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.
Von Clausewitz, Carl. Translated and edited by Sir Michael Howard and Peter Paret. On War. Princeton: Princeton University Press, 1976.
"World War II in Europe." 10 June 2013. United States Holocaust Memorial Museum. 18 March 2014 .
In the film it is stated that during World War II the Nazi party started to forcefully collect artworks from all around Europe in 1939. The term forcefully collect is better described as stealing. Hitler wanted these artworks to add to his personal collection. This became his hobby. His hobby took to others in the regime and eventually all high ranking officers were looting paintings for the sport of it. As it progressed collecting art became a required hobby for them.
Moseley, Alexander. "Internet Encyclopedia of Philosophy." Just War Theory. Internet Encyclopedia of Philosophy, 10 Feb. 2009. Web. 31 Mar. 2012. .
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.
"The Disappointed Art Lover." writ. Francis Sparshott. The Forger's Art. gen. ed. Denis Dutton. Berkeley: University of California Press, 1983.
Hap is a traditional art lover who dislikes modern pieces. He does accept the work as art “if he can’t tell what it is”. This is proved after his visit to the art gallery and observing a pile of abstract exhibits, which he describes “as bizarre”. Moreover, he does not understand the fact that the heap of burned wire with red paintwork he gave away to Axel is sold for $15 000 by the bank and is highly valued as a sculpture. He cannot even “imagine what the bank saw that merited an expenditure” of this great cost, believing that Axel’s work does not qualify as art. This indicates that Hap will also feel the doubts about the value of Warhol’s creations in New York, the place where he is considered “one of the top commercial artists”, on the contrary to the response of Canada.
McDonald. “Just War Theory.” Humanities. Boston University. College of General Studies, Boston. 24 February 2014. Lecture.
“Duncan’s (1991) article provides an examination of western museums as a vehicle for the “modern state” to project imperialistic values over art objects of the Third World. The American/European art museum is a type of “temple” that is used to ritualize western art objects as a projection of modernity over the “primitive” art of Third World cultures.”
The Haus der Kunst, or House of Art, is an art museum located in Munich, Germany. The rich history of the museum and the city in which it lies is strongly tied to the Nazi party’s rise to power. The construction of the exhibits and the museum itself was strongly propelled by Hitler’s efforts and his opinions on art: on what to preserve and what to destroy. The museum and what it portrays has changed in many ways from the original vision Hitler held for it, survived through WWII, and still remains a prominent museum in Germany today (“Historical Documentation”).
Parker, Geoffrey. “The Western Way of War.” In History of Warfare: The Triumph of the West, 2-9. Cambridge: Cambridge University Press, 1995.
Whether its money, a phone, a car, or a masterpiece, which in turn the pilfered items are sold on the black-market, or out on the street. For an art buff, collector, or a curator, this is an absolute nightmare. Often when stored the crooks simply roll the masterpiece up in a suitcase, or simply cover the canvases with sheets. The damage this does to the works can be horrendous. A light must be shine on this dark branch of crime, awareness could return works of art that are missing, or are thought to be lost forever. Then perhaps one day the term “rescue artists” may not have to be used.
Steinweis, Alan. Art, Ideology, & Economics in Nazi Germany: The Reich Chambers of Music, Theater, and the Visual Arts. NC:
Art theft is a crime that has been on the rise for the last half of this century. “According to law enforcement officials, art theft now ranks second only to drugs as the world’s most lucrative illegal activity.” (Journal of Commerce) Whether bought, created, or stolen, art has become something that is of great demand. “Art theft has flourished as never before. Just keeping up with the number of stolen objects and their total value is a big-time guessing game.” (Dudar) This is a problem that not only faces us as art owners and collectors, but museums and auction houses as well. Everyone possessing a piece of artwork is at risk of art theft. This artwork doesn’t have to be anything out of the ordinary to be a target. Along with famous paintings, sculptures, and other types of artwork, many insignificant or unrecognized pieces of artwork are being stolen too. “Most thefts appear to be the work of thieves without serious art education. Along with the good stuff, they are apt to sweep up junk – those sappy gift-shop paintings of kids with enormous eyes, for example, which no serious collector would covet.” (Lowenthal) On the other hand some of these thefts are being done by some of the best in the business. “Some thieves have turned out to be professionals who, following fashion, switched from robbing video stores to burgling art. Some are actually specialists in vehicle t...
Carl von Clausewitz, “What is War?” On War. Edited and translated by Michael Howard and Peter Paret, 89-112. Princeton, NJ: Princeton University Press, 1976.