"Die National-Galerie müßte unbedingt einen Corot haben" ein Ankauf auf dem Pariser Kunstmarkt finanziert aus der Verwertung "Entarteter Kunst" und ein Degas-Tausch während der Besatzung = "The National-Galerie must have a Corot" : an acquisition made on the Parisian art market financed through the sale of "Degenerated Art" and a Degas-trade during the Occupation
The National-Galerie must have a Corot." An acquisition made on the Parisian art market financed through the sale of "Degenarate Art" and a Degas-trade during the Occupation In 1941, the Berlin Nationalgalerie purchased the painting "Seine à Chatou", 1885, by Camille Corot,...
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| Veröffentlicht in: | Kunst und Profit / Elisabeth Furtwängler, Mattes Lammert (Hrsg.) |
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| Format: | UnknownFormat |
| Sprache: | ger |
| Veröffentlicht: |
2022
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Tag hinzufügen | Zusammenfassung: | The National-Galerie must have a Corot." An acquisition made on the Parisian art market financed through the sale of "Degenarate Art" and a Degas-trade during the Occupation In 1941, the Berlin Nationalgalerie purchased the painting "Seine à Chatou", 1885, by Camille Corot, which was by far the most expensive acquisition made by the museum during the Nazi era. The purchase price exceeded the entire annual budget and could only be financed through special funds stemming from the sale of "Degenerate Art". This article argues that the work that was officially purchased from the Arnold Gallery in Munich, came in fact from Gallery Daber in Paris, where the museum had located it during the German Occupation. However, due to a lack of French foreign currency, payment was arranged through the Arnold Gallery. After the war, this financial arrangement allowed the director of the Nationalgalerie, Paul Ortwin Rave, to declare the acquisition as a purchase from Germany, thus preventing a possible restitution of the Corot to France. Another work that was brought from Paris to Berlin during the Occupation was the painting "Le Bal", circa 1879, by Edgar Degas. It had previously been discovered in Paris by the director of the Staatliche Kunsthalle Karlsruhe and the Museum of Fine Arts Strasbourg, Kurt Martin, who acquired the painting with the ultimate objective of trading it in with the Nationalgalerie for works of art by German artists for his own museums. Unlike the Corot, the Degas was restituted in the post-war period and is now in the Musée d’Orsay as part of the so-called collection Musée Nationaux Récupération. This example shows how closely the history of acquisitions made by German museums is linked to the collections of French museums today. The common acquisition history yet different fate of the two paintings demonstrates that the reappraisal of the role of museums during the Occupation is by no means complete. Considering the complex entanglement between art theft and trade, the examination of potential loss due to persecution is a challenging issue that museums in both countries must investigate. While the considerable losses of the Nationalgalerie during the Nazi era, not least through the purge of "Degenerate Art", have been studied in detail, less attention has been paid to the accessions from the Parisian art market during the Occupation of the same period - even though the Corot is still in the Nationalgalerie collection today. |
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| Beschreibung: | Illustrationen |
| ISBN: | 978-3-11-073760-8 |