Art and destruction
Free download. Book file PDF easily for everyone and every device. You can download and read online Art and destruction file PDF Book only if you are registered here. And also you can download or read online all Book PDF file that related with Art and destruction book. Happy reading Art and destruction Bookeveryone. Download file Free Book PDF Art and destruction at Complete PDF Library. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Here is The CompletePDF Book Library. It's free to register here to get Book file PDF Art and destruction Pocket Guide.
Contents:
Lists were to be made of all the artworks in France, after which it would be decided what works would remain in France and what would be sent to Germany. Hitler had been anticipating this day, and, in , he hired two German art historians to surreptitiously conduct research in France. The product of their efforts was the page Memorandum and Lists of Art Looted by the French in the Rhineland in In addition, through various decrees, French nationals, who left the country were no longer citizens and therefore forfeited any belongings left in the country.
Many of these emigrants were targeted for being Jewish; Jewish art dealers were an immediate focus. Soon, so many works of art were collected by the Nazis that the Jeu de Paume Museum was requisitioned for a staging depot. In the next few years, major art collections would pass through its doors as well as thousands of objects comprised from many smaller collections.
The art of destruction in the s | Christie's
Goering eventually selected over six hundred objects for himself. Between April and July , the Reich shipped from France to Germany and Austria 4, cases that filled railroad cars and contained at least 22, objects. When the Germans took over the Jeu de Paume , they dismissed all French workers except a few cleaning personnel and Rose Valland, who was technically in charge of the wellbeing of the physical building.
Unbeknownst to the Nazis, Valland understood German and secretly passed along information to the Director of the Louvre who was working with the French Resistance. Her communications about the schedule and routes of trains carrying French patrimony to Germany assisted the fighters in planning attacks around those shipments that would have destroyed art. Nightly, she carried negatives of photographs the Nazis took to record objects they were shipping.
Famous Artists Who Took Part in Destruction of Their Art
A friend made photographs, and the next day Valland would return the negatives with no one the wiser. She secretly made notes cataloguing items that were shipped and their destination. Through her courage and intelligence, she made it possible to rescue many of the works that went through the Jeu de Paume , particularly a huge cache that went to Neuschwanstein Castle, a site hand-picked by Hitler. The deal was conducted secretly and required the cooperation of the Vichy government, which capitulated and ordered the curator to hand over the altarpiece.
Rip it, burn it, tear it, cut it — the art of destruction
After an American unit secured the Neuschwanstein Castle, on May 4, two Monuments Men entered and found a tremendous trove of French patrimony and the meticulous records for the 21, objects confiscated and removed from France. Only eight days after the find at Neuschwanstein, the Monuments Men entered the mine, only to discover that debris had blocked the entrance.
When the local miners managed to open a small space, the two Americans entered a corridor and quickly located eight panels of the Ghent Altarpiece. The scope of the trove intended for the Linz museum was phenomenal, and from a Nazi inventory was initially believed to consist of: 6, paintings, drawing and watercolors, prints, sculptures, pieces of armor, tapestries, cases of items not identified, between 1, and 1, cases of books, cases of archives, and more than decorative objects.
The men anticipated having a year to clear the mine shafts, properly inventory the work, and remove it from the mine; however, on June 25, they were informed that they had four days to complete the task, as the territory would be handed over to Stalin in accordance with the Yalta Agreement. They worked sixteen-hour days and into mid-July as the final peace negotiations continued. After its removal, the Ghent Altarpiece was the first object to be repatriated. The team at Altaussee sent over eight truckloads of objects to the Munich collecting station in one month.
Another station was soon opened at Wiesbaden near Berlin, and more were opened to hold the vast number of objects flowing in from former Nazi territories. Monuments Men sorted millions of objects to be repatriated to public collections, churches, and private individuals when they could be identified, but the massive quantity, displacement of objects and people, and death of so many rightful owners meant that the work would continue until Right after the war, agreements were reached without input from any Monuments Men that approximately works that were the bona fide property of Germany would be sent to the U.
