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Journal articles on the topic 'Nazis Germany Art collections'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Soloshenko, Viktoriia. "Overcoming the Burdensome Nazi Legacy in Germany’s Cultural Sphere (on the Example of the German Art Institutions." Diplomatic Ukraine, no. XX (2019): 720–28. http://dx.doi.org/10.37837/2707-7683-2019-47.

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The article examines the problem of overcoming the burdensome historical legacy of Nazism in the Federal Republic of Germany. Particular attention is attached to the mitigation of the impact of National Socialism on the cultural sphere. An important aspect of studying Nazi history is the analysis of the Weinmüller case, previously unknown archival documents that shed light on the dark pages of German history. The article discusses the place and role of the ‘Adolf Weinmüller’ art institution in Nazi art trade. It has been revealed that this famous art auction house laid the foundations for the

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Chechi, Alessandro. "THE GURLITT HOARD: AN APPRAISAL OF THE ROLE OF INTERNATIONAL LAW WITH RESPECT TO NAZI-LOOTED ART." Italian Yearbook of International Law Online 23, no. 1 (November 17, 2014): 199–217. http://dx.doi.org/10.1163/22116133-90230044.

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Two years ago, German authorities conducting a routine tax investigation stumbled on the largest trove of missing artworks since the end of the Second World War. The collection of paintings and drawings was discovered in a Munich apartment owned by Cornelius Gurlitt, the late son of Hildebrand Gurlitt, one of the art dealers approved by the Nazis. It is likely that most of these artworks were plundered from German museums and Jewish collections in the period 1933-1945. The discovery triggered heated debates about the obligations of the German State and the property rights over this art collect

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Kacprzak, Dariusz. "FROM THE STUDIES ON ‘DEGENERATE ART’ TWENTY YEARS AFTER THE WASHINGTON CONFERENCE. SZCZECIN’S CASE (MUSEUM DER STADT STETTIN)." Muzealnictwo 60 (July 11, 2019): 126–42. http://dx.doi.org/10.5604/01.3001.0013.2857.

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On 5 August 1937, fulfilling the orders of the Chairman of the Reich Chamber of Fine Arts (Reichskammer der bildenden Künste), a confiscation committee showed up at the City Museum in Stettin, and demanded to be presented by the Director of the institution the Museum’s collection in view of ‘degenerate art’. While ‘hunting’ for the Avant-garde and ‘purging museums’, the Nazis confiscated works that represented, e.g. Expressionism, Cubism, Bauhaus Constructivism, pieces manifesting the aesthetics of the New Objectivity, as well as other socially and politically ‘suspicious’ art works from the l

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Koroleva, A. Y. "Густав Хартлауб и «новая вещественность»: выставка, собирание коллекции, судьба". Iskusstvo Evrazii [The Art of Eurasia], № 4(19) (30 грудня 2020): 156–67. http://dx.doi.org/10.46748/arteuras.2020.04.013.

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The author of article views the curator activity of famous German art-historian and director of Mannheim Kunsthalle Gustav Friedrich Hartlaub in the context of the collecting and patronage. His interest to actual art has turned to most large-scaled project in the art of Weimar republic, that fixes the bone of new «neorealistic» art in the period between two world wars, that has got a name «New objectivity» after the Hartlaubs exhibition. The aim of article is the study of Hartlaubs role as a gallerist in the awareness of changing, which have took a place in the German art after expressionism a

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McGill, Dru, and Jennifer St. Germain. "Nazi Science, wartime collections, and an American museum: An object itinerary of the Anthropologie Symbol." International Journal of Cultural Property 28, no. 1 (February 2021): 87–106. http://dx.doi.org/10.1017/s0940739121000096.

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AbstractA number of recent works have explored the value of scholarly efforts to “unpack” museum collections and examine the constitutive networks and histories of objects. The interrogations of collections through methods such as object biographies and itineraries imparts important knowledge about the institutions, disciplines, and individuals who made museum collections, contribute to deeper understandings of the roles of objects in creating meaning in and of the world, and suggest implications for future practice and policies. This article examines the object itinerary of a cultural propert

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Sijka, Katarzyna. "Losy Sakramentarza Tynieckiego podczas II wojny światowej." Saeculum Christianum 25 (April 25, 2019): 327–40. http://dx.doi.org/10.21697/sc.2018.25.25.

