User:JedJaren/sandbox

The Purge of art in Germany and occupied countries was extremely broad. The Nazi theft is considered to be the largest art theft in modern history including Paintings, furniture, sculptures, and anything in between considered either valuable, or opposing Hitler’s purification of German culture. During the Second World War, art theft by German forces was devastating, and the resurfacing of missing stolen art continues today, along with the fight for rightful ownership. Not only did the Reich confiscate and reallocate countless masterpieces from occupied territories during the war, but also put to auction a large portion of Germanys collection of great art from museums and art galleries. In the end, the confiscation committees removed over 15,000 works of art from German public collections alone.

It took four years to “refine” the Nazi art criteria; in the end what was tolerated was whatever Hitler liked, and whatever was most useful to the German government from the point of view of creating propaganda. A thorough head hunting of artists within Germany was in effect from the beginning of the Second World War, which included the elimination of countless members within the art community. Museum directors that supported modern art were attacked; artists that refused to comply with Reich-approved art were forbidden to practice art altogether. To enforce the prohibition of practicing art, agents of the Gestapo routinely made unexpected visits to artist’s homes and studios. If wet brushes were found during the inspections or even the smell of turpentine in the air was reason enough for arrest. In response to the growing discrimination against artists, many chose to flee Germany.

Before the impending war and a time of simply looting occupied nation’s art treasures, but during the Reich’s efforts to free Germany of conflicting art, authorities of the Nazi party realized the potential revenue of Germany’s own collection of art that was considered degenerate art which was to be purged from German culture. The Reich began to collect and auction countless pieces of art, for example: “On June, 30, 1939 a major auction took place at the elegant Grand Hotel National in the Swiss resort town of Lucerne”.. Art auctions were not uncommon at the time, as they are not uncommon today, but the unique aspect about this particular auction were the origins of the art pieces that were to be sold. All of the paintings, and sculptures had recently been on display in museums throughout Germany. This collection offered over 100 paintings and sculptures by numerous famous artists, such as, Henri Matisse, Vincent van Gogh, and Pablo Picasso; all of which were considered “degenerate” pieces by Nazi authorities and were to be banished from Germany. An auction of this magnitude was viewed as suspicious by potential buyers, who feared that the profits would end up funding the Nazi party: “The auctioneer had been so worried about this perception that he had sent letters to leading dealers assuring them that all profits would be used for German museums”. When in reality all of the proceeds from the auction were deposited into “German controlled-accounts”, and as for the museums: “. . . as all had suspected, did not receive a penny”.

Apart from auctioning art that was to be purged from Germany’s collection, Germany’s art that was considered as especially favourable by Hitler were to be combined to create a massive art museum in Hitler’s hometown of Linz, Austria for his own personal collection. The museum to-be by 1945 had thousands of pieces of furniture, paintings, sculptures and several other forms of fine craft. The museum was to be known as the “Führermuseum”. By the late spring of 1940 art collectors and museum curators were in a race against time; a race to move thousands of pieces of collectables into hiding, or out of soon to be occupied territory that would be vulnerable to confiscation from German officials; either for themselves, or to the Führer. On June 5, a particularly unique movement of thousands of paintings occurred; which included the Mona Lisa, and all were hidden in the Loc-Dieu Abbey located near Martiel during the chaos of invasion by German forces. Art dealers did their best to hide artwork in the best places possible. One collector in particular was Paul Rosenberg. He managed to move over 150 great pieces to a Libourne bank, which included works from great names such as Monet, Matisse, Picasso, and Van gogh, to name a portion of this valuable collection. Other collectors did whatever they could to remove Frances artistic treasures to the safest locations feasible at the time; filling cars, or large crates en route to Vichy, or south through France and into Spain to reach transport by boat. Art Dealer Martin Fabiani moved mass quantities of pictures: drawings and paintings to be boarded onto a ship so that the prized possessions were to be in safer keeping on British soil in Bermuda, however when the ships contents arrived, complications arose over proof of ownership of foreign assets from France. British consuls were weary of exports and carefully inspected shipments from France; after which Fabiani’s assets were relocated to Canada, in the charge of the Registrar of the Exchequer Court where they were to remain until the end of the war. Similar shipments landed in New York; all of which were in effort to protect artistic treasures from confiscation, theft, and destruction. By the end of June, Hitler controlled most of the European continent. As people were detained, their possessions were confiscated, or if they were lucky enough to escape: their belongings left behind or in storage became the property of Germany. By the end of August, officials of the Reich were granted permission to access any shipping containers and remove any desirable items inside. As well as looting goods that were to be shipped out of occupied territories, Arthur Seyss-Inquart authorized the removal of any objects found in houses during the invasion; after which a long and thorough search was in effect for European treasures.

