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Did Hitler Start Stealing Art From the Jews in 1933

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Nazi annexation in WWII

Nazi plunder ( Raubkunst in German) was the stealing of art and other items which occurred as a issue of the organized looting of European countries during the time of the Nazi Party in Germany. The annexation of Smoothen and Jewish property was a key role of the Holocaust. The plundering was carried out from 1933, commencement with the seizure of the holding of German Jews, until the stop of World War II, particularly by military units which were known as the Kunstschutz, although nigh of the plunder was acquired during the war. In addition to aureate, 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 programme (MFAA, also known every bit the Monuments Men), on behalf of the Allies immediately post-obit the war, many of them are still missing. An international effort to identify Nazi plunder which withal 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 Boot), oil on canvas, 146 cm × 114 cm (57 in × 45 in), exhibited at Moderni Umeni, S.Five.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 ever since

Albert Gleizes, 1912, Landschaft bei Paris, Paysage près de Paris, Paysage de Courbevoie, oil on canvas, 72.eight cm × 87.one cm (28.7 in × 34.three in), missing from Hannover since 1937

Adolf Hitler was an unsuccessful artist who was denied admission to the Vienna Academy of Fine Arts. All the same, he idea of himself as a connoisseur of the arts, and, in Mein Kampf, he ferociously attacked modern fine art equally degenerate, including Cubism, Futurism, and Dadaism, all of which he considered the production of a corrupt 20th-century order. In 1933 when Hitler became Chancellor of Federal republic of germany, he enforced his aesthetic platonic on the nation. The types of art that were favored among the Nazi political party were classical portraits and landscapes by Erstwhile Masters, specially those of Germanic origin. Modernistic fine art that did not match this was dubbed degenerate fine art by the Third Reich and all that was constitute in Germany's state museums was to be sold or destroyed.[ane] With the sums raised, the Führer's objective was to establish the European Fine art Museum in Linz. Other Nazi dignitaries, like Reichsmarschall Hermann Göring and Foreign Affairs minister von Ribbentrop, were also intent on taking advantage of High german armed services conquests to increase their individual art collections.[1]

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 land controlled past Nazis, Jews were stripped of their avails through a wide assortment of mechanisms[v] [six] [7] and Nazi annexation organizations.[viii] [nine] [10] [11]

Sale of art confiscated from German language museums [edit]

Art dealers Hildebrand Gurlitt, Karl Buchholz, Ferdinand Moeller, and Bernhard Boehmer set up shop in Schloss Niederschonhausen, just exterior Berlin, to sell a cache of almost-16,000 paintings and sculptures which Hitler and Göring removed from the walls of German museums in 1937–1938. They were commencement put on display in the Haus der Kunst in Munich on xix July 1937, with the Nazi leaders inviting public mockery by two meg visitors who came to view the condemned mod art in the Degenerate Art Exhibition. Propagandist Joseph Goebbels in a radio circulate chosen Germany's degenerate artists "garbage". Hitler opened the Haus der Kunst exhibition with a speech communication. In it, he described German fine art as suffering "a great and fatal affliction".

Public burning of art [edit]

Hildebrand Gurlitt and his colleagues did not have much success with their sales, mainly because art labeled "rubbish" had small appeal. So, on 20 March 1939, they set burn to 1,004 paintings and sculptures and 3,825 watercolors, drawings, and prints in the courtyard of the Berlin Fire Department, an human activity of infamy similar to their before well-known book burnings. The propaganda deed raised the attention they hoped. The Basel Museum in Switzerland arrived with 50,000 Swiss francs to spend. Shocked art lovers came to buy. What is unknown after 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 gain.[12]

Public auctions and private sales in Switzerland [edit]