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The SacramentoriumTynecensis was written in circa 1060-1070, probably in Cologne. It was located in the Benedictine Abbey in Tyniec from 11th century to 19th century. In 1814 the illuminated manuscript was bought by Stanisław Kostka Zamoyski, then in 1818 he located the codex in the Zamoyski Ordynacja Library in Warsaw. It stayed there to the end of World War II. Two formations of Nazi Germany were as follows: a military unit led by Professor of Archaeology, Peter Paulsen and a group led by art historian Kajetan Mühlman. Both were responsible for the plundering of Poland's cultural heritage. T

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Grimsted, Patricia Kennedy. "Nazi-Looted Art from East and West in East Prussia: Initial Findings on the Erich Koch Collection." International Journal of Cultural Property 22, no. 1 (February 2015): 7–60. http://dx.doi.org/10.1017/s0940739115000065.

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Abstract:The article contrasts long-suppressed details of German art seizures during the Second World War from Ukrainian state museums and Western Jewish dealers, ordered to Königsberg by Erich Koch, Gauleiter of East Prussia and Reich Commissar of Ukraine. While most of the art from Kyiv was destroyed by retreating Germans when the Red Army arrived (February 1945), here we investigate “survivors.” Initial provenance findings about the collection Koch evacuated to Weimar in February 1945 reveal some paintings from Kyiv. More, however, were seized from Dutch and French Holocaust victims by Reic

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Cieślińska-Lobkowicz, Nawojka. "Predator. The Looting Activity of Pieter Nicolaas Menten (1899–1987)." Zagłada Żydów. Studia i Materiały, Holocaust Studies and Materials (December 6, 2017): 112–47. http://dx.doi.org/10.32927/zzsim.712.

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The Nazi looting of works of art and cultural goods during 1933–1945 is usually divided into institutionalized and unauthorized, that is, wild one. The former was conducted by state and party special organizations and authorities, while the latter, widespread extensively in the east, was practiced by many Germans on their own account. The author suggests introducing a separate category of “specialized looting”, encompassing those who engaged in looting with full awareness – on their own account and/or on commission – and who were proficient in evaluation of the artistic goods and knew wh

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Karrels, Nancy Caron. "Reconstructing a Wartime Journey: The Vollard-Fabiani Collection, 1940–1949." International Journal of Cultural Property 22, no. 4 (November 2015): 505–26. http://dx.doi.org/10.1017/s0940739115000296.

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Abstract:In 1940, the British Admiralty detained a British passenger ship sailing from Lisbon to New York at the port of Hamilton, Bermuda, for a contraband search. Customs authorities seized four crates containing hundreds of artworks by leading European artists. Suspected of being sent to New York for sale by the French art dealer Martin Fabiani for the economic benefit of German-occupied France, the captured collection—originally the property of art dealer Ambroise Vollard—was confiscated as a prize of war and sent to Ottawa, Canada, for wartime safekeeping. The National Gallery of Canada s

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Pływaczewski, Wiesław. "Kolekcja Corneliusa Gurlitta – współczesne reminiscencje zjawiska grabieży żydowskich dzieł sztuki przez III Rzeszę Niemiecką." Studia Prawnoustrojowe, no. 43 (October 26, 2019): 271–82. http://dx.doi.org/10.31648/sp.4636.

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The article presents the phenomenon of plundering works of art by German Nazis, as well as contemporary reminiscences of this practice. The authortakes into consideration the media discovery in 2013, that refers to Gurlitt family collection. This occurrence has become an impulse to start a discussion about claims of the heirs of Holocaust victims against the museums and galleries that are in possession of works which provenance is doubly because of legal issues

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Haxen, Ulf G. "Rom – den hebraiske bogs vugge." Fund og Forskning i Det Kongelige Biblioteks Samlinger 56 (March 3, 2017): 79. http://dx.doi.org/10.7146/fof.v56i0.118929.

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Ulf G. Haxen: Rome – Cradle of the Hebrew Book The Royal Library in Copenhagen has, throughout the twentieth century, received two substantial collections of Hebraica and Judaica. In 1933 the library acquired the private library of chief rabbi and professor David Simonsen, which amounted to an impressive 40,000 manuscripts, books and correspondence of scholarly importance. Dr. Lazarus Goldschmidt escaped Nazi Germany in 1938 and managed to bring his 2,500 volumes of Hebraica and Judaica, including 43 immaculate and well preserved incunables, safely to London. His entire collection of rar

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Pollock, Emily Richmond. "Opera by the Book." Journal of Musicology 35, no. 3 (2018): 295–335. http://dx.doi.org/10.1525/jm.2018.35.3.295.

