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1
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.
Повний текст джерелаАнотація:
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 development of modern art in Munich and paved the way for the “Neumeister” auction house. The author emphasizes that the provision of access to the private archives of the “Neumeister” auction house, which is the successor of ‘Adolf Weinmüller,’ was a breakthrough in solving national socialists’ crimes and an important step in overcoming the consequences of totalitarianism in Germany. By opening access to the archives of the auction house, Katrin Stoll, the owner of “Neumeister”, encouraged scholars tо conduct a detailed study. It is important to note that no other auction house in Germany has ever dared to take such bold steps. In such a way, the scientific basis was laid for a number of projects aimed at finding and declassifying archival documents. The author emphasizes that Germany’s experience in dealing with such an important problem as overcoming the burdensome historical legacy of Nazism through identification and restitution of property and cultural values looted by the Nazis, is invaluable. In recent decades, the process of addressing this range of problems has been put on a solid governmental footing. Keywords: Germany, auction houses “Adolf Weinmüller”, “Neumeister”, cultural values, collections, trafficking, alienation, National Socialism.
2
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.
Повний текст джерелаАнотація:
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 collection. This article looks at the ongoing Gurlitt case from an international law perspective and discusses two different but interrelated issues. First, it traces the genealogy and extrapolates the influence of the international legal instruments that have been adopted to deal with the looting of works of art committed by the Nazis. Second, it examines the available means of dispute settlement that can lead to the “just and fair” solution of Holocaust-related cases in general and the Gurlitt case in particular. The objective of this analysis is to demonstrate that international law plays a key role in addressing and reversing the effects of the Nazi looting.
3
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.
Повний текст джерелаАнотація:
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 late Belle Époque, WWI, German Revolution of 1918–1919, or from Weimer Republic Modernism of the 1920s and 30s. The infamous Munich ‘Entartete Kunst’ Exhibition turned into a travelling propaganda display, presented in different variants at different venues. A three-week show (11 Jan.–5 Feb. 1939) was also held in Stettin, in the Landeshaus building (today housing the Municipality of Szczecin). Provenance studies: biographies of the existing works, often relocated, destroyed, or considered to have been lost, constitute an interesting input into the challenging chapter on German and European Avant-garde, Szczecin museology, and on Pomerania art collections. Side by side with the artists, it was museologists and art dealers who cocreated this Pomeranian history of art. The Szczecin State Archive contains a set of files related to ‘degenerate art’, revealing the mechanisms and the course of the ‘museum purge’ at the Stettin Stadtmuseum. The archival records of the National Museum in Szczecin feature fragments of inventory ledgers as well as books of acquisitions, which provide a particularly precious source of knowledge. The published catalogue of the works of ‘degenerate art’ from the Museum’s collections covering 1081 items has been created on the grounds of the above-mentioned archival records, for the first time juxtaposed, and cross-checked. The mutually matching traces of information from Polish and German archives constitute a good departure point for further more thorough studies.
4
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.
Повний текст джерелаАнотація:
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 and their fixation in the social consciousness by exhibition actual pieces of art and following acquiring of them for different museum collections. For the first time in Russian language tells this article about the rising of interest to the «New Objectivity», the history of the organization of famous exhibition in 1925 and her tourney about Germany, about the problem, that have took a place, also about the contradictions between the participants of two wings inside the movement. Special attention is given to the fate of collection, which was scattered by Nazi. В контексте рассмотрения проблемы коллекционирования и меценатства автор статьи рассматривает кураторскую деятельность известного немецкого искусствоведа Г.Ф. Хартлауба, чей интерес к актуальному искусству в период Веймарской республики обернулся широкомасштабным проектом, зафиксировавшим рождение нового «неореалистического» направления в искусстве между двумя мировыми войнами, получившего название с легкой руки куратора Мангеймского Кунстхалле «новая вещественность». Целью статьи является изучение роли Хартлауба как галериста в осознании перемен, произошедших в немецком искусстве после экспрессионизма, и фиксации их в общественном сознании путем экспонирования произведений остроактуального искусства и их последующего приобретения музеем в свою коллекцию. Статья впервые в русскоязычной литературе освещает предпосылки возникновения интереса к живописи «новой вещественности», историю организации и последующего турне знаменитой выставки 1925 года, рассматривает те проблемы, с которыми столкнулись организаторы, а также внутренние противоречия между участниками и течениями внутри движения. Отдельное внимание уделено судьбе коллекции, разрозненной нацистскими властями.
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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.
Повний текст джерелаАнотація:
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 property item of negative heritage: a three-dimensional painted plaster work of craft-art originally designed to symbolize the scientific practice of anthropology in early twentieth-century Germany and later associated with wartime collecting during World War II, the history of American archaeology, and the modern repatriation movement in museums.
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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.
Повний текст джерелаАнотація:
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. They wanted to get the Sacramentorium Tynecensis because it was connected with German culture. The employees of the Zamoyski Ordynacja Library have tried to rescue the codex, sometimes at the risk of their own lives. In 1944 during the action of rescuing library collections from the ruins of the capital city of Poland (action called ‘Pruszkowska’), the manuscript codex was exported and hidden by Stanisław Lorentz in the Cathedral in Łowicz. Thankfully that the ST returned to Warsaw in 1947 and was deposited in the National Library of Poland.
7
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.
Повний текст джерелаАнотація:
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 Reichsmarschall Hermann Göring and his cohorts, including Jewish dealers Jacques Goudstikker (Amsterdam) and Georges Wildenstein (Paris). Many paintings deposited in Weimar disappeared west; others seized by Soviet authorities were transported to the Hermitage. These initial findings draw attention to hitherto overlooked contrasting examples of patterns of Nazi art looting and destruction in the East and West, and the pan-European dispersal of important works of art.
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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.
Повний текст джерелаАнотація:
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 where and in whose possession they could be found. In the Reich and in occupied France and Holland there were many such expert robbers. In Poland their number remained small after the initial wave of official confiscations. The most notable exception was the Dutchman, Pieter Nicolaas Menten (1899–1987), who after the war became one of the wealthiest citizens of Holland and owner of a private art collection unavailable to the public.
The scope, character, and methods of the looting conducted by Menten for his private use in Kraków and Lvov during the German occupation between early 1940 and the end of 1942 make him a very special case in the history of Nazi looting. These aspects are analyzed on the basis of extensive archival materials and evidence collected in Holland and Poland during the investigations and trials against Menten (the first one took place in the late 1940s and was followed by next ones in the late 1970s), who was accused of collaboration with the Germans and the massacre of Jewish inhabitants of the Galician villages of Urycz and Podhorodce in the summer of 1941. Menten was never sentenced for the looting of works of art in Kraków, where he was an appointed forced administrator of four Jewish artistic salons, or in Lvov, where he appropriated art collections and furnishings of several Lvov professors murdered on 4 July 1941. He was never found guilty even though when in January 1943 he left the General Government and went to Holland he took – with Himmler’s special permission – four railway carriages of valuable works of art, gold and silverware, antique furniture, and Oriental rugs. The post-war collection of works of art in Menten’s possession wasn’t liable to confiscation under Dutch law and has become dispersed.
9
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.
Повний текст джерелаАнотація:
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 stored the collection from 1940 to 1949, when British courts instructed the collection’s Canadian custodian to release it to its rightful owners, Fabiani and the Vollard heirs. This essay reframes the wartime journey of the Vollard-Fabiani collection and challenges the long-held notion that it belongs to the narrative of Nazi-looted cultural property. This essay also highlights an important role played by the National Gallery of Canada during World War II.
10
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.
Повний текст джерелаАнотація:
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
11
Haxen, Ulf G. "Rom – den hebraiske bogs vugge." Fund og Forskning i Det Kongelige Biblioteks Samlinger 56 (March 3, 2017): 79. http://dx.doi.org/10.7146/fof.v56i0.118929.
