Germany

“Cornelius Gurlitt and the complexities of rehoming Nazi-looted art”

“Cornelius Gurlitt and the complexities of rehoming Nazi-looted art”

by Rita Lobo via “European CEO“

A priceless haul of invaluable art thought to have been destroyed by the Nazi’s has recently been uncovered in Germany, raising questions about if and how artefacts are returned to their rightful owners or their heirs

“A priceless haul of invaluable art thought to have been destroyed by the Nazi’s has recently been uncovered in Germany, raising questions about if and how artefacts are returned to their rightful owners or their heirs

When the Bavarian customs officer searched Cornelius Gurlitt aboard a train crossing the Lindau Border in 2010, he had no way of knowing that he was about to reignite one of the fiercest cultural debates in European history. Gurlitt, the son of an important German art curator during World War II, turned out to be sitting on a veritable trove of priceless works of art thought to have been lost during or shortly after the war – a fact only discovered because police raided his home on suspicions of tax evasion.

An elderly recluse living in an affluent neighbourhood of Munich, Gurlitt had inherited from his father, Hildebrand, over 1,200 pieces the curator had acquired during the war. The story of how Hildebrand Gurlitt came to be in possession of such an array of what the Nazi’s had labelled ‘degenerate art’ – during a time when collectors were fleeing Europe in droves – is murky at best. But because Germany does not have a law preventing anyone or any institutions from owning looted art, it is unlikely that the provenance of Gurlitt’s collection matters very much, should he wish to retain it.

There is no evidence that Hildebrand, who was part Jewish, stole any . . . .”

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“New Candidates for World Heritage Titles”

“New Candidates for World Heritage Titles”

via “Deutschland.de”

“Hamburg’s Speicherstadt and the Naumburg Cathedral are to be included in the UNESCO World Cultural Heritage List. This was announced by the Conference of Cultural Ministers. They have submitted the nominations to the GermanFEDERAL GOVERNMENT with the request that this be passed on to UNESCO in Paris.

Hamburg’s docklands Speicherstadt was built between 1885 and 1927 is widely regarded as the largest coherent and uniform storage and warehouse ensemble in the world, the applicants submitted. The Naumburg Cathedral in SAXONY Anhalt is, the Conference of Cultural Ministers continued, the most visible symbol of a unique cultural LANDSCAPE that evolved from High Medieval structures. The figures of the patron founders in the cathedral are “among the most outstanding created by European Medieval sculptors.”

The UNESCO World Cultural Heritage committee convenes once a year and will decide on the two nominations at its summer 2015 meeting. . . . “

‘Degenerate Art’ Opens at Neue Galerie in the Spring

‘Degenerate Art’ Opens at Neue Galerie in the Spring

by Carol Vogel via “NY Times”

The Neue Galerie’s big spring show, “Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937,” has been nearly three years in the making, yet it seems particularly prescient after the discovery last month of what may well be the biggest trove of missing 20th-century European art — about 1,400 works suspected of being traded or looted during the Nazis’ reign, including paintings by Matisse, Chagall, Renoir, Toulouse-Lautrec, Picasso and a host of other masters. Some disappeared in the late 1930s, around the time the Nazis raided German museums and public collections, confiscating works they called degenerate because Hitler deemed them un-German or Jewish in nature. . . .

This would be interesting to catch; I’m surprised so many works survived, since the Nazis destroyed so much of what they disapproved of (the loss in literary history was devastating).  It is a relief to know that so much survived, and I would be fascinated to attend this showing.  If anyone has a chance to go, a review would be greatly appreciated!