By Ines Rotermund-Reynard
Thousands of individuals have been pushed into exile by means of Germany's nationwide Socialist. for lots of artists Paris turned a short lived capital. The data of those exiles have been stolen, confiscated, and sometimes destroyed, but additionally usually preserved. This e-book assesses unknown resource fabric kept on the Moscow kingdom army Archive because the finish of the warfare, and provides new insights into the actions of German-speaking exiles within the Thirties in Paris and Europe.
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Extra resources for Echoes of Exile: Moscow Archives and the Arts in Paris 1933-1945
Jahrhunderts, exh. ), Krigsbyte = War-Booty, exh. , exh. ), Raub und Restitution. Kulturgut aus jüdischem Besitz von 1933 bis heute, exh. , Göttingen 2008. On the historical aspects of art looting, see Christina Kott, Préserver l’art de l’ennemi? it/editionen/steinmann/kunstraub (accessed April 2014), as well as the lectures in Section 19, Restitution, of the International Committee of the History of Art in Nuremberg, 2012. 6 It is also firmly anchored in the general consciousness that the sometimes brutal, massive, and irrevocable acquisition of the cultural objects of foreign peoples has also led to impressive cultural and historical cross-pollination (not the least in ancient Rome).
Hans Hartung, a foreign legionnaire, lost a leg in the fight to liberate France in 1944. Many of these artists’ works were irretrievably ruined and many were lost when their creators took flight. Kirszenbaum, Hanns Kralik, Leo Maillet, Anton Räderscheidt, Ferdinand Springer and Wols all endured such losses. Epilogue Some artists and art specialists managed to escape and find asylum in other countries. Schülein, Trude Schmidl-Waehner, Eugen Spiro, Josef Floch, Viktor Tischler, Klaus Berger, Max Osborn, Max Raphael, John Rewald, and Fritz Neugass, as well as the photographers Robert Capa, Ilse Bing, Erwin Blumenfeld, Josef Breitenbach, Fred Stein, Maria Eisner 98 See also André Fontaine, Les peintures murales des Milles (automne 1940), in: Jacques Grandjonc et al.
94 Westheim’s final verdict on the exhibit was as follows: “The appeal of the exhibit is its variety. ”95 This assessment, directed against the Third Reich’s course-setting art policies, could also be seen however, as an indirect commentary on the Expressionism debate that had recently come to an end in the summer of 1938, one suggesting that in the name of Realism, Social Realism would be fixated as the aesthetic norm governing all realms of art and would ultimately mean the repudiation of the avant-garde, even though several participants in the discussion rose to the latter’s defense, especially Ernst Bloch and Klaus Berger.