Повний текст джерелаАнотація:
Ulf G. Haxen: Rome – Cradle of the Hebrew Book
The Royal Library in Copenhagen has, throughout the twentieth century, received two substantial collections of Hebraica and Judaica. In 1933 the library acquired the private library of chief rabbi and professor David Simonsen, which amounted to an impressive 40,000 manuscripts, books and correspondence of scholarly importance. Dr. Lazarus Goldschmidt escaped Nazi Germany in 1938 and managed to bring his 2,500 volumes of Hebraica and Judaica, including 43 immaculate and well preserved incunables, safely to London. His entire collection of rare Hebrew books was purchased by the Royal Library for a moderate sum in 1949 because Goldschmidt was “honoured to have his books incorporated in Bibliotheca Simonseniana.”Both scholars were recognised authorities in their own right, Simonsen as philologist in Semitics and specialist in Jewish booklore, and Goldschmidt as a renowned bibliophile and connoisseur of 15th century Hebraic incunables. His 46 rare incunables were eventually listed in Victor Madsen’s catalogue of incunables (1935–1963).The art of printing was born c.1455 in Mainz (Germany) with Johan Gutenberg’s printed edition of the bible. Among scholars it was generally believed that migrating Christian and Jewish apprentices carried the revolutionising “black art” of printing from Mainz to Spain and Italy. Coincidentally enough, the first two dated Hebrew works appeared in print thirty years after Gutenberg in the exact same year in southern and northern Italy respectively: these being the Rashi commentary on the Jewish bible issued 17th February 1475 in Reggia di Calabria and printed by Abraham Garton ben Isaac, and the Arba’ah turim in Piove di Sacco near Venezia published by Meshullam Cusi on 3rd July 1475.These two books were for a long time considered to be the first books printed with Hebrew types. The famous Christian scholar of Hebraica, Giambernardo de Rossi, who was the fortunate owner of the allegedly “first” cradle book from Reggia, subsequently published the first census of Hebrew incunables in Annales hebraica-typographica saeculi XV (1795). The scene was thus set for the future scholarly research of the undated incunables labelled “Roma, ante 1480” (Rome, before 1480) by de Rossi. The present essay discusses five of these incunables, all of which are described in Victor Madsen’s catalogue as printed in “Roma, ante 1480”; an approximated date which needs correcting. David Simonsen refers in passing to “the three printers of Rome” viz. Obadiah, Menasseh and Benjamin, as supposedly having been active in a printing press in Rome. The incunable with Salomon ben Abraham ibn Aderet (Raschba) Teschubot sche’elot. (“Answers to Questions”) dated “before 1980” is a case in point (#4332 in Victor Madsen’s catalogue), furnished with an earlier approximate publishing date c.1469–1472 no. 55 in the Offenberg census (1990) and eventually with REX online catalogue Inc. Haun in 2015.The best known printing press in Rome was created by the two German printers Conrad Sweynheym & Arnold Pannartz who established their first workshop at Santa Scolastica at Subiaco in the Sabine Mountains outside Rome in 1464, where they published several unique Latin works and introduced a Greek typeface. In 1467 they moved the press to the city of Rome in order to get closer to the reading and profitable public. In 1467 they moved the press to Rome in order to get closer to their reading public – and their profits. Here they were privileged to be housed in Palazzo Massimo by the proprietors Pietro and Francesco Massimo. What is more, they began working under the patronage of the respected humanist Giovanni Andrea Bussi, who was editor in charge.It is safe to conjecture that the Hebrew press was born in this milieu, as indeed suggested by Edwin Hall: “… a casual remark of Bussi in the preface to the Latin Bible hints at a possible connection between Sweynheym and Pannartz and what are thought to be the earliest printed books in Hebrew. These books, which contain no indication of date or place of printing, are the work of obscure printers named Obadiah, Manasseh, and Benjamin de Roma and constitute the most primitive surviving examples of printing in Italy.”I thank Dr. Ann Brener, Specialist in the Hebraic Section at the Library of Congress for supplying additional bibliographic references.
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Pollock, Emily Richmond. "Opera by the Book." Journal of Musicology 35, no. 3 (2018): 295–335. http://dx.doi.org/10.1525/jm.2018.35.3.295.
Повний текст джерелаАнотація:
In 1944 with Nazi Germany just months from defeat, a curious and now little-known book was published in Regensburg: a collection of essays and biographies that strove to define the contemporary state of opera. Titled Die deutsche Oper der Gegenwart (German Opera of the Present Day), this substantial and lavishly produced volume documents the aesthetics of opera during the Third Reich through its profiles of sixty-two composers, more than 250 design drawings and photographs, prose essays on drama and staging, and an extensive works list. The National Socialist alignment of the book’s primary author (the theater historian Carl Niessen) and publishing company (Gustav Bosse Verlag) contextualizes the volume’s problematic scholarly priorities. Niessen interleaved explanations and endorsements of viable manifestations of contemporary German opera with anti-Semitic rhetoric and venomous critiques of rival aesthetic views. The book’s time-capsule version of the “state of the art” also includes evidence that contradicts postwar claims by composers, such as Winfried Zillig, who later recast themselves as persecuted modernists but whose statements within the volume demonstrate their complicity. Pamela Potter has recommended that musicologists address the longstanding historiographical problem of defining “Nazi Music” by paying detailed attention to particularities. Analyzing the form, contents, and rhetoric of a single printed object permits insights into the definition, valuation, and canonization of contemporary opera near the end of the Third Reich.
13
Grimsted, Patricia Kennedy. "A Goudstikker van Goyen in Gdańsk: A Case Study of Nazi-Looted Art in Poland." International Journal of Cultural Property 27, no. 1 (February 2020): 53–96. http://dx.doi.org/10.1017/s0940739120000016.
Повний текст джерелаАнотація:
Abstract:This article traces the provenance and migration of a painting by Jan van Goyen (1595–1656), River Landscape with a Swineherd, from the Jacques Goudstikker Collection and now in Gdańsk Muzeum Narodowe. After the “red-flag sale” of the Goudstikker Collection in July 1940 to German banker Alois Miedl, and then to Hermann Göring, this painting—after its sale on Berlin’s Lange Auction in December 1940 to Hitler’s agent Almas-Dietrich—was returned to Miedl-Goudstikker in Amsterdam. Miedl then sold it (with two other Dutch paintings) to the Nazi Gauleiter of Danzig, Albert Forster, among many wartime Dutch acquisitions for the Municipal Museum (Stadtmuseum). Evacuated to Thuringia and captured by a Soviet trophy brigade, it thus avoided postwar Dutch claims. Returned to Poland from the Hermitage in 1956, it was exhibited in the Netherlands and the United States (despite its Goudstikker label). Tracing its wartime and postwar odyssey highlights the transparent provenance research needed for Nazi-era acquisitions, especially in former National Socialist (NS) Germanized museums in countries such as Poland, where viable claims procedures for Holocaust victims and heirs are still lacking. This example of many “missing” Dutch paintings sold to NS-era German museums in cities that became part of postwar Poland, raises several important issues deserving attention in provenance research for still-displaced Nazi-looted art.
14
Campbell, Elizabeth. "Claiming National Heritage: State Appropriation of Nazi Art Plunder in Postwar Western Europe." Journal of Contemporary History 55, no. 4 (April 27, 2020): 793–822. http://dx.doi.org/10.1177/0022009419893737.
Повний текст джерелаАнотація:
In the wake of the Second World War, cultural officers from the western Allied powers recovered several million objects plundered by the Nazis – works of art, Judaica, fine furniture, collectible books and archive collections. Recent books and films have popularized the history of the heroic art recovery effort, but less well-known is the story of what happened to objects that were never returned to rightful owners. In France, Belgium and the Netherlands, postwar governments selected the best of the unclaimed objects and distributed them to public museums, ministries, embassies and other state buildings. This public use of recovered art quietly endured until the 1990s, when heightened awareness of Holocaust-era assets led to greater public and press scrutiny and an increase in restitution claims. This article examines the origins of postwar art custodianships in a comparative analysis of French, Belgian and Dutch restitution policies. The comparison reveals national differences in the scope of looting operations and postwar restitution policies, yet the broad contours of each government’s approach to ownerless art are remarkably similar. In all three cases the custodianships continued the long-term dispossession of Jewish owners wrought by the Nazis and their collaborators.
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Grikhanov, Yury A. "Fundamental Guide on Libraries during the Great Patriotic War." Bibliotekovedenie [Russian Journal of Library Science] 69, no. 6 (February 8, 2021): 603–9. http://dx.doi.org/10.25281/0869-608x-2020-69-6-603-609.
Повний текст джерелаАнотація:
The article analyses the new book by the library scientist A.M. Mazuritsky, Doctor of pedagogical Sciences, who for many years has been studying the complex history of the genocide in relation to the culture of the peoples of our country, the policy of Nazi Germany on destruction and theft of book collections of Soviet libraries, as well as the ways of their salvation in the occupied territories. There is highlighted data on book losses in Russia obtained from state archives and publications in the press during the Great Patriotic War. The article presents A.M. Mazuritsky’s conclusions on the loss of powerful network of mass libraries in the USSR, the search for collections stolen by the Nazis and the restoration of the library system at the end of the war. In the final section of the book the author outlines the problems of restitution of book collections in the post-Soviet period.
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Heinrich, Anselm. "Theatre in Britain during the Second World War." New Theatre Quarterly 26, no. 1 (February 2010): 61–70. http://dx.doi.org/10.1017/s0266464x10000060.