The men and women of the MFAA were livid, and thirty-two of the thirty-five Monuments officers signed or sent letters supporting a statement of ethics entitled the Wiesbaden Manifesto, an act that could have led to court-martial. The men felt they would be just as culpable if this plan were enacted. Furthermore, they avowed:. And though this removal may be done with every intention of altruism, we are none the less convinced that it is our duty, individually and collectively, to protest against it, and that though our obligations are to the nation to which we owe allegiance, there are yet further obligations to common justice, decency, and the establishment of the power of right, not of expediency or might, among civilized nations.
The Wiesbaden Manifesto was an internal protest, but word of it leaked and compounded the dismay of many Americans as well as the British. The masterpieces of German art were sent to the U. Laws respecting the return of cultural patrimony or its restitution requires acknowledgement of culpability for removal of an object evolved out of treaties signed at congresses or conventions concluding war, beginning with the Congress of Vienna after the Napoleonic Wars. It was here that the idea that cultural heritage connects people and territories with significant artistic or cultural objects first became entwined with laws.
The treaty also enshrined the idea of the inviolability of sales contracts, which is not always compatible with stipulations of peace treaties.
Overall, bringing together art and destruction raises some important questions for art and its place in historical and contemporary cultural shaping of life. Insofar. When I recently asked artist friends on my Facebook page to tell me stories about art and destruction I found that I had opened up a.
The Duke of Wellington pressured France to restore artworks to their countries of origin, establishing a model for the future. President Lincoln recognized the importance of monuments such as churches, libraries, and works of art and commissioned what became known as the Lieber Code to protect such cultural monuments.
The code was printed in small pamphlets for Union Soldiers to carry into the field. Several other important conventions followed with more agreements addressing protection and restitution of cultural property. Woman in Gold by Gustave Klimt. This clip provides a good introduction for the next section. Even with laws in place, new circumstances arise that demand a review or challenge to existing laws.
The recently released film, Woman in Gold , based on memoirs by Maria Altmann, an heir of Adele Bloch-Bauer, whose portrait Klimt painted, and Randy Schoenberg, her lawyer and the grandson of the musician Arnold Schoenberg, presents the legal case they brought against the Austrian government that eventually went to the U. In , news broke that Cornelius Gurlitt, a recluse and son of a former Nazi-approved art dealer, had been living with framed and 1, unframed artworks looted during the war.
- Complicity.
- Market Timing And Technical Analysis.
- Oct 24, 2013–May 26, 2014?
- A Coral Reef Food Chain-A Who-Eats-What Adventure in the Caribbean Sea.
- Follow BBC Culture?
- Wireless communications : principles, theory and methodology.
There are now further legal challenges, as Gurlitt has died and bequeathed his estate to the Kunstmuseum Bern in Switzerland. Investigations have determined that at least works in his collection were illegally confiscated, while another works are being subject to provenance searches to establish if they were legally purchased. A task force has been established, and the public website Lost Art Internet Database-Munich Art Trove is available to begin the claims process; many images are available, as the task force seeks information from the public about the objects.
The database includes over four hundred images and as much basic identifying information as is known.
This would be a great source to use for a class project. Each student could consider what information is lacking for particular images and what problems this might present; students could be asked to try and discern patterns within the collection, perhaps with a set number assigned to each student so they all report their findings and create a collaborative project.
It could also help make the point that digital technologies are useful in our field and have real world application. Other groups, such as the Holocaust Art Restitution Project HARP , continue efforts to reunite families and communities with their cultural inheritance.
Breadcrumb
In , the Annenberg Foundation secretly bid on twenty-four of the items and secured twenty-one of them to return to the Hopi. The objects are considered living entities with divine spirits and are used in spiritual ceremonies, then retired and left to naturally disintegrate. It is, perhaps, more likely that we will interact outside of the bounds of museums with American Indian artifacts than other historical objects, and so it is important to consider our ethical obligations. All fields must examine their ethics and the world of art and cultural heritage is no exception.
- Proceedings.
- The Body in the Library (Miss Marple Mysteries, Book 3).
- Famous Artists Who Took Part in Destruction of Their Art?
- Iroquois Diplomacy on the Early American Frontier (Penguins Library of American Indian History).
- Damage Control: How Artists Destroy to Create Art.
- Destruction of Art: Why Do Some Artists Destroy their Artwork?.
