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During World War II, the relations between art and war can be articulated around two main issues. First, art (and, more generally, culture) found itself at the centre of an ideological war. Second, during World War II, many artists found themselves in the most difficult conditions (in an occupied country, in internment camps , in death camps ...
Clark, then director of the National Gallery, was the driving force behind the establishment of the committee. The advent of World War II saw many artists cease working and lose their incomes as commercial galleries closed, private commissions ceased and the art schools reduced their teaching or closed altogether.
The majority of World War II films are portrayed from the Allied perspective. Some exceptions include Das Boot (1981), Downfall (2004), Letters from Iwo Jima (2006), Stalingrad (1993), Joy Division (2006), and Cross of Iron (1977). World War II used to provide most of the material for the History Channel (United States).
It housed art confiscated from Parisian Jews—more than 21,000 objects [9] —and about 2,000 works from the Bavarian State Painting Collections. [ 10 ] The collection of the Kaiser-Friedrich Museum (now the Kulturhistorisches Museum Magdeburg ) was transported to a salt mine in the nearby town of Stassfurt , in order to protect it from Allied ...
Even before the U.S. entered World War II, art professionals and organizations such as the American Defense Harvard Group and the American Council of Learned Societies (ACLS) were working to identify and protect European art and monuments in harm’s way or in danger of Nazi plundering. The groups sought a national organization affiliated with ...
Art, Ideology, and Economics in Nazi Germany: The Reich Chambers of Music, Theater, and the Visual Arts. Chapel Hill: The University of North Carolina Press. ISBN 0-8078-4607-4; Thoms, Robert: The Artists in the Great German Art Exhibition Munich 1937–1944, Volume I – painting and printing. Berlin 2010, ISBN 978-3-937294-01-8.
Art theft and looting occurred on a massive scale during World War II. It originated with the policies of the Axis countries, primarily Nazi Germany and Japan, which systematically looted occupied territories. Near the end of the war the Soviet Union, in turn, began looting reclaimed and occupied territories. "The grand scale of looted artwork ...
The Commission for Art Recovery has characterized Switzerland as "a magnet" for assets from the rise of Hitler until the end of World War II. [13] Researching and documenting Switzerland's role "as an art-dealing centre and conduit for cultural assets in the Nazi period and in the immediate post-war period" was one of the missions of the ...
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