The nearly notorious auction of Nazi looted art was the "degenerate art" auction organized by Theodor Fischer on 30 June 1939 at the G 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 aslope proxies for major collectors and museums.[xiii] In addition to public auctions, there were many private sales by art dealers. The Commission for Fine art Recovery has characterized Switzerland as "a magnet" for assets from the rise of Hitler until the end of World State of war 2.[14] Researching and documenting Switzerland'southward role "as an art-dealing centre and conduit for cultural avails in the Nazi period and in the firsthand post-war menstruum" was one of the missions of the Bergier Committee, under the directorship of Professor Georg Kreis.[15]

Nazi looting organizations [edit]

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

In 1940, an organization known as 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 beginning operating unit, the western branch for France, Kingdom of belgium, and kingdom of the netherlands, called the Dienststelle Westen (Western Agency), 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 destruction or for removal to Germany for further "written report". However, late in 1940, Hermann Göring, who in fact controlled the ERR, issued an social club that effectively changed the mission of the ERR, mandating it to seize "Jewish" art collections and other objects. The war boodle had to exist nerveless in a primal place in Paris, the Museum Jeu de Paume. At this collection point worked art historians and other personnel who inventoried the loot before sending it to Germany. Göring also allowable that the loot would outset be divided between Hitler and himself. Hitler later on ordered that all confiscated works of art were to be made straight bachelor to him. From the end of 1940 to the stop of 1942, Göring traveled 20 times to Paris. In the Museum Jeu de Paume, art dealer Bruno Lohse staged xx expositions of the newly looted art objects, especially for Göring, from which Göring selected at least 594 pieces for his ain 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 want were fabricated available to other Nazi leaders. Nether Rosenberg and Göring'southward 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 organization run past the art historian Hans Posse, which was particularly in charge of assembling the works for the Führermuseum, the Dienststelle Mühlmann, operated by Kajetan Mühlmann which operated primarily in the Netherlands and in Belgium, and a Sonderkommando Kuensberg continued to the government minister of foreign diplomacy Joachim von Ribbentrop, which operated first in France, and then in Russian federation and North Africa. In Western Europe, with the advancing German troops, were elements of the "von Ribbentrop Battalion", named afterwards Joachim von Ribbentrop. These men were responsible for entering private and institutional libraries in the occupied countries and removing whatever 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, were the targets of confiscations considering of their significant value. Besides, Jewish art dealers sold art to German organizations—ofttimes nether duress, e.g., the art dealerships of Jacques Goudstikker, Benjamin and Nathan Katz,[21] and Kurt Walter Bachstitz. Also, not-Jewish art dealers sold art to the Germans, e.1000., the art dealers De Boer[22] and Hoogendijk[22] in kingdom of the netherlands.

By the end of the war, the Third Reich amassed hundreds of thousands of cultural objects.

Art Looting Investigation Unit [edit]

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

ALIU reports and alphabetize [edit]

The ALIU Reports detail the networks of Nazi officials, art dealers, and individuals involved in the Hitler's policy of spoliation of Jews in Nazi-occupied Europe.[25] The ALIU'south terminal report included 175 pages divided into three parts: Detailed Interrogation Reports (DIRs), which focused individuals who played pivotal roles in High german spoliation; Consolidated Interrogations Reports (CIRs); and a "Red Flag listing" of people involved in Nazi spoliation.[23] The ALIU Reports form one of the key records in the United states Government Archives of Nazi Era Avails[26]

Detailed Intelligence Reports (DIR) [edit]

The first group of reports detailing the networks and relations between art dealers and other agents employed by Hitler, Göring, and Rosenberg are organized past 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 item the art annexation activities of Göring (The Goering Collection), the art looting activities of the Einsatzstab Reichsleiter Rosenberg (ERR), and Hitler's Linz Museum.

