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28 articles
Book Review
Nazi-Era Provenance of Museum Collections: A Research Guide
02/2025 | 1463 | 167
Pages: 197–199
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Reviewer:
Giovani-Agha, Angelina (Giovani-Agha, Angelina)
Subjects
subjects:
Nazism / Provenance / Restitution / Museums / Collections, Public
Reviewed Items
subjects:
Nazi-Era Provenance of Museum Collections: A Research Guide By Jacques Schuhmacher. 175 pp. incl. 20 col. + 17 b. & w. ills. (UCL Press, London, and Victoria and Albert Museum, London, 2024), £45. ISBN 978–1–80008–691–3. | :
Illustrations
Attributed works:
7. Young woman at the distaff, by Rudolf Friedrich Wasmann. c.1829. Pencil on paper, 22.5 by 15.2 cm. (Albertina Museum, Vienna).
Exhibition Review
Bauhaus and National Socialism
09/2024 | 1458 | 166
Pages: 968-71
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Reviewer:
Voigt, Wolfgang (Voigt, Wolfgang)
Subjects
dates:
2020-2030
museums and institutions:
Klassik Stiftung Weimar, Weimar, Germany
subjects:
Bauhaus / Nazism / German art / Gothic architecture / Designers / Design
Reviewed Items
subjects:
Bauhaus and National Socialism Klassik Stiftung Weimar 9th May–15th September | :
Illustrations
Attributed works:
26. Cover for Die Neue Linie, designed by Kurt Kranz. 1937. Print, 36.5 by 27 cm. (Private collection; exh. Klassik Stiftung Weimar).
Attributed works:
27. Advertisement for the Association of German- Aryan Clothing Manufacturers (ADEFA), designed by Herbert Bayer. 1936/37. Colour lithograph, 59.9 by 41.9 cm. (Lentos Munstmuseum, Linz; exh. Klassik Stiftung Weimar).
Attributed works:
28. Copy of the entrance gate to the Buchenwald concentration camp, designed by Franz Ehrlich. 2009 (original 1938). Steel, 186 by 99 by 24 cm. (Gedenkstätte Buchenwald, Weimar; exh. Klassik Stiftung Weimar).
Exhibition Review
‘Meistens grundiere ich mit Kreide’: Emil Nolde’s Maltechnik Emil Nolde: Meine Art zu Malen
10/2022 | 1435 | 164
Pages: 1022-1026
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Reviewer:
Rainbird, Sean (Rainbird, Sean)
Subjects
artists:
Nolde, Emil
dates:
2020-2030
museums and institutions:
Hamburger Kunsthalle, Hamburg, Germany / Pinakothek der Moderne, Munich, Germany
subjects:
German art / Expressionism / Nazism
Reviewed Items
subjects:
Emil Nolde: Meine Art zu Malen Pinakothek der Moderne, Munich 31st March 2022–28th February 2023 | :
subjects:
‘Meistens grundiere ich mit Kreide’: Emil Nolde’s Maltechnik Hamburger Kunsthalle 16th October 2021–18th April 2022 | :
Illustrations
Attributed works:
19. Tug on the Elbe, by Emil Nolde. 1910. Oil on canvas, 74 by 89 cm. (Hamburger Kunsthalle).
Attributed works:
20. Ship in the drydock, by Emil Nolde. 1910. Oil on canvas, 57 by 70 cm. (Hamburger Kunsthalle).
Attributed works:
21. Sailboat in the wind, by Emil Nolde. 1910. Oil on canvas, 74 by 89 cm. (Hamburger Kunsthalle).
Book Review
The House of Fragile Things: Jewish Art Collectors and the Fall of France
12/2021 | 1425 | 163
Pages: 1215
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Reviewer:
Thomson, Richard (Thomson, Richard)
Subjects
patrons:
Reinach family / Cahen d'Anvers family / Camondo, Isaac de / Rothschild family
subjects:
French (people) / Collections / Nazism
Reviewed Items
subjects:
The House of Fragile Things: Jewish Art Collectors and the Fall of France By James McAuley. 302 pp. incl. 30 col. + 47 b.& w. ills. (Yale University Press, New Haven and London, 2021), £25. ISBN 978–0–300–23337–7. | :
Exhibition Review
Escape into Art? The Brücke Painters in the Nazi Period Brücke-Museum and Kunsthaus Dahlem, Berlin; Emil Nolde – A German Legend: The Artist during the Nazi Period. Hamburger Bahnhof, Berlin
09/2019 | 1398 | 161
Pages: 769-771
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related names
Reviewer:
Weikop, Christian (Weikop, Christian)
Subjects
artists:
Nolde, Emil / Heckel, Erich / Pechstein, Max / Schmidt-Rottluff, Karl / Kirchner, Ernst Ludwig
museums and institutions:
Brücke-Museum, Berlin, Germany / Dahlem Museums, Berlin, Germany / Hamburger Bahnhof - Museum für Gegenwart, Berlin, Germany
styles:
Expressionism
subjects:
Brücke / Nazism / German art
Illustrations
Attributed works:
21. Max Pechstein’s easel in front of the ruin of his studio building at Kurfürstenstrasse 126, around 1945. (Archiv Pechstein, Hamburg/ Tökendorf; photographer unknown; exh. Brücke-Museum, Berlin).
Attributed works:
22. Uprooted trees, by Karl Schmidt-Rottluff. 1934. Oil on canvas, 98 by 112 cm. (Brücke-Museum, Berlin; © VG Bild- Kunst, Bonn, 2019).
Attributed works:
23. Paradise lost, by Emil Nolde. 1921. Oil on canvas, 106.5 by 157 cm. (Nolde Stiftung Seebüll, Schleswig- Holstein; photograph Elke Walford and Dirk Dunkelberg; exh. Hamburger Banhof, Berlin).
Book Review
The Militant Muse: Love, War and the Women of Surrealism. By Whitney Chadwick
12/2018 | 1389 | 160
Pages: 1075-1076
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Reviewer:
Cheale, Matthew (Cheale, Matthew)
Subjects
art literature:
Breton, André / Balzac, Honoré de, 1799-1850
artists:
Carrington, Leonora / Cahun, Claude / Agar, Eileen / Fini, Leonor / Penrose, Valentine / Paalen, Alice / Kahlo, Frida / Lamba, Jacqueline / Moore, Marcel / Miller, Lee
dates:
1900-1999
media:
Books / Documents / Photographs / Paintings
places:
France / Mexico
subjects:
Artists' writings / Correspondence / Biographies / Poetry / Surrealism / Women / Women artists / Gender / Magic / Occultism / Mysticism / Alchemy / Nazism / World War (1939-1945) / Collaborators / Literature
Illustrations
Western art unattributed:
5. Jacqueline Lamba and Frida Kalho in Pátzcuaro, Mexico. 1938. Photograph. (Private Collection; © Association Atelier André Breton and ADAGP).
Article
The Art of Conservation XV. The conservation history of the Ghent Altarpiece
09/2018 | 1386 | 160
Pages: 754-765
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Author:
Dubois, Hélène (Dubois, Hélène)
Subjects
art literature:
Friedländer, Max J. / Coremans, Paul B. / Schryver, Antoine de / Marijnissen, R.-H. / Heere, Lucas de / Mander, Karel van, I, 1548-1606 / Waagen, Gustav Friedrich, 1794-1868 / Bode, Wilhelm von / Puyvelde, Leo van / Hulin de Loo, Georges / Vanderveken, Jef / Gettens, R. J. / Stout, George L. / Asperen de Boer, J. R. J. van / Spronk, Ron
art literature:
Vaernewijck, Marcus van / Hauser, Aloïs, the younger / Grevenstein, Anne van
artists:
Eyck, Jan van / Eyck, Hubert van / Blondeel, Lancelot / Scorel, Jan van / Coxie, Michiel, I, 1499-1592 / Coxie, Raphael / Bruyn, Jan Baptist de / Heuvel, Anton van den / Schlesinger, Johann / Schinkel, Karl Friedrich / Lagye, Victor / Bouts, Dieric
collectors and dealers:
Nieuwenhuys, L.J. / Solly, Edward
dates:
1400-1499 / 1500-1599 / 1600-1699 / 1700-1799 / 1800-1899 / 1900-1999 / 2000-2009 / 2010-2019