Повний текст джерелаАнотація:
In this article Anselm Heinrich argues for a renewed interest in and critical investigation of theatre in Britain during the Second World War, a period neglected by researchers despite the radical changes in the cultural landscape instigated during the war. Concentrating on CEMA (the Council for Encouragement of Music and the Arts) and the introduction of subsidies, the author discusses and evaluates the importance and effects of state intervention in the arts, with a particular focus on the demands put on theatre and its role in society in relation to propaganda, nation-building, and education. Anselm Heinrich is Lecturer in Theatre Studies at the University of Glasgow. He is the author of Entertainment, Education, Propaganda: Regional Theatres in Germany and Britain between 1918 and 1945 (2007), and with Kate Newey and Jeffrey Richards has co-edited a collection of essays on Ruskin, the Theatre, and Victorian Visual Culture (2009). Other research interests include émigrés from Nazi-occupied Europe, contemporary German theatre and drama, and national theatres.
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Soloshenko, V. "Looting of Cultural Property in Europe for the Fuhrer – Museum in Linz." Problems of World History, no. 13 (March 18, 2021): 190–202. http://dx.doi.org/10.46869/2707-6776-2021-13-9.
Повний текст джерелаАнотація:
The article analyzes the activities of the Nazi “Special Mission Linz”, its organization and preparations for the opening of the Fuhrer-Museum in Linz. By A. Hitler’s design, Berlin was supposed to become a kind of Rome, and Linz – to become the European capital of world art. Although this museum was never established, its creation project and precious collections, most of which were seized from Jewish families, deserve a great deal of attention, and the connected with it secrets continue to be a concern of mankind. The crucial role in the selection and formation of the creating museum's expositions was played by its leaders. They took charge of future museum and selected for it the most precious items of the looted collections of Europe, coordinating the process of museum’s filling with Hitler.
The author finds out that the Fuhrer-Museum in Linz expositions consisted mainly of art collections of Jews. The main criterion for the selection of valuable pieces of art for the museum was its belonging to the European high art.
The article analyzes the components of the “mission’s” activities, outlines the routes of the artworks, which got into the museum collections in different ways. Besides, significant attention is paid in the article to the key figures: architects whose projects were approved by the Fuhrer, leaders of the museum in Linz – art historians and other executors who were directly involved in organizing and conducting of a large-scale looting of cultural property in Europe. The author notes that the purpose of the “Special Mission Linz”, was, inter alia, to find artworks created by masters of “Aryan” birth. The study emphasizes that such kind of museum establishment was an attempt to prove the greatness and steadfastness of the German Reich. It is noted in the article that Hitler was planning to build cultural centers in Königsberg and Drontheim (Norway) during the war. The Fuhrer wanted to establish a museum with cultural property from Eastern Europe in Königsberg, and the artworks of German authors were supposed to decorate the exposition of the newly created museum in Drontheim – the northernmost center of the future Great Empire. The fact that the Fuhrer-Museum in Linz was never built does not give any grounds to reject the facts of systematic looting and confiscation of cultural property that were conducting during many years of Nazi rule.
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Dack, Mikkel. "Tailoring Truth." German Politics and Society 39, no. 1 (March 1, 2021): 15–36. http://dx.doi.org/10.3167/gps.2021.390102.
Повний текст джерелаАнотація:
As part of the post-war denazification campaign, as many as 20 million Germans were screened for employment by Allied armies. Applicants were ordered to fill out political questionnaires (Fragebögen) and allowed to justify their membership in Nazi organizations in appended statements. This mandatory act of self-reflection has led to the accumulation of a massive archival repository, likely the largest collection of autobiographical writings about the Third Reich. This article interprets individual and family stories recorded in denazification documents and provides insight into how Germans chose to remember and internalize the National Socialist years. The Fragebögen allowed and even encouraged millions of respondents to rewrite their personal histories and to construct whitewashed identities and accompanying narratives to secure employment. Germans embraced the unique opportunity to cast themselves as resisters and victims of the Nazi regime. These identities remained with them after the dissolution of the denazification project and were carried forward into the post-occupation period.
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Gill, David, and Christopher Chippindale. "The Trade in Looted Antiquities and the Return of Cultural Property: A British Parliamentary Inquiry." International Journal of Cultural Property 11, no. 1 (January 2002): 50–64. http://dx.doi.org/10.1017/s0940739102771579.
Повний текст джерелаАнотація:
The British parliamentary report on Cultural Property: Return and Illicit Trade was published in 2000. Three key areas were addressed: the illicit excavation and looting of antiquities, the identification of works of art looted by Nazis, and the return of cultural property now residing in British collections. The evidence presented by interested parties—including law enforcement agencies and dealers in antiquities—to the Culture, Media and Sport Committee is assessed against the analysis of collecting patterns for antiquities. The lack of self regulation by those involved in the antiquities market supports the view that the British Government needs to adopt more stringent legislation to combat the destruction of archaeological sites by looting.
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Druxes, Helga, Christopher Thomas Goodwin, Catriona Corke, Carol Hager, Sabine von Mering, Randall Newnham, and Jeff Luppes. "Book Reviews." German Politics and Society 36, no. 3 (September 1, 2018): 111–30. http://dx.doi.org/10.3167/gps.2018.360306.
Повний текст джерелаАнотація:
David D. Kim, Cosmopolitan Parables: Trauma and Responsibility in Contemporary Germany (Evanston: Northwestern University Press, 2017) Johann Chapoutot, Greeks, Romans, Germans: How the Nazis Usurped Europe’s Classical Past, trans. Richard R. Nybakken (Oakland: University of California Press, 2016) Kimberly Mair, Guerrilla Aesthetics: Art, Memory, and the West German Urban Guerrilla (Montreal: McGill-Queen’s University Press, 2016) David B. Audretsch and Erik E. Lehmann, The Seven Secrets of Germany: Economic Resilience in an Era of Global Turbulence (Oxford: Oxford University Press, 2015) Craig Morris and Arne Jungjohann, Energy Democracy: Germany’s Energiewende to Renewables. (New York: Palgrave MacMillan, 2016) Peter Polek-Springer, Recovered Territory: A German-Polish Conflict over Land and Culture, 1919-1989 (Oxford: Berghahn Books, 2015) Manuel Borutta and Jan C. Jansen, ed., Vertriebene and Pieds-Noirs in Postwar Germany and France: Comparative Perspectives (Houndmills: Palgrave MacMillan, 2016).
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Bergman, Diane. "Bernard V. Bothmer: a man of honour." Art Libraries Journal 38, no. 4 (2013): 50–56. http://dx.doi.org/10.1017/s0307472200018800.
Повний текст джерелаАнотація:
Bernard V. Bothmer left his mark on the world of Egyptology in three of the United States’ great art institutions: the Museum of Fine Arts in Boston, the Brooklyn Museum and the Institute of Fine Arts, New York University. He created gallery displays, developed library collections and founded image collections that continue to influence scholars worldwide. One can wonder how the course of American Egyptology would have developed if circumstances had not driven him out of his native Germany. Despite hardship, fear and a career interrupted, he trained and profoundly influenced at least four generations of historians of Egyptian art. BVB, as he was affectionately known to those close to him, inspired all who worked with him to the highest level of achievement, a standard which came to be known as “Brooklyn Quality”.
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WEBER, HEIKE. "Towards ‘Total’ Recycling: Women, Waste and Food Waste Recovery in Germany, 1914–1939." Contemporary European History 22, no. 3 (July 1, 2013): 371–97. http://dx.doi.org/10.1017/s0960777313000209.
Повний текст джерелаАнотація:
AbstractIn two critical periods of German history, namely during wartime Imperial Germany and the National Socialist era, the German state resorted to salvaging waste to mobilise both people and resources at home for the war effort. Waste recycling efforts were part of preparing the national economy as well as home front morale for ‘total’ war. Since domestic waste – the generation of which was largely an urban phenomenon before the advent of mass consumer society – has traditionally been defined as a female responsibility, urban women were seen as the main pillars of waste work. Collecting, separating and storing reusable leftovers became a pervasive element of their everyday lives, as well as those of schoolchildren. Moreover, in the case of the First World War, under the umbrella of the so-called National Women's Service (Nationaler Frauendienst or NFD), women's associations set up grass-roots local waste collections before the state discovered the potential of waste for its war mobilisation efforts from 1916 onwards. The article highlights this self-mobilisation in the case of food recycling. Furthermore, it explores the continuities and differences between First World War waste salvage and later Nazi waste policies. Claiming to have learnt their lessons from the salvage drives of the First World War, the Nazis aimed at a ‘total’ waste recovery at the latest from 1936 onwards and took a top-down approach to reach it; in contrast, waste salvage drives of the First World War had been dominated by local and often female initiatives.
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Carlin, Jane. "Heralding the future: the art publisher in Great Britain from the 1920s through the post-war era." Art Libraries Journal 17, no. 3 (1992): 18–26. http://dx.doi.org/10.1017/s0307472200007914.
