London 1938: Defending “Degenerate” German Art tells the story of a monumental British exhibition of artists persecuted by the Nazis.
Narrated in Italian by actor Toni Servillo and directed by Claudio Poli, the film somewhat drowsily recounts the madness of the Nazi’s quest to first sanitize, and then steal the art of Europe.
The Nazis, one supposes, fell into the usual trap: they expected everyone to see it their way, no added explanation or convincing necessary.
It’s not often that a museum gets to directly respond to front-page, bolded-headline media coverage with an exhibition that both nourishes the public’s curiosity about the reported phenomenon and expands the perception of it as well. Deliberately or otherwise, Neue Galerie couldn’t have timed it better.
Just a month after reaching an agreement with the German government, Cornelius Gurlitt, the octogenarian who was hoarding one of the biggest caches of Nazi-era art discovered since World War II, has died.
The German government and the octogenarian who last fall was discovered to be hiding a trove of nearly 1,500 Nazi-era artworks have reached an agreement about the future of the collection.
The Victoria and Albert Museum published a remarkable document online today: the Nazis’ inventory of “degenerate art” (entartete Kunst).
In an about-face, the German government announced Monday a new, accelerated policy for the 1,406 paintings discovered in a 2011 raid on Cornelius Gurlitt’s Munich apartment, promising a task force and a speedy release of information about the cache.
First reported in the German media, news broke yesterday of an estimated €1bn ($1.35bn) of Nazi-seized art uncovered during a raid on an octogenarian’s Munich apartment in 2011. A total of 1,500 works — paintings by Pablo Picasso, Henri Matisse, Marc Chagall, Max Beckmann, Paul Klee, Oskar Kokoschka — are reported to have been stashed in a dark room, sharing space on homemade shelves with “juice cartons and tins of food.”