The document summarizes the Nazi campaign against "degenerate art" in Germany in the 1930s-1940s. It begins with background on Hitler's rise to power and views on art. It then discusses what was considered "degenerate" (anything not aligned with Hitler's views), the 1937 campaign where over 20,000 works were confiscated from museums, and the infamous "Degenerate Art" exhibition that toured Germany and Austria to ridicule the targeted artists. Many artists fled or faced persecution. While only a few targeted artists were Jewish, their works and those of other modernist artists were banned. The campaign was a tool for Hitler to control culture according to his racist ideology.
The Nazi government established the Reich Culture Chamber to control and censor all art and literature according to Nazi ideals of racial purity. The Chamber established standards for different artistic fields that artists had to follow to work. Music deemed "degenerate" like jazz or composed by Jewish artists was banned. The Nazis promoted the works of composers like Beethoven, Wagner, and Bruckner. Over 2,500 writers and artists fled Germany to escape Nazi censorship of their works. The Reich Music Examination Office banned over 100 songs that did not promote Nazi ideals. Goebbels controlled publishing and literature had to focus on approved themes like glorifying war.
Pop art emerged in the 1950s and celebrated commonplace objects and popular culture. Key artists included Richard Hamilton and Edouardo Paolozzi in Britain as well as Andy Warhol in the US. In Germany, Capitalist Realism had a similar focus on consumer culture and mass media imagery, led by Sigmar Polke. France saw the Nouveau Réalisme movement which directly incorporated mass culture, championed by artists like Yves Klein. Op art used optical illusions to confuse the eye, exemplified by Victor Vasarely's works. Viennese Actionism featured extreme performances using organic materials. Arte Povera criticized modernity and technology through works incorporating everyday items. Neo-Expressionism revived painting
This document contains a collection of photos taken by renowned photographer Henri Cartier-Bresson from various locations around the world between 1932 and 1976. The photos depict people and events in countries such as France, England, the Soviet Union, India, Germany, Cuba, Japan, Spain, Iran, and the United States. Many of the photos show everyday life and cultural events while others document important historical moments like demonstrations in Paris and the construction of the Berlin Wall.
The Holocaust overview document outlines key events and aspects of the Holocaust from 1918 to 1945. It discusses the rise of Hitler and the Nazi party in Germany, the establishment of concentration and death camps like Auschwitz and Treblinka, victims which included Jews, Gypsies, and other groups, life in ghettos, and the Final Solution plan for genocide. It also mentions propaganda efforts, resistance, rescuers like Schindler, and the final liberation as Allied troops advanced in 1945.
Federal Bar Association ND Ohio IP Crimes Seminar on Nazi Art LootingRaymond Dowd
Murder, Mystery and Egon Schiele\'s Dead City: Nazi Art Loooting and Swiss Laundering of Stolen Art. Presentation during Intellectual Property Crimes seminar at the Northern District of Ohio Chapter of the Federal Bar Association in the Carl B. Stokes U.S. Courthouse
This document discusses Edward Steichen's career shift from pioneering art photographer to photographer focused on informational and commercial work. It notes his turning point during World War I as chief of the US Army Photographic Section, where he took realistic photographs for documentation. After the war, his style fully changed as lead photographer at Condé Nast publications from 1923-1937, where he took sharp, clear pictures intended for popular consumption. Examples of his early soft-focus art photographs are contrasted with his later realistic wartime and commercial photographs.
Sothebys Institute Egon Schieles Dead CityRaymond Dowd
Presentation at New York State Bar Association and Sotheby\'s Institute of Art on Egon Schiele\'s Dead City and Nazi Art Looting - Current Legal Issues
The document summarizes the Nazi campaign against "degenerate art" in Germany in the 1930s-1940s. It begins with background on Hitler's rise to power and views on art. It then discusses what was considered "degenerate" (anything not aligned with Hitler's views), the 1937 campaign where over 20,000 works were confiscated from museums, and the infamous "Degenerate Art" exhibition that toured Germany and Austria to ridicule the targeted artists. Many artists fled or faced persecution. While only a few targeted artists were Jewish, their works and those of other modernist artists were banned. The campaign was a tool for Hitler to control culture according to his racist ideology.
The Nazi government established the Reich Culture Chamber to control and censor all art and literature according to Nazi ideals of racial purity. The Chamber established standards for different artistic fields that artists had to follow to work. Music deemed "degenerate" like jazz or composed by Jewish artists was banned. The Nazis promoted the works of composers like Beethoven, Wagner, and Bruckner. Over 2,500 writers and artists fled Germany to escape Nazi censorship of their works. The Reich Music Examination Office banned over 100 songs that did not promote Nazi ideals. Goebbels controlled publishing and literature had to focus on approved themes like glorifying war.
Pop art emerged in the 1950s and celebrated commonplace objects and popular culture. Key artists included Richard Hamilton and Edouardo Paolozzi in Britain as well as Andy Warhol in the US. In Germany, Capitalist Realism had a similar focus on consumer culture and mass media imagery, led by Sigmar Polke. France saw the Nouveau Réalisme movement which directly incorporated mass culture, championed by artists like Yves Klein. Op art used optical illusions to confuse the eye, exemplified by Victor Vasarely's works. Viennese Actionism featured extreme performances using organic materials. Arte Povera criticized modernity and technology through works incorporating everyday items. Neo-Expressionism revived painting
This document contains a collection of photos taken by renowned photographer Henri Cartier-Bresson from various locations around the world between 1932 and 1976. The photos depict people and events in countries such as France, England, the Soviet Union, India, Germany, Cuba, Japan, Spain, Iran, and the United States. Many of the photos show everyday life and cultural events while others document important historical moments like demonstrations in Paris and the construction of the Berlin Wall.
The Holocaust overview document outlines key events and aspects of the Holocaust from 1918 to 1945. It discusses the rise of Hitler and the Nazi party in Germany, the establishment of concentration and death camps like Auschwitz and Treblinka, victims which included Jews, Gypsies, and other groups, life in ghettos, and the Final Solution plan for genocide. It also mentions propaganda efforts, resistance, rescuers like Schindler, and the final liberation as Allied troops advanced in 1945.
Federal Bar Association ND Ohio IP Crimes Seminar on Nazi Art LootingRaymond Dowd
Murder, Mystery and Egon Schiele\'s Dead City: Nazi Art Loooting and Swiss Laundering of Stolen Art. Presentation during Intellectual Property Crimes seminar at the Northern District of Ohio Chapter of the Federal Bar Association in the Carl B. Stokes U.S. Courthouse
This document discusses Edward Steichen's career shift from pioneering art photographer to photographer focused on informational and commercial work. It notes his turning point during World War I as chief of the US Army Photographic Section, where he took realistic photographs for documentation. After the war, his style fully changed as lead photographer at Condé Nast publications from 1923-1937, where he took sharp, clear pictures intended for popular consumption. Examples of his early soft-focus art photographs are contrasted with his later realistic wartime and commercial photographs.
Sothebys Institute Egon Schieles Dead CityRaymond Dowd
Presentation at New York State Bar Association and Sotheby\'s Institute of Art on Egon Schiele\'s Dead City and Nazi Art Looting - Current Legal Issues
After WWII, art in Europe explored existential themes through abstract styles like Tachisme and Lyrical Abstraction. Key artists included Jean Dubuffet who coined the term "Art Brut" to describe outsider art, and Alberto Giacometti whose elongated figural sculptures reflected postwar anxiety. In England, Francis Bacon and other members of the "School of London" used distorted figures and thick paint to confront human brutality. Meanwhile in Japan, the Gutai group pioneered performances and installations using found materials and the human body to challenge artistic conventions.
The Nazis condemned composers they considered a threat to an ideal German life by labeling their music "degenerate". In 1938, they held an exhibition called "Entartete Musik" in Düsseldorf to denounce composers deemed "degenerate". The Cultural Minister explained the decay of music was due to Jewish and capitalist influences. Nearly all the musicians affected, including those writing atonal or jazz-influenced music, or who had Jewish backgrounds, were deported or killed, hugely impacting European musical life.
