database of Fine art Objects at the Jeu de Paume
  • The Central Registry of Data on Looted Cultural Holding 1933-1945
  • Looted Art Bibliography: National Athenaeum

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Source: https://en.wikipedia.org/wiki/Nazi_plunder

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