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In 1944 with Nazi Germany just months from defeat, a curious and now little-known book was published in Regensburg: a collection of essays and biographies that strove to define the contemporary state of opera. Titled Die deutsche Oper der Gegenwart (German Opera of the Present Day), this substantial and lavishly produced volume documents the aesthetics of opera during the Third Reich through its profiles of sixty-two composers, more than 250 design drawings and photographs, prose essays on drama and staging, and an extensive works list. The National Socialist alignment of the book’s primary au

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Grimsted, Patricia Kennedy. "A Goudstikker van Goyen in Gdańsk: A Case Study of Nazi-Looted Art in Poland." International Journal of Cultural Property 27, no. 1 (February 2020): 53–96. http://dx.doi.org/10.1017/s0940739120000016.

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Abstract:This article traces the provenance and migration of a painting by Jan van Goyen (1595–1656), River Landscape with a Swineherd, from the Jacques Goudstikker Collection and now in Gdańsk Muzeum Narodowe. After the “red-flag sale” of the Goudstikker Collection in July 1940 to German banker Alois Miedl, and then to Hermann Göring, this painting—after its sale on Berlin’s Lange Auction in December 1940 to Hitler’s agent Almas-Dietrich—was returned to Miedl-Goudstikker in Amsterdam. Miedl then sold it (with two other Dutch paintings) to the Nazi Gauleiter of Danzig, Albert Forster, among ma

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Campbell, Elizabeth. "Claiming National Heritage: State Appropriation of Nazi Art Plunder in Postwar Western Europe." Journal of Contemporary History 55, no. 4 (April 27, 2020): 793–822. http://dx.doi.org/10.1177/0022009419893737.

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In the wake of the Second World War, cultural officers from the western Allied powers recovered several million objects plundered by the Nazis – works of art, Judaica, fine furniture, collectible books and archive collections. Recent books and films have popularized the history of the heroic art recovery effort, but less well-known is the story of what happened to objects that were never returned to rightful owners. In France, Belgium and the Netherlands, postwar governments selected the best of the unclaimed objects and distributed them to public museums, ministries, embassies and other state

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Grikhanov, Yury A. "Fundamental Guide on Libraries during the Great Patriotic War." Bibliotekovedenie [Russian Journal of Library Science] 69, no. 6 (February 8, 2021): 603–9. http://dx.doi.org/10.25281/0869-608x-2020-69-6-603-609.

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The article analyses the new book by the library scientist A.M. Mazuritsky, Doctor of pedagogical Sciences, who for many years has been studying the complex history of the genocide in relation to the culture of the peoples of our country, the policy of Nazi Germany on destruction and theft of book collections of Soviet libraries, as well as the ways of their salvation in the occupied territories. There is highlighted data on book losses in Russia obtained from state archives and publications in the press during the Great Patriotic War. The article presents A.M. Mazuritsky’s conclusions on the

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Heinrich, Anselm. "Theatre in Britain during the Second World War." New Theatre Quarterly 26, no. 1 (February 2010): 61–70. http://dx.doi.org/10.1017/s0266464x10000060.

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In this article Anselm Heinrich argues for a renewed interest in and critical investigation of theatre in Britain during the Second World War, a period neglected by researchers despite the radical changes in the cultural landscape instigated during the war. Concentrating on CEMA (the Council for Encouragement of Music and the Arts) and the introduction of subsidies, the author discusses and evaluates the importance and effects of state intervention in the arts, with a particular focus on the demands put on theatre and its role in society in relation to propaganda, nation-building, and educatio

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Soloshenko, V. "Looting of Cultural Property in Europe for the Fuhrer – Museum in Linz." Problems of World History, no. 13 (March 18, 2021): 190–202. http://dx.doi.org/10.46869/2707-6776-2021-13-9.

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The article analyzes the activities of the Nazi “Special Mission Linz”, its organization and preparations for the opening of the Fuhrer-Museum in Linz. By A. Hitler’s design, Berlin was supposed to become a kind of Rome, and Linz – to become the European capital of world art. Although this museum was never established, its creation project and precious collections, most of which were seized from Jewish families, deserve a great deal of attention, and the connected with it secrets continue to be a concern of mankind. The crucial role in the selection and formation of the creating museum's expos

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Dack, Mikkel. "Tailoring Truth." German Politics and Society 39, no. 1 (March 1, 2021): 15–36. http://dx.doi.org/10.3167/gps.2021.390102.

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As part of the post-war denazification campaign, as many as 20 million Germans were screened for employment by Allied armies. Applicants were ordered to fill out political questionnaires (Fragebögen) and allowed to justify their membership in Nazi organizations in appended statements. This mandatory act of self-reflection has led to the accumulation of a massive archival repository, likely the largest collection of autobiographical writings about the Third Reich. This article interprets individual and family stories recorded in denazification documents and provides insight into how Germans cho

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Gill, David, and Christopher Chippindale. "The Trade in Looted Antiquities and the Return of Cultural Property: A British Parliamentary Inquiry." International Journal of Cultural Property 11, no. 1 (January 2002): 50–64. http://dx.doi.org/10.1017/s0940739102771579.