This document contains a collection of historical photographs from various time periods showcasing people and events from around the world. The photographs depict scenes such as a woman waking workers before clocks, construction of famous landmarks like the Eiffel Tower and Christ the Redeemer statue, celebrities like Charlie Chaplin and Albert Einstein, everyday life during times of war and crisis like children in bomb shelters during World War 2 and a Russian doctor removing his own appendix in Antarctica, and more. Overall, the photographs provide a glimpse into life, culture, and history from the past.
Music was tightly controlled under the Nazi regime to promote Aryan supremacy. Only compositions by approved German composers fitting Nazi standards of "good music" were allowed, while music by Jews and those deemed degenerate was banned. Hitler favored the compositions of Wagner, Beethoven, and Bruckner as representing superior German music and used Bayreuth Festivals promoting Wagner's anti-Semitic operas for Nazi propaganda. Hundreds of Jewish and disfavored musicians had their careers ended and works censored under Nazi racial policies.
Abstract expressionism was an American post-World War II art movement developed in New York in the 1940s that achieved international influence and made New York City the new center of the western art world, surpassing Paris. It featured paintings by American artists like Arshile Gorky, Franz Kline, and Mark Rothko that moved away from figurative representation toward abstraction through raw emotion and gesture.
This document provides an overview of 19th century photography through descriptions and images of important developments, photographers, and photographic processes from its invention in the 1820s through the late 1800s. It highlights early pioneers like Joseph Nicéphore Niépce, Louis Daguerre and William Henry Fox Talbot, and the development of techniques like heliographs, daguerreotypes, calotypes and albumen prints. It also showcases photographers who popularized uses like portraiture, landscapes, architecture, and photojournalism, as well as innovations that made photography more accessible to the masses through Kodak.
Over the last 10 years, the market for Russian art has grown by a factor of 30 and now accounts for $400 million in sales a year, and the role of Russians on the international art market is ever more noticeable. In turn, art scandals involving Russians are also increasing in number. Russia! magazine has published a Top 10 rating of the biggest scandals on the Russian art market at the beginning of 21st century.
A slideshow connected to a lecture of Twentieth-Century Photography available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Beth Saunders.
World War II was a global war that lasted from 1939 to 1945. Some key events included Germany invading Poland in 1939 starting the war in Europe, Germany bombing British cities, the Battle of Britain, Germany invading the Soviet Union in 1941, Japan attacking Pearl Harbor in 1941 bringing the United States into the war, major battles like Stalingrad, Normandy, and the Battle of the Bulge, the dropping of atomic bombs on Hiroshima and Nagasaki in 1945, and Germany and Japan surrendering in 1945, ending the war.
World War 2 began in 1939 with Germany invading Poland and ended in 1945 with the US bombing of Hiroshima and Nagasaki. The war devastated Europe and brought revelations of the Holocaust where an estimated 6 million Jews were killed. Many artists felt compelled to bear witness through their work, grappling with how to represent the indescribable horrors of war and the concentration camps. This led to the emergence of abstract styles in Europe and America as artists searched for ways to represent the trauma that seemed beyond conventional means.
This document contains a collection of historical photos from various time periods showcasing important events, people, places and inventions throughout history. The photos depict things like the Titanic leaving port, the first airplane flight by the Wright brothers, Nazi Germany in the 1930s, the atomic bombs dropped on Japan in 1945, and the construction of landmarks like the Golden Gate Bridge and Statue of Liberty. The collection offers a visual timeline of significant people and milestones in technology, war, politics and more from the 19th century to the mid 20th century.
This document contains a collection of historical photos from various time periods showcasing important events, people, places, and inventions throughout history. The photos depict things like the Titanic leaving port, the first airplane flight by the Wright brothers, Nazi Germany in the 1930s, the atomic bombings of Japan in 1945, and the construction of landmarks like the Golden Gate Bridge and Statue of Liberty. Overall, the document serves as a visual timeline of significant people and milestones that shaped history from the 1800s to the mid-1900s.
This document summarizes some of the major battles of World War 2, including key dates and locations. It discusses how the war impacted populations, such as reducing the global Jewish population by 80%. Background information is provided on leaders like Adolf Hitler and major turning points in the war, such as the Soviet liberation of Auschwitz concentration camp which revealed the full horrors of the Holocaust. A timeline of significant dates in 1945 lists locations of surrenders and declarations of victory by Allied forces.
The document discusses the role of film and photography during World War 1. It provides examples of early camera technologies that made photography more portable and durable for documenting battles. It then shares over 20 images taken during the war that capture scenes from the front lines, battlefield surveillance from airplanes, the aftermath of bombings and battles, and portraits of soldiers. The images document major battles like Passchendaele and Verdun and come from photographers including Edward Steichen who served with the US Air Service.
Museums and Art of the Shoah: from Nathan Rapaport and Corrado Cagli to Richa...paolo coen
Presentation dedicated to the relationship betw. Art and Shoah as well as to Museums and Shoah (Holocaust); some key cases are Corrado Cagli, Nathan Rapaport and Richard Serra
From the New South Wales Art Gallery, Sydney website :-
"Established in 1871, the Gallery is proud to present fine international and Australian art in one of the most beautiful art museums in the world. We aim to be a place of experience and inspiration, through our collection, exhibitions, programs and research."
"Modern and contemporary works are displayed in expansive, light-filled spaces, offering stunning views of Sydney and the harbour, while our splendid Grand Courts are home to a distinguished collection of colonial and 19th-century Australian works and European old masters. There are also dedicated galleries celebrating the arts of Asia and Aboriginal and Torres Strait Islander art.
Kristallnacht, also known as the Night of Broken Glass, refers to a pogrom against Jews throughout Nazi Germany on November 9-10, 1938. It was prompted by the assassination of a German diplomat by a Jewish man. During the riots, Nazis attacked Jewish people, synagogues, homes and businesses. Over 1,000 synagogues were destroyed, 7,500 Jewish businesses were damaged and 91 Jews were killed. In the aftermath, Jews lost citizenship, 30,000 Jewish men were arrested and sent to concentration camps, and Jews faced further legal persecution and discrimination. Kristallnacht marked a major escalation of Nazi violence against Jews and is widely seen as the start of the Holocaust.
Culture and the arts flourished during the Weimar era in Germany (1919-1933) for several reasons. Photographers like August Sander and the invention of the portable Leica camera helped popularize photojournalism. The Bauhaus school had a major influence on architecture, design, and art. Many influential artists, writers, playwrights, and philosophers were active during this period, including Bertolt Brecht, Kurt Weill, George Grosz, Hannah Hoch, Thomas Mann, Martin Heidegger, and Arnold Schoenberg. This era also saw the rise of new forms of media like illustrated weeklies and political posters that engaged with the social and political issues of the time.
This document summarizes key issues surrounding cultural property law, including past instances of looting and destruction, present efforts toward repatriation and restitution, and potential future disputes. It provides context on the origins of modern cultural property law through conventions like the 1954 Hague Convention, which aimed to protect cultural artifacts during wartime. It then examines two notable cultural property disputes - Cambodia seeking the return of looted statues from the Metropolitan Museum of Art in New York, and a church in Cyprus pursuing legal action to recover religious icons. The document analyzes these cases and discusses how cultural property disputes are often resolved through private negotiations or courts.
The document provides an overview of major artistic movements in Europe and America between 1900-1945. It discusses the evolution of modernism through Fauvism, German Expressionism, Cubism, Futurism, Dada and Surrealism in Europe. In America, it covers the impact of the 1913 Armory Show, various styles in the early 20th century, art of the Depression era depicting social issues, and Regionalism. Key artists and works from the period are also mentioned.
42212 Washingtonpost.com New York Art Show in a Heap of Con.docxalinainglis
4/22/12 Washingtonpost.com: New York Art Show in a Heap of Controversy
1/4www.washingtonpost.com/wp-srv/national/daily/sept99/brooklyn24.htm
On The Web
The Brooklyn
Museum of Art
New York Art Show in a Heap of Controversy
By Paula Span
Washington Post Staff Writer
Friday, September 24, 1999; Page C1
NEW YORK, Sept. 23—He's particularly outraged, Mayor Rudolph
Giuliani has said, by a collage of the Virgin Mary dotted with elephant
dung. He isn't impressed by the pickled pig carcasses, either. And he's
taken dead aim at the Brooklyn Museum of Art: It will lose $7 million
in city funds, he warns, unless it cancels a "sick" exhibit of British
works scheduled to open next week.
