Gotowe bibliografie tematyczne / Nazis Germany Art collections

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Gotowa bibliografia na temat „Nazis Germany Art collections”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 2 lutego 2022

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Artykuły w czasopismach na temat "Nazis Germany Art collections"

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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Rozprawy doktorskie na temat "Nazis Germany Art collections"

Khut, Chiew-Lee. "Primacy of ideology? : the confiscation and exchange of "degenerate art" in the Third Reich /." Title page, abstract and table of contents only, 2001. http://web4.library.adelaide.edu.au/theses/09ARM/09armk45.pdf.

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Grodzinski, Veronika. "French Impressionism and German Jews : the making of modernist art collectors and art collections in Imperial Germany 1896-1914." Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1444726/.

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This interdisciplinary thesis is the first dedicated study of German Jewish patronage of French Impressionist and post-Impressionist art in Wilhelmine Germany. It investigates the disproportionately strong impact of German Jewish patronage from three perspectives. It examines the significance of Paul Cassirer's modernist art dealership, the prominence of German Jewish art collectors and their modernist art collections and the presence of German Jewish sponsorship at the Nationalgalerie Berlin, the Pinakothek Munich and the Stadelsche Kunstinstitut in Frankfurt am Main. First it examines Impres

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Stelzig, Christine. "Afrika am Museum für Völkerkunde zu Berlin 1873-1919 Aneignung, Darstellung und Konstruktion eines Kontinents /." Herbolzheim : Centaurus, 2004. http://catalogue.bnf.fr/ark:/12148/cb40246115d.

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Khut, Chiew-Lee 1971. "Primacy of ideology? : the confiscation and exchange of "degenerate art" in the Third Reich." 2001. http://web4.library.adelaide.edu.au/theses/09ARM/09armk45.pdf.

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Bibliography: leaves 156-167. The aim of this thesis is to show how in practice the National Socialists sacrificed ideological considerations to the material advantages that could be gained from the sale of "degenerate art". In practice the term "degenerate" was extended beyond modern art to include French Impressionist and Post-Impressionist art, specifically because they were highly saleable. This is evinced by the sales of "degenerate art" which were conducted by the Reichministerium für Volksklärung und Propaganda (RMVP). The record of the sales compiled by the propaganda ministry in the s

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Legault-Béliveau, Julie. "Le rôle des collections dans la légitimation de l'art marginal : le cas de la collection d'art pathologique Prinzhorn." Thèse, 2010. http://hdl.handle.net/1866/4610.

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Au 20e siècle en France et en Allemagne, l’art moderne prend son essor. Certains, comme Francastel, qualifient cet art de destruction d’un espace plastique classique. Cette destruction devient un vecteur de création chez plusieurs artistes qui, suite aux deux grandes guerres, remettent en question leur état « civilisé » et se tournent vers le « primitif » pour offrir une autre voie, loin de tout processus civilisateur. Cette admiration pour les peuples primitifs ainsi que pour les productions artistiques d’enfants, d’amateurs et de « fous » est visible chez plusieurs collectionneurs d’art. En

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Książki na temat "Nazis Germany Art collections"

Petropoulos, Jonathan. The Faustian bargain: The art world in Nazi Germany. London: Allen Lane, 2000.

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Petropoulos, Jonathan. The Faustian bargain: The art world in Nazi Germany. New York, N.Y: Oxford University Press, 2000.

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Vasilʹchenko, A. V. Ariĭskiĭ realizm: Izobrazitelʹnoe iskusstvo Tretʹego reĭkha. Moskva: Veche, 2009.

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Markin, I︠U︡ P. Iskusstvo Tretʹego reĭkha: Arkhitektura, skulʹptura, zhivopisʹ. Moskva: Izdatelʹskiĭ dom "RIP-kholding", 2012.

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Art as politics in the Third Reich. Chapel Hill: University of North Carolina Press, 1996.

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Art as politics in the third reich. North Carolina: University of North Carolina Press, 1996.

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Hermann Göring and the Nazi art collection: The looting of Europe's art treasures and their dispersal after World War II. Jefferson, North Carolina, and London: McFarland & Company, Inc., Publishers, 2012.