Artwork became an important commodity in the German economy: no one in German or axis-controlled countries allowed to invest outside of the new Germanic controlled territory, which in turn created a self-contained market. With few options available for investments, art was of great importance to anyone with cash, including the Führer himself, as a safe form of investment, and even in trade for the lives of others: At the height of trading in 1943, art was even used by Pieter de Boers, who was the head of Dutch association of Art Dealers, and the largest seller to Germans in Holland, in the exchange of the release of his Jewish employee. Demand began to increase dramatically, forcing prices to rise; and only furthering the desire to discover hidden treasures within occupied territory.

As exploration continued within occupied France, and by order of the Führer, a list was created which included all of the great works of art in France, as well, the German Currency Unit began to open private bank units which contained countless collectors property and possible items on the list. The owner of the vault was required to be present. One particular investigation of a vault was that of Pablo Picasso; he chose a rather clever tactic when soldiers searched the contents of his vault. He packed his own works of art with countless other artists’ work of his collection in a much unorganized matter: and consequently confused the investigators to think that nothing in the collection was significant, resulting in nothing being taken..

As confiscations began to pile up in massive quantities, the items filled the Louvre, and forced Reich officials to use the Jeu de Paume, a small museum, for additional space, and for proper viewing of the collection. The grand stockpile of art was ready for Hitler to choose from: the Führer had first choice for his own collection; second were objects that would complete collections of the Reichsmarschall; third was intended for whatever was useful to support Nazi ideology; a fourth category was created for German museums. Everything was supposed to be appraised and paid for, with proceeds being directed to French war-orphans..

Another major influence on search and seizure of artwork in France came when orders from Hitler arrived of the confiscation of French works of art owned by the state, and by the cities. Reich officials decided what was to stay in France, and what was to be sent to Linz. Further orders from the Führer also included the return of art that were looted by Napoleon from Germany in the past. Napoleon is considered the unquestioned record holder in the act confiscated art.

A film premiered in Berlin on Nov. 28, 1940 which was clearly a tool used to promote Nazi Ideology. The release of the film: Der ewige Jude (The Eternal Jew) was only two months prior to the announcement made by German officials of the establishment of the ghetto in Lodz, Poland. The film was portrayed in the Nazi press as a documentary to emphasize the cinema as truth, when in reality it was nothing more than propaganda to raise hatred against the Jewish community to its viewers..

The filmmaker: Fritz Hippler used numerous visual techniques to portray Jews as a filthy, degenerate, and disease infested population. The film was intended to provide the viewer with an in depth and up-close and personal look at Jewish lifestyle, which showed staged scenes of Lodz (soon to be ghetto) with the presence of flies, and rats, as to suggest a dangerous-to-life area of Europe; which in turn only perpetuated underlying superstition and fear to the viewer. To add to this staged and exaggerated scene of filth was a warning released by officials of The Reich: an advisory that Lodz is an area of widespread infectious disease. The film director utilized racist cinema to bolster the illusion that Jews were a parasitic being which was corrupting German culture. One of the many techniques used by Hippler and used frequently throughout the film was voice-overs. Hippler would have a voice-over citing hate speeches or fictitious statistics of the Jewish population, or that “truth” would be revealed to the German viewer of the deceitful Jew. A cinematic technique used by Hippler that was combined with Voice-overs was simply borrowing numerous scenes from other films, and presenting them out of context from the original. One particular scene was that of a Jewish business man in the United States hiding money accompanied with a bogus claim: that Jewish men get taxed more than non-Jews in the Unites States, which was used to insinuate that Jews withhold money from the government. Another visual technique that was used in Der ewige Jude was the repetition of side angles of Jewish people, which would only be filmed (without knowledge) while looking over their shoulder at the camera, which in turn created a visual suggesting a shifty and conspiring nature of Jews. Yet another powerful and warped technique of promoting a false picture against the Jewish community was superposition. Hippler superimposed the Star of Davidonto the tops of world capitals, incinuating an illusion of Jewish world domination. Overall, Der ewige Jude is notorious for being extremely anti-Semitic, and a powerful piece of history in the fabrication of cinematic propaganda used against Jewish people intended to convey reality through distortion of the truth to deceive the viewer. All of these techniques are only a few which were used throughout the film, all to satisfy Hitler, and to embrace the Germanic ideology that would fuel a nation in support of an obsessive leader..