|Femme Assise / The Sitting Woman. |
Source: The Art Newspaper
The German task force investigating the provenance of potentially Nazi-looted paintings has concluded that one of them, Femme Assise by Henri Matisse, painted in 1921, was originally owned by art dealer Paul Rosenberg. Rosenberg's granddaughter, the French journalist Anne Sinclair, has made a claim on the painting, saying the Nazis stole it from her family.
I received the task force's German press release this morning and will summarise the gist in a few bullet points, see below. The paintings were part of a stash discovered in the flat of the late Cornelius Gurlitt. Gurlitt had inherited the paintings from his father, Hildebrand, art dealer to the Nazis. In the 1930s and 40s, the Nazis seized thousands of art works from Jewish families through forced sales or direct confiscation - the biggest art theft in history. They also confiscated modernist art works from museums as the style was deemed "degenerate".
|Paul Rosenberg with Matisse's "Odalisque" in 1937|
Paul Rosenberg was a friend of Matisse and an early champion of his work. He fled the Nazis in 1940, leaving France for Spain and then New York, but had to leave behind 162 paintings. A year later, the Nazis confiscated the entire collection. Gurlitt senior, it seems, was charged with selling some of the confiscated paintings on behalf of the Nazis, but kept some for himself. (Again, this seems to be the gist - I don't fact-check blog posts as thoroughly as I fact-check my other pieces, so apologies in advance for any inaccuracies). As the press release explains, the task force couldn't fully clarify how Femme Assise ended up in Gurlitt's hands.
Gurlitt junior came across as a tragic figure rather than a scheming villain. He lived a secluded, lonely life. In an interview with Der Spiegel, he said that he talked to his paintings every night, and that their confiscation had hurt him more than the death of his sister. Before he died, he declared that he would abide by the groundbreaking Washington Principles on the restitution of Nazi-looted art. Legally, he did not have to do this - the paintings were his, as the claims had expired under German law. Morally, it was of course the right decision, and set an important precedent for other private owners.
It's interesting that the task force sees Gurlitt's decision as binding for his own heirs, and also, that so many open questions remain regarding the work itself. You'd think it would be quite easy to seamlessly construct a famous painting's history from 1921 to 2014, less than a century. The fact that it's difficult shows just how many hidden stories are still there to be uncovered.
Here's what the task force said about investigating the history of Femme Assise (my translation, quick and dirty). I thought it might be interesting for people trying to track down their family's lost art:
- Research was difficult and complex, particularly clarifying the work's identity. There was mismatching data on the size of the work, as well as gaps in the timeline of the provenance.
- Investigators had to do extensive research in German, French and US archives, as well historical sources provided by the claimants.
- Not all questions regarding the work's history could be answered
- But overall, they concluded it was from the collection of Paul Rosenberg
- This expertise will be used as the basis for the decision regarding restitution of the work to Paul Rosenberg's heirs.
- Just before his death, Cornelius Gurlitt declared he would abide by the Washington Agreement (legally he didn't have to do this as any claims had expired under German law).
Quote from the head of the task force:
"Even if we could not document with absolute certainty how Hildebrand Gurlitt acquired the work, the task force has reached the conclusion that the work constitutes Nazi-looted art from the collection of Paul Rosenberg."
- Task force says a fair and just solution should be found "in the spirit of the Washington Agreement".