But the museum has vowed that the show will proceed regardless.
And all the usual parties--outraged defenders of religion, infuriated
civil libertarians, art world types rolling their eyes--are taking up their
now-accustomed positions. The Culture Wars have flared anew, this
time in a city that likes to think it's above such things and a state where
the jousting may draw in would-be senator Hillary Rodham Clinton.
"Sensation: Young British Artists From the Saatchi Collection," which
has already drawn throngs in London and Berlin, always aimed to be
provocative. Its 90 works include a rotting cow's head and a shark
preserved in a tank of formaldehyde, both by internationally known
take-that artist Damien Hirst, another artist's sculpture made from his
own frozen blood, and a portrait of a convicted child murderer
fashioned from what look like tiny handprints. The Brooklyn
Museum's ad agency came up with a cheerful mock "health warning"
that's run in several publications and is slated to appear on city buses
and in a half-page New York Times ad: "The contents of this
exhibition may cause shock, vomiting, confusion, panic, euphoria and
anxiety."
But shock and confusion arose earlier than expected, once a Daily
News story brought the show to the attention of the combative mayor.
The City of New York provides almost a third of the Brooklyn
Museum's $23 million annual operating budget, and Giuliani has
announced that its monthly check won't be in the mail on Oct. 1 as
long as "Sensation" remains on the calendar. Giuliani's probable
opponent in next year's Senate race had nothing to say on the subject
today, but the mayor had plenty.
When a reporter asked Giuliani at his regular news briefing
Wednesday whether the exhibit was offensive, he let fly. "Well, it
offends me," he said. "The idea, in the name of art, of having a city-
4/22/12 Washingtonpost.com: New York Art Show in a Heap of Controversy
2/4www.washingtonpost.com/wp-srv/national/daily/sept99/brooklyn24.htm
subsidized building have so-called works of art in which people are
throwing elephant dung at a picture of the Virgin Mary is sick. If
someone wants to do that privately and pay for it privately, that's what
the First Amendment is all about. . . . But to have the government
subsidize something like t.
After WWII, art in Europe explored existential themes through abstract styles like Tachisme and Lyrical Abstraction. Key artists included Jean Dubuffet who coined the term "Art Brut" to describe outsider art, and Alberto Giacometti whose elongated figural sculptures reflected postwar anxiety. In England, Francis Bacon and other members of the "School of London" used distorted figures and thick paint to confront human brutality. Meanwhile in Japan, the Gutai group pioneered performances and installations using found materials and the human body to challenge artistic conventions.
The Nazis condemned composers they considered a threat to an ideal German life by labeling their music "degenerate". In 1938, they held an exhibition called "Entartete Musik" in Düsseldorf to denounce composers deemed "degenerate". The Cultural Minister explained the decay of music was due to Jewish and capitalist influences. Nearly all the musicians affected, including those writing atonal or jazz-influenced music, or who had Jewish backgrounds, were deported or killed, hugely impacting European musical life.
This document contains a collection of historical photographs from various time periods showcasing people and events from around the world. The photographs depict scenes such as a woman waking workers before clocks, construction of famous landmarks like the Eiffel Tower and Christ the Redeemer statue, celebrities like Charlie Chaplin and Albert Einstein, everyday life during times of war and crisis like children in bomb shelters during World War 2 and a Russian doctor removing his own appendix in Antarctica, and more. Overall, the photographs provide a glimpse into life, culture, and history from the past.
Music was tightly controlled under the Nazi regime to promote Aryan supremacy. Only compositions by approved German composers fitting Nazi standards of "good music" were allowed, while music by Jews and those deemed degenerate was banned. Hitler favored the compositions of Wagner, Beethoven, and Bruckner as representing superior German music and used Bayreuth Festivals promoting Wagner's anti-Semitic operas for Nazi propaganda. Hundreds of Jewish and disfavored musicians had their careers ended and works censored under Nazi racial policies.
Abstract expressionism was an American post-World War II art movement developed in New York in the 1940s that achieved international influence and made New York City the new center of the western art world, surpassing Paris. It featured paintings by American artists like Arshile Gorky, Franz Kline, and Mark Rothko that moved away from figurative representation toward abstraction through raw emotion and gesture.
This document provides an overview of 19th century photography through descriptions and images of important developments, photographers, and photographic processes from its invention in the 1820s through the late 1800s. It highlights early pioneers like Joseph Nicéphore Niépce, Louis Daguerre and William Henry Fox Talbot, and the development of techniques like heliographs, daguerreotypes, calotypes and albumen prints. It also showcases photographers who popularized uses like portraiture, landscapes, architecture, and photojournalism, as well as innovations that made photography more accessible to the masses through Kodak.
Over the last 10 years, the market for Russian art has grown by a factor of 30 and now accounts for $400 million in sales a year, and the role of Russians on the international art market is ever more noticeable. In turn, art scandals involving Russians are also increasing in number. Russia! magazine has published a Top 10 rating of the biggest scandals on the Russian art market at the beginning of 21st century.
A slideshow connected to a lecture of Twentieth-Century Photography available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Beth Saunders.
World War II was a global war that lasted from 1939 to 1945. Some key events included Germany invading Poland in 1939 starting the war in Europe, Germany bombing British cities, the Battle of Britain, Germany invading the Soviet Union in 1941, Japan attacking Pearl Harbor in 1941 bringing the United States into the war, major battles like Stalingrad, Normandy, and the Battle of the Bulge, the dropping of atomic bombs on Hiroshima and Nagasaki in 1945, and Germany and Japan surrendering in 1945, ending the war.
World War 2 began in 1939 with Germany invading Poland and ended in 1945 with the US bombing of Hiroshima and Nagasaki. The war devastated Europe and brought revelations of the Holocaust where an estimated 6 million Jews were killed. Many artists felt compelled to bear witness through their work, grappling with how to represent the indescribable horrors of war and the concentration camps. This led to the emergence of abstract styles in Europe and America as artists searched for ways to represent the trauma that seemed beyond conventional means.
This document contains a collection of historical photos from various time periods showcasing important events, people, places and inventions throughout history. The photos depict things like the Titanic leaving port, the first airplane flight by the Wright brothers, Nazi Germany in the 1930s, the atomic bombs dropped on Japan in 1945, and the construction of landmarks like the Golden Gate Bridge and Statue of Liberty. The collection offers a visual timeline of significant people and milestones in technology, war, politics and more from the 19th century to the mid 20th century.
This document contains a collection of historical photos from various time periods showcasing important events, people, places, and inventions throughout history. The photos depict things like the Titanic leaving port, the first airplane flight by the Wright brothers, Nazi Germany in the 1930s, the atomic bombings of Japan in 1945, and the construction of landmarks like the Golden Gate Bridge and Statue of Liberty. Overall, the document serves as a visual timeline of significant people and milestones that shaped history from the 1800s to the mid-1900s.
This document summarizes some of the major battles of World War 2, including key dates and locations. It discusses how the war impacted populations, such as reducing the global Jewish population by 80%. Background information is provided on leaders like Adolf Hitler and major turning points in the war, such as the Soviet liberation of Auschwitz concentration camp which revealed the full horrors of the Holocaust. A timeline of significant dates in 1945 lists locations of surrenders and declarations of victory by Allied forces.
The document discusses the role of film and photography during World War 1. It provides examples of early camera technologies that made photography more portable and durable for documenting battles. It then shares over 20 images taken during the war that capture scenes from the front lines, battlefield surveillance from airplanes, the aftermath of bombings and battles, and portraits of soldiers. The images document major battles like Passchendaele and Verdun and come from photographers including Edward Steichen who served with the US Air Service.
Museums and Art of the Shoah: from Nathan Rapaport and Corrado Cagli to Richa...paolo coen
Presentation dedicated to the relationship betw. Art and Shoah as well as to Museums and Shoah (Holocaust); some key cases are Corrado Cagli, Nathan Rapaport and Richard Serra
From the New South Wales Art Gallery, Sydney website :-
"Established in 1871, the Gallery is proud to present fine international and Australian art in one of the most beautiful art museums in the world. We aim to be a place of experience and inspiration, through our collection, exhibitions, programs and research."