ALIU List of Ruddy Flag Names [edit]

The Art Annexation Intelligence Unit published a list of "Carmine Flag Names", organizing them by land: Germany, France, Switzerland, Holland, Kingdom of belgium, Italia, Spain, Portugal, Sweden, and Luxembourg. Each name is followed by a description of the person's activities, their relations with other people in the spoliation network and, in many cases, information concerning their abort or imprisonment by Allied forces.[24] [28]

Soviet Union [edit]

To investigate and approximate Nazi plunder in the USSR during 1941 through 1945, the Soviet Country Boggling Commission for Ascertaining and Investigating the Crimes Committed past the German-Fascist Invaders and Their Accomplices was formed on two November 1942. During the Great Patriotic War and afterward, until 1991, the Commission nerveless materials on Nazi crimes in the USSR, including incidents of plunder. Immediately post-obit the war, the Committee 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 have been plundered past 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 State Commission for the Restitution of Cultural Valuables to supervene upon the Soviet Committee. Experts from this Russian establishment originally consulted the work of the Soviet Committee, yet go along to itemize artworks lost during the war museum by museum. As of 2008[update], lost artworks of 14 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, as well as the bodies of the Russian Land Archives and CPSU Athenaeum, were cataloged in fifteen volumes, all of which were made bachelor online. They contain detailed data on i,148,908 items of lost artworks. The full number of lost items is unknown and so far, considering cataloging piece of work for other damaged Russian museums is ongoing.[29]

Alfred Rosenberg commanded the and then-called ERR, which was responsible for collecting art, books, and cultural objects from invaded countries, and also transferred their captured library collections back to Berlin during the retreat from Russia. "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 solitary".[30] The ERR also operated in the early days of the blitzkrieg of the Depression Countries. This caused some confusion most say-so, priority, and the chain of control among the German Regular army, the von Rippentropp Battalion and the Gestapo, and equally a upshot of personal looting among the Army officers and troops. These ERR teams were, however, very constructive. I account estimates that from the Soviet Union alone: "one hundred grand geographical maps were taken on ideological grounds, for academic research, as means for political, geographical and economic data on Soviet cities and regions, or as collector's items".[30]

Poland [edit]

After the occupation of Poland past German forces in September 1939, the Nazi authorities attempted to exterminate its upper classes as well equally its civilisation.[31] Thousands of art objects were looted, as the Nazis systematically carried out a plan of looting prepared even before the commencement of hostilities. 25 museums and many other facilities were destroyed.[32] The total cost of German Nazi theft and destruction of Polish fine art is estimated at 20 billion dollars, or an estimated 43 percent of Polish cultural heritage; over 516,000 private fine art pieces were looted, including 2,800 paintings by European painters; 11,000 paintings by Polish painters; 1,400 sculptures; 75,000 manuscripts; 25,000 maps; xc,000 books, including over 20,000 printed before 1800; and hundreds of thousands of other items of artistic and historical value. Germany still has much Shine material looted during World War II. For decades, there have been negotiations betwixt Poland and Germany concerning the return of the looted Shine property.[33]

Republic of austria [edit]

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

Führermuseum [edit]

Afterwards Hitler became Chancellor, he made plans to transform his home city of Linz, Austria, into the Third 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 be known as the Führermuseum. Hitler wanted to fill his museum with the greatest art treasures in the world and believed that most of the world'south finest art belonged to Germany after having been looted during the Napoleonic and Get-go World wars.

Hermann Göring collection [edit]

The Hermann Göring collection, a personal collection of Reichsmarschall Hermann Göring, was some other big collection including confiscated property, consisted of approximately 50 percent of works of art confiscated from the enemies of the Reich.[35] Assembled in large measure out by art dealer Bruno Lohse, Göring'due south adviser, and ERR representative in Paris, in 1945, the collection included over 2,000 individual pieces including more than than 300 paintings. The Us National Archives and Records Administration'due south Consolidated Interrogation Report No. ii states that Göring never crudely looted, instead he always managed "to observe a way of giving at least the appearance of honesty, by a token payment or promise thereof to the confiscation authorities. Although he and his agents never had an official connection 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 eight 500-kilogram (ane,100 lb) bombs at the Nazi stolen art repository.