Повний текст джерелаАнотація:
Major contributions to the publication of art books in the 20th century have been made by publishing houses in Great Britain. These include The Studio magazine and its associated publications, founded by Charles Holme late in the 19th century, a widely influential enterprise which was eventually to become the publishing house Studio Vista. Three other ventures resulted from initiatives by European émigrés. Anton Zwemmer arrived in England and commenced his activities as bookseller and publisher in the 1920s. Bela Horovitz’s Phaidon Press, founded in Vienna in 1923, was safeguarded from the Nazis by Sir Stanley Unwin and recommenced operations under its own name, in London, in 1946. And in 1949 Thames and Hudson was founded by Walter Neurath, who had fled Nazi Germany in 1938. The activities of these publishing houses were complemented by those of Albert Skira in Switzerland, who developed the production of art books illustrated with colour plates. After the Second World War, art publishing flourished as never before, with these and other publishers contributing to an expansion of art publishing on an international front which saw the emergence of the ‘coffee table’ book and of popular art books for a wide readership, the publication of international co-editions, and the multiplication of series. However, more art books has not always meant better art books.
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Grimsted, Patricia Kennedy. "APPENDIX 2: Russian Legal Instruments Relating to Cultural Valuables Displaced as a Result of the Second World War, 1990–2009." International Journal of Cultural Property 17, no. 2 (May 2010): 427–91. http://dx.doi.org/10.1017/s0940739110000172.
Повний текст джерелаАнотація:
The following list is limited narrowly to post-1991 Russian legal instruments relating to cultural valuables of foreign provenance seized and transported to the Soviet Union from Germany and Eastern Europe at the end of the Second World War, or in the immediate postwar period. Widely known in Russia as the “trophy” valuables, officially those cultural objects (art, books, and archives) are usually referred to in Russia more euphemistically as “cultural valuables displaced [or relocated] to the USSR,” although most frequently translated in a European context as “displaced cultural valuables.” The term “displaced” is used here, and may include some cultural property and archives that came to the USSR during the war itself, as well as those removed from Germany and Eastern Europe by Soviet authorities at the end of or immediately after the war. Many items involved were actually twice captured, or “twice saved,” as the saying goes in Russia, having been first captured by the Nazis, mostly from “enemies of the regime,” and then captured a second time and “safeguarded” by the Soviets.
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Goldman-Ida, Batsheva. "Chanukka-Eisen: Ethnography, Museums and “Hanukkah Lamps of Iron” from Rural Germany." Images 9, no. 1 (May 22, 2016): 64–77. http://dx.doi.org/10.1163/18718000-12340064.
Повний текст джерелаАнотація:
This case study combines the disciplines of art history, community history, and ethnographic fieldwork to identify a group of museum objects within their cultural context. It shows how ethnography can be used to supplement the tool box available to the art historian in a positive way. Thus, private collections are used to identify the group of Hanukkah lamps of sheet metal in museums. Images of the lamps in folk and fine art, and mention of them in newspaper advertisements and community satirical publications—all contemporary to the period of their use—were consulted. Over 80 interviewees from southern Germany, Alsace, and the Netherlands were interviewed; the majority former teachers from a Jewish school in Wurzburg, others residing in Jerusalem and on the Moshav Shavei Tzion. As a result, the Hanukkah lamps were identified by country, ethnic group, religious affiliation, and object name in the local idiom. Tracing the development and geographic spread of the form also enabled us to identify the same lamp used in different social contexts, among itinerate members of society and the bourgeoisie.
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Hoshino, Masashi. "Humphrey Jennings's ‘Film Fables’: Democracy and Image in The Silent Village." Modernist Cultures 15, no. 2 (May 2020): 133–54. http://dx.doi.org/10.3366/mod.2020.0286.
Повний текст джерелаАнотація:
This essay explores modernism's aesthetic and political implications through examining the works of Humphrey Jennings. The essay takes as a starting point the tension inherent to the democratic aesthetic of Mass Observation between the individual observers and the editors who write up. This tension can be effectively examined in terms of what Jacques Rancière calls ‘film fables’: the Aristotelian ‘fable’ of dramatic action and cinema's ‘fable’ of egalitarian treatment of ‘passive’ images. The essay argues that the paradox between the two ‘fables’ can be observed in Jennings's works, especially in his essays on Thomas Gray, his ‘report’ poems, and The Silent Village (1943), a dystopian propaganda film set in a Welsh village invaded by Nazis Germany. By looking at these works, the essay illustrates how the utopian longing for ‘pure art’ in modernism is related to the impossible idea of ‘democracy’.
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Kurtz, Michael J. "The Allied Struggle over Cultural Restitution, 1942–1947." International Journal of Cultural Property 17, no. 2 (May 2010): 177–94. http://dx.doi.org/10.1017/s0940739110000081.
Повний текст джерелаАнотація:
AbstractThis article discusses the Allied diplomatic and political impasse over restitution during and after World War II. The focus is on cultural restitution—the return of art, archives, and libraries looted by the Nazis. Serious Allied disagreements on general postwar policy for Germany inhibited the development of a coherent approach to the restitution of cultural property. Cultural restitution became lost in the maze of other greater political, economic, and ideological conflicts. Ultimately, the impasse was also fueled by the very complex issues involving cultural restitution itself. Issues including the scope of the entire effort, restitution in kind, returning property to refugees, and the fate of heirless Jewish property were intractable. The problems with cultural restitution reflected the clash of interests and ideologies. As a result, the four occupying powers had distinct approaches with radically differing results.
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Boer, Tanja de. "The Museum of the Book in the Hague." Art Libraries Journal 25, no. 1 (2000): 19–24. http://dx.doi.org/10.1017/s0307472200011408.
Повний текст джерелаАнотація:
Established in 1960, the Museum van het Boek is known for its holdings and exhibitions of Western book art from the last 110 years. Building on the starter collections of two donors, a private printer and a bibliophile, the Museum’s acquisitions now focus mainly on modern book art. More than 25,000 of the 450,000 objects in the Museum are books showing the development of standard Dutch publishing, the work of individual book illustrators, type designers and calligraphers, contemporary Dutch private presses and artists’ books. There is also considerable foreign material, notably from Germany and Great Britain.
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Franz, Dr Michael, and Renate Gatzky. "Information, Transparency and Justice: International Provenance Research Colloquium: (Washington, DC, November 2004)." International Journal of Cultural Property 12, no. 4 (November 2005): 503–8. http://dx.doi.org/10.1017/s0940739105050368.
Повний текст джерелаАнотація:
Even now in 2006, sixty years after the end of World War II, the subject of cultural assets seized under Nazi persecution (“looted art”) and displaced during the war (“trophy art”), continues to be of interest to politicians, historians, legal experts, and many others. Thus, at a meeting in January 2005, Germany's Advisory Commission for the return of cultural assets seized as a result of Nazi persecution, particularly those cultural assets removed from Jewish ownership, recommended the return of four paintings presently in the possession of the Federal Republic of Germany to the community of heirs of Julius Freund. Also in January 2005, Germany's government, all federal states and central organizations of municipalities called on German public bodies not to slow down in their search for cultural assets seized as a result of Nazi persecution and to report any items found to the Koordinierungsstelle für Kulturgutverluste (Coordination Office for Lost Cultural Assets) for display as part of its Internet database www.lostart.de. Furthermore, in February 2005, Franz von Lenbach's painting “Prinzessin zu Sayn-Wittgenstein-Sayn” which had been seized by the Nazis was identified through www.lostart.de and returned to the heirs of Bernhard Altmann. The painting was part of the Remaining Stock CCP (“Linzer Liste”) within www.lostart.de enlisting cultural objects with provenance gaps in the administration of Germany's Bundesamt zur Regelung offener Vermögensfragen (Federal Office for the settlement of ownership issues). The object was on loan from the Bundesamt and in possession of the Wallraf-Richartz-Museum in Köln (Germany).
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GEBSER, MARTIN, MARCO MARATEA, and FRANCESCO RICCA. "The Seventh Answer Set Programming Competition: Design and Results." Theory and Practice of Logic Programming 20, no. 2 (May 31, 2019): 176–204. http://dx.doi.org/10.1017/s1471068419000061.
Повний текст джерелаАнотація:
AbstractAnswer Set Programming (ASP) is a prominent knowledge representation language with roots in logic programming and non-monotonic reasoning. Biennial ASP competitions are organized in order to furnish challenging benchmark collections and assess the advancement of the state of the art in ASP solving. In this paper, we report on the design and results of the Seventh ASP Competition, jointly organized by the University of Calabria (Italy), the University of Genova (Italy), and the University of Potsdam (Germany), in affiliation with the 14th International Conference on Logic Programming and Non-Monotonic Reasoning (LPNMR 2017).
