After months of relative inactivity, there was news this week in the saga of Cornelius Gurlitt, the reclusive German man from whose apartments in Munich and Salzburg more than 1,280 objects were seized as part of a tax investigation, objects that came under suspicion of Nazi looting because of the privileged position held by his father Hildebrand Gurlitt. Unfortunately, the latest news continues a string of public relations efforts that bespeak no real progress as we approach the second anniversary of the public awareness of the story. Quite unlike the plaudits that were thrown around by many last year (though not by us) concerning Germany’s agreement with Gurlitt’s named heir, the reaction has been appropriately skeptical this time.
Gurlitt Collection May be Displayed Next Year, Real Progress Still Elusive as Focus Remains on Public Relations
Topics: cultural property, Sepp Dürr, Schwabinger Kunstfund, Hildebrand Gurlitt, Art Hall of the Federal Republic of Germany, Cornelius Gurlitt, Bonn Minister of Culture, Nazi-looted art, Gurlitt Collection, Entartete Kunst, Munich, World Jewish Congress, Salzburg, Restitution, Müncher Kunstfund, Der Spiegel, World War II, Task Force, Kunstmuseum Bern, Museums, Monika Grütters, Raubkunst, Green Party, Kunsthalle der Bundesrepublik Deutschland, Ronald Lauder
The release last week of The Woman in Gold, the feature film adaptation of The Lady in Gold by Anne Marie O’Connor, starring Helen Mirren and Ryan Reynolds as Maria Altmann and her attorney E. Randol Schoenberg, respectively, as well as Tatiana Maslany as the younger Altmann and Daniel Brühl as Austrian journalist Hubertus Czernin, is an important opportunity to reflect on the legal importance of the case. Even today, the case provides lessons about the way some victims are still treated, and how one individual can make sure the past is never forgotten. The looting of Jewish art collections was a concerted effort whose prominence should never be forgotten. And perhaps even more, it robs those who did survive of the dignity of remembering their family experiences. Consider: the next time you gather with your extended family, look around the room. Pick something that you’re accustomed to seeing when the family meets. Now, imagine it had been stolen or surrendered under duress, and was hanging on the wall of a national collection that denied it had been taken. How would you feel? This is the dilemma faced by many claimants, and it is precisely why Altmann matters so much.
Topics: Maria Altmann, The Lady in Gold, Adele Bloch-Bauer, Guelph Treasure, The Woman in Gold, Daniel Brühl, Germany, Nazi-looted art, Academy of Fine Arts, Foreign Sovereign Immunities Act, Hitler, Tatiana Maslany, Anne Marie O’Connor, Supreme Court, A Few Good Men, Belvedere, E. Randol Schoenberg, World Jewish Congress, Stiftung Preussischer Kulturbesitz, Ryan Reynolds, FSIA, expropriation exception”, Restitution, Neue Galerie, World War II, Foreign Sovereign Immunities, Switzerland, Ferdinand Bloch-Bauer, Helen Mirren, Museums, Fritz Altmann, Gustav Klimt, Vienna, Welfenschatz, Hubertus Czernin, Ronald Lauder, Austrian National Gallery
It has now been one year since Focus magazine in Germany broke the Cornelius Gurlitt story on November 3, 2013. Looking back at the history of the case as it has unfolded since then, the overriding theme has been difficulty in obtaining accurate information about the current state of affairs. The appointed Task Force has made only two recommendations, and the status of the bequest to the Kunstmuseum Bern is still up in the air. And nobody seems remotely pleased.
Topics: Focus, Schwabinger Kunstfund, Hildebrand Gurlitt, Cornelius Gurlitt, Drefsden, Gurlitt Task Force, Nazi-looted art, Gurlitt Collection, Foreign Sovereign Immunities Act, Lex Gurlitt, Entartete Kunst, Salzburg, Bundesrat, Restitution, Der Spiegel, World War II, Foreign Sovereign Immunities, Switzerland, degenerate art, Kunstmuseum Bern, verschollene Kunst, Münchner Kunstfund, Ronald Lauder