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Nazi-Era Provenance of Museum Collections
When we look at the artworks on display in museums, there is always a real possibility that some of these objects once belonged to victims of the Nazis – a possibility that has remained unacknowledged for far too long. Countless artworks were seized or forcibly sold, with many ending up in museum collections around the world, even in countries which actively fought to defeat Nazi Germany. Nazi-Era Provenance of Museum Collections equips readers with the knowledge and strategies essential for confronting the shadow of the Nazi past in museum collections. Jacques Schuhmacher provides the vital historical orientation required to understand the Nazis’ complex campaign of systematic disposses...
Women Artists in Expressionism
A beautifully illustrated examination of the women artists whose inspired search for artistic integrity and equality influenced Expressionist avant-garde culture Women Artists in Expressionism explores how women negotiated the competitive world of modern art during the late Wilhelmine and early Weimar periods in Germany. Their stories challenge predominantly male-oriented narratives of Expressionism and shed light on the divergent artistic responses of women to the dramatic events of the early twentieth century. Shulamith Behr shows how the posthumous critical reception of Paula Modersohn-Becker cast her as a prime agent of the feminization of the movement, and how Käthe Kollwitz used print...
Time and Power
Inspired by the insights of Reinhart Koselleck and François Hartog, two pioneers of the "temporal turn" in historiography, Clark shows how Friedrich Wilhelm rejected the notion of continuity with the past, believing instead that a sovereign must liberate the state from the entanglements of tradition to choose freely among different possible futures. He demonstrates how Frederick the Great abandoned this paradigm for a neoclassical vision of history in which sovereign and state transcend time altogether, and how Bismarck believed that the statesman's duty was to preserve the timeless permanence of the state amid the torrent of historical change. Clark describes how Hitler did not seek to revolutionize history like Stalin and Mussolini, but instead sought to evade history altogether, emphasizing timeless racial archetypes and a prophetically foretold future.
Goering's Man in Paris
A charged biography of a notorious Nazi art plunderer and his career in the postwar art world "[Petropoulos] brings Lohse into sharper focus, as a personality and axis point from which to explore a network of art dealers, collectors and museum curators connected to Nazi looting. . . . What emerges from Petropoulos's research is a portrait of a charismatic and nefarious figure who tainted everyone he touched."--Nina Siegal, New York Times "Readers of art history and WWII biographies will appreciate this engrossing deep dive into one of the world's most prolific art looters."--Publishers Weekly Bruno Lohse (1911-2007) was one of the most notorious art plunderers in history. Appointed by Her...
Museen im Nationalsozialismus
Erst vor wenigen Jahren haben Museen in Deutschland begonnen, ihre Geschichte während des Nationalsozialismus aufzuarbeiten. Ein übergeordneter Blick auf Funktionsweisen, Entwicklung und Relevanz der Institution Museum im »Dritten Reich« steht noch aus. Der Band, der die Ergebnisse einer internationalen Tagung der Richard-Schöne-Gesellschaft für Museumsgeschichte e.V. und des Deutschen Historischen Museums in Berlin im Juni 2013 präsentiert, ermöglicht erstmals eine grundsätzliche Annäherung, unter Einbeziehung unterschiedlicher Museumstypen und -kontexte in verschiedenen deutschen Regionen bis in die okkupierten Gebiete hinein. Gefragt wird nach Veränderungen in der Personal-, Sammlungs-, Ausstellungs- und Vermittlungspolitik, aber auch nach der Organisation und internationalen Rezeption des deutschen Museumswesens in der NS-Zeit. Bewusst facettenreich entsteht so ein neues, vielschichtiges Bild von der Rolle der Museen im Nationalsozialismus zwischen Anpassung und Widerstand, ideologischer Instrumentalisierung und der Suche nach Freiräumen.
Florence, Berlin and Beyond: Late Nineteenth-Century Art Markets and their Social Networks
On the basis of extensive archival research, the essays in this volume examine the minutiae of object transaction in the late nineteenth-century art market within its social network and broader historical context.
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Nazi Exhibition Design and Modernism
A new and challenging perspective on Nazi exhibition design In one of the most comprehensive analyses ever written on the subject, Michael Tymkiw reassesses the relationship between Nazi exhibition design and modernism. While National Socialist exhibitions are widely understood as platforms for attacking modern art, they also served as sites of surprising formal experimentation among artists, architects, and others, who often drew upon and reconfigured the practices and principles of modernism when designing exhibition spaces and the objects within. In this book, Tymkiw reveals that a central motivation behind such experimentation was the interest in provoking what he calls "engaged spectatorship"—attempts to elicit experiences among exhibition-goers that would pique their desire to become involved in wider processes of social and political change. For historians of art, architecture, performance, and other forms of visual culture, Nazi Exhibition Design and Modernism unravels long-held assumptions, particularly concerning the ideological stakes of participation.
Performance
This book focuses on performance and performance-based artworks as seen through the lens of conservation, which has long been overlooked in the larger theoretical debates about whether and how performance remains. Unraveling the complexities involved in the conservation of performance, Performance: The Ethics and the Politics of Conservation and Care (vol. 1) brings this new understanding to bear in examining performance as an object of study, experience, acquisition, and care. In so doing, it presents both theoretical frameworks and functional paradigms for thinking about—and enacting—the conservation of performance. Further, while the conservation of performance is undertheorized, perf...
Der Kampf um die Kunst
Am 19. Juli 1937 öffnet in München zeitgleich mit der Ausstellung »Entartete Kunst« das Reichsinstitut für Maltechnik seine Pforten. Es ist heute fast ebenso vergessen wie sein Auftrag. Ein sensationeller Fund aller Akten des »Dritten Reichs« erlaubt nun die Rekonstruktion seiner Geschichte und seines Gründers. Wie kam es zur Gründung? Welche Rolle spielte Max Doerner? Wer waren die Personen um Doerner und was taten sie? Andreas Burmester vermittelt einen umfassenden Einblick in den Mikrokosmos einer einzigartigen Einrichtung, die der Reichskammer der bildenden Künste und somit dem Reichsministerium für Volksaufklärung und Propaganda direkt unterstellt war. Er beleuchtet alltägl...