The Ghent Altarpiece during recovery from the Altaussee table salt mine at the stop of Earth State of war Ii.

The Third Reich amassed hundreds of thousands of objects from occupied nations and stored them in several fundamental locations, such every bit Musée Jeu de Paume in Paris and the Nazi headquarters in Munich. As the Allied forces gained advantage in the state of war and bombed Federal republic of germany's cities and celebrated institutions, Federal republic of germany "began storing the artworks in common salt mines and caves for protection from Allied bombing raids. These mines and caves offered the advisable humidity and temperature weather for artworks."[36] Well known repositories of this kind were mines in Merkers, Altaussee, and Siegen. These mines were not just used for the storage of looted art simply also of fine art that had been in Germany and Republic of austria before the commencement of the Nazi dominion.[37] Degenerate fine art was legally banned by the Nazis from entering Germany, and then ones designated were held in what was called the Martyr's Room at the Jeu de Paume. Much of Paul Rosenberg's professional dealership and personal collection were so subsequently designated by the Nazis. Following Joseph Goebbels's earlier private prescript to sell these degenerate works for foreign currency to fund the edifice of the Führermuseum and the wider war effort, Hermann Göring personally appointed a series of ERR canonical dealers to liquidate these assets so pass the funds to smashing his personal art collection, including Hildebrand Gurlitt. With the looted degenerate art sold onward via Switzerland, Rosenberg'south collection was scattered beyond Europe. Today, some lxx of his paintings are missing, including: the big Picasso watercolor Naked Woman 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]

I 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's Jewish books and burn them. I of the start countries to exist raided was France, where the Nazis took 50,000 books from the Brotherhood Israélite Universelle; 10,000 from L'Ecole Rabbinique, 1 of Paris'due south most meaning rabbinic seminaries; and 4,000 volumes from the Federation of Jewish Societies of French republic, an umbrella group. From there, they went on to have a total of 20,000 books from the Lipschuetz Bookstore and some other 28,000 from the Rothschild family's personal drove, before scouring the private homes of Paris and coming up with thousands of more books. Later on sweeping French republic for every Jewish volume they could find, the Nazis moved on to kingdom of the netherlands where they would take millions more. They raided the house of Hans Furstenberg, a wealthy Jewish banker and stole his sixteen,000 volume collection; 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 Italia, the primal synagogue of Rome contained two libraries, one was endemic past the Italian Rabbinic Higher and the other one was the Jewish community Library. In 1943, the Nazis came through Italy, packaged upwardly every book from the synagogue, and sent them dorsum to Germany.[38]

Immediate aftermath [edit]

The Allies created special commissions, such as the MFAA organisation to aid protect famous European monuments from destruction and, after the war, to travel to formerly Nazi-occupied territories to notice Nazi fine art repositories. In 1944 and 1945, one of the greatest challenges for the "Monuments Men" was to continue Centrolineal 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 mark the storage places with white record, which was used by Allied 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 1,050 repositories in Germany and Austria at the stop of Globe War Two. In summer 1945, Capt. Walter Farmer became the collecting point'due south showtime director. The first shipment of artworks arriving at Wiesbaden Collection Betoken included cases of antiquities, Egyptian art, Islamic artifacts, and paintings from the Kaiser Friedrich Museum. The collecting betoken also received materials from the Reichsbank and Nazi-looted, Shine, liturgical collections. At its pinnacle, Wiesbaden stored, identified, and restituted approximately 700,000 individual objects, including paintings and sculptures, mainly to go on them away from the Soviet Army and wartime reparations.[39]

The Allies collected the artworks and stored them in collecting points, in particular the Central 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. Information technology 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 discover all the owners or to verify that they were dead. In that location are many organizations put in place to help return the stolen items taken from the Jewish people. For example: Project Heart, the Globe Jewish Restitution Organisation, and the Conference on Jewish Material Claims Confronting Federal republic of germany. Depending on the circumstances, these organizations may receive the art works in lieu of the heirs.