"Modern and contemporary works are displayed in expansive, light-filled spaces, offering stunning views of Sydney and the harbour, while our splendid Grand Courts are home to a distinguished collection of colonial and 19th-century Australian works and European old masters. There are also dedicated galleries celebrating the arts of Asia and Aboriginal and Torres Strait Islander art.
Kristallnacht, also known as the Night of Broken Glass, refers to a pogrom against Jews throughout Nazi Germany on November 9-10, 1938. It was prompted by the assassination of a German diplomat by a Jewish man. During the riots, Nazis attacked Jewish people, synagogues, homes and businesses. Over 1,000 synagogues were destroyed, 7,500 Jewish businesses were damaged and 91 Jews were killed. In the aftermath, Jews lost citizenship, 30,000 Jewish men were arrested and sent to concentration camps, and Jews faced further legal persecution and discrimination. Kristallnacht marked a major escalation of Nazi violence against Jews and is widely seen as the start of the Holocaust.
Culture and the arts flourished during the Weimar era in Germany (1919-1933) for several reasons. Photographers like August Sander and the invention of the portable Leica camera helped popularize photojournalism. The Bauhaus school had a major influence on architecture, design, and art. Many influential artists, writers, playwrights, and philosophers were active during this period, including Bertolt Brecht, Kurt Weill, George Grosz, Hannah Hoch, Thomas Mann, Martin Heidegger, and Arnold Schoenberg. This era also saw the rise of new forms of media like illustrated weeklies and political posters that engaged with the social and political issues of the time.
This document summarizes key issues surrounding cultural property law, including past instances of looting and destruction, present efforts toward repatriation and restitution, and potential future disputes. It provides context on the origins of modern cultural property law through conventions like the 1954 Hague Convention, which aimed to protect cultural artifacts during wartime. It then examines two notable cultural property disputes - Cambodia seeking the return of looted statues from the Metropolitan Museum of Art in New York, and a church in Cyprus pursuing legal action to recover religious icons. The document analyzes these cases and discusses how cultural property disputes are often resolved through private negotiations or courts.
The document provides an overview of major artistic movements in Europe and America between 1900-1945. It discusses the evolution of modernism through Fauvism, German Expressionism, Cubism, Futurism, Dada and Surrealism in Europe. In America, it covers the impact of the 1913 Armory Show, various styles in the early 20th century, art of the Depression era depicting social issues, and Regionalism. Key artists and works from the period are also mentioned.
42212 Washingtonpost.com New York Art Show in a Heap of Con.docxalinainglis
4/22/12 Washingtonpost.com: New York Art Show in a Heap of Controversy
1/4www.washingtonpost.com/wp-srv/national/daily/sept99/brooklyn24.htm
On The Web
The Brooklyn
Museum of Art
New York Art Show in a Heap of Controversy
By Paula Span
Washington Post Staff Writer
Friday, September 24, 1999; Page C1
NEW YORK, Sept. 23—He's particularly outraged, Mayor Rudolph
Giuliani has said, by a collage of the Virgin Mary dotted with elephant
dung. He isn't impressed by the pickled pig carcasses, either. And he's
taken dead aim at the Brooklyn Museum of Art: It will lose $7 million
in city funds, he warns, unless it cancels a "sick" exhibit of British
works scheduled to open next week.
But the museum has vowed that the show will proceed regardless.
And all the usual parties--outraged defenders of religion, infuriated
civil libertarians, art world types rolling their eyes--are taking up their
now-accustomed positions. The Culture Wars have flared anew, this
time in a city that likes to think it's above such things and a state where
the jousting may draw in would-be senator Hillary Rodham Clinton.
"Sensation: Young British Artists From the Saatchi Collection," which
has already drawn throngs in London and Berlin, always aimed to be
provocative. Its 90 works include a rotting cow's head and a shark
preserved in a tank of formaldehyde, both by internationally known
take-that artist Damien Hirst, another artist's sculpture made from his
own frozen blood, and a portrait of a convicted child murderer
fashioned from what look like tiny handprints. The Brooklyn
Museum's ad agency came up with a cheerful mock "health warning"
that's run in several publications and is slated to appear on city buses
and in a half-page New York Times ad: "The contents of this
exhibition may cause shock, vomiting, confusion, panic, euphoria and
anxiety."
But shock and confusion arose earlier than expected, once a Daily
News story brought the show to the attention of the combative mayor.
The City of New York provides almost a third of the Brooklyn
Museum's $23 million annual operating budget, and Giuliani has
announced that its monthly check won't be in the mail on Oct. 1 as
long as "Sensation" remains on the calendar. Giuliani's probable
opponent in next year's Senate race had nothing to say on the subject
today, but the mayor had plenty.
When a reporter asked Giuliani at his regular news briefing
Wednesday whether the exhibit was offensive, he let fly. "Well, it
offends me," he said. "The idea, in the name of art, of having a city-
4/22/12 Washingtonpost.com: New York Art Show in a Heap of Controversy
2/4www.washingtonpost.com/wp-srv/national/daily/sept99/brooklyn24.htm
subsidized building have so-called works of art in which people are
throwing elephant dung at a picture of the Virgin Mary is sick. If
someone wants to do that privately and pay for it privately, that's what
the First Amendment is all about. . . . But to have the government
subsidize something like t.
This document discusses the issue of cultural appropriation through examples in music, fashion, sports, politics and popular culture. It provides definitions of cultural appropriation as the taking of intellectual property or cultural elements from marginalized groups without permission. It then examines issues of cultural appropriation and cultural property rights in the art world through case studies of exhibitions at major museums that have led to criticism and debates around cultural sensitivity, artist intention vs audience interpretation, and repatriation of culturally significant artifacts.
Provenance research : utilizing series VI of the Meyer Schapiro CollectionFarris Wahbeh
Informal run on provenance research using Meyer Schapiro’s exhibition announcements held at Columbia University's Rare Book & Manuscript Library (RBML). A little disclaimer this is not a comprehensive research assignment, but a quick tour on the internet that illustrates how primary sources can serve each other vis-à-vis provenance research.
The document proposes an online exhibition called iraqimemorial.org that collects memorial proposals to honor and commemorate the thousands of Iraqi civilians killed since the 2003 US invasion of Iraq. Over 180 proposals have been submitted by 171 artists from 35 countries. Two international juries selected 59 outstanding proposals for exhibition at the Sheppard Fine Arts Gallery in 2010. The project aims to create an online archive and traveling exhibition to recognize civilian deaths and stimulate discussion about the human costs of war.
Girolamo Savonarola was a Dominican friar in 15th century Florence who began preaching against the corruption of Renaissance culture and the ruling Medici family. He developed a large following that temporarily expelled the Medici from power and reorganized Florence's government. Savonarola organized "Bonfires of the Vanities" to destroy works believed to promote an unchristian lifestyle, and was eventually executed in 1498.
1. Galleries have historically served as institutions to display and assign value to art for both commercial and cultural purposes. They originated from private aristocratic collections and later became public museums during the Enlightenment as places to educate the public.
2. In the 19th-20th centuries, galleries innovated their architectural designs and exhibition styles to showcase modern art movements while also aiming to democratize art viewing. However, some artists rejected galleries and made site-specific outdoor artworks.
3. Public sculptures and monuments have faced controversy over their designs, often relating to perceptions of meaning, cost, and whether the art fits its location. Their acceptance can increase over time as the public's understanding of art evolves
The document provides an overview of early modern art in Europe and America between 1900-1945. It discusses several major artistic movements that emerged during this period like Fauvism, German Expressionism, Cubism, Futurism, Dada, and Surrealism. It summarizes the goals and styles of these movements, and provides context on how some influenced others. Key artists and their major works from each movement are also mentioned to understand their contributions to the development of modern art.
Art1100 LVA 21_4 American Modernism onlineDan Gunn
The document discusses several American art movements from the early 20th century including Regionalism, Modernism, and the Harlem Renaissance. It provides background on Regionalist artists like Grant Wood and Thomas Hart Benton who depicted rural Midwest scenes. It also summarizes the influential 1913 Armory Show which introduced Modernist works to American audiences and the role of Alfred Stieglitz in promoting Modernism through his 291 gallery in New York City, giving early exhibitions to Georgia O'Keeffe and Marsden Hartley among others. Finally, it outlines the Harlem Renaissance period when talented African American artists and thinkers produced prominent works in Harlem amid the Great Migration and New Negro movement.
