- Expressionism, an introduction
- Expressionism as Nordic?
- Der Blaue Reiter
- Kirchner, Street, Dresden
- Kirchner, Self-Portrait As a Soldier
- Ernst Ludwig Kirchner, "Street, Berlin"
- Paula Modersohn-Becker, Self-Portrait Nude with Amber Necklace, Half-Length I
- Emil Nolde, "Young Couple," 1913
- Jawlensky, Young Girl in a Flowered Hat
- Schiele, Seated Male Nude (Self-Portrait)
- Nazi looting: Egon Schiele's Portrait of Wally
- Schiele, Hermits
- Kandinsky, Apocalypse, Abstraction
- Kandinsky, Improvisation 28 (second version), 1912
- Vasily Kandinsky, "Klänge (Sounds)"
- Franz Marc and the animalization of art
Nazi looting: Egon Schiele's Portrait of Wally
Egon Schiele, Portrait of Wally Neuzil, 1912, oil on panel, 32 × 39.8 cm (Leopold Museum, Vienna) Speakers: Dr. Erin Thompson and Dr. Beth Harris. Created by Beth Harris and Steven Zucker.
Want to join the conversation?
- That is so sad. i wish it was returned to the rightful owner, and it's so sad that all those Nazis killed 6 million European Jews.😥(6 votes)
- Just wanted to ask a question regarding the map of Europe in 1942 (During WW||) shown in the video. There are countries with different hues of blue and some of them have the same blue color as the tag that says "Nazi controlled territories". Does this mean that only the countries with the same blue color as the tag were nazi controlled? Greece for example, is of a lighter blue color, yet the Axis occupation of Greece lasted from April 1941 - October 1944 so Greece was too a Nazi controlled territory.(3 votes)
- The map is meant to indicate that all the blue was under Nazi control. The different blues are meant to indicate differing forms of control.(4 votes)
- At3:27, I'm wondering why the Nazis bothered to buy Bondi's art. Is there any reason they couldn't have simply sent their Gestapo to take it by force?(2 votes)
- You make a good point, why buy what you can steal? But maybe art collecting by force would have put the collector in a bad light with his or her boss.(1 vote)
- Why would a museum take away someone else's painting?(1 vote)
- The story is rather twisted, but I think it goes like this.
A Jewish woman owned a painting.
Nazis stole it.
After the war, the painting ended up in a museum.
The woman's friend traded a couple of his own paintings for it.
Then in his estate, the painting went back to the museum.
Still, it was stolen goods.
When the Jewish woman asked for her painting back, the Austrian museum refused.
The Austrian museum loaned the painting to an American museum.
The Jewish woman sued in an American court to get it back.
The Austrian museum resisted, and the suit went on for ten years.
In the end, the Austrian museum paid a lot of money to the Jewish woman, and she let them keep the painting so long as they displayed a sign next to it telling the story of it's having been stolen.
Conclusion: The museum didn't steal the painting, the Nazis did. But when the painting came to the museum, it didn't let go, either.(3 votes)
- From my understanding around3:00Nazi were avid art collectors and Hitler wanted to create his own art museum. My question is why?(1 vote)
- Art is known to be intrinsically valuable, portable and salable. It can also be pleasant to look at. Nazis, among all their other sins, were also greedy.(2 votes)
- With the art mostly being stolen from Jewish people, wouldn't it have been better to return the art to Jewish councils or Israel?(0 votes)
- You have a good point, but "Jewish" and "Israel" are not the same thing, so I don't think that would be the most legal or ethical way to go. To leave a final "destination" for the art in abeyance, while not allowing anyone or any particular institution to "own" the art for a time, may be the best that can be done, so long as the persons or institutions that hold the art work know clearly that they are temporary stewards and guardians, and never the owners.(3 votes)
(bluesy piano music) - [Narrator] We're looking at a beautiful portrait of Wally Neuzil by the great Austrian artist Egon Schiele that has a fascinating history in the 20th century that we wanna talk about. - [Narrator] It's a portrait of his mistress at the time, and is very characteristic of Schiele's work. You can understand why many people really wanted to own this painting. - [Narrator] Especially because this painting is a companion to a self portrait. - [Narrator] Schiele died shortly before the disruptions that would lead to World War II. Many of his artworks had been collected by Jewish art collectors or gallerists, and this portrait of Wally was one of the many Shieles confiscated by the Nazis. We estimate that somewhere between a quarter to a third of all fine artworks in Europe were moved during World War II, or hidden, or confiscated, were sold, were destroyed. - [Narrator] Works of art were taken not just from museums and galleries. They were taken from private collections, from churches, from basically every site imaginable. So we have this legacy of an enormous number, hundreds of thousands of works of art that have been displaced, that essentially one needed almost an army to figure out how to return, where they should go, who were the rightful owners. In many cases the owners were dead. Heirs needed to be identified. So this was a very complicated and long process to sort this out. - [Narrator] It needed an army. The Allied forces after the conclusion of hostilities sorted out all of these artworks that they found in Nazi holdings. They found Nazi high officials with castles full of artworks. They found trains stuffed full of stolen art works. - [Narrator] Salt mines filled with great works of art, including things like the Ghent Altarpiece. - [Narrator] And what the Allied forces did was return as best they could artworks to the country they came from and then they let those countries figure out how to get the artworks back to their owners, or the heirs of owners who had been killed. So for example, France still has warehouses full of artworks where the authorities still can't figure out who they once belonged to. - [Narrator] Just