Later developments [edit]

Although most of the stolen artworks and antiques were documented, found, or recovered "past the victorious Allied armies [...] principally hidden away in common salt mines, tunnels, and secluded castles",[41] many artworks have never been returned to their rightful owners. Art dealers, galleries, and museums worldwide take been compelled to research their drove's provenance in social club to investigate claims that some of the piece of work was acquired later on it had been stolen from its original owners.[42] Already in 1985, years before American museums recognized the outcome and before the international conference on Nazi-looted assets of Holocaust victims, European countries released inventory lists of works of art, coins, and medals "that were confiscated from Jews by the Nazis during World War II, and appear the details of a process for returning the works to their owners and rightful heirs."[43] In 1998, an Austrian advisory console recommended the return of 6,292 objets d'fine art to their legal owners (nigh of whom are Jews), nether the terms of a 1998 restitution police.[44]

Nazi concentration campsite and death army camp victims had to strip completely before their murder, and all their personal property were stolen. The very valuable items, such equally gold 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 art looted by the Nazis tin notwithstanding be found in Russian/Soviet[45] and American institutions: the Metropolitan Museum of Art revealed a listing of 393 paintings that take gaps in their provenance during the Nazi Era, the Art Found of Chicago has posted a listing of more than than 500 works "for which links in the chain of ownership for the years 1933–1945 are still unclear or not withal fully adamant." The San Diego Museum of Art[46] and the Los Angeles County Museum of Art[47] provide lists on the internet to determine if art items within their collection were stolen by the Nazis.

Stuart Eizenstat, the Under Secretary of Country and head of the U.s. delegation sponsoring the 1998 international briefing on Nazi-looted assets of Holocaust victims in Washington conference stated that "From now on, [...] the sale, purchase, exchange and display of art from this menses will exist addressed with greater sensitivity and a college international standard of responsibleness."[48] The conference was attended by more than 49 countries and thirteen different private entities, and the goal was to come to a federal consensus on how to handle Nazi-Era Looted Fine art. The conference was built on the foundation of the Nazi Gold Briefing held in London in 1997. The US Department of State hosted the conference with the US Holocaust Memorial Museum from 30 Nov to iii December 1998.[49]

Later the conference, the Clan of Art Museum Directors developed guidelines which require museums to review the provenance or history of their collections, focussing especially on fine 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 Globe War II era.[50] I particular piece of art, "Still Life with Fruit and Game" by the 16th-century Flemish painter Frans Snyders, was sold by Karl Haberstock, whom the World Jewish Congress describes as "1 of the most notorious Nazi fine art dealers."[50] In 2000, the New York City's Museum of Modern Art still told the US Congress that they were "not enlightened of a single Nazi-tainted work of art in our collection, of the more than 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 date, no-one knows their whereabouts (ATA Newsletter, Nov. '79, vol. ane, no. 9, p. one. '78, 326.1–2). The New Jersey owner has asked the International Foundation for Art Research (IFAR) to republish information 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, two of their paintings "mysteriously disappeared". All of their other possessions were shipped from Deutschland to the Us via holland, and everything except the box containing these two paintings arrived intact. Afterwards World State of war II, the possessor'southward father made a considerable effort to locate the paintings but was unsuccessful. Over the years, numerous efforts have been fabricated to recover them, manufactures accept been published, and an advertizing appeared in the German mag, Die Weltkunst, 15 May 1959. A considerable reward has been offered, subject to usual conditions, but there has been no response.