media:
Paintings / Displays / Radiographs / Infrared photography
museums and institutions:
Royal Institute for Cultural Heritage (KIK-IRPA), Brussels, Belgium / Musée du Louvre, Paris, France / Altes Museum, Berlin, Germany / Musées royaux des Beaux-Arts de Belgique, Brussels, Belgium / Museum voor Schone Kunsten, Ghent, Belgium / International Council of Museums (ICOM)
museums and institutions:
Getty Foundation, Los Angeles, United States
patrons:
Vijd, Joos / Borluut, Elisabeth / Philip II, King of Spain, 1527-1598
places:
Netherlands / Belgium / Brussels / Ghent / France / Paris / Germany / Berlin
subjects:
Netherlandish painting / Conservation / Restoration (process) / Scientific analysis / Technical analysis / Provenance / Iconoclasm / Damage to works of art / Stolen works of art / Alterations / Altarpieces / Panel paintings / Polyptychs / Collecting / Patronage / Retables / Feasts / Religious ceremonies / Glazes / Varnish / Pigments / Colour / Commissions / Archives / Style / Council of Trent (1545-1563) / Calvinism / Revolution (France: 1789-1799) / Restitution / Repatriation / Polychromy / Copies / World War (1914-1918) / World War (1939-1945) / Nazism / Exhibitions / Curators / Art historians / Conservators / Restorers / Science
Illustrations
Attributed works:
1. The adoration of the Mystic Lamb, by Hubert and Jan van Eyck. Completed by 1432. Panel, shown open, 375 by 514 cm. Before restora- tion. (Cathedral of St Bavo, Ghent; © lukasweb.be – Art in Flanders vzw).
Attributed works:
2. Diagram showing the extent of mid-sixteenth century overpaint on the outside wings of the polyptych. (©KIK-IRPA, Brussels).
Attributed works:
3. Detail of Fig.4, showing Joos Vijd’s right eye after varnish removal. The pink scumbles around the eyes, which cover the original eyelashes, are typical of the mid-sixteenth-century overpainting campaign. (©KIKIRPA, Brussels).
Attributed works:
4. The adoration of the Mystic Lamb, by Hubert and Jan van Eyck. Completed by 1432. Panel, shown closed, 375 by 257 cm. Photographed after restoration. (Cathedral of St Bavo, Ghent; © lukasweb.be – Art in Flanders vzw).
Attributed works:
5. Detail of Fig.4, showing Elisabeth Borluut’s drapery before the removal of varnish and overpaint. (Cathedral of St Bavo, Ghent).
Attributed works:
6. Fig.5 after the removal of overpaint and restoration. (Cathedral of St Bavo, Ghent; © lukasweb.be – Art in Flanders vzw).
Attributed works:
7. The Virgin Annunciate and Angel musicians (recto and verso of the same panel), by Hubert and Jan van Eyck. Photographs taken in Berlin before the restoration of 1894. Original hinges are present on the left side of the frame of the Virgin’s panel. Metal reinforcements were added to the extremities of the crossbar. Later, wrought metal hinged braces were attached by large screws fitted through the frame and visible on the front of the Angels panel. (Deutsches Dokumentationszentrum für Kunstgeschichte – Bildarchiv Foto Marburg).
Attributed works:
8. The prophet Micah, detail of Fig.4, shown in the frame designed by Karl Friedrich Schinkel with a hatch covering the inscription beneath the prophet. Photograph, before 1878. (RKD, Netherlands Institute for Art History, M.J. Friedländer Archive, The Hague).
Attributed works:
9. The Ghent Altarpiece as installed in the Vijd chapel between 1865 and 1920. It comprises Eyckian central panels, Lagye’s fur-clothed Adam and Eve and Coxcie’s copies of the other shutters. Photograph, c.1910–13. (© Stadsarchief, Ghent).
Western art unattributed:
10. Jef Van der Veken in his studio in Brussels. Photograph, before 1929. (RKD, Netherlands Institute for Art History, Jef Van der Veken Archive, The Hague).
Western art unattributed:
11. Albert Philipott applies wax to the surface of Eve in order to consolidate the paint layers. Photograph, 1951. (© KIK-IRPA, Brussels).
Western art unattributed:
12. Albert Philipott removes the overpainted clouds around the dove in The Adoration of the Lamb. Photograph, 1951. (© KIK-IRPA, Brussels).
