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Tác giả: Jonathan Petropoulos
Chi tiết sản phẩm
Follow authors to get new release updates, plus improved recommendations. Jonathan Petropoulos is the John V. Croul Professor of European History at Claremont McKenna College in Southern California. Previously, he received his Ph.D. from Harvard University (1990), where he also had an appointment as a Lecturer in History. He began working on the subject of Nazi art looting and restitution in 1983, when he commenced my graduate work in history and art history. He is the author of _Art as Politics in the Third Reich_ (University of North Carolina Press, 1996); _The Faustian Bargain: The Art World in Nazi Germany_ (Oxford University Press, 2000); and _Royals and the Reich: The Princes von Hessen in Nazi Germany_ (Oxford University Press, 2006); as well as co-editor of a number of volumes, including _A User's Guide to German Cultural Studies_ (University of Michigan Press, 1997), and _Gray Zones: Amibuity and Compromise in the Holocaust and its Aftermath_ (Berghahn Books, 2005). He has also helped organize art exhibitions, including _Degenerate Art: The Fate of the Avant-Garde in Nazi Germany, which opened at the Los Angeles County Museum of Art in 1991_ and appeared in a number of films, including _Rape of Europa_ (2006). From 1998 to 2000, he served as Research Director for Art and Cultural Property on the Presidential Commission on Holocaust Assets in the United States, where he helped draft the report, Restitution and Plunder: The U.S. and Holocaust Victims’ Assets (2001). In this capacity as Research Director, he supervised a staff of researchers who combed archives in the United States and Europe in order to understand better how representatives of the U.S. government (including the Armed Forces) handled the assets of Holocaust victims both during and after the war. As Research Director, he provided expert testimony to the Select Committee on Culture, Media and Sport in the U.K. House of Commons and to the Banking and Finance Committee of the U.S. House of Representatives. He has served as an expert witness in a number of cases where Holocaust victims have tried to recover lost artworks. This includes Altmann v. Austria, which involved five paintings by Gustav Klimt claimed by Maria Altmann and other family members. Mrs. Altmann was born and raised in Vienna and her family had its art collections seized after the Anschluss. He lives with his family in Claremont, California. Read more about this author Read less about this author Read more about this author Read less about this author
From Library JournalSince the publication of Lynn H. Nicholas's The Rape of Europa (LJ 5/1/94), a number of works have appeared that further document the cultural pillaging that took place during World War II. While books such as Hector Feliciano's The Lost Museum (LJ 8/97) have focused on the lost artworks, Petropoulos's study is the first to focus on the Nazis and Nazi sympathizers who made the looting possible. Spotlighting five groups--art museum directors, art dealers, art journalists, art historians, and artists--Petropoulos (history, Claremont McKenna Coll.) carefully and systematically details how each of these groups either directly or indirectly facilitated the theft of countless works of art and legitimized the Nazi regime. By following a number of individuals in each group through their rise in Nazi Germany and in a number of instances their "rehabilitation" in a postwar "de-Nazification" process, Petropoulos shows that justice is too often blind to the truth. Detailed notes document all of the author's allegations, and he supplies an extensive bibliography of primary and secondary materials that reinforce his arguments. Highly recommended for both public and academic collections.-Martin R. Kalfatovic, Smithsonian Inst. Libs., Washington, DC Copyright 2000 Reed Business Information, Inc.
From BooklistThere has been considerable press coverage in recent years concerning the Nazi looting of Jewish accounts and artworks during World War II. Petropoulos' very interesting work examines, in considerable depth, some of the major personalities that were behind both extensive looting of art treasures and also the promotion of pro-nationalistic works. The men involved were not soldiers but well-established members of the intelligentsia. Although the motivations of the participants varied, they all seemed to make Faustian deals that led to career advancement and considerable wealth. Many networked after the war to protect each other's careers, reputations, and questionable (but lucrative) art sales. They defended their actions by saying they had no choice in aiding the Nazis or that they only acted to preserve threatened work, but the author documents how they went beyond mere participation to instigation. The work looks into individual cases that run the whole art-world spectrum: from museum directors and art dealers to journalists, historians, and artists. Eric RobbinsCopyright © American Library Association. All rights reserved
Thông tin sách: The Faustian Bargain: The Art World in Nazi Germany (Kindle, 416 trang) – Oxford University Press, 2000. Ngôn ngữ: Tiếng Anh.
Nazi art looting has been the subject of enormous international attention in recent years, and the topic of two history bestsellers, Hector Feliciano's The Lost Museum and Lynn Nicholas's The Rape of Europa. But such books leave us wondering: What made thoughtful, educated, artistic men and women decide to put their talents in the service of a brutal and inhuman regime? This question is the starting point for The Faustian Bargain, Jonathan Petropoulos's study of the key figures in the art world of Nazi Germany. Petropoulos follows the careers of these prominent individuals who like Faust, that German archetype, chose to pursue artistic ends through collaboration with diabolical forces. Readers meet Ernst Buchner, the distinguished museum director and expert on Old Master paintings who "repatriated" the Van Eyck brother's Ghent altarpiece to Germany, and Karl Haberstock, an art dealer who filled German museums with works bought virtually at gunpoint from Jewish collectors. Robert Scholz, the leading art critic in the Third Reich, became an officer in the chief art looting unit in France and Kajetan Muhlmann--a leading art historian--was probably the single most prolific art plunderer in the war (and arguably in history). Finally, there is Arno Breker, a gifted artist who exchanged his modernist style for monumental realism and became Hitler's favorite sculptor. If it is striking that these educated men became part of the Nazi machine, it is more remarkable that most of them rehabilitated their careers and lived comfortably after the war. Petropoulos has discovered a network of these rehabilitated experts that flourished in the postwar period, and he argues that this is a key to the tens of thousands of looted artworks that are still "missing" today. Based on previously unreleased information and recently declassified documents, The Faustian Bargain is a gripping read about the art world during this period, and a fascinating examination of the intense relationship between culture and politics in the Third Reich.Giá bán
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