However, restitution efforts initiated past German politicians have non been gratuitous of controversy, either. As the German law for restitution applies to "cultural assets lost as a result of Nazi persecution, "which includes paintings that Jews who emigrated from Federal republic of germany sold to back up themselves,[51] pretty much any merchandise involving Jews in that era is afflicted, and the benefit of the dubiety is given to claimants. German leftist politicians Klaus Wowereit (SPD, mayor of Berlin) and Thomas Flierl (Linkspartei) were sued in 2006 for beingness overly willing to give away the 1913 painting Berliner Straßenszene of expressionist Ernst Ludwig Kirchner, which was in Berlin's Brücke Museum. On display in Cologne in 1937, information technology had been sold for three,000 Reichsmark by a Jewish family residing in Switzerland to a German collector. This sum is considered by experts to have been well over the market place price.[52] The museum, which obtained the painting in 1980 later several buying changes, could not prove that the family actually received the money. It was restituted[53] to the heiress of the former owners, and she had it auctioned off for $38.1 million.[54]

In 2010, as work began to extend an underground line from Alexanderplatz through the historic metropolis centre to the Brandenburg Gate, a number of sculptures from the degenerate fine art exhibition were unearthed in the cellar of a private house close to the "Rote Rathaus". These included, for example, the bronze cubist manner statue of a female dancer by the creative person Marg Moll, and are now on display at the Neues Museum.[55] [56] [57]

From 2013 upwards to 2015, a committee researched the collection of the Dutch Royal family unit. 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 lodge to discover objects stolen by the Nazis. Information technology appeared that 1 painting of the wood near Huis ten Bosch by the Dutch painter Joris van der Haagen came from a Jewish collector. He was forced to manus the painting over to the onetime Jewish banking company Lippmann, Rosenthal & Co. in Amsterdam,[58] which collected coin and other possessions of the Jews in Amsterdam. The painting was bought past Queen Juliana in 1960. The family plans to return the painting to the heirs of the owner in 1942, a Jewish collector.[59]

Furnishings of Nazi looting today [edit]

Approximately 20 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.[sixty] The majority of what is still missing includes everyday objects such as prc, crystal, or silver. The extent to which looted art was taken was seen according to Spiegler as, "The Nazi art confiscation program has been called the greatest displacement of fine art in man history."[61] : 298 the stop of World State of war II, "The United States Government has estimated that German forces and other Nazi agents before and during World State of war Ii had seized or coerced the sale of 1 fifth of all Western art then in beingness, approximately a quarter of a one thousand thousand pieces of art."[61] : 298 Because of such wide deportation of Nazi looted art from all over Europe, "to this twenty-four hours, some tens of thousands of artworks stolen past the Nazi's take nonetheless not been located."[61] : 299

Some objects of neat cultural significance remain missing, though how much has yet to be determined. This is a major effect for the art market place, since legitimate organizations exercise not desire to deal in objects with unclear buying titles. Since the mid-1990s, after several books, magazines, and newspapers began exposing the discipline to the full general public, many dealers, auction houses, and museums have grown more than careful almost checking the provenance of objects that are available for buy in case they are looted. Some museums in the US and elsewhere accept agreed to check the provenance of works in their collections.[62]

In add-on to the role of courts in determining restitution or compensation, some states take created official bodies for the consideration and resolution of claims. In the UK, the Spoliation Advisory Console advises the Department for Culture, Media and Sport on such claims.[63] IFAR, a not-for-turn a profit educational and research organization, maintains a database of looted art.[64]

In 2013, the Canadian government created the Holocaust-era Provenance Inquiry and Best-Exercise Guidelines Project, through which they are investigating the holdings of six art galleries in Canada.[65]

1992 International Archives for the Women's Motion discovery [edit]

On xiv 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'southward Movement (Dutch: Internationaal Archief voor de Vrouwenbeweging (IAV)), which had been looted in 1940, had been institute 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 Army took the documents from German-occupied Czechoslovakia and, in 1945–1946, stored them in the KGB'southward Osobyi Archive [de] (Russian: Особый архив), meaning special archive, which was housed in Moscow. Though agreements were drafted most immediately after the discovery, bureaucratic delays kept the athenaeum from existence returned for 11 years. In 2003, the partial recovery of the papers of some of the nigh noted feminists in the prewar menses, including Aletta Jacobs and Rosa Manus, some iv,650 books and periodicals, records of the International Council of Women and International Woman Suffrage Brotherhood, amidst many photographs were returned. Approximately half of the original collection is yet unrecovered.[67] [68]

