Hitler’s label for what is now called modern art was “degenerate art”. This refers to the idea of a degrading of the ideals Hitler had of the German people and his ideal Germany. It is associated with Jewish or partial Jewish painters such as Max Liebermann. These works were targeted at the beginning of Hitler’s reign and should not be confused with later looted art, or spoils of war taken during Nazi occupation. Hitler used museum curators and art historians that were willing to remove the works of artist like Chagall, Lieberman, and Picasso. The works were then sold to fund the Nazi party. In November 2013 the press reported on a large stash of these “degenerate art” paintings found in an apartment in Munich, Germany. Cornelius Gurtlitt, an elderly gentleman in his late seventies, under investigation for tax evasion was reported to have 1,400 works of art stashed in his apartment (States News Service). Mr. Gurlitt claims that the works belonged to him and were collected by his father Hldebrand Gurlitt. In this paper I would like to look at the issue of family secrets related to the collection art. Why these works of art create such an obsession among their collectors that they are willing to create family secrets that effect generations. In the case of Cornelius Gurlitt his life was transformed by his father’s activities during World War II. Dr. Hildebrand Gurlitt directed the Zwichua Museum before Hitler’s rise to power was removed as director for “pursuing an artistic policy affronting the healthy folk feeling of Germany” (Nicholas,9). Despite this he would later be considered one of the head art dealers for Hitler selling the types of work that he was fired for showing in the Zwichau Museum. It is possible that through... ... middle of paper ... ...Phanton Cornelius Gurlitt Shares His Secrets." Spiegel Online. N.p., 17 Nov. 2013. Web. 19 Jan. 2014. . Meyer, Karl E. "Who Owns the Spoil of War?" Archaelogy 48.4 (1995): 46-52. JSTOR. Web. 19 Jan. 2014. Meyer, Karl E. "Who (Really) Owns the Spoils of War?" World Policy Journal 23.1 (2006): 85-91. JSTOR. Web. 17 Jan. 2014. "Mystery Shrouds Discovery of Art Trove Stolen by Nazis." Times of Oman [Muscat] 5 Nov. 2013: n. pag. Infotrac Newstand. Web. 19 Jan. 2014. Nicholas, Lynn H. The Rape of Europa: The Fate of Europe's Treasures in the Third Reich and the Second World War. New York: Knopf, 1994. Print. "Under Pressure, Germany Speeds Investigation of Nazi-:Looted Art." States News Service 11 Nov. 2013: n. pag. Infotrac Newstand. Web. 19 Jan. 2013.
In the years between 1933 and 1945, Germany was engulfed by the rise of a powerful new regime and the eventual spoils of war. During this period, Hitler's quest for racial purification turned Germany not only at odds with itself, but with the rest of the world. Photography as an art and as a business became a regulated and potent force in the fight for Aryan domination, Nazi influence, and anti-Semitism. Whether such images were used to promote Nazi ideology, document the Holocaust, or scare Germany's citizens into accepting their own changing country, the effect of this photography provides enormous insight into the true stories and lives of the people most affected by Hitler's racism. In fact, this photography has become so widespread in our understanding and teaching of the Holocaust that often other factors involved in the Nazi's racial policy have been undervalued in our history textbooks-especially the attempt by Nazi Germany to establish the Nordic Aryans as a master race through the Lebensborn experiment, a breeding and adoption program designed to eliminate racial imperfections.
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One of the most important Schliemann’s works was his discovery for Troy. Schliemann started excavation in Hissarlik, which is the modern name of Troy, before archeology became a developed professional field. In May 1873, he found gold and other objects in the site of excavation and named it “Priam’s Treasure”. Later, Sophia Schliemann, which is his wife, wore the jewels Schliemann found in Troy excavation site to the public. The Turkish government then cancelled the permission Schliemann had to excavate and sued him to share the gold he found. However, Schliemann claimed that he smuggled the treasure he found out of Turkey in order to protect it. So, the conclusion of the excavation in Troy was the gold and treasure Schliemann found.
...r figure out what these paintings really stand for. In recent years they have been painted over and redone in certain areas, so something needs to be found before there are no paintings left.
Jus ad bellum is defined as “justice of war” and is recognized as the ethics leading up to war (Orend 31). Orend contends that an...
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As the young boy grew, he began to have a love for art and wanted to become an artist, but his father, however, did not have a care of his son’s dreams, but instead wanted him to grow up, following in his footsteps; in which Adolf rebelled against.
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I appeal to you today to discuss the network of crime developed specifically for stealing priceless works of art and to recognize the destruction of various historical artifacts. Art stolen for its value is not only theft but also a disrespect to its importance as a historical and cultural symbol as well as the artist and community. The unjustified destruction of art and heritage sites due to iconoclasm marks the disrespect and dismissal of various cultures.
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