31
Vaculínová, Marta. "From the Life of the National Museum Library in the Protectorate of Bohemia and Moravia." Acta Musei Nationalis Pragae – Historia litterarum 62, no. 3-4 (2017): 5–16. http://dx.doi.org/10.1515/amnpsc-2017-0034.
Повний текст джерелаАнотація:
The aim of the paper is to show the situation of the National Museum Library (NML) in the period of 1939–1945 based on archival documents. Central changes made by the Nazis affected people as well as their work in the NML. It was not possible to continue as before – some employees had been arrested or executed by the Gestapo. Nevertheless, the number of the NML staff increased as a result of the transfer of officials from the closed Ministry of War and Ministry of Foreign Affairs. Two employees of German nationality joined the NML based on the new rules concerning the relations between Czechs and Germans in public services. The operation of the library came under the supervision of Professor Carl Wehmer, who planned a cataloguing reform, was in charge of the book collections and ensured their later evacuation. The plans for a new NML exhibition were cancelled and replaced by propagandistic exhibitions imported from Germany, such as Deutsche Größe. The Nazi ideologists planned to return the National Museum and its library to the original idea of the land museum. Also Emil Franzel, a former leading member of the German Social Democracy in Czechoslovakia, a later member of the Sudeten German Party and in 1940–1941 an official in the NML, followed the idea of a land museum in his book History of the National Museum Library (Prague 1942), the first monograph on the history of the NML.
32
Little, Charles T. "Romanesque Sculpture in North American Collections. XXVI. The Metropolitan Museum of Art. Part VI. Auvergne, Burgundy, Central France, Meuse Valley, Germany." Gesta 26, no. 2 (January 1987): 153–68. http://dx.doi.org/10.2307/767092.
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Ratajczak, Mirosław. "MARIUSZ HERMANSDORFER (1940–2018)." Muzealnictwo 59 (October 7, 2018): 219–22. http://dx.doi.org/10.5604/01.3001.0012.6192.
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Mariusz Hermansdorfer (1940–2018) passed away in Wrocław on the 18th of August this year. He was a director of the National Museum in Wrocław in the years 1983–2013, custodian of the contemporary art department of this museum from 1972, critic, curator of exhibitions, one of the most significant figures in Polish Culture of the past half-century. Born in Lviv, he studied art history at the University of Wrocław. While still at university, he started working for the Silesian Museum (since 1970 named the National Museum). In 1967, he moved to the branch of the Municipal Museum of Wrocław – the Museum of Current Art, which at the time was getting ready for its opening. There he worked together with Jerzy Ludwiński, one of their achievements being the memorable Fine Arts Symposium Wrocław ’70, and was engaged in the activity of the Mona Lisa Gallery run by Ludwiński. He returned to the National Museum in 1972, and became a custodian of the contemporary art department up to his retirement in 2013. There he created, starting practically from scratch, one of the best collections of Polish contemporary art in the country, abundant in works of such artists as Magdalena Abakanowicz, Tadeusz Brzozowski, Edward Dwurnik, Józef Gielniak, Władysław Hasior, Józef Hałas, Maria Jarema, Jerzy Kalina, Tadeusz Kantor, Jan Lebenstein, Natalia LL, Jerzy Nowosielski, Jerzy Rosołowicz, Jonasz Stern, Jan Tarasin and many others. The predominant artists of this collection were those of metaphor and expression. From the mid-1970s he was a curator of Polish presentations at international art festivals – in Cagnessur- Mer, São Paulo and New Delhi. He used to organise exhibitions from museum collections in Germany, Great Britain, the United States and the Netherlands. As an art critic he was writing mainly for the monthly “Odra”; in 1990 he became a member of its Editorial Board. The writings of Mariusz Hermansdorfer can also be found in catalogues and scholarly publications of the National Museum in Wrocław.
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Kreft, Lev. "Hook to the Chin." Physical Culture and Sport. Studies and Research 46, no. 1 (December 1, 2009): 70–78. http://dx.doi.org/10.2478/v10141-009-0005-1.
Повний текст джерелаАнотація:
Hook to the ChinWithin historical avant-garde movements from the beginning of the 20th century, a curious taste and fascination for boxing burst out, and developed later into the claim that art must become more similar to boxing, or to sport in general. This fascination with pugilism in the early stage of its popularity on the continent included such charismatic figures of the Parisian avant-garde as Arthur Cravan, who was Oscar Wilde's nephew, a pretty good boxer and an unpredictable organizer of proto-dada outrages and scandals.After WWI, the zenith of artists' and intellectuals' love for boxing was reached in Weimar Germany. One of the well known examples connecting boxing with art was Bertolt Brecht with his statement that we need more good sport in theatre. His and other German avant-garde artists' admiration for boxing included the German boxing star May Schmeling, who was, at least until he lost his defending championship match against Joe Louis, an icon of the Nazis as well. Quite contrary to some later approaches in philosophy of sport, which compared sport with an elite art institution, Brecht's fascination with boxing took its anti-elitist and anti-institutional capacities as an example for art's renewal.To examine why and how Brecht included boxing in his theatre and his theory of theatre, we have to take into account two pairs of phenomena: sport vs. physical culture, and avant-garde theatre vs. bourgeois drama. At the same time, it is important to notice that sport, as something of Anglo-Saxon origin, and especially boxing, which became popular on the European continent in its American version, were admired by Brecht and by other avant-garde artists for their masculine power and energy. The energy in theatre, however, was needed to disrupt its cheap fictionality and introduce dialectical imagination of Verfremdungseffect (V-effect, or distancing effect). This was "a hook to the chin" of institutionalized art and of collective disciplinary morality of German tradition.
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Dubiński, Krzysztof, and Ewa Katarzyna Świetlicka. "LEOPOLD BINENTAL AND THE HISTORY OF HIS COLLECTION." Muzealnictwo 58, no. 1 (June 21, 2017): 109–22. http://dx.doi.org/10.5604/01.3001.0010.1024.
Повний текст джерелаАнотація:
Leopold Jan Binental (1886–1944) was a musicologist and journalist, and an indefatigable promoter of Frederic Chopin’s compositions and researcher into his life story in the inter-war period. He wrote and published a great deal in professional periodicals as well as in the national and foreign popular press, mainly in France and Germany. Until 1939, he was a regular music critic for "Kurier Warszawski". He was thought to be a competent and respected Chopinologist, and his reputation in Europe was confirmed by the monograph Chopin published in Warsaw (1930 and 1937) and in Paris (1934) and the album Chopin. On the 120th anniversary of his birth. Documents and mementoes (Warsaw 1930 and Leipzig 1932) presenting Chopin’s mementoes, prints, drawings, handwritten musical notes and letters. He initiated and co-organised famous exhibitions about Chopin in the National Museum in Warsaw (1932) and the Polish Library in Paris (1932 and 1937). He was Executive Secretary on the Management Board of the Fryderyk Chopin National Institute created in 1934. Binental amassed a private collection of Chopin’s manuscripts and mementoes which is highly regarded in musicological circles. He also collected works of art; his collection comprised ancient, Middle Eastern and modern European ceramics, medieval sculpture and tapestries, goldsmithery and Judaica. After the outbreak of war in autumn 1939, Binental took certain steps to secure his collections. Three chests with ceramics and works of art were deposited in the National Museum in Warsaw. However, it is not known what happened to the collection of Chopin’s objects. At the beginning of 1940, Binental and his wife managed to leave Poland and reach France, where his daughter lived. In 1944 he was arrested by Gestapo and sent to Auschwitz from which he did not return. After the war, at the request of his daughter Krystyna, some of the works of art deposited in the collections of the National Museum were found. With her approval, they are currently to be found in public collections in Poland, although the fate of his Chopin collection remains unknown. Every now and then, some proof appears on the world antiquarian market that the collection has not been damaged, despite remaining missing.
36
Soloshenko, V. "Cultural Property Protection in the Light of the New Law of FRG 2016." Problems of World History, no. 1 (March 24, 2016): 199–212. http://dx.doi.org/10.46869/2707-6776-2016-1-12.
Повний текст джерелаАнотація:
Preparations for the adoption of the new Law on Cultural Values Protection, its discussion and debates, that seriously puzzled the German Government, and also caused acute criticism from the representatives of the world of art are analyzed. Attention is focused on approaches to the important and quite complex in this regard issue concerning preservation of illegal movement of cultural objects that belong to the cultural heritage of the state. The main purpose of the bill is to enhance the protection of cultural property and effectively combat the illicit trafficking of them. The intentions of the Federal Government to integrate pre-existing laws in the field of cultural values into one law are very important. The main principles of the law in the new edition are protection from being sold overseas collections of state museums, including exhibits from private ownership that are in museums temporarily. It is highlighted that under current legislation, in each federal state of art and other cultural treasures, including libraries, must be entered in the register of national cultural values. These items have privileges in taxation, their export outside Germany requires special permission from the Ministry of Internal Affairs of Germany, which can be stipulated for a number of restrictions and reservations. In the article it is underlined that he XXI century has set new challenges and tasks for German scientists that require operational, but balanced approach in their solution.
