Der Spiegel reports today (link in German) about how German museums are joining the chorus of frustration about the lack of information about the Hildebrand and Cornelius Gurlitt collection find. From this perspective, this development is not a surprise. I was speaking to an international law class last night at Sarah Lawrence College, and one of the students asked me what the reaction in Germany would be. My feeling was that sooner rather than later, the German museum community, and likely the federal government, will push for a forward-looking solution. Present-day Germany takes questions about the Holocaust quite seriously, and for this collection to have turned up in Germany is sparking an embarrassment that could lead to more decisive action. The problem right now seems to be that everyone is waiting for someone else to make the first move.
Topics: Jeu de Paume, unbekannte Meisterwerke, February 13 1945, FAZ, Focus, Hildebrand Gurlitt, Dresden firebombing, Max Fisher, Cornelius Gurlitt, S. Lane Faison, Linz Führermuseum, Munich Central Collecting Point, Monopol, Wiesbaden Collecting Point, Dresden, HARP, Reinhard Nemetz, Max Liebermann, WWII, Monuments Men, Gurlitt Collection, Max Beckmann, Otto Dix, Degenerate Art: The Fate of the Avant-Garde in Naz, Auktionshaus Lempertz, Entartete Kunst, Fine Arts and Archives Program, Nazis, Marc Chagall, Organisation Todt, Paul Klee, Entdeckung verschollener Kunst, beschlagnahmte Bilder, Dresdner Bank, Belvedere, Fritz Todt, Holocaust Art Project, Hamburg Kunstverein, MFAA, Roberts Commission, Angela Merkel, Restitution, Wien, Monuments Fine Arts and Archives, Selbstporträt, World War II, degenerate art, Erben, Raubkunst-Bildern, Portrait of Wally, Washi, Löwenbändiger, Austria, Franz Marc, Oskar Kokoschka, Washington Principles, Ernst Ludwig Kirchner, München, Pablo Picasso, Dr. Herman Voss, Museums, Kristallnacht, Riders on the Beach, Hans Posse, Nazi Raubkunst, Vienna, Alfred Weidinger, Henri Matisse, Self Portrait, Emil Nolde