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1948-, Holland Luke, ed. Weekend in Munich: Art, propaganda, and terror in the Third Reich. London: Pavilion, 1995.

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Bundestag, Germany. Katalog der Kunstwerke in der Kunstsammlung des Deutschen Bundestages. Bonn: Der Beauftragte der Bundesregierung fur̈ kulturelle Angelegenheiten, 1999.

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Museum, Milwaukee Art, ed. Art in Germany, 1909-1936: From expressionism to resistance : from the Marvin and Janet Fishman collection. Munich, Federal Republic of Germany: Prestel, in association with the Milwaukee Art Museum, 1991.

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Części książek na temat "Nazis Germany Art collections"

Karaca, Banu. "The Art of Forgetting." In The National Frame, 120–52. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823290208.003.0005.

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Chapter 4 examines decivilizing moments that constitute silences in national art histories and yet are formative for the art world in Germany and Turkey. These silences include art collections that are historically related to the dispossession of minorities during the Holocaust in Germany and the Armenian genocide and subsequent discriminatory practices (e.g., the wealth tax for non-Muslims, 1942) in Turkey. The chapter traces the tensions that have arisen in Germany’s struggle to re-acquire modernist works purged from its institutions during the Third Reich, a process that has often been aided by capital that is itself of Nazi provenance. It shows how East Germany’s socialist art came to be seen as a deviation from the modern paradigm in a reunited Germany, so much so that it was declared aesthetically and morally bankrupt and equated to Nazi cultural production. It outlines similarly forgotten processes in Turkey, e.g., a series of works created during the Anatolian painting tours (1938–43). “Failing” to adequately represent Turkey’s modernization, they have been lost to this day. Discussing artistic interventions of Stih and Schnock (Berlin) and Dilek Winchester (Istanbul), it shows how artists break these silences on historical instances deemed unspeakable within the civilizing narrative of the state.

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Leh, Almut, and Doris Tausendfreund. "Archiving Audio and Video Interviews." In Online Research Methods in Urban and Planning Studies, 353–67. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-0074-4.ch021.

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This chapter explores developments in and prospects for the online archival storage and retrieval of oral history interviews—with a focus on experiences and projects in Germany. The introductory section examines the contemporary history research method, oral history, which has led to extensive collections of interviews with witnesses of different historical periods, including survivors of Nazi persecution. To characterize the nature of oral history interviews, attention is given to their narrative form and the biographical dimension. Emphasizing the specific value of this material, the authors discuss the demands involved in archiving such material framed by the expectations on both sides, witnesses as interview partners and researchers and other interested persons as archive users. A German example for state-of-the-art online archiving strategies called the “Forced Labor 1939-1945. Memory and History” archive, is presented, outlining the technical challenges and research features as well as research functionality and further enhancements. Possible avenues for further development within the field are outlined: a meta-search engine covering multiple databases and an open online archive. A crucial ethical question is also presented in this chapter: How can a responsible online access policy ensure the protection of the contemporary witnesses’ personal rights?

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Karaca, Banu. "Instead of a Conclusion." In The National Frame, 209–20. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823290208.003.0008.

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The concluding chapter turns to more recent encounters between Turkey and Germany in the form of artist exchanges and “intercultural dialogue,” showing how these programs continue to feed into asymmetric perceptions. The chapter reiterates that analyzing the historical entanglements of Turkey and Germany through decivilizing moments unsettles the asymmetric perception between “Western” and “non-Western” art. It argues that the emancipatory potential of art lies in accounting for rather than trying to reconcile the contradictions in the workings of the art world discussed in the study. The postscript surveys some recent developments (2015–2020): the coup attempt, the surge of political violence and war, the curtailing of democratic structures and human rights in Turkey; and the rise of the far right and new museum mega-projects that aim to resurrect a glorious past with colonial collections of questionable provenance in Germany. These developments not only engender attacks on artistic memory but present new iterations of the sway that ideas of “national art” hold in politics. The cases of Istanbul and Berlin continue to provide insights into how—under the impetus of rising nationalism around the world—local formations of the global art world are being called back into the nation frame.

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