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The British parliamentary report on Cultural Property: Return and Illicit Trade was published in 2000. Three key areas were addressed: the illicit excavation and looting of antiquities, the identification of works of art looted by Nazis, and the return of cultural property now residing in British collections. The evidence presented by interested parties—including law enforcement agencies and dealers in antiquities—to the Culture, Media and Sport Committee is assessed against the analysis of collecting patterns for antiquities. The lack of self regulation by those involved in the antiquities ma

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Druxes, Helga, Christopher Thomas Goodwin, Catriona Corke, Carol Hager, Sabine von Mering, Randall Newnham, and Jeff Luppes. "Book Reviews." German Politics and Society 36, no. 3 (September 1, 2018): 111–30. http://dx.doi.org/10.3167/gps.2018.360306.

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David D. Kim, Cosmopolitan Parables: Trauma and Responsibility in Contemporary Germany (Evanston: Northwestern University Press, 2017) Johann Chapoutot, Greeks, Romans, Germans: How the Nazis Usurped Europe’s Classical Past, trans. Richard R. Nybakken (Oakland: University of California Press, 2016) Kimberly Mair, Guerrilla Aesthetics: Art, Memory, and the West German Urban Guerrilla (Montreal: McGill-Queen’s University Press, 2016) David B. Audretsch and Erik E. Lehmann, The Seven Secrets of Germany: Economic Resilience in an Era of Global Turbulence (Oxford: Oxford University Press, 2015) Cra

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Bergman, Diane. "Bernard V. Bothmer: a man of honour." Art Libraries Journal 38, no. 4 (2013): 50–56. http://dx.doi.org/10.1017/s0307472200018800.

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Bernard V. Bothmer left his mark on the world of Egyptology in three of the United States’ great art institutions: the Museum of Fine Arts in Boston, the Brooklyn Museum and the Institute of Fine Arts, New York University. He created gallery displays, developed library collections and founded image collections that continue to influence scholars worldwide. One can wonder how the course of American Egyptology would have developed if circumstances had not driven him out of his native Germany. Despite hardship, fear and a career interrupted, he trained and profoundly influenced at least four gene

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WEBER, HEIKE. "Towards ‘Total’ Recycling: Women, Waste and Food Waste Recovery in Germany, 1914–1939." Contemporary European History 22, no. 3 (July 1, 2013): 371–97. http://dx.doi.org/10.1017/s0960777313000209.

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AbstractIn two critical periods of German history, namely during wartime Imperial Germany and the National Socialist era, the German state resorted to salvaging waste to mobilise both people and resources at home for the war effort. Waste recycling efforts were part of preparing the national economy as well as home front morale for ‘total’ war. Since domestic waste – the generation of which was largely an urban phenomenon before the advent of mass consumer society – has traditionally been defined as a female responsibility, urban women were seen as the main pillars of waste work. Collecting, s

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Carlin, Jane. "Heralding the future: the art publisher in Great Britain from the 1920s through the post-war era." Art Libraries Journal 17, no. 3 (1992): 18–26. http://dx.doi.org/10.1017/s0307472200007914.

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Major contributions to the publication of art books in the 20th century have been made by publishing houses in Great Britain. These include The Studio magazine and its associated publications, founded by Charles Holme late in the 19th century, a widely influential enterprise which was eventually to become the publishing house Studio Vista. Three other ventures resulted from initiatives by European émigrés. Anton Zwemmer arrived in England and commenced his activities as bookseller and publisher in the 1920s. Bela Horovitz’s Phaidon Press, founded in Vienna in 1923, was safeguarded from the Naz

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Grimsted, Patricia Kennedy. "APPENDIX 2: Russian Legal Instruments Relating to Cultural Valuables Displaced as a Result of the Second World War, 1990–2009." International Journal of Cultural Property 17, no. 2 (May 2010): 427–91. http://dx.doi.org/10.1017/s0940739110000172.

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The following list is limited narrowly to post-1991 Russian legal instruments relating to cultural valuables of foreign provenance seized and transported to the Soviet Union from Germany and Eastern Europe at the end of the Second World War, or in the immediate postwar period. Widely known in Russia as the “trophy” valuables, officially those cultural objects (art, books, and archives) are usually referred to in Russia more euphemistically as “cultural valuables displaced [or relocated] to the USSR,” although most frequently translated in a European context as “displaced cultural valuables.” T

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Goldman-Ida, Batsheva. "Chanukka-Eisen: Ethnography, Museums and “Hanukkah Lamps of Iron” from Rural Germany." Images 9, no. 1 (May 22, 2016): 64–77. http://dx.doi.org/10.1163/18718000-12340064.