2012 Munich artworks discovery [edit]

In early 2012, over i,000 pieces of artwork were discovered at the home of Cornelius Gurlitt, the son of Hildebrand Gurlitt, of which virtually 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 before World War II in several large German cities.[69] The collection contains works by Marc Chagall, Otto Dix, and Henri Matisse, Renoir, and Max Liebermann among many others.[69]

2014 Nuremberg artworks discovery [edit]

In January 2014, researcher Dominik Radlmaier of the city of Nuremberg appear that eight objects had been identified as lost art with a further eleven being nether strong suspicion. The urban center'due south enquiry project was started in 2004 and Radlmaier has been investigating total-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—merits to have plant a rumored armored railroad train that is believed to exist filled with gold, gems, and weapons. The train was rumored to be sealed in a tunnel in the closing days of World War Two before the plummet of the Third Reich. Simply 10 pct 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. However, 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 all the same to be adamant, still the explorers are requesting 10 percent of the value of whatever is inside the train if their findings are right. Poland's deputy culture government minister, Piotr Zuchowski, said he was "99 percentage convinced" that the train had finally been found, but scientists claim that the explorers' findings are false.[72] [73]

The Jewish Digital Cultural Recovery Project [edit]

The Jewish Digital Cultural Recovery Project (JDCRP) is a comprehensive database that focusses on the Jewish-owned fine art and cultural objects plundered by the Nazis and their allies from 1933 to 1945. The JDCRP was initiated in May 2016 by the Briefing 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 past the Einsatzstab Reichsleiter Rosenberg, one of the primary Nazi agencies involved with the plunder of cultural artifacts in Nazi-occupied nations during World War II.[75]

Past creating this database, the JDCRP is positioned to attain numerous goals. The collection of this data on looted Jewish objects during WWII tin provide a deeper agreement of diverse looting agencies employed past the Nazi political party, electric current whereabouts of individual artifacts, and details on persecuted Jewish artists. In add-on, the data collected past the JDCRP can provide further guidance to families and heirs of art, museums, and the art market. Lastly, the JDCRP can serve as a way to memorialize Jewish artists that were victims of the Nazi party's looting and celebrate their artistic legacies.[76] Overall, the goal of the JDCRP is not to replace existing databases and publications regarding stolen fine art during the Third Reich but rather to supplement the already bachelor data and build upon it with a focus on art plundered from Jews.[77] Furthermore, the mission of the JDCRP is not but to institute a central database for this data and make information technology easily accessible but also to develop a network of institutions that can work to promote additional research on this topic.[76]

The JDCRP accumulates data from a variety of sources. A few examples include inventories of looted objects found past Allied forces, lists of stolen objects submitted by victims, and lists of looted and restituted cultural objects compiled by governments. Once data is gathered on a specific object, the JDCRP strives to exhibit the following pieces of information: details regarding the stolen object, groundwork 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 i January 2020, the JDCRP launched its Pilot Project centered effectually the famous fine art collection of Adolphe Schloss. The purpose of this initial launch is to test the feasibility of a cardinal database for stolen Jewish artifacts and to decide the manner in which the JDCRP database will exist constructed and maintained. This venture is funded by 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, ane of the artworks discovered in Munich in 2012

Come across as well [edit]

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

References [edit]