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Лучка, Л. "BOOK SHOWS AND THE READING UNIVERSE PROFESSOR VK YAKUNINA." Problems of Political History of Ukraine, no. 15 (February 5, 2020): 34–40. http://dx.doi.org/10.33287/11924.
Повний текст джерелаАнотація:
The research deals with creating a diverse reader image of an intellectual personality of a historian. V.K. Yakunin started his reading career as a student of Dnipropetrovsk State University in the 1960’s. During his studies he constantly visited the scientific library. It was at this time when he first became acquainted with rare and valuable editions on historical subjects. The reading experience of the historian is about 60 years. While writing his Candidate dissertation (1972) and PhD thesis (1990), he worked with a significant number of sources and literature, and he also used interlibrary loan services. He was a high-level bibliographer, he constantly searched and selected carefully new books of political and historical content. V.K.Yakunin began to collect his own library from the late 1960s. The analysis of his reader cards from the departments of scientific literature and fiction shows that scientist V.K. Yakunin paid primary attention to documents, book sources and periodicals. He perfectly knew the works of foreign historical science classics. He was interested in memoir literature. Psychological and art literature was not ignored by the scientist. The historian always turned to classical works and editions of contemporary Ukrainian writers. V. K. Yakunin’s private library totals about 2000 copies in Ukrainian, Russian and German. It has been stored in the Scientific Library since 2017. Each copy of the professor’s book collection received the stamp «Professor V.K. Yakunin’s Library». The chronological limits of the book collection cover the 20th – the beginning of the 21st century. Most publications are books of social and humanitarian directions. He was interested in the history of the 20th century: political history, public opinion, World War II, history of Nazism, the Ukrainian national movement. Memories held a special place in the book collection. Ways of acquisition to the Library: donations and purchasing. The historian was surrounded by books during his life. Thus, the value of the book collection of Professor V.K. Yakunin is in the presence of a large number of publications that give an idea of the state of book publishing in Ukraine and Russia and indicate the high intellectual level of its owner.
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Kramer-Galińska, Iwona. "WILLI DROST: THE LAST DIRECTOR OF THE STADTMUSEUM (CITY MUSEUM) IN GDAŃSK." Muzealnictwo 60 (July 11, 2019): 108–20. http://dx.doi.org/10.5604/01.3001.0013.2855.
Повний текст джерелаАнотація:
As much as the history of the Free City of Danzig (1920–1939) has been dedicated numerous academic studies, the activity of its institutions and people, particularly Gdańsk residents of German nationality who played a significant role in the city’s political, cultural, scientific, educational, and spiritual life until 1945 has been hardly investigated. One of such individuals is Willi Drost born in Gdańsk in 1892. Following his studies and academic work in Leipzig, Marburg, Cologne, and Konigsberg, in 1930 he returned to Gdańsk, where he was offered the position of a custodian and later conservator of monuments of the Free City of Gdańsk; furthermore, as of 1938 he was appointed Director of the City Museum, which he remained uninterruptedly until 1945. Beginning from 1930, he was also professor of art history at the Technischer Hochschule, engineering university, as well as curator of Museum Collections for the whole region of Gdańsk – Western Prussia. His scholarly activity yielded numerous publications in art theory, North European modern painting, and Gdańsk art. Furthermore, Drost takes credit for the inventory of Gdańsk historic churches conducted from 1934 onwards. Resorting to the preserved materials, in 1957–1964, Drost published a 5-volume series titled Art Monuments of the City of Gdańsk (Kunstdenkmäler der Stadt Danzig). During WW II, together with Prof. Erich Volmar, he supervised the action of protecting and evacuating art works from the City Museum, Town Hall’s Red Room, Artus Manor, Uphagen’s House, as well as from churches and other historic facilities. Directly following the end of WW II, Drost stayed on in Gdańsk, helping Polish art historians to recover art works hidden in the city and its vicinity. Having left for Germany in the spring of 1946, he was professor at Hamburg and Tubingen universities. Until his last days he continued to promote the cultural heritage of Gdańsk. In recognition of his merits, Drost was honoured with numerous awards in Germany, while in 1992, on the 100th anniversary of his Birthday, a plaque commemorating him was unveiled in front of the building of the former City Museum (Stadtmuseum), today housing the National Museum in Gdańsk. The paper’s goal is to popularize Drost’s endeavours as a museologist, and to recall all he did for Gdańsk.
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OTTO-MORRIS, ALEX. "“Only united can we escape certain ruin”: Rural Protest at the Close of the Weimar Republic." Rural History 20, no. 2 (September 10, 2009): 187–208. http://dx.doi.org/10.1017/s0956793309990045.
Повний текст джерелаАнотація:
AbstractThe level of rural unrest in the late Weimar Republic was much higher than has previously been assumed and did not simply decline after peaking in 1928. The agricultural crisis and Great Depression triggered a second wave of protest in the northern German countryside that continued from the autumn of 1931 until early 1933. Banding together, farmers established organisations to prevent compulsory tax and debt collection, and thwarted bailiffs and bidders at confiscations and compulsory auctions of farms and farm property with demonstrations, boycott measures and violence. The article focuses on these developments in Germany's northernmost province, Schleswig-Holstein, but also presents evidence revealing that the level of rural unrest has almost certainly been underestimated in other regions as well. The rural protest of this period was particularly significant for the involvement of parties of both political extremes which sought to win farmers' approval. Ultimately it was the Nazi Party that successfully exploited the second wave of rural unrest to promote its dynamic and activist profile and secure support in the countryside.
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Jäkel, René, Eric Peukert, Wolfgang E. Nagel, and Erhard Rahm. "ScaDS Dresden/Leipzig – A competence center for collaborative big data research." it - Information Technology 60, no. 5-6 (December 19, 2018): 327–33. http://dx.doi.org/10.1515/itit-2018-0026.
Повний текст джерелаАнотація:
Abstract The efficient and intelligent handling of large, often distributed and heterogeneous data sets increasingly determines the scientific and economic competitiveness in most application areas. Mobile applications, social networks, multimedia collections, sensor networks, data intense scientific experiments, and complex simulations nowadays generate a huge data deluge. Nonetheless, processing and analyzing these data sets with innovative methods open up new opportunities for its exploitation and new insights. Nevertheless, the resulting resource requirements exceed usually the possibilities of state-of-the-art methods for the acquisition, integration, analysis and visualization of data and are summarized under the term big data. ScaDS Dresden/Leipzig, as one Germany-wide competence center for collaborative big data research, bundles efforts to realize data-intensive applications for a wide range of applications in science and industry. In this article, we present the basic concept of the competence center and give insights in some of its research topics.
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Protsiv, Mykola. "ZINOVY STOKALKO (BEREZHAN). UNKNOWN… UNDISCOVERED… UNEXPLORED…" Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 240–45. http://dx.doi.org/10.25264/2409-6806-2020-31-240-245.
Повний текст джерелаАнотація:
The article considers the activities of the famous bandura player, modernist poet, student activist and doctor, doctor of medicine, and student of Berezhany gymnasium – Zinoviy Shtokalko (Berezhan). Who is he? His father’s genes to some extent determined the life path of his son Zinoviy. In my subjective opinion, I defined them as follows: Doctor. Bandurist! Writer… Artist? .. Punctuation rather shows my understanding of Zinoviy Shtokalko as of today. Attention is focused on his stay in Germany (study at the Ludwig-Maximilian University in Munich; public activities in the field of international student movement led by the Ukrainian student community, the Foreign Students Associations; edition of weekly issue “Students news” & its publications, poetic creativity and concert activity of a bandura player) and the USA (professional activity as a doctor; concert and artistic activity of a bandura player, preservation and popularization of bandura art; literary work). Based on original documents from the funds of Berezhany Museum of Local Lore and private collections, some aspects of the biography have been clarified (period of study at the Lviv Medical Institute, arrival in the USA, performances as a bandura player in the USA). According to the research results, the catalog “Zinoviy Shtokalko (Berezhan) and his family in the Berezhany Museum of Local Lore and in private collections” was published. It includes 358 original photos, letters, books, documents and objects. All of that covers quite a wide time range (1891–2020). “Geographical” coverage is the following: Berezhany, Brody, Kalne, Lviv, Sokal, Munich, Canada, Germany, USA… Research continues: unrecognized photos, negatives and photo albums, unread letters from the family, manuscripts of Zinoviy’s father – priest Pavel Shtokalko, and documents in the archives of various institutions are awaiting processing.
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Melnic, Victoria. "Antonin Reichaʼs didactic cycles: between theory and practice". Artes. Journal of Musicology 21, № 1 (1 березня 2020): 1–18. http://dx.doi.org/10.2478/ajm-2020-0001.