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This case study combines the disciplines of art history, community history, and ethnographic fieldwork to identify a group of museum objects within their cultural context. It shows how ethnography can be used to supplement the tool box available to the art historian in a positive way. Thus, private collections are used to identify the group of Hanukkah lamps of sheet metal in museums. Images of the lamps in folk and fine art, and mention of them in newspaper advertisements and community satirical publications—all contemporary to the period of their use—were consulted. Over 80 interviewees from

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Hoshino, Masashi. "Humphrey Jennings's ‘Film Fables’: Democracy and Image in The Silent Village." Modernist Cultures 15, no. 2 (May 2020): 133–54. http://dx.doi.org/10.3366/mod.2020.0286.

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This essay explores modernism's aesthetic and political implications through examining the works of Humphrey Jennings. The essay takes as a starting point the tension inherent to the democratic aesthetic of Mass Observation between the individual observers and the editors who write up. This tension can be effectively examined in terms of what Jacques Rancière calls ‘film fables’: the Aristotelian ‘fable’ of dramatic action and cinema's ‘fable’ of egalitarian treatment of ‘passive’ images. The essay argues that the paradox between the two ‘fables’ can be observed in Jennings's works, especially

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Kurtz, Michael J. "The Allied Struggle over Cultural Restitution, 1942–1947." International Journal of Cultural Property 17, no. 2 (May 2010): 177–94. http://dx.doi.org/10.1017/s0940739110000081.

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AbstractThis article discusses the Allied diplomatic and political impasse over restitution during and after World War II. The focus is on cultural restitution—the return of art, archives, and libraries looted by the Nazis. Serious Allied disagreements on general postwar policy for Germany inhibited the development of a coherent approach to the restitution of cultural property. Cultural restitution became lost in the maze of other greater political, economic, and ideological conflicts. Ultimately, the impasse was also fueled by the very complex issues involving cultural restitution itself. Iss

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Boer, Tanja de. "The Museum of the Book in the Hague." Art Libraries Journal 25, no. 1 (2000): 19–24. http://dx.doi.org/10.1017/s0307472200011408.

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Established in 1960, the Museum van het Boek is known for its holdings and exhibitions of Western book art from the last 110 years. Building on the starter collections of two donors, a private printer and a bibliophile, the Museum’s acquisitions now focus mainly on modern book art. More than 25,000 of the 450,000 objects in the Museum are books showing the development of standard Dutch publishing, the work of individual book illustrators, type designers and calligraphers, contemporary Dutch private presses and artists’ books. There is also considerable foreign material, notably from Germany an

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Franz, Dr Michael, and Renate Gatzky. "Information, Transparency and Justice: International Provenance Research Colloquium: (Washington, DC, November 2004)." International Journal of Cultural Property 12, no. 4 (November 2005): 503–8. http://dx.doi.org/10.1017/s0940739105050368.

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Even now in 2006, sixty years after the end of World War II, the subject of cultural assets seized under Nazi persecution (“looted art”) and displaced during the war (“trophy art”), continues to be of interest to politicians, historians, legal experts, and many others. Thus, at a meeting in January 2005, Germany's Advisory Commission for the return of cultural assets seized as a result of Nazi persecution, particularly those cultural assets removed from Jewish ownership, recommended the return of four paintings presently in the possession of the Federal Republic of Germany to the community of

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GEBSER, MARTIN, MARCO MARATEA, and FRANCESCO RICCA. "The Seventh Answer Set Programming Competition: Design and Results." Theory and Practice of Logic Programming 20, no. 2 (May 31, 2019): 176–204. http://dx.doi.org/10.1017/s1471068419000061.

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AbstractAnswer Set Programming (ASP) is a prominent knowledge representation language with roots in logic programming and non-monotonic reasoning. Biennial ASP competitions are organized in order to furnish challenging benchmark collections and assess the advancement of the state of the art in ASP solving. In this paper, we report on the design and results of the Seventh ASP Competition, jointly organized by the University of Calabria (Italy), the University of Genova (Italy), and the University of Potsdam (Germany), in affiliation with the 14th International Conference on Logic Programming an

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Vaculínová, Marta. "From the Life of the National Museum Library in the Protectorate of Bohemia and Moravia." Acta Musei Nationalis Pragae – Historia litterarum 62, no. 3-4 (2017): 5–16. http://dx.doi.org/10.1515/amnpsc-2017-0034.

