Fighting for the return of the art of the Nazi looted

Pikasson’s “actor” in the New York Metropolitan Art Museum of the New York Museum of Art, knew the ink history. Paul Leffmann, a Jewish businessman in Germany, sold it in 1938. “Great-Bancluncle was used to hang in the house,” said Lurel Zuckerman. “It was necessary to escape the Nazis.”

“Did they go out?” I asked.

“They went out. And they survived. But all made the family.”

Zuckerman claims that the heirs of Leffmann, who fought for the drawing, claims worth $ 100 million – claimed to prevent it, “they would never sell,” he said.

Again, two American trials did not agree.

But it can turn tide to other cases. The Amsterdam Museum returned to the Heirs of “Odalisque”, Albert and Marie Serti, Henry Matisse, said it was sold continuously. The toughs tried to escape, but most of the family died in concentration camps.

In turn, a historic policy, the French parliament has recently confirmed a law, which has unanimously approved the law, and returning to families who claim themselves fairly.

David Zivie, David Zivie, the French Ministry of Culture, is headed by the research and refunding of the landed property of the Nazi-cycle. He says the reason for this work is to help you know what happened and to get their jobs to families.

“We need to know the history because they are the last witnesses of war during the war, because they are the last witnesses of what happened during the war,” Zivie said. “This work is like witnesses of persecution.”

Denver University History Prof.

The French and other European governments wrote to protect what is stolen in the book of Nazis. “Museum Decent: Nazi artist plundered art in the European Guard.” Campbell says that France and other countries can change with new instructions, including the United States. “These new instructions say that anyone who sold the artwork in the Nazis will be likely to continue for it,” he said. “Thus, now it is now confirming the blanket of compulsion in any sale. It is really a dramatic change.”

When the Germans are withdrawn, allied art experts found the stack of paintings from caves until the cave. More than 60,000 artworks were returned to France. However, a few,000 units were completed in Lybo, which is not the owner of the French government.

Ines Rotermund-Reynard has been newly employed in Musee D’Orsay in Paris. His work is to find the truth about a piece of art. “There is a really great desire to clarify the situation of the French,” he said. “Somehow you take a detective and say:” See all the cold situations that happen 80 years ago. Each story is important. For each family, this is worth taking this effort. “

However, Armand Dorville’s lawsuit to the French government, “It is a way to recognize those pictures,” he said.

Another successor, Falk, “I feel anger when we have a lot of trouble getting them,” Falk said.

When Dorville died of natural reasons in 1941, his collection of art was sold at auction. However, due to anti-Semitic law, French authorities confiscated revenues and family members – without money to escape – later killed in Auschwitz.

After eighty years, the North Carolina Museum returned one of the paintings to Dorville’s family, and a German museum returned each other by Impressionist Camille Pissarro. However, the French government is auction, saying it is auction, refuses to return more than half of half paintings in folk museums no Is done under the duress.

Falk said: “It should be difficult for their refund. So I can understand it. But (to give them back), you only know?”

The family hired a lawyer Corinne Herschkovitch, who recovered the art for 30-year Jewish families. “All these people are responsible for cultural heritage, rather than hiding or maintaining all these paintings and works of art, rather than protecting the Jews,” he said.

I asked, “Do you think that some of these museum principals are still ashamed of how they received these paintings?”

“I think I think so. They are embarrassed, this is undoubtedly Herschkovitch said.

Dorville believe in their successors to fight for dates.

I asked, “When you return them to the family, do you feel a bad date? Deleted?”

“It was not deleted, never deleted,” Falk replied. “The members of my family are dead. In my mind, it is a way to correct the damage done.”

Kahn said, “This is the memory of the family. Because it was completely forgotten. It is in our shoulders to keep this story awake … to tell the story.”

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The story produced by Mikaela Bufano. Editor: Brian Robbins.

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