Chapter 18 nouveau realisme and fluxusPetrutaLipan
The document summarizes key developments in Nouveau Réalisme and Fluxus, two influential post-World War II art movements. It describes how Nouveau Réalisme was founded in 1960 and utilized techniques like collage and assemblage. Key figures like Yves Klein, Arman, and Christo & Jeanne-Claude are discussed for their use of materials and performances. Fluxus is presented as encouraging accessible art and events, led by founder George Maciunas. Figures like Joseph Beuys and Yoko Ono incorporated performance art. Both movements rejected conventions and emphasized experimental approaches.
The New Mexico Museum of Art has been selected to receive 50 works of art from the Dorothy and Herbert Vogel Collection as part of a program to distribute their collection of 2,500 contemporary art works to institutions across the United States. The museum will receive drawings, paintings, sculptures, photographs, and prints by over 170 artists representing different movements from the post-minimalist period. An exhibition of the works from the Vogel Collection will be held at the museum in 2010.
81
TRASH
Victor J. Jones
Certain works of art and architecture can be considered trash,
but when is trash art? Spolia and Arte Povera are two exam-
ples at either end of the historical spectrum where refuse is
transfigured into art. Constantine’s triumphal arch in Rome
uses reclaimed sculptural elements from previous buildings.
Luciano Fabro composed sculptures from commonplace
materials and used wares to create works such as Pavimento
(Tautologia). Whether from the spoils of war during Roman
antiquity or resistance to modernism and technology in Italy
during the 1960s, their practices crafted cultural relevance
from discarded matter.
In line with these instances is assemblage art, which has
had a hand in shaping art and architecture in Los Angeles
for almost a century. This essay travels into Watts, moving past
the familiar path of violence in this legendary part of Los
Angeles to revisit experiments with trash that began there in
the 1920s. The story reveals how today a grassroots nonprofit
arts organization, its director, and a handful of architects,
artists, and neighborhood residents are working together to
refurbish a row of dilapidated houses along East 107th Street.
Their collective efforts and participative production weave
art and architecture from detritus and the everyday to build
and sustain an alternative vision for this underserved commu-
nity. The trail of unexpected combinations and juxtapositions
begins at the end of a narrow street under a monument made
of rubbish—the Watts Towers.
While visiting Los Angeles for the first time (to attend the
opening of his 1963 Elvis exhibition at Ferus Gallery), Andy
Warhol bought a sixteen-millimeter sync-sound Bolex camera
and shot his partially improvised riff on the Hollywood
adventures of Tarzan.1 In Tarzan and Jane, Regained, Sort of…,
a free-spirited cast of artists and actors roams the tangled
web of freeways and unlikely destinations that replace the wil-
derness of a jungle. The Beverly Hills Hotel swimming pool
substitutes for a lagoon and the Watts Towers stand in for trees,
1 The purchase of the Swiss black box marked the beginning of a five-year
period during which Warhol directed and produced over sixty experimental
films. For more information about the films of Andy Warhol, consult Andy
Warhol’s Blow Job, by Roy Grundmann, and The Black Hole of the Camera:
The Films of Andy Warhol, by J.J. Murphy.
82
vines, and low-lying flora. Midway through the film, Tarzan rests
with a dog under one of the smaller structures of the Watts
Towers. The narrator whispers, “Jane has been changed into
a dog by the forces of evil.”
Ominous forces are not alien to Watts. The politics that
define and shape the place are murky. Infamously dark
tales of corruption, dubious business deals, discriminatory
policies, and corrosive public services have transformed
the once placid 220-acres of alfalfa fields and livestock farms
from a thriving mu.
The document discusses various scientific and cultural developments that occurred around 1905, including Einstein's publications on relativity which revolutionized physics, the Fauves art movement in France, Freud's work on the unconscious mind, and archaeological discoveries at Knossos in Greece. Developments in other fields like blood typing, glass packaging, and filmmaking are also mentioned. The year 1905 is described as witnessing many breakthroughs that shaped the modern era.
CULTUREWARSDocuments from the Recent Controversies OllieShoresna
CULTURE
WARS
Documents from
the Recent Controversies
in the Arts
Edited by
RICHARD BOLTON
NEW PRESS
New York
Preface
Philip Brookman
O
n June 14, 1989, The Washington Post reported that the Corcoran Gallery
of Art in Washington, D.C., had canceled their planned exhibition of
Robert Mapplethorpe: The Perfect Moment. According to the Post, the museum’s
trustees had abruptly changed their agenda to avoid becoming involved in a
growing political debate over the sexual content of the artist’s work. Apparently,
they feared that the exhibition would jeopardize the upcoming congressional
reauthorization of the National Endowment for the Arts (NEA), a federal agency
that had partially funded the show. Their decision changed the course of arts
funding in 1990s.
At the time, I was working as a curator at Washington Project for the Arts, a
nonprofit, experimental gallery in the nation’s capital. I had been following
closely the political debates over arts funding and content, and the specific
controversies that were beginning to engulf the art world. The country was
moving into an election year, and certain politicians seemed ready to exploit a
handful of artists and their work in order to capture the attention of the
electorate. These artists, who had received NEA funding, directly or indirectly,
had struck a raw nerve in Congress and in some segments of the public: federal
money, it was thought, should not support the creation and exhibition of ideas
that questioned the status quo.
Between 1985 and 1990, artists were increasingly confronted by government
agencies and special interest groups for creating work that some considered to
be obscene, pornographic, blasphemous, politically motivated, or degrading of
national symbols. Those artists — whose work addressed specific social issues
such as war, economics, racism, environmental concerns, immigration, multi
culturalism, gender representations, sexuality, and AIDS — and by extension
their sponsors (the NEA, state arts councils, foundations, museums, and so on),
were criticized in Congress and the national media for the content of their
outspoken work. For example, Representative Richard Armey (R-Tex.), a
vociferous critic who tried to eliminate the NEA, admonished the agency in
1985 for funding gay-oriented literary journals. In response, the arts community
began to question congressional criticism, arguing that any attempt to legislate
the content of work that qualified for federal funding was tantamount to
censorship. Armey’s response: “This is not a matter of censorship, it is a matter
of judgement, of values.”1 Arguments about symbolic speech and public moral
ity politicized the issue of arts patronage.
Less than four years later, the NEA again came under attack from members
of Congress, and from a handful of confrontational religious groups, led by
Reverend Donald Wildmon, executive director of the American Family Associ
ation (AFA) in Tupelo, Miss ...
The document provides an overview of major art movements and styles from 1945 to the present. It discusses Abstract Expressionism, Pop Art, Minimalism, and Postmodern architecture as some of the prominent developments. It also examines feminist art and conceptual art forms like performance, earthworks, and new media that combined art with other disciplines or eliminated the physical object. The document seeks to familiarize readers with influential artists, key works, styles, and theories across this period of modern to contemporary Western and American art.
Antiquities, artifacts and art objects – the main target for various illegal,...clahoodia
This document discusses the top 10 most famous art objects that have been stolen and not recovered. It provides details on famous pieces like Rembrandt's "The Storm on the Sea of Galilee" which was stolen from the Isabella Stewart Gardner Museum in Boston in 1990. Other notable unrecovered pieces include Caravaggio's "Nativity with San Lorenzo and San Francesco" and Van Gogh's "View of the Sea at Scheveningen". The document laments how certain countries are frequent targets of large-scale art theft and that authorities are sometimes incapable of or uninterested in solving this problem of losing cultural heritage.
Similar to Nazi Art Looting Case Developments [Compatibility Mode] Compressed (20)
Here is Gabe Whitley's response to my defamation lawsuit for him calling me a rapist and perjurer in court documents.
You have to read it to believe it, but after you read it, you won't believe it. And I included eight examples of defamatory statements/
13062024_First India Newspaper Jaipur.pdfFIRST INDIA
Find Latest India News and Breaking News these days from India on Politics, Business, Entertainment, Technology, Sports, Lifestyle and Coronavirus News in India and the world over that you can't miss. For real time update Visit our social media handle. Read First India NewsPaper in your morning replace. Visit First India.