Notes

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Further reading

  • Campbell, East. (2020). Claiming National Heritage: State Appropriation of Nazi Art Plunder in Postwar Western Europe. Journal of Contemporary History.
  • Edsel, Robert 1000. (Contributions past Brett Witter) (2009). Monuments Men: Allied Heroes, Nazi Thieves and the Greatest Treasure Hunt in History. Center Street. ISBN 978-one-59995-149-ii
  • Edsel, Robert M. (2006). Rescuing Da Vinci. Laurel Publishing. ISBN0-9774349-0-vii.
  • 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. 50. (2008). "The Heringen Collection of the United states Geological Survey Library, Reston, Virginia". Earth Sciences History Journal of the History of the Earth Sciences Lodge v.27, n.2, pp. 242–265.
  • Harclerode, Peter and Pittaway, Brendan (1999). The Lost Masters: WWII and the Looting of Europe'south Treasurehouses. London: Orion Books.
  • Löhr, Hanns Christian (2005): Das Braune Haus der Kunst: Hitler und der Sonderauftrag Linz, Akademie-Verlag,ISBN three-05-004156-0
  • Löhr, Hanns Christian (2018): Kunst als Waffe – Der Einsatzstab Reichsleiter Rosenberg, Ideologie und Kunstraub im „Dritten Reich", Gebr. Mann, ISBN 978-3-7861-2806-ix.
  • Nicholas, Lynn (1994). The Rape of Europa. London: Macmillan Publishers.
  • O'Connor, Anne-Marie (2012). The Lady in Aureate, The Boggling Tale of Gustav Klimt'south Masterpiece, Portrait of Adele Bloch-Bauer, Alfred A. Knopf, New York, ISBN 0-307-26564-i.
  • OSS Report: Activity of the Einsatzstab Rosenberg in France, xv August 1945
  • Petropoulos, Jonathan (1996). Art as Politics in the Third Reich. Chapel Hill: University of N 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 Fine art: The Story of Hitler's Plunder of the Great Masterpieces of Europe. New York: Coward-McCann. OCLC 846620.
  • Schwarz, Birgit (2004). Hitler'southward Museum. Die Fotoalben Gemäldegalerie Linz, Wien, Böhlau Verlag. ISBN 3-205-77054-iv
  • Simpson, Elizabeth (1997). The Spoils of War – Globe State of war 2 and Its Backwash: The Loss, Reappearance, and Recovery of Cultural Property. New York: Harry N. Abrams in association with the Bard Graduate Center.
  • Slany, William Z. "U.S. Interagency Report on U.Due south. and Allied Wartime and Mail Postwar Relations and Negotiations with Argentina, Portugal, Spain, Sweden, and Turkey on Looted Aureate and High german External Assets." American Academy International Law Review 14, no. i (1998): 147–153.
  • Yeide, Nancy H. (2009). Across Dreams of Avarice: The Hermann Göring Collection. Laurel Publishing. ISBN 978-0-9774349-1-6 (Foreword past Robert 1000. 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 Function (HCPO) of the New York Land Cyberbanking Department
  • The Commission for the Compensation of Victims of Spoliation (Commission cascade l'Indemnisation des Victimes de Spoliations), CIVS, France
  • The Holocaust Victims' Information and Support Centre (HVISC), Republic of austria
  • Washington Briefing 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 Market
  • Nazi Gold and Art – Hitler's Third Reich in the News
  • Project for the Documentation of Wartime Cultural Losses – Website of the Cultural Property Enquiry Foundation, Inc.
  • Commodity The DIA does the Right Thing
  • The Central Registry of Information on Looted Cultural Property 1933–1945
  • International Foundation for Art Enquiry
  • Rape of Europa – documentary almost 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 2, Deventer, The netherlands 2017 [ permanent expressionless link ]
  • Records about Recovery of Holocaust-Era Assets bachelor in the Archival Research Catalog of the National Archives and Records Administration
  • Nazi Agencies Engaged in the Annexation of Material Culture
  • Database on the Sonderauftrag Linz (Special Commission: Linz)
  • Cultural Plunder past the Einsatzstab Reichsleiter Rosenberg: Database of Art Objects at the Jeu de Paume
  • The Central Registry of Information on Looted Cultural Holding 1933-1945
  • Looted Art Bibliography: National Archives

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

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