Повний текст джерелаАнотація:
AbstractAntonin Reicha (1770-1826) was a reputed Czech composer, theorist and teacher, who studied in Germany, and was naturalized French, who composed numerous musical works in different genres and wrote several treatises on different aspects of the sound art. An important place in Reichaʼs artistic heritage is occupied by the didactic cycles, which represent examples of works that happily combine instructional and artistic purposes, being developed as a support for the composerʼs didactic activity and at the same time as a supplement to his theoretical writings. The author emphasizes repeatedly that the theory must be justified by practice and that the student must know the principles of the contemporary composition and not just the old rules by which the predecessors were guided. This article examines Reichaʼs didactic cycles, among which we find collections of fugues, variations, duets and trios, as well as some collections of studies. Considering the large number of works named by Reicha Studies he can rightly be considered one of the parents of this genre in French music. But in Reichaʼs case, the aim of the studies is not only to cultivate virtuosity itself, but rather complex exercises that involve both the “technological” processes of interpretation and the “spiritual” ones. In our opinion, the figure of this musician, his theoretical writings and compositional works eloquently illustrate the dialectical relationship between tradition and innovation on the one hand and the complex relationship between musical theory and practice on the other.
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Bello, S. M., G. Delbarre, S. A. Parfitt, A. P. Currant, R. Kruszynski, and C. B. Stringer. "Lost and found: the remarkable curatorial history of one of the earliest discoveries of Palaeolithic portable art." Antiquity 87, no. 335 (March 1, 2013): 237–44. http://dx.doi.org/10.1017/s0003598x00048742.
Повний текст джерелаАнотація:
Reassessment of archives, early publications and the auditing of museum collections have often led to the discovery or rediscovery of long-forgotten specimens (e.g. Hollmann et at. 1986: 330; Fainer & Man-Estier 2011: 506, 520). The combination of initial poor recognition, insufcient scientic analysis and inadequate storage conditions, can cause the loss to science of important archaeological specimens. New analytical techniques may allow reconsideration of previous interpretations (e.g. P illon 2008: 720, 723-24; Hello et aZ. 2011; Higham et aZ. 2011: 522, 524) but in some cases it is the scientific value of a specimen that is not recognised at the moment of its discovery (e.g. Rosendahl et aZ. 2003: 277; Kaagan et aZ. 2011). Particularly revealing examples are those where the specimen found is the first of its kind. This was the case with the first handaxe recognised as manufactured by humans (Gamble & Kruszynski 2009: 468-70) or the rst two sets of Neanderthal fossil remains found respectively at Engis in 1829-30 and Gibraltar in 1848, which were not recognised as an early human species until after the 1856 discovery of _Neanderthal 1 at the Kleine Feldhofer Grotte in the Neander Valley near DUsseldorf, Germany (Stringer & Gamble 1993: 13). Similarly, lack of recognition caused the near loss of an engraved antler from the Magdalenian site of Neschers (France), possibly one of the first examples of Palaeolithic portable art.
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RYDELL, ROBERT W. "THE PROXIMITY OF THE PAST: EUGENICS IN AMERICAN CULTURE." Modern Intellectual History 7, no. 3 (September 30, 2010): 667–78. http://dx.doi.org/10.1017/s1479244310000296.
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In 1935, as the Nazis’ state-of-the art eugenics exhibition from the Deutsches Hygiene Museum was concluding its American tour, a decision had to be made about whether to return the displays to Germany or to house them in an American museum. After the American Academy of Medicine decided against the display because of its political implications, the director of the Buffalo Museum of Science, Carlos Cummings, himself a physician, offered his institution as the exhibition's permanent home. “What is the astounding eugenics program upon which Chancellor Hitler has launched the German people?” Cummings wondered aloud. “As a matter of public interest, without endorsement,” he added, “the Museum will display in the Central Hall throughout this final quarter of 1935, a set of fifty-one posters and charts . . . which gives Americans a graphic explanation of Germany's campaign to rear in posterity ‘a new race nobility.’” Seven years later, with war raging, the museum received permission from the company that had insured the exhibition, to dismantle it from its permanent home in the museum's Hall of Heredity. An exhibition about eugenics, Nazi eugenics no less, that had been enthusiastically received as it had traveled the United States in the mid-1930s, had seemingly fallen victim to the war against eugenics launched by cultural anthropologists and geneticists. In light of the broad scholarship on eugenics, this certainly would be a plausible reading of the deinstallation of the Nazi eugenics exhibition. But the three books under review here suggest a more complex reading, one that suggests that eugenics and racism, considered as ideological systems, were less easily dislodged from American culture than from Buffalo's Museum of Science.
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Lanceva, A. M. "Exhibition Сzech and Кoman King Wenceslas IV: «Beautiful Style» of Gothic Art. On the 600th Anniversary of the Death of the Czech King". Concept: philosophy, religion, culture, № 1 (7 липня 2020): 186–93. http://dx.doi.org/10.24833/2541-8831-2020-1-13-186-193.
Повний текст джерелаАнотація:
The article is devoted to the historical and cultural aspects of the development of Czech art in the late Middle Ages on the example of an exhibition held from August 16 to November 3 at Prague Castle, which was dedicated to the 600th anniversary of the death of the Czech and Roman King Wenceslas IV. The author of the article considers the significance of the Czech culture and sacred art in the context of the political and historical specifics of the development of medieval Bohemia and the features of the reign of Vaclav IV, who wasthe son of the Holy Roman Emperor and the Czech King Charles IV . Wenceslas IV is a complex and controversial figure in Czech history, who stood at the «crossroads» of epochs and cultures, around him various disputes persist in historiography up to our time. This article provides an overview of the nature of the sacred artifacts of culture and art presented at the exhibition «Czech and Roman King Wenceslas IV: «beautiful style» of Gothic art», as well as the characteristics of the artistic style , defined in terms of historical and cultural, internal and external political development of the Czech Republic, crosscultural dialogue of the Czech Republic with European countries on the background of the emerging religious controversy in the country. The work takes into account the features of the Late Gothic style in the Central Europe. On the example of the remarkable works of painting, sculpture, fragments of architectural monuments, decorative and applied art and manuscripts, first of all the monumental Wenceslas Bible, many of which were brought to Prague from various European Galleries and Castles of Poland, Germany, France, New York, as well as from private collections, can demonstrate the rise of Czech culture and art in the late XIV-early XV centuries, which was presented the process of cultural accumulation of the European style of the late Gothic, received Czech national artificial identity.
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Popko, V. M. "The cult of the field marshal prince Piotr Wittgenstein in families of his descendants: portraits of glorious ancestor and family relics." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 64, no. 1 (February 16, 2019): 81–92. http://dx.doi.org/10.29235/2524-2369-2019-64-1-81-92.
Повний текст джерелаАнотація:
The author analyzed the collections of descendants of the marshal prince Piotr Wittgenstein in which the artifacts connected with this historic figure are stored. Special attention is paid to lifetime portraits of the prince and also their copies. Some of works are attributed and dated, historical circumstances of their creation are specified. In 1834 the marshal has last time visited St. Petersburg. The author connects with this event the emergence of several works of art which weren’t earlier known to experts. The most interesting ones among them are works of the French artist A. Ladurner. The article shows the actions of marshal’s descendants for promoting and memorilization of his personality. For the first time the materials from the Central archive Hohenlohe in Neunstein (Germany) are published. On the basis of these documents the author speaks about history of one marshal’s portrait which was transferred in 1892 to the regiment bearing his name. The marshal’s granddaughter princess Maria Hohenlohe became the initiator of writing of a portrait and its transfer. The author of the article associates such a rich iconography of P. Wittgenstein with the manifestation of his personal cult in families of his descendants.
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Andrianova, Irina S. "An Album from Argentina: Dostoevsky in the Сollection of A. I. Kalugin". Неизвестный Достоевский 7, № 2 (червень 2020): 219–42. http://dx.doi.org/10.15393/j10.art.2020.4761.