Exhibition Review
Georg Baselitz at eighty
09/2018 | 1386 | 160
Pages: 766-771
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related names
Reviewer:
Weikop, Christian (Weikop, Christian)
Subjects
artists:
Baselitz, Georg / Schönebeck, Eugen / Friedrich, Caspar David / Richter, Ludwig / Pforr, Franz / Kiefer, Anselm / Nolde, Emil / Kirchner, Ernst Ludwig / De Kooning, Willem
dates:
2010-2019
media:
Paintings / Sculpture
museums and institutions:
Fondation Beyeler, Riehen, Basel, Switzerland / Hirshhorn Museum and Sculpture Garden, Washington, United States / Galerie Werner & Katz, Berlin, Germany
places:
Switzerland / Basel / United States / Washington DC / Germany
subjects:
German painting / Beauty / Romanticism / Portraits / Landscapes (visual works) / Figure paintings / Nudes / World War (1939-1945) / Nazism / Politics / Brücke / Expressionism / Neo-Expressionist / Carving (processes) / Colour / Polychromy / Brushwork / Style / Influence
Illustrations
Attributed works:
1. Man in the moon – Franz Pforr, by Georg Baselitz. 1965. Canvas, 161.9 by 129.9 cm. (National Gallery of Art, Washington; exh. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington).
Attributed works:
2. Opposite The naked man, by Georg Baselitz. 1962. Canvas, 114 by 146 cm. (Private collection, Seattle; exh. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington).
Attributed works:
3. Meissen woodsmen, by Georg Baselitz. 1969. Canvas, 250 by 200 cm. (Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington).
Attributed works:
4. Orange eater IX, by Georg Baselitz. 1981. Oil and tempera on canvas, 146 by 114 cm. (Skarstedt, New York; exh. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington).
Attributed works:
5. Below The Brücke chorus, by Georg Baselitz. 1983. Canvas, 280 by 450 cm. (Private collection; exh. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington).
Attributed works:
6. My new hat, by Georg Baselitz. 2003. Cedarwood and oil paint, 310.5 by 83.5 by 107 cm. (Pinault Collection, Venice; exh. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington).
Attributed works:
8. Dystopian couple, by Georg Baselitz. 2015. Canvas, 400 by 600 cm. (Courtesy the artist and White Cube; exh. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington).
Western art unattributed:
7. Georg Baselitz’s studio, Ammersee. (Photograph courtesy Georg Baselitz Archive, Munich).
Exhibition Review
Aftermath: Art in the Wake of World War One. Tate Britain, London
09/2018 | 1386 | 160
Pages: 788-790
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related names
Reviewer:
Vaizey, Marina (Vaizey, Marina)
Subjects
artists:
Nevinson, C. R. W. / Picasso, Pablo / Moore, Henry Spencer, 1898-1986 / Beckmann, Max / Braque, Georges / Epstein, Jacob, 1880-1959 / Lehmbruck, Wilhelm / Ernst, Max / Barlach, Ernst / Nash, Paul / Orpen, William / Spencer, Stanley / Mare, André / Grosz, George / Tonks, Henry
artists:
Lenk, Franz / Jouve, Paul / Birkle, Albert / Branson, Clive
dates:
2010-2019
media:
Paintings / Sculpture / Photographs / Videos / Documents / Pastels / Drawings
museums and institutions:
Tate Britain, London, Great Britain
places:
Great Britain / London
subjects:
World War (1914-1918) / World War (1939-1945) / Politics / War Artists / Collections, Public / Archives / Diaries / Correspondence / Soldiers / Nazism / Fascism / Class / Futurism / Abstract art / Figurative art / Neo-classicism / Military art and science / Destruction / Dada / Surrealism / Ruins / War memorials / British painting / French painting / German painting
Illustrations
Attributed works:
22. The floating one, by Ernst Barlach. 1927, cast 1987. Bronze, 213 by 74 by 68 cm. (SchleswigHolsteinische Landesmuseen Schloss Gottorf, Schleswig; exh. Tate Britain, London).
Attributed works:
23. Grey day, by George Grosz. 1921. Canvas, 115 by 80 cm. (Nationalgalerie, Berlin; exh. Tate Britain, London).
Attributed works:
24. Wire, by Paul Nash. 1918–19. Watercolour, chalk and ink on paper, 48.6 by 63.5 cm. (Imperial War Museums, London; exh. Tate Britain, London).
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