Seventy-five years ago, hoards of SA soldiers and Nazi party officials destroyed and terrorized the Jewish communities of Germany. Kristallnacht (night of broken glass) was one of the major violent pogroms against Jews in Germany, which culminated in what is one of the worst acts in human history: the Holocaust.
In 2012, German officials discovered a treasure trove of “degenerate” art, banned by the Nazis for its content, in the Munich apartment of Cornelius Gurlitt. This incredible discovery, made public only a few days ago, presents many issues for the art world. To whom does this art belong? Why was it hidden for all of this time? Didn’t someone realize it was missing?
The collection, which numbers more than 1,000 paintings, includes works by Dix, Gauguin, Matisse and Picasso. Many of the former owners of the artwork have come forward since the announcement,.
But private ownership should not be the question at the forefront of this issue. Although the various investigators and art historians working on this case are trying to determine how these collection of paintings came to be, there should be more emphasis on how these paintings can benefit larger communities.
Nazi laws forbade this art due to its content, which was perceived to be against National Socialist principles. The art was thus forced into private ownership, removing it completely from public consumption. What better way to turn the Nazi ideals on end than by making these works available to the public?
The audience of any work of art adds depth to the work; people provide the meaning and connection from the work of art into the modern world. People are influenced by art, and art itself creates a broadened perspective and an enhanced world view. A public display of these masterpieces would show the world that the so-called “degenerate” works are no longer “degenerate.”
They are incredible representations of the human experience and are meant to be shared with the world. Germany today values the genius of this art and should proclaim to the world that “degenerate” art is no more. A public display would do this louder than any speech could.
If ownership is still an issue, perhaps a small fee could accompany admission to a public exhibition.
This could be a small way of making restitution while still furthering the growth of culture in Germany and around the world.
Hiding these works was a symbol of oppression, but hopefully, if they are put on display for the entire world to see, they can become symbols of the triumph of the human spirit over immense evil.