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The aim of the paper is to show the situation of the National Museum Library (NML) in the period of 1939–1945 based on archival documents. Central changes made by the Nazis affected people as well as their work in the NML. It was not possible to continue as before – some employees had been arrested or executed by the Gestapo. Nevertheless, the number of the NML staff increased as a result of the transfer of officials from the closed Ministry of War and Ministry of Foreign Affairs. Two employees of German nationality joined the NML based on the new rules concerning the relations between Czechs

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Little, Charles T. "Romanesque Sculpture in North American Collections. XXVI. The Metropolitan Museum of Art. Part VI. Auvergne, Burgundy, Central France, Meuse Valley, Germany." Gesta 26, no. 2 (January 1987): 153–68. http://dx.doi.org/10.2307/767092.

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Ratajczak, Mirosław. "MARIUSZ HERMANSDORFER (1940–2018)." Muzealnictwo 59 (October 7, 2018): 219–22. http://dx.doi.org/10.5604/01.3001.0012.6192.

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Mariusz Hermansdorfer (1940–2018) passed away in Wrocław on the 18th of August this year. He was a director of the National Museum in Wrocław in the years 1983–2013, custodian of the contemporary art department of this museum from 1972, critic, curator of exhibitions, one of the most significant figures in Polish Culture of the past half-century. Born in Lviv, he studied art history at the University of Wrocław. While still at university, he started working for the Silesian Museum (since 1970 named the National Museum). In 1967, he moved to the branch of the Municipal Museum of Wrocław – the M

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Kreft, Lev. "Hook to the Chin." Physical Culture and Sport. Studies and Research 46, no. 1 (December 1, 2009): 70–78. http://dx.doi.org/10.2478/v10141-009-0005-1.

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Hook to the ChinWithin historical avant-garde movements from the beginning of the 20th century, a curious taste and fascination for boxing burst out, and developed later into the claim that art must become more similar to boxing, or to sport in general. This fascination with pugilism in the early stage of its popularity on the continent included such charismatic figures of the Parisian avant-garde as Arthur Cravan, who was Oscar Wilde's nephew, a pretty good boxer and an unpredictable organizer of proto-dada outrages and scandals.After WWI, the zenith of artists' and intellectuals' love for bo

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Dubiński, Krzysztof, and Ewa Katarzyna Świetlicka. "LEOPOLD BINENTAL AND THE HISTORY OF HIS COLLECTION." Muzealnictwo 58, no. 1 (June 21, 2017): 109–22. http://dx.doi.org/10.5604/01.3001.0010.1024.

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Leopold Jan Binental (1886–1944) was a musicologist and journalist, and an indefatigable promoter of Frederic Chopin’s compositions and researcher into his life story in the inter-war period. He wrote and published a great deal in professional periodicals as well as in the national and foreign popular press, mainly in France and Germany. Until 1939, he was a regular music critic for "Kurier Warszawski". He was thought to be a competent and respected Chopinologist, and his reputation in Europe was confirmed by the monograph Chopin published in Warsaw (1930 and 1937) and in Paris (1934) and the

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Soloshenko, V. "Cultural Property Protection in the Light of the New Law of FRG 2016." Problems of World History, no. 1 (March 24, 2016): 199–212. http://dx.doi.org/10.46869/2707-6776-2016-1-12.

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Preparations for the adoption of the new Law on Cultural Values Protection, its discussion and debates, that seriously puzzled the German Government, and also caused acute criticism from the representatives of the world of art are analyzed. Attention is focused on approaches to the important and quite complex in this regard issue concerning preservation of illegal movement of cultural objects that belong to the cultural heritage of the state. The main purpose of the bill is to enhance the protection of cultural property and effectively combat the illicit trafficking of them. The intentions of

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Лучка, Л. "BOOK SHOWS AND THE READING UNIVERSE PROFESSOR VK YAKUNINA." Problems of Political History of Ukraine, no. 15 (February 5, 2020): 34–40. http://dx.doi.org/10.33287/11924.

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The research deals with creating a diverse reader image of an intellectual personality of a historian. V.K. Yakunin started his reading career as a student of Dnipropetrovsk State University in the 1960’s. During his studies he constantly visited the scientific library. It was at this time when he first became acquainted with rare and valuable editions on historical subjects. The reading experience of the historian is about 60 years. While writing his Candidate dissertation (1972) and PhD thesis (1990), he worked with a significant number of sources and literature, and he also used interlibrar

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Kramer-Galińska, Iwona. "WILLI DROST: THE LAST DIRECTOR OF THE STADTMUSEUM (CITY MUSEUM) IN GDAŃSK." Muzealnictwo 60 (July 11, 2019): 108–20. http://dx.doi.org/10.5604/01.3001.0013.2855.

