Petropouloss research sheds important light on the post-war networks, radiating from Munich to Switzerland, Paris and even the US, that allowed Lohse to stay in business. The artists were culturally Judeo-Bolshevik, and the whole modern-art scene was dominated by Jewish dealers, gallery owners, and collectors. The detailed documentation for the works, Hildebrand claimed, had been in his house in Dresden, which had been reduced to rubble during the Allied bombing. At The History Place - A short biography of Nazi Rudolf Hess. Go to Artist page. Red Notice Ending, Explained: Where is the Third Egg? Death Dealer : The Memoirs of the SS Kommandant at Auschwitz - Google Books Maybe there was an element of revenge in the way Hitlerwhose dream of becoming an artist had gone nowheredestroyed the lives and careers of the successful artists of his day. The previous day's press conference had allowed ample time for questions, and many of the press in the audience would have wished to interrogate this man on the record. Vile stuff - but the Nazi attitude to modern art may have been radically misunderstood. The chief prosecutors office made no public announcement of the seizure and kept the whole matter under tight wraps while it debated how to proceed. Could he have been living off the quiet sale of artworks? A dolf Hitler is considered one of the most infamous and disliked individuals in history. 'The Peculiar Sex Life of Adolf Hitler' offers insight into the Image courtesy of Behrouz Mehri, Getty Images. ", Hoffmann told DW in an interview that it was important for her to portray the beginning of Gurlitt's development and to find out "how he got sucked in by Naziism, how he was corrupted and how he got involved in these complicated mechanisms.". COLLECTION AGENT Josef Gockeln, the mayor of Dsseldorf; Corneliuss father, Hildebrand; and Paul Kauhausen, director of Dsseldorfs municipal archives, circa 1949., from picture alliance/dpa/vg bild-kunst. In response, the German government put together a so-called taskforce to research the provenance of the Gurlitt collection and determine how many of the artworks had been looted or misappropriated by the Nazis and whether they should be returned to their lawful heirs. He suspects Lohse kept for himself some of the works he acquired for Gring. The dull green metal plan chest in which they were once stored, all fifteen drawers of it, faces us as we enter, utterly humdrum.

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