Title Nacistički trgovci umjetninama – sabiranje i preprodaja židovske imovine tijekom Drugog svjetskog rata
Title (english) Nazi Art Dealers – Collection and Resale of Jewish Property During World War II
Author Monika Kolak
Mentor Antonija Mlikota (mentor)
Committee member Sofija Sorić (predsjednik povjerenstva)
Committee member Antonija Mlikota (član povjerenstva)
Committee member Lidija Butković Mićin (član povjerenstva)
Granter University of Zadar (Department of History of Art) Zadar
Defense date and country 2024-10-18, Croatia
Scientific / art field, discipline and subdiscipline HUMANISTIC SCIENCES History of Art History and Theory of the Fine Arts, Architecture, Urbanism and Visual Communications
Abstract Trgovina umjetninama u doba nacista obilježena je tajnovitošću, korupcijom, nasiljem i nepravdom. Nacisti su iskoristili tržište umjetnina jer se pokazalo kao praktičan izvor prihoda za financiranje vojnih akcija. Demonizirala su se i uništavala moderna umjetnička djela s ciljem stvaranja autentične njemačke umjetnosti, ali su iskorištena ona s komercijalnim potencijalom. Nacisti su sakupili vrijednosti koje su prognani Židovi ostavili za sobom kako bi ih preprodali preko tržišnih centara u Švicarskoj, Parizu i Londonu. Funkcioniranje trgovine umjetnina u vrijeme nacista intenzivno su istraživali autori Jonathan Petropoulos, Meike Hoffmann, Lynn H. Nicholas i Catherine Hickley. Trgovci umjetnina su igrali ključnu ulogu za naciste. Zahvaljujući svojim internacionalnim kontaktima, ukradene umjetnine su rasprodavali diljem Europe. S obzirom na golemi broj sudionika u toj pomno koordiniranoj pljački, u ovom radu su izdvojeni Hildebrand Gurlitt, Bruno Lohse i Karl Haberstock. Odabrani su zbog velike popularnosti koje su imali na tržištu i među nacistima. Podatci o njihovim kretanjima i radnjama su stoga izrazito vrijedni za shvaćanje trgovine umjetnina pod nacistima. Specifičnost H. Gurlitta, B. Lohsea i K. Haberstocka je također i u istaknutom statusu koji su imali unutar hijerarhije i velikoj količini dostupnih biografskih podataka. Temi će se pristupiti biografsko komparativnom metodom gdje će uloga i funkcioniranje pojedinačnog protagonista doći do izražaja. Svaki je imao svoju mrežu kontakata u kojoj ima mnogo križanja ukazujući na njihovu izrazitu povezanost. Cilj je predočiti strukturu trgovine umjetnina u vrijeme nacista kroz djelovanja H. Gurlitta, B. Lohsea i K. Haberstocka te istaknuti neke aspekte ove problematike koji se provlače i u suvremeno doba. Tržište umjetnina je primjerice bilo obavijeno tajnošću što je znatno doprinijelo efikasnosti ilegalnih transakcija. U suvremenom dobu privatnost je i dalje bitni princip aukcijskih kuća iako komplicira slučajeve restitucija. Današnji pristupi restitucijama su smisleniji. Zahvaljujući otvorenim informacijskim sustavima zna se da je odgovornost trgovaca umjetnina za naciste bila veća od one koja je prvotno bila pretpostavljena nakon Drugog svjetskog rata.
Abstract (english) Art trade during the Nazi era was characterized by secrecy, corruption, violence and injustice. The Nazis took advantage of the art market as it proved to be a convenient source of income to finance military operations. Modern works were demonized and destroyed with the aim of creating authentic German art, but those with commercial potential were used. The Nazis collected the valuables that the exiled Jews left behind in order to resell them through market centers in Switzerland, Paris and London. The functioning of the art trade during the Nazi era has been intensively researched by authors Jonathan Petropoulos, Meike Hoffmann, Lynn H. Nicholas and Catherine Hickley. Art dealers played a key role for the Nazis. Thanks to their international contacts, they sold the stolen art all over Europe. Considering the huge number of participants in this carefully coordinated robbery, Hildebrand Gurlitt, Bruno Lohse and Karl Haberstock are singled out in this paper. They were chosen because of the great popularity they had on the market and among the Nazis. The data on their movements and actions are therefore extremely valuable for understanding the art trade under the Nazis. The specificity of H. Gurlitt, B. Lohse and K. Haberstock is also in the prominent status they had within the hierarchy and the large amount of available biographical data. The subject will be approached with a biographical comparative method where the role and functioning of an individual dealer will come to the fore. Each had their own network connection in which there are many intersections indicating their distinct connection. The goal is to present the structure of the art trade during the Nazi era through the work of H. Gurlitt, B. Lohse and K. Haberstock, and to highlight some aspects of this issue that continue even in modern times. The art market, for example, was shrouded in secrecy, which greatly improved the efficiency of illegal transactions. In the modern age, privacy is still an essential principle of auction houses, although it complicates cases of restitution. Today's approaches to restitution are more meaningful. Thanks to open information systems, it is known that the responsibility of the Nazi dealers is greater than what was initially assumed after the Second World War.
Keywords
restitucija
nacisti
tržište
umjetnine
trgovci
Keywords (english)
restitution
Nazis
market
art
dealers
Language croatian
URN:NBN urn:nbn:hr:162:198200
Study programme Title: History of Art (Museum and Gallery Studies/Art-conservation studies); specializations in: Science (single major), Art-conservation studies and Museum and Gallery Studies (single major) Course: Art-conservation studies and Museum and Gallery Studies (single major) Study programme type: university Study level: graduate Academic / professional title: sveučilišni/a magistar/sveučilišni/a magistar/magistra povijesti umjetnosti (sveučilišni/a magistar/sveučilišni/a magistar/magistra povijesti umjetnosti)
Type of resource Text
File origin Born digital
Access conditions Open access
Terms of use
Created on 2024-11-07 17:10:33