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The Faustian bargain : the art world in Nazi Germany

著者: Jonathan Petropoulos
出版: New York, N.Y. : Oxford University Press, 2000.
エディション/フォーマット:   書籍 : Biography : Englishすべてのエディションとフォーマットを見る
データベース:WorldCat
概要:
Nazi art looting has been the subject of enormous international attention in recent years, and the topic of two history bestsellers, Hector Feliciano's The Lost Museum and Lynn Nicholas's The Rape of Europa. But such books leave us wondering: What made thoughtful, educated, artistic men and women decide to put their talents in the service of a brutal and inhuman regime? This question is the starting point for The  続きを読む
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ジャンル/形式: Biography
Biographies
資料の種類: Biography
ドキュメントの種類: 図書
すべての著者/寄与者: Jonathan Petropoulos
ISBN: 0195129644 9780195129649
OCLC No.: 41531808
注記: The Mazal Holocaust Collection
物理形態: xvii, 395 p. : ill. ; 25 cm.
コンテンツ: Art museum directors --
Art dealers --
Art journalists --
Art historians --
Artists.
責任者: Jonathan Petropoulos.
その他の情報:

概要:

Nazi art looting has been the subject of enormous international attention in recent years, and the topic of two history bestsellers, Hector Feliciano's The Lost Museum and Lynn Nicholas's The Rape of Europa. But such books leave us wondering: What made thoughtful, educated, artistic men and women decide to put their talents in the service of a brutal and inhuman regime? This question is the starting point for The Faustian Bargain, Jonathan Petropoulos's study of the key figures in the art world of Nazi Germany. Petropoulos follows the careers of these prominent individuals who like Faust, that German archetype, chose to pursue artistic ends through collaboration with diabolical forces. Readers meet Ernst Buchner, the distinguished museum director and expert on Old Master paintings who "repatriated" the Van Eyck brothers' Ghent altarpiece to Germany, and Karl Haberstock, an art dealer who filled German museums with works bought virtually at gunpoint from Jewish collectors. Robert Scholz, the leading art critic in the Third Reich, who became an officer in the chief art looting unit in France and Kajetan Muhlmann-and a leading art historian-was probably the single most prolific art plunderer in the war (and arguably in history). Finally, there is Arno Breker, a gifted artist who exchanged his modernist style for monumental realism and became Hitler's favorite sculptor. If it is striking that these educated men became part of the Nazi machine, it is more remarkable that most of them rehabilitated their careers and lived comfortably after the war. Petropoulos has discovered a network of these rehabilitated experts that flourished in the postwar period, and he argues that this is a key to the tens of thousands of looted artworks that are still "missing" today. Based on previously unreleased information and recently declassified documents, The Faustian Bargain is a gripping read about the art world during this period, and a fascinating examination of the intense relationship between culture and politics in the Third Reich.

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