Artwork

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Elizabeth Campbell, "Museum Worthy: Nazi Art Plunder in Postwar Western Europe" (Oxford UP, 2024)

58:41
 
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Manage episode 463700579 series 2421437
תוכן מסופק על ידי New Books Network and New Books. כל תוכן הפודקאסטים כולל פרקים, גרפיקה ותיאורי פודקאסטים מועלים ומסופקים ישירות על ידי New Books Network and New Books או שותף פלטפורמת הפודקאסט שלהם. אם אתה מאמין שמישהו משתמש ביצירה שלך המוגנת בזכויות יוצרים ללא רשותך, אתה יכול לעקוב אחר התהליך המתואר כאן https://he.player.fm/legal.

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners?

In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century.

The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process.

This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.

Learn more about your ad choices. Visit megaphone.fm/adchoices

Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

  continue reading

871 פרקים

Artwork
iconשתפו
 
Manage episode 463700579 series 2421437
תוכן מסופק על ידי New Books Network and New Books. כל תוכן הפודקאסטים כולל פרקים, גרפיקה ותיאורי פודקאסטים מועלים ומסופקים ישירות על ידי New Books Network and New Books או שותף פלטפורמת הפודקאסט שלהם. אם אתה מאמין שמישהו משתמש ביצירה שלך המוגנת בזכויות יוצרים ללא רשותך, אתה יכול לעקוב אחר התהליך המתואר כאן https://he.player.fm/legal.

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners?

In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century.

The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process.

This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.

Learn more about your ad choices. Visit megaphone.fm/adchoices

Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

  continue reading

871 פרקים

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