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As much as the history of the Free City of Danzig (1920–1939) has been dedicated numerous academic studies, the activity of its institutions and people, particularly Gdańsk residents of German nationality who played a significant role in the city’s political, cultural, scientific, educational, and spiritual life until 1945 has been hardly investigated. One of such individuals is Willi Drost born in Gdańsk in 1892. Following his studies and academic work in Leipzig, Marburg, Cologne, and Konigsberg, in 1930 he returned to Gdańsk, where he was offered the position of a custodian and later conser

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OTTO-MORRIS, ALEX. "“Only united can we escape certain ruin”: Rural Protest at the Close of the Weimar Republic." Rural History 20, no. 2 (September 10, 2009): 187–208. http://dx.doi.org/10.1017/s0956793309990045.

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AbstractThe level of rural unrest in the late Weimar Republic was much higher than has previously been assumed and did not simply decline after peaking in 1928. The agricultural crisis and Great Depression triggered a second wave of protest in the northern German countryside that continued from the autumn of 1931 until early 1933. Banding together, farmers established organisations to prevent compulsory tax and debt collection, and thwarted bailiffs and bidders at confiscations and compulsory auctions of farms and farm property with demonstrations, boycott measures and violence. The article fo

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Jäkel, René, Eric Peukert, Wolfgang E. Nagel, and Erhard Rahm. "ScaDS Dresden/Leipzig – A competence center for collaborative big data research." it - Information Technology 60, no. 5-6 (December 19, 2018): 327–33. http://dx.doi.org/10.1515/itit-2018-0026.

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Abstract The efficient and intelligent handling of large, often distributed and heterogeneous data sets increasingly determines the scientific and economic competitiveness in most application areas. Mobile applications, social networks, multimedia collections, sensor networks, data intense scientific experiments, and complex simulations nowadays generate a huge data deluge. Nonetheless, processing and analyzing these data sets with innovative methods open up new opportunities for its exploitation and new insights. Nevertheless, the resulting resource requirements exceed usually the possibiliti

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Protsiv, Mykola. "ZINOVY STOKALKO (BEREZHAN). UNKNOWN… UNDISCOVERED… UNEXPLORED…" Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 240–45. http://dx.doi.org/10.25264/2409-6806-2020-31-240-245.

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The article considers the activities of the famous bandura player, modernist poet, student activist and doctor, doctor of medicine, and student of Berezhany gymnasium – Zinoviy Shtokalko (Berezhan). Who is he? His father’s genes to some extent determined the life path of his son Zinoviy. In my subjective opinion, I defined them as follows: Doctor. Bandurist! Writer… Artist? .. Punctuation rather shows my understanding of Zinoviy Shtokalko as of today. Attention is focused on his stay in Germany (study at the Ludwig-Maximilian University in Munich; public activities in the field of internationa

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Melnic, Victoria. "Antonin Reichaʼs didactic cycles: between theory and practice". Artes. Journal of Musicology 21, № 1 (1 березня 2020): 1–18. http://dx.doi.org/10.2478/ajm-2020-0001.

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AbstractAntonin Reicha (1770-1826) was a reputed Czech composer, theorist and teacher, who studied in Germany, and was naturalized French, who composed numerous musical works in different genres and wrote several treatises on different aspects of the sound art. An important place in Reichaʼs artistic heritage is occupied by the didactic cycles, which represent examples of works that happily combine instructional and artistic purposes, being developed as a support for the composerʼs didactic activity and at the same time as a supplement to his theoretical writings. The author emphasizes repeate

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Bello, S. M., G. Delbarre, S. A. Parfitt, A. P. Currant, R. Kruszynski, and C. B. Stringer. "Lost and found: the remarkable curatorial history of one of the earliest discoveries of Palaeolithic portable art." Antiquity 87, no. 335 (March 1, 2013): 237–44. http://dx.doi.org/10.1017/s0003598x00048742.

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Reassessment of archives, early publications and the auditing of museum collections have often led to the discovery or rediscovery of long-forgotten specimens (e.g. Hollmann et at. 1986: 330; Fainer & Man-Estier 2011: 506, 520). The combination of initial poor recognition, insufcient scientic analysis and inadequate storage conditions, can cause the loss to science of important archaeological specimens. New analytical techniques may allow reconsideration of previous interpretations (e.g. P illon 2008: 720, 723-24; Hello et aZ. 2011; Higham et aZ. 2011: 522, 524) but in some cases it is the

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RYDELL, ROBERT W. "THE PROXIMITY OF THE PAST: EUGENICS IN AMERICAN CULTURE." Modern Intellectual History 7, no. 3 (September 30, 2010): 667–78. http://dx.doi.org/10.1017/s1479244310000296.