in the last 20 or 30 years, the legal frameworks, the precedents for how to cope with this have emerged. - [Narrator] In part, it's taking so long because some states, Austria being one of the most notorious, are very reluctant to return works of art. So Portrait of Wally was the subject of a long-running legal battle, precisely because of this reluctance of the museum in Vienna that held it to return it to the people who were claiming it. - [Narrator] It's hard to imagine how the Nazis, who were murdering people by the millions during the war, also were incredibly interested in art. They designated some art as degenerate, but they were also avid collectors. And, in fact, Hitler planned to create his own museum in Linz of the greatest works of art that he could find in Europe. - [Narrator] The Nazis wanted to control the culture of the entire world. So that meant if they thought that if someone was not worthy of owning a great work of art, they were gonna take it away. This Nazi grand plan came to bear on the Portrait of Wally because who owned it in 1938. - [Narrator] Lea Bondi, who was a Jewish art dealer in Vienna, owned this painting. This painting was part of her private collection that was hanging in her home. She was forced to sell her gallery because there was a law against Jews owning businesses, and so her gallery was forcefully bought, one could say, by a Nazi art dealer. - [Narrator] And then this Nazi came to visit her house to finalize the sale, and saw this portrait hanging on the wall and said, "I'll take that too." - [Narrator] And she was planning to flee Vienna the next day, but you can imagine that she didn't feel that she had a choice at that moment about whether to turn over the painting or not. - [Narrator] So Lea Bondi escaped from Austria, but she never left behind the thought of this prized possession. For decades, she tried to keep track of where it was, who owned it, and tried to get it back. And she trusted one person she shouldn't have, a man named Rudolf Leopold who is a collector of art, who came and visited her in London. And she said, "By the way, this museum in Vienna "has my artwork, could you help me get it back?" What he did instead was go to the museum and acquire the painting for himself, for his own private museum. - [Narrator] He actually bartered a couple of works in his own collection in order to get this one. And he especially wanted this one because he already owned the self-portrait that this belonged with. We should say that the museum in Vienna, the Belvedere, and Rudolf Leopold, who's a very powerful collector, all should have known or all knew, I think we can say, that Bondi was the rightful owner of this painting and it had in fact been stolen from her. - [Narrator] So eventually Leopold gave his collection to Austria and eventually this portrait was lent to the Museum of Modern Art. And there, finally, at last in the United States, the history of this painting started to change. - [Narrator] When Lea Bondi's heir saw that the painting was in New York, they worked hard to alert the authorities and have it returned to them. - [Narrator] They thought at last here the painting is in a climate very sympathetic to the claims of Holocaust survivors and their heirs. So they convinced the New York authorities to seize the painting and the New York authorities kept this painting in storage for more than a decade while the case was fought out in the courts, who was able to show ownership. And interestingly, MoMA argued, "We'll never get anybody to loan us a painting "again if this lawsuit is successful." - [Narrator] The chilling effect everyone was worried about never occurred and we should say too that it wasn't just MoMA. There were many other museums who took the same position. - [Narrator] Interestingly, if you wanna go see the painting today, you would still go to Austria. It's hanging in the very same museum that denied that Bondi and her heirs had any claim to it. The heirs and the museum settled the case out of court. The museum paid the heirs a large amount of money, but got to keep the painting with one stipulation, that next to the painting would be displayed a sign explaining the history of who owned this painting and how she lost it. Now I wish that many works of art in many museums had similar signs explaining how they came to be in the museum. Because often something that just looks like a piece of beautiful art has a long history of violent collecting. - [Narrator] In fact, Hitler's idea of taking everything that he had seized and stolen and making a museum out of it is not actually that unusual an idea. The first incarnation of the Louvre was made of the paintings that Napoleon confiscated as he and his army swept through Europe. - [Narrator] And many collections today are based on works taken from countries under colonial rule, when people had as little choice in the matter as Lea Bondi did over whether or not to sell her art gallery to the Nazis. Museums today, they're going through their own records, doing their own research to figure out could something have had a Nazi-looted provenance. But the vast majority of museums are not doing similar research, similar repatriations for objects taken under colonial rule or under other questionable circumstances. - [Narrator] It make me think about that glass box in the museum with this very special object in it with minimal information in the museum label and the ways that we in the 20th and 21st century focus on the aesthetics of the object and all the things we leave out when we do that. Lea and her husband were fortunate. They were able to get out of Nazi-controlled Austria. But many other Austrian Jews were not as fortunate, many of them who died in concentration camps. - [Narrator] This painting stands in such contrast to official Nazi art which is all perfect Aryan figures and here Shiele shows that he understands people's frailties, individualities. He is using art to celebrate the different and the unusual, which is exactly the opposite of what Nazis wanted to do. (bluesy piano music)