CLICK:- https://firstindia.co.in/
#First_India_NewsPaper
Youngest c m in India- Pema Khandu BiographyVoterMood
Pema Khandu, born on August 21, 1979, is an Indian politician and the Chief Minister of Arunachal Pradesh. He is the son of former Chief Minister of Arunachal Pradesh, Dorjee Khandu. Pema Khandu assumed office as the Chief Minister in July 2016, making him one of the youngest Chief Ministers in India at that time.
Essential Tools for Modern PR Business .pptxPragencyuk
Discover the essential tools and strategies for modern PR business success. Learn how to craft compelling news releases, leverage press release sites and news wires, stay updated with PR news, and integrate effective PR practices to enhance your brand's visibility and credibility. Elevate your PR efforts with our comprehensive guide.
Nazi Art Looting Case Developments [Compatibility Mode] Compressed
1. Nazi Art Looted Art in the
Federal Courts: Recent
Developments and the Case
of Egon Schiele’s Dead City
Federal Bar Association – Phoenix Chapter
Thursday, February 17, 2011
Raymond J. Dowd
Partner – Dunnington Bartholow & Miller LLP
New York NY
2
1
2. 3
Egon Schiele’s Portrait of Wally – 1998 Morgenthau Seizure
from MOMA as stolen --- with Fritz Grunbaum’s Dead City
4
2
3. 1999 Seizure Quashed, U.S.
Attorney Seizes Portrait of Wally
Rita and Tim Reif assert claims in New York to
Fritz Grunbaum’s artworks, D.A. Morgenthau
seizure at MoMA
New York Court of Appeals quashes D.A.
Morgenthau’s subpoena of Portrait of Wally and
Dead City
Orders MoMA to return artworks to Austria
Next day, U.S. Attorney seizes only Portrait of Wally
Missing heirs for Grunbaum’s Dead City – returned
to Austria, now at Leopold Museum in Vienna
Portrait of Wally case settled 11 years later after
C.J. Preska in SDNY – ordered Rudolph Leopold to
stand trial – and then he died
5
1999 Morgenthau Seizure
Tremendous international scandal
Led to Austria opening archives to return Jewish
property to comply with 1955 Austrian State Treaty
Austria reformed laws to permit claims to stolen art
in museums only
Led to Washington Conference on stolen art
Museums agreed to “Washington Principles” –
research their collections, favorable evidentiary
burdens, encouraging heirs to come forward
Museums promised to publish all provenance
research, welcome heirs
www.lootedartcommission.com/Washington-
principles
6
3
4. Washington Conference Principles
on Nazi-Confiscated Art–12/3/1998
In developing a consensus on non-binding principles to assist in resolving issues
relating to Nazi-confiscated art, the Conference recognizes that among participating
nations there are differing legal systems and that countries act within the context of
their own laws.
I. Art that had been confiscated by the Nazis and not subsequently restituted should
be identified.
II. Relevant records and archives should be open and accessible to researchers, in
accordance with the guidelines of the International Council on Archives.
III. Resources and personnel should be made available to facilitate the identification of
all art that had been confiscated by the Nazis and not subsequently restituted.
IV. In establishing that a work of art had been confiscated by the Nazis and not
subsequently restituted, consideration should be given to unavoidable gaps or
ambiguities in the provenance in light of the passage of time and the circumstances of
the Holocaust era.
V. Every effort should be made to publicize art that is found to have been confiscated
by the Nazis and not subsequently restituted in order to locate its pre-War owners or
their heirs.
Washington Conference Principles
on Nazi-Confiscated Art–12/3/1998
VI. Efforts should be made to establish a central registry of such information.
VII. Pre-War owners and their heirs should be encouraged to come forward and
make known their claims to art that was confiscated by the Nazis and not
subsequently restituted.
VIII. If the pre-War owners of art that is found to have been confiscated by the Nazis
and not subsequently restituted, or their heirs, can be identified, steps should be taken
expeditiously to achieve a just and fair solution, recognizing this may vary according
to the facts and circumstances surrounding a specific case.
IX. If the pre-War owners of art that is found to have been confiscated by the Nazis, or
their heirs, can not be identified, steps should be taken expeditiously to achieve a just
and fair solution.
X. Commissions or other bodies established to identify art that was confiscated
by the Nazis and to assist in addressing ownership issues should have a balanced
membership.
XI. Nations are encouraged to develop national processes to implement these
principles, particularly as they relate to alternative dispute resolution
mechanisms for resolving ownership issues.
4
5. 1998 Report of AAMD Task Force on
Spoliation of Art-Nazi Era (1933-1945)
AAMD Statement of Purpose:
"The purpose of the AAMD is to aid its members in establishing
and maintaining the highest professional standards for
themselves and the museums they represent, thereby exerting
leadership in increasing the contribution of art museums to
society.“
D. Discovery of Unlawfully Confiscated Works of Art […]
2. In the event that a legitimate claimant comes forward, the
museum should offer to resolve the matter in an equitable,
appropriate, and mutually agreeable manner. […]
1998 Report of AAMD Task Force on
Spoliation of Art-Nazi Era (1933-1945)
E. Response to Claims Against the Museum
1. If a member museum receives a claim against a work of art in its
collection related to an illegal confiscation during the Nazi/World
War II era, it should seek to review such a claim promptly and
thoroughly. The museum should request evidence of ownership from
the claimant in order to assist in determining the provenance of the
work of art.
2. If after working with the claimant to determine the provenance, a
member museum should determine that a work of art in its collection
was illegally confiscated during the Nazi/World War II era and not
restituted, the museum should offer to resolve the matter in an
equitable, appropriate, and mutually agreeable manner.
3. AAMD recommends that member museums consider using
mediation wherever reasonably practical to help resolve claims
regarding art illegally confiscated during the Nazi/World War II era and
not restituted.
5
6. U.S. Museums and Auction Houses
Violate the Washington Principles
Failed to hire provenance researchers and publish research
Publishing false, misleading and incomplete provenance
research making research impossible
Suing Jewish heirs, accusing heirs and lawyers of greed
and extortion
Auction houses peddle unprovenanced works
Toledo and Detroit museums, Museum of Fine Arts Boston
MoMA and Guggenheim sued heirs of Holocaust victims
U.S. museums assert laches and statute of limitations
defenses
U.S. museums claim Jews voluntarily sold artworks during
Holocaust
Museums and auction houses falsely claim Holocaust-
looted art was unknown until 1990’s in U.S.
11
2009 Prague Conference on
Stolen Art
June 26-31, 2009
Decade after Washington Conference
U.S. State Department sent envoy to get
world’s museums to agree to return stolen
art, issued Terezin Declaration
Issue for Obama Administration
Proposal for a U.S. Restitution Commission
now before U.S. State Department
Wrongful actions of U.S. museums likely to
be a future diplomatic sore spot
12
6
7. On Nazi-Looted Art:
“This is such a gigantic issue,”
Cleveland Museum of Art Director
Robert P. Bergman said. “We're talking
about hundreds of thousands of
objects. I believe that for the rest of
my professional career, this issue
will face the museums of the world.”
(AP/Akron Beacon Journal 3/1/1998). Bergman died
at age 54 in 1999 after a two-week illness of a rare
blood disorder (NY Times 5/7/99).
13
Scope of current Nazi-art
problem
“the amount of research to be undertaken
on the tens of thousands of works of art
that, by definition, may have Nazi-era
provenance problems is significant,
requiring large allocations of staff time and
money, allocations U.S. art museums have
made and will make until the job is done.”
- Testimony of AAMD President James Cuno to
Congress July 27, 2006
14
7
8. Toledo
Toledo Museum of Art v. Ullin / Detroit
Inst. of Arts v. Ullin.
DETROIT INSTITUTE OF ARTS
TOLEDO MUSEUM OF ART
VINCENT VAN GOGH PAUL GAUGUIN
The Diggers, 1889 Street in Tahiti, 1891
Toledo Museum of Art v. Ullin
( 477 F. Supp.2d 802 N.D. OH 2006)
During a settlement negotiation, Toledo Museum
sued heirs of Holocaust victim for declaratory
judgment
Judgment granted and counterclaim dismissed
with prejudice on Rule 12(b)(6) motion after
extensive findings of fact against heirs
Most aggressive action taken by any museum in
the country
Detroit Institute of Arts v. Ullin. 2007 WL 1016996.