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In 1935, as the Nazis’ state-of-the art eugenics exhibition from the Deutsches Hygiene Museum was concluding its American tour, a decision had to be made about whether to return the displays to Germany or to house them in an American museum. After the American Academy of Medicine decided against the display because of its political implications, the director of the Buffalo Museum of Science, Carlos Cummings, himself a physician, offered his institution as the exhibition's permanent home. “What is the astounding eugenics program upon which Chancellor Hitler has launched the German people?” Cumm

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Lanceva, A. M. "Exhibition Сzech and Кoman King Wenceslas IV: «Beautiful Style» of Gothic Art. On the 600th Anniversary of the Death of the Czech King". Concept: philosophy, religion, culture, № 1 (7 липня 2020): 186–93. http://dx.doi.org/10.24833/2541-8831-2020-1-13-186-193.

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The article is devoted to the historical and cultural aspects of the development of Czech art in the late Middle Ages on the example of an exhibition held from August 16 to November 3 at Prague Castle, which was dedicated to the 600th anniversary of the death of the Czech and Roman King Wenceslas IV. The author of the article considers the significance of the Czech culture and sacred art in the context of the political and historical specifics of the development of medieval Bohemia and the features of the reign of Vaclav IV, who wasthe son of the Holy Roman Emperor and the Czech King Charles I

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Popko, V. M. "The cult of the field marshal prince Piotr Wittgenstein in families of his descendants: portraits of glorious ancestor and family relics." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 64, no. 1 (February 16, 2019): 81–92. http://dx.doi.org/10.29235/2524-2369-2019-64-1-81-92.

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The author analyzed the collections of descendants of the marshal prince Piotr Wittgenstein in which the artifacts connected with this historic figure are stored. Special attention is paid to lifetime portraits of the prince and also their copies. Some of works are attributed and dated, historical circumstances of their creation are specified. In 1834 the marshal has last time visited St. Petersburg. The author connects with this event the emergence of several works of art which weren’t earlier known to experts. The most interesting ones among them are works of the French artist A. Ladurner. T

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Andrianova, Irina S. "An Album from Argentina: Dostoevsky in the Сollection of A. I. Kalugin". Неизвестный Достоевский 7, № 2 (червень 2020): 219–42. http://dx.doi.org/10.15393/j10.art.2020.4761.

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The reserves of the Alexander Solzhenitsyn House of Russian Abroad in Moscow holds 84 large-format albums with clippings from emigrant newspapers from the 1940s and 1950s, selected according to various subjects (Necropolis, Icons, Church, Our achievements, etc.). These materials are a valuable source for researchers, since the collections of emigrant periodicals in Russian and foreign libraries are fragmented. All albums are predictably associated with the activities of the Russian emigrants. In 1996, A. I. and N. D. Solzhenitsyns transferred them to the collection of the House. The materials

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Malawski, Seweryn. "The style of ‘regular irregularities’ – rococo gardens and their reception in Polish garden art of the 18th century." Roczniki Humanistyczne 67, no. 4 (July 4, 2019): 61. http://dx.doi.org/10.18290/rh.2019.67.4-3.

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The stylish difference of the Rococo in the garden art is still the topic of the researchers’ discussion. The Rococo, which was in opposition to the formal and rhetorical art of the Baroque, brought a new value to the eighteenth-century gardens. This value was expressed primarily in the elements of the composition, asymmetry, irregularity, wavy line, fragmentation of form and ornamentation, as well as in relation to nature and specific mood.France is considered to be the fatherland of the Rococo style, from where this new, light style has spread to other European countries. The dissemination o

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Matjus, Ülo. "Kunst uusaja täideviimise ajastul." Baltic Journal of Art History 11 (November 30, 2016): 109. http://dx.doi.org/10.12697/bjah.2016.11.06.

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The author based his article on a fragment from a manuscript by Martin Heidegger Mindfullness (Besinnung, 1938/1939), to which he assigned the title – Die Kunst im Zeitalter der Vollendung der Neuzeit. The work was not published until 1997, but, in summary, it can project us forward from the origins of a work of art to reflection on the art of our era and that which surrounds it. We should emphasise and remember the fact that both Mindfullness (Besinnung, 1938/1939) as well as the Contributions to Philosophy (From Enowning); (Beiträge zur Philosophie (Vom Ereignis), 1936) that preceded it were

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Brandt, E. "Public art galleries in Britain and Germany: An acquisitions policy for the 1990s An International Conference organized by the Goethe-Institut, London and the National Art Collections Fund, and held in London, at the Goethe-Institut, on 22 and 23 February 1991." Museum Management and Curatorship 10, no. 2 (June 1991): 118. http://dx.doi.org/10.1016/0260-4779(91)90002-f.

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