Hitler's last hostages Looted art and the soul of the Third Reich

In 2013 a treasure trove of art looted by the German's before and during WW II was found in the apartment of the reclusive Cornelius Gurlitt. How did so many artistic treasures long thought lost end up stacked in a Munich apartment? The answer lies in the tale of German art historian and gallerist Hildebrand Gurlitt (Cornelius's father), who acquired artistic treasures for Hitler's museums and at the same time used his position to acquire paintings, sculptures, and prints by some of Europe's most famous artists for himself. In order to understand Hitler's obsession with acquiring art, Lane (an award-winning journalist and specialist in Western art) examines the fate of artists such as George Groz, whose work was labeled as degenerate by the Nazis. She also reveals how German-Jewish families whose possessions were seized by Gurlitt and the Nazis struggled to reclaim and get restitution for their property (postwar German law did not recognize the