Same lawyers, filed same time, same result
Key fact cited by both courts: purchasers were
Jewish
Highly unusual decisions - Rule 12(b)(6) motions
generally construed in claimant’s favor
16
8
9. MOMA & Solomon R. Guggenheim
Foundation v. Schoeps
Pablo Picasso
Le Moulin de la Galette, autumn 1900
Pablo Picasso
Boy Leading a Horse, 1906
MoMA and Guggenheim v. Schoeps
Declaratory judgment action by two
museums against one defendant
Judge Rakoff denied Rule 56 summary
judgment motion finding triable issues of
fact
Case settled on the eve of trial
Court criticized Jewish heirs for keeping
financial settlement confidential. 603 F.
Supp.2d 273 (S.D.N.Y. 2009)
18
9
10. Grosz v. Museum of Modern Art, --- F. Supp.2d ---,
2010 WL 88003 (Jan. 6. ,2010) aff’d a (2d. Cir. Dec. 16, 2010.)
New York’s demand and refusal rule weakened –
conversion and replevin claims accrue upon implied refusal
Portrait of the Poet Max-Herrmann Neisse (1927)
“Poet”
Republican Automatons
(1920) Self-Portrait with Model
(1928)
Cassirer v. Kingdom of Spain, 616 F.3d 1019 (9th Cir.
August 12, 2010) – expropriation exception to Foreign
20
Sovereign Immunities Act applies to Spain
10
11. Dunbar v. Seger-Thomschitz, 615 F.3d 574 (5th Cir. Aug. 20,
2010) (acquisitive prescription under Louisiana law)
Museum of Fine Arts Boston v. Seger-Thomschitz, 623
F.3d 1 (1st Cir. Oct. 14, 2010)(statute of limitations) 21
Von Saher v. Norton Simon Museum of Art at Pasadena, 131
S.Ct. 379 (Oct. 4, 2010)(inviting Solicitor General to file a brief);
592 F.3d 954 (9th Cir. 2010) (finding California’s extension of
statute of limitations preempted by foreign affairs doctrine) 22
11
12. Westfield v. Federal Republic of Germany, (6th Cir. Feb. 2,
2011)(Nazi-era atrocities cloaked in sovereign immunity
because no “direct effect” in United States) compare
Bernstein v. N.V. Nederlandsche-Amerikaansche
Stoomvaart-Maatschappij, 210 F.2d 375 (2d Cir. 1954) 23
Portrait of Adele Bloch-
Bauer
Gustav Klimt (1907)
Republic of Austria v. Altman, 541 U.S. 677 (2004)(permitted
Maria Altmann to sue Austria for stolen painting in Austrian
museum) 24
12
13. Proving the Property Aspect of the
Holocaust – Source Materials
Nuremberg Decision
Nuremberg Trial Materials
James G. McDonald Letter of Resignation
December 27, 1935
Nazi decrees (Germany and Austria)
New York Times articles, Aufbau
Holzer v. Reichsbahn (NY Court Appeals
1936)
Nov. 18 1938 Nazi Decree on Jewish
Property
Post-war German and Austrian laws on
evidentiary presumptions from transfers of
persecutee’s property
25
Proving the Property Aspect of the
Holocaust – Source Materials II
Secondary Sources
Dean, Martin Robbing the Jews
Petropoulos, Jonathan Art as Politics in the Third
Reich, The Faustian Bargain
Aly, Goetz, Hitler’s Beneficiaries
Schenker Co. business history
Pre- and Post-war art catalogs
Provenances published by museums
Documents in museum files (public and non-
public)
Probate files, Jewish property declarations
Letters, Invoices, art dealer records
Expert testimony (Dr. Jonathan Petropoulos)
Testimony (Eberhard Kornfeld, Jane Kallir)
26
13
14. March 1933– Jews Stripped
of All Legal Rights By Nazis
March 23, 1933 – Hitler took power from Reichstag
Governed by decree - Fuhrerprinzip – Nazis only party
Nazi Party Platform is law “To buy or sell from a Jew is
to be a traitor to the German people” – massive,
persistent boycotts, Jews denied food/medicine
NY Times “To be a Jew is a crime in Nazi Germany”
Aryanization “Aryans” take over Jewish businesses by
extortion, initially permit some Jews to get assets out
Jewish lawyers and judges thrown out immediately
1936 NY opinion Holzer v. Reichsbahn declares Nazi
legal system repugnant to NY law: “comity is not
chloroform”, aff’d by Court of Appeals, Dachau
survivor recovers for breach of contract against
Deutsche Reichsbahn assets in NY
27
Egon Schiele’s Portrait of Wally – 1998 Morgenthau Seizure
from MOMA as stolen --- with Fritz Grunbaum’s Dead City
28
14
15. Egon Schiele’s Dead City
29
Now in Leopold Museum in Vienna
The Drawing – Egon Schiele’s Seated
Woman With Bent Left Leg (“Torso”) – K
51/ JK 1974 30
15
16. 9/18/1956 Kornfeld Invoice
K 1 Fritz Grunbaum’s Dead
City
31
Kornfeld 1956
Schiele Catalog
#1 Dead City with
provenance from Otto
Kallir’s 1930 catalogue
raisonnée
53 other Schieles with no
provenance listed
Kornfeld testifies that all
Schieles in ’56 catalog
came from Grunbaum
32
16
17. Dead City’s Provenance Published in ’56 Kornfeld Catalog
Shows: 1925 Wurthle Exhibition, 1928 Hagenbund
Exhibition and Fritz Grunbaum’s Ownership
K 01 H DBM(06366) OK30 94 H DBM(06366) 33
34
17
18. Nazi Reich Laundered Artworks
Through FIDES
• FIDES – Treuhand of Zurich
• Established 1910
• Subsidiary of Credit Suisse
• Offered 30% discounts to Americans and
British
• Laundered sales of Nazi art
• Attempted to buy all degenerate art from Nazis
• Never investigated by the Swiss
• Visit www.fides.ch
• Bergier Report mentioning FIDES laundering
www.uek.ch (best information in Vol. 1 not
online) 35
Bakalar v. Vavra Allegations
The Drawing has an established and
documented provenance. It originally
belonged to the collection of Fritz
Grunbaum, a well-known Viennese
cabaret performer. In 1938, the Nazis
confiscated Grunbaum's residence
and inventoried the contents of his art
collection. Grunbaum was deported to
Dachau, where he died in
1941...(Complaint ¶ 5)
36
18
19. Fritz Grunbaum
Born April 7, 1880, Brno, Moravia
37
Died January 14, 1941, Dachau Concentration Camp
Minsk
Lily Grunbaum was deported to
Minsk where she died on October
5, 1942. Minsk was a death
camp.
38
19
20. Hitler Invades Austria
March 12, 1938
The Nazis reach Vienna
Hitler salutes his troops marching into
Austria
39
Fritz at Dachau – Arrested
3/22/1938 – Died in Captivity
While at Dachau, Fritz and
other prisoners participated
in Cabaret performances to
keep spirits up.
Performances were
supported by the Nazis and
scheduled on the same day
as trains taking prisoners to
40
death camps.
20
21. March 1933– Jews Stripped of
All Legal Rights By Nazis
• March 23, 1933 – Hitler took power from Reichstag
• Governed by decree - Fuhrerprinzip – Nazis only party
• Nazi Party Platform is law “To buy or sell from a Jew is
to be a traitor to the German people” – massive,
persistent boycotts, Jews denied food/medicine
• NY Times “To be a Jew is a crime in Nazi Germany”
• Aryanization “Aryans” take over Jewish businesses by
extortion, initially permit some Jews to get assets out
• Jewish lawyers and judges thrown out immediately
41
Entartete Kunst
“Degenerate Art”
In 1937, the Nazis declared a large number of artworks
as “degenerate” if “un-German” or Jewish.
To mock “degenerate” artists, the Nazis presented
“Entartete Kunst” a traveling art exhibit, in 1937.