Повний текст джерелаАнотація:
The reserves of the Alexander Solzhenitsyn House of Russian Abroad in Moscow holds 84 large-format albums with clippings from emigrant newspapers from the 1940s and 1950s, selected according to various subjects (Necropolis, Icons, Church, Our achievements, etc.). These materials are a valuable source for researchers, since the collections of emigrant periodicals in Russian and foreign libraries are fragmented. All albums are predictably associated with the activities of the Russian emigrants. In 1996, A. I. and N. D. Solzhenitsyns transferred them to the collection of the House. The materials were initially received from the collector himself — Alexey Ivanovich Kalugin (1883-1982), a Russian emigrant who lived in Lithuania, Germany, Italy and Argentina. The article clarifies a number of biographical facts about Kalugin, presents a letter to him from A. I. Solzhenitsyn dated September 21, 1980, analyzes the content of the album "Dostoevsky" from the Russian Writers series. In it Kalugin included excerpts from <i>Golos naroda</i>, <i>Novoe russkoe slovo</i>, <i>Russkaya mysl</i>, <i>Narodnaya pravda</i>, <i>Za pravdu</i>, <i>Nasha strana</i>, <i>Seyatel</i>, and other newspapers that reported on new editions of the writer's books, performances, literary debates and lectures devoted to his work (professor V. N. Ilyin, writer Osip Dymov, etc.). They also contained information on the activities of the “Circle for the study of Dostoevsky” in Paris under the leadership of G. A. Meyer, and presented the commemoration program for the 70th anniversary of Dostoevsky's death in France. The album includes reviews of published books about the writer's work, articles about his life and work written by critics and emigrant researchers, the first publications of essays by I. S. Shmelev, B. K. Zaitsev and A. M. Remizov about Dostoevsky in Russian, etc. Among the little-known materials previously unpublished in Russia, the Kalugin album contains an article by Ekaterina Dostoevskaya about Fedyusha – the writer's grandson, a publication of the boy's poems, Professor V. N. Speransky's memoirs about Anna Dostoevskaya and an interview with her. These materials are published in the Appendix to the article.
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Malawski, Seweryn. "The style of ‘regular irregularities’ – rococo gardens and their reception in Polish garden art of the 18th century." Roczniki Humanistyczne 67, no. 4 (July 4, 2019): 61. http://dx.doi.org/10.18290/rh.2019.67.4-3.
Повний текст джерелаАнотація:
The stylish difference of the Rococo in the garden art is still the topic of the researchers’ discussion. The Rococo, which was in opposition to the formal and rhetorical art of the Baroque, brought a new value to the eighteenth-century gardens. This value was expressed primarily in the elements of the composition, asymmetry, irregularity, wavy line, fragmentation of form and ornamentation, as well as in relation to nature and specific mood.France is considered to be the fatherland of the Rococo style, from where this new, light style has spread to other European countries. The dissemination of new ideas was favored by print theoretical dissertations and collections of projects. The works by authors such as L. Liger, J-F. Blondel, J-B-A. le Blond, F. de Cuvilliés, M-A. Laugier, G-L. Le Rouge, W. Chambers, S. Switzer and B. Langley enjoyed particular popularity.Many impressive gardens with Rococo features were created especially in Germany and Poland. Their special flourishing in Poland fell on the times of the Polish-Saxon Union, and especially during the reign of Augusts III in the years 1733-1763.Special attention should be paid to the projects related to the patronage of the first minister H. Brühl. Rococo features can be found in several of his gardens, such as garden at Nowy Świat in Warsaw, garden in Wola, the unfinished garden project for the former Sanguszko palace or a garden in Brody (Pförten). Rococo compositions were also created in the gardens of Prince Adam Poniński at Żyzna street in Warsaw and in Górce. In 1966, the concept of a magnificent royal garden at the Ujazdów Castle was created. Noteworthy is also the arrangement of gardens in Puławy from the times of Zofia and August Czartoryski as well as Flemming in Terespol. The designers of many Polish gardens of that period were Saxon architects, such as: J.D. von Jauch, J.F. Knöbel, C.F. Pöppelmann, E. Schröger or J.Ch. Knöffel. From the 1770s, Rococo creations in Poland began to give way to landscape concepts.
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Matjus, Ülo. "Kunst uusaja täideviimise ajastul." Baltic Journal of Art History 11 (November 30, 2016): 109. http://dx.doi.org/10.12697/bjah.2016.11.06.
Повний текст джерелаАнотація:
The author based his article on a fragment from a manuscript by Martin Heidegger Mindfullness (Besinnung, 1938/1939), to which he assigned the title – Die Kunst im Zeitalter der Vollendung der Neuzeit. The work was not published until 1997, but, in summary, it can project us forward from the origins of a work of art to reflection on the art of our era and that which surrounds it. We should emphasise and remember the fact that both Mindfullness (Besinnung, 1938/1939) as well as the Contributions to Philosophy (From Enowning); (Beiträge zur Philosophie (Vom Ereignis), 1936) that preceded it were not intended for immediate publication after they were written in Nazi Germany and remained manuscripts for 50 years, until M. Heidegger’s 100th anniversary in 1989.In the title, all the words, in both English and German, are familiar, but when considered together, questions start to arise. The author explains the meaning of the following German words: die Neuzeit [modernity], das Zeitalter [epoch] and die Vollendung [completion]. The initial sentence of the fragment that provides an introduction as well as summary is: “During this era, art will complete its hitherto metaphysical nature.” If, according to the thinker, metaphysics is all actual Occidental history, then the history of art, as part of this history, is metaphysical, i.e. art has a metaphysical nature, which it will be completed during the completion era of modern times. First off, metaphysics means t h e f o r g o t t e nn e s s o f b e i ng , because instead of being itself, hereinafter inquiry is made of the “logical” existing being as well as being as such; since forgottenness of being is itself forgotten. The forgottenness also fades. This means that philosophy becomes metaphysical and slowly but surely assumes power, so that today metaphysics is considered to be one of the synonyms of philosophy. Secondly, post-Aristotelian metaphysical thinking is characterised by the development of its spirituality, which later labels being-historical thinking as h u m a n i sm, i.e. as humankind assuming the position of subiectum in its relationship with the “world”. Martin Heidegger even considers it possible to speak about the “rule of the modern metaphysics of subjectivity” (die Herrschaft der neuzeitlichen Metaphysik der Subjektivität). However, in this sense metaphysics by nature characterises everything that has been created in Europe, including art.Martin Heidegger says that art will realise its current metaphysical being in this era. Surprisingly this is characterised by three moments: (1) art works disappear, but (2) art does not disappear, and instead (3) becomes something else. In this case, Heidegger is speaking of the German-language Machenschaft, or machination in English. Art becomes one of the ways – along with others – of realising Machenschaft or machination; and upon the reconstruction of what exists, a means of making that which has been established, i.e. achieved, into something that can be unconditionally ruled and commanded.The thinker himself describes this as an example of the “change” in the relationship between mankind as the subiectum and nature. Nature becomes the created (das Geschaffene) and creatable as the “nature” created by the ruling and commanding mankind. This has the character of a structure (die Anlage) as the constitutive form of presenting the machination process and its “result”: motorways, airplane hangars at airports, giant ski jumping hills, electrical power stations and artificial lakes, factory buildings and defensive structures. This character also extends to the “public” world and its spirituality. Nature becomes “beautiful” only through these structures. We are no longer confronted with the nature as it was previously conceived, i.e. as the beautiful nature that provided aesthetic enjoyment, but as the “nature” intermediated by ruling and commanding humankind. The “redesign of nature” is occurring. Nature is visible and is only through those “structures”; nature becomes something that is intermediated, i.e. unapproachable and inaccessible directly. Let’s just think about the “motorways” (die Autobahnen), which were one of the most significant “structures” after the Nazis assumed power in Germany; the closest example of which in Estonia – not ideologically and politically, but formally – is the Eastern Roundabout along with the bridge over the Emajõgi River in present-day Tartu. When stopping on the bridge from the corresponding observation niche one sees nature “in a mediated form” and does not descend from the bridge into nature, because this is “pointless”; nature has been made “approachable” and “accessible” in a better and more effective way.Understandably, that which art highlights is the character of the structure. In this context, it becomes understandable that upon the disappearance of art works, when one can no longer ask what an art work means or what its idea is, art becomes totally “meaningless”. Instead of the “meaning” of art, an experience appears that in turn requires experience training. The types of art resp. genres are also “dissolved”, remaining only in name or as irrelevant, unreal areas of activity that have arrived too late. Kitsch, which can no longer be compared to an art work, is not “bad” art, but a greater skill, and yet an empty and non-constitutive skill. – From the viewpoint of being-historical thinking, the people of the modern technological era, by satisfying the nature of the “structure” are now frames (das Ge-stell), i.e. set and demanded by the nature of modern technology – regardless of whether they know it or not, want it or not. In exactly the same way, people who “deal with the art” participate in this. That does not mean that they are guilty of anything, i.e. they are not criminals. They are not the authors of this “process” or “status”, and they also cannot halt it. The only difference is that some of the actors see what has been created and think about it. And others do not. However not seeing and not thinking is not punishable.
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Brandt, E. "Public art galleries in Britain and Germany: An acquisitions policy for the 1990s An International Conference organized by the Goethe-Institut, London and the National Art Collections Fund, and held in London, at the Goethe-Institut, on 22 and 23 February 1991." Museum Management and Curatorship 10, no. 2 (June 1991): 118. http://dx.doi.org/10.1016/0260-4779(91)90002-f.
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