- Banned
- #1
Just an odd piece of art history I ran across while looking for stuff entirely different.
The Price of Degenerate Art
Despite the disruption created by the war and the occupation, many sectors from the
French economy managed to resume their activities shortly after the Armistice was
signed. Even though it was not crucial for the war effort, the main French auction house,
Drouot, reopened on September 26th 1940. German occupation forces had both a direct
and an indirect impact on this market. Looting of Jewish collections began shortly after
the invasion. Since the Nazi propaganda distinguished “real” art from “degenerate art”,
some of the looted artworks were not deemed good enough to enter the Nazi’s collections
and were thus either destroyed or sold. This had of course a double effect: a long term
reduction of supply (since works were destroyed) but a short term increase (since the
original collectors would probably not have sold their works at the same time). German
actions were not limited to looting. The huge occupation indemnities imposed upon
defeated France provided the occupant with almost unlimited means. As a consequence,
Germans became major actors on the art markets in occupied Europe. The war also
disrupted the international relationships existing between art dealers. Each art market
became in a sense segmented. Switzerland proved however to be an exception and served
as a platform for German leaders to exchange “degenerate” looted works for more
traditional ones or even to sell these.
A few historical tidbits of interest in the article, for those who don't have enough to do, like me.
The Price of Degenerate Art
Despite the disruption created by the war and the occupation, many sectors from the
French economy managed to resume their activities shortly after the Armistice was
signed. Even though it was not crucial for the war effort, the main French auction house,
Drouot, reopened on September 26th 1940. German occupation forces had both a direct
and an indirect impact on this market. Looting of Jewish collections began shortly after
the invasion. Since the Nazi propaganda distinguished “real” art from “degenerate art”,
some of the looted artworks were not deemed good enough to enter the Nazi’s collections
and were thus either destroyed or sold. This had of course a double effect: a long term
reduction of supply (since works were destroyed) but a short term increase (since the
original collectors would probably not have sold their works at the same time). German
actions were not limited to looting. The huge occupation indemnities imposed upon
defeated France provided the occupant with almost unlimited means. As a consequence,
Germans became major actors on the art markets in occupied Europe. The war also
disrupted the international relationships existing between art dealers. Each art market
became in a sense segmented. Switzerland proved however to be an exception and served
as a platform for German leaders to exchange “degenerate” looted works for more
traditional ones or even to sell these.
A few historical tidbits of interest in the article, for those who don't have enough to do, like me.