Degenerate art was stripped from museums, artists
boycotted or exiled.
Hitler visits the Entartete Kunst exhibit in 1937
42
21
22. 1933-1945 – Jews Stripped of
Artworks
• 25% Reich Flight Tax (started 1931 – pre-Hitler)
• 25% Atonement Tax
• 96% Confiscatory foreign exchange rate for
Jews
• Blocked bank accounts
• Sham transactions
• Wholesale confiscations Jewish property
• Tens of thousands of artworks left Germany
and entered the U.S. directly and through
Switzerland
• Snapped up by U.S. museums and wealthy
collectors 43
Bakalar v. Vavra Allegations
• Aside from the Drawing, there are a number
of works from the Fritz Grunbaum
collection that were part of the 1956 selling
exhibition at Gutekunst & Klipstein which
are now in museums around the world
including at least one work in each of the
following institutions: Leopold Foundation,
Vienna; Albertina Museum, Vienna;
Museum of Modern Art, New York; Allen
Memorial Museum, Oberlin College, Ohio;
Coninx Museum, Zurich; Santa Barbara
(California) Museum of Art; Art Institute of
Chicago; and the Carnegie Institute 44
Museum of Art, Pittsburgh... (Cplt ¶ 40).
22
23. Heirs’ Claim to Title: Heirs of
Fritz Grunbaum
• Austrian co-heirs under 2003 Estate
Assignment Certificate (Probate Decree)
• Fritz predeceased wife, no issue
• Fritz and Elizabeth (“Lily”) had separate
property
Under Austrian law:
• Fritz’s heirs take 50% of Fritz’s property
• Elizabeth’s (“Lily”) heirs take 50% of Fritz’s
property
• Austrian law governs question of title
45
Jewish Property Declarations
• April 26, 1938 Law -
penalty of
imprisonment/confiscation
• Required for Jews with over
5,000 RM
• Filed every three months
until property gone or left
Reich
• Systematically liquidated
through Aryan trustees
• Art Collection Category IV
“Other Property”
46
23
24. Fritz Grunbaum Jewish
Property Declarations
• Found in Austrian probate files
• Austria’s probate system predated Nazis,
Kafkaesque bureaucracy persisted
• Filed by Lily under power of attorney, pain of
imprisonment
• Six declarations filed July, 1938 through June
30, 1939
• Contained art collection Franz Kieslinger
appraisal at 5,791 RM
• Last time art collection declared was June 30,
1939
47
The Kieslinger Inventory
“Large drawing by Schiele, 55
works colored, 20 drawings
and 1 print by Schiele”
Dead City
48
24
25. Who were Kajetan Muhlmann
and Franz Kieslinger?
• Muhlmann based Nazi operations
in Holland to oversee laundering of
title to artworks looted throughout
the Reich.
• Franz Kieslinger was Muhlmann’s
Muhlmann henchman
described as
“arguably the • In July, 1938 Kieslinger
single most inventoried Fritz Grunbaum’s art
prodigious art
plunderer in the collection
history of human
civilization”*
* Petropoulos, Jonathan, The Faustian Bargain (Oxford
University Press 1990) at 170-204). 49
Letter dated January 31, 1939
Establishes Lily and Fritz lost legal
control of assets practical ability to
transfer any assets as of January
31, 1939
50
25
26. Powers of Attorney
“There is a curious respect for legal
formalities. The signature of the
person despoiled is always obtained,
even if the person in question has to
be sent to Dachau in order to break
down his resistance.”
- U.S. Consul General in Vienna
51
Grunbaum’s Dachau Power of
Attorney
• July 1938 - in Dachau Concentration
Camp Fritz Grunbaum executes a power of
attorney permitting his wife to liquidate his
property, including life insurance policies
• 1946 Austrian Nullification Act – After
World War II - Austria nullifies all
transactions flowing from powers of
attorney of concentration camp inmates
52
26
27. Why use a power of attorney to steal
Fritz’s property?
• “Holocaust” liquidation in Vienna largely
“voluntary” cooperation from brutalized minority
• Art collection listed as Fritz’s in Jewish Property
Declarations
• Lily needed power of attorney from Fritz to
liquidate his property and Italian life insurance
policy and give Nazis proceeds
• Powers of attorney used to systematically force
Jews in concentration camps to liquidate property
• Jews never saw the money, paid into blocked
accounts or Sperrmarks
• Any sales by Jews presumptively duress sales
• Nazis kept up pretense of legality, still confuses
scholars, historians and judges today
53
Grunbaum Assets1938-1942
(Per Jewish Property Declarations)
54
27
28. November 18, 1938 Nazi Finance
Ministry Decree on Jewish Property
55
At least nine percent of the Nazi total
government budget in 1938-39 was
stolen from Jews (approximately 1.5
billion Reichsmarks).
Aly, Goetz, Hitler’s Beneficiaries
(Metropolitan Books 2006) at 48.
56
28
29. Bakalar v.Vavra, 2008 WL 4067335
(S.D.N.Y. Sept. 2, 2008)
First Holocaust-era art trial in U.S. history
Judge found Schiele’s Torso – to have been
owned by Fritz Grunbaum
Grunbaum Jewish cabaret performer who
died in Dachau
Grunbaum’s apartment in Vienna
inventoried by Nazis shortly after Gestapo
arrested him – 81 works by Schiele
Judge applied Swiss law
147-day period in Switzerland sufficient to
clean title
Appealed to the Second Circuit
57
Bakalar v. Vavra, 619 F.3d 136, 2010 WL 3435375 (2d
Cir. Sept 2, 2010) – vacates and remands for “further
proceedings and a new trial, if necessary” 58
29
30. Bakalar v. Vavra, 619 F.3d 136, 2010 WL
3435375 (2d Cir. Sept 2, 2010) - I
- Acknowledged Nazi mass confiscation
of Jewish assets
- Acknowledged legal effect of Dachau
Power of Attorney
- Scholarly decision relying on
historical scholarship not in the trial
record
- Trial judge had excluded expert
historians
59
more
Bakalar v. Vavra, 619 F.3d 136, 2010 WL
3435375 (2d Cir. Sept 2, 2010) - II
- Rejected trial court’s application of
“law of the situs” conflicts rule
- Instead applied “interest analysis”
- “the law of the jurisdiction having the
greatest interest in the litigation is
applied and the facts or contacts
which obtain significance in defining
State interests are those which relate
to the purpose of the particular law
in conflict
60
30
31. Bakalar v. Vavra, 619 F.3d 136, 2010 WL
3435375 (2d Cir. Sept 2, 2010) - III
- Applied New York, rather than Swiss
law
- Swiss law places insurmountable
obstacles to recovery of stolen art
- Under Swiss law, five year statute of
limitations from acquisition,
purchaser gains clean title from a
thief
- New York good faith purchaser
cannot acquire title from a thief
- New York protective of true owners of
stolen art – “demand and refusal”
rule
- New York’s interest to protect the 61
integrity of the market
Bakalar v. Vavra, 619 F.3d 136, 2010 WL
3435375 (2d Cir. Sept 2, 2010) - IV
- Notwithstanding its conclusion that the manner
in which the Drawing was acquired from
Grunbaum would not have affected the outcome
of the case, the district judge found that the
Grunbaum heirs had failed to produce “any
concrete evidence that the Nazis looted the
Drawing or that it was otherwise taken from
Grunbaum.” Bakalar v. Vavra, 2008 WL 4067335,
at *8 (S.D.N.Y. Sept. 2, 2008). Our reading of the
record suggests that there may be such
evidence, and that the district judge, by
applying Swiss Law, erred in placing the
burden of proof on the Grunbaum heirs in this
regard. Indeed, as discussed earlier, if the district
judge determines that Vavra and Fischer have
made a threshold showing that they have an
arguable claim to the Drawing, New York law
places the burden on Bakalar, the current
possessor, to prove that the Drawing was not
62
stolen.
31
32. Bakalar v. Vavra, 619 F.3d 136, 2010 WL
3435375 (2d Cir. Sept 2, 2010) - V
- On remand, disputed issue as to
whether trial court will permit expert
historian and foreign law testimony
- Court excluded Nazi art looting
expert and Czech legal expert
63
32