- Customer Obsession: How to Acquire, Retain, and Grow Customers in the New Age of Relationship Marketing (Business Books).
One recent example are the vigango plural East African memorial totems that the Denver Museum of Nature and Science is returning to Kenya. Although legally obtained through a generous donation in , the museum has determined that these sacred objects need to go back to their community, as it was possible that they had been among those stolen by the hundreds for the art market. The museum sent them to the National Museums of Kenya so they could return them to their source communities, not as art objects but as part of a living cultural tradition.
A major question in this lecture has been: who owns culture? A debate about the repatriation of the Elgin Marbles , or some roleplaying as lawyers who gets to be Amal Alamuddin, a. George Clooney? Objects of cultural heritage are a non-renewable source. In retribution for the Warsaw Uprising in , Nazi officials decided to obliterate the castle, because the Polish people felt strong ties to the building and commonly believed that as long as it remained standing, so would they. It was a targeted assault on their national identity for the Nazis to destroy it.
Fragments were carefully recovered and much of the rescued material was safely hidden and brought back after the war. Although they could not bring back the original building, the country decided to reconstruct the castle with as much of the historical material as possible, and today it is a UNESCO World Heritage Site and a source of pride for the nation and its people. New technology also can play a role in digitally preserving or reconstructing cultural heritage sites.
This item is covered by one or more copyrights. In the next few years, major art collections would pass through its doors as well as thousands of objects comprised from many smaller collections. Cultural property crime is not, however, a new phenomenon, but a tactic employed over millennia across continents and against many different cultural groups for a variety of reasons. Just as well: it would have taken only one visitor pulling faces at Metzger to put him off his task of thinking about nothing. A mosque built over a church and dedicated to Yunus Jonah , sacred to Jews, Christians, and Muslims, was demolished, and Palmyra another former capital and World Heritage site was also targeted. It may help your students if you direct them to the links above in the Background Readings section to get them started with some reputable websites and resources on cultural heritage sites. Having students explore the CyArk and Project Mosul sites would be a good prompt for a discussion about the potential benefits and limits of applying new technologies to the problems of losing heritage sites.
CyArk provides one example; it a non-profit organization that creates 3D digital records with the goal of saving five hundred sites in the next five years. For example, one of their projects was to scan the Assyrian Collection of the British Museum. The project gives power back to the global community through its mission to crowd-source photographs, digitally mesh them, and create a 3D replica of the no-longer extant works.
While a team of experts works on the software, volunteers upload photographs, sort them, create point clouds to make a 3-D mesh and add texture, which makes the images.
Anyone, including students, can go to this site and volunteer. Some tasks take very little technological know-how while others require some coding skills. The Mosul Museum did not have full registers or inventories of its holdings nor was it systematically visually documented with a catalog or digital archive, so the crowd-sourcing is more than just a means of letting people participate; it is essential to the success of the project. Through the 3D reconstructions the public can actively counter the violence, loss, and sense of helplessness many feel upon watching the videos of the destruction.
Having students explore the CyArk and Project Mosul sites would be a good prompt for a discussion about the potential benefits and limits of applying new technologies to the problems of losing heritage sites. This exercise might work well in small peer groups.
Artistic Interventions. Many contemporary artists feel compelled to create art that engages with historic and contemporary power struggles over cultural patrimony. Through artistic interventions they can make us question our beliefs or assumptions or grapple with divisive topics. Good art can help us contemplate a life that is not ours and to break down stereotypes. These particular artists use modern technologies to bridge the past and present.
His Freedom Graffiti went viral in Morehshin Allahyari is an Iranian-born artist and activist who studied in Tehran and moved to the U. Like the cyber archaeologists at Project Mosul, Allahyari is compelled to reconstruct the lost objects using advanced technologies situated at the edge of the future in order to repair the past and safeguard collective memory. She uses 3D printing to create transparent scaled versions of the sculptures of the Hatra King Uthar and the lamassu shattered at the Mosul Museum.
However, I am convinced that each dimension of this crisis must be addressed on its own terms and in its own right. There is no choice between protecting human lives and safeguarding the dignity of a people through its culture. I had just finished a painting of a seated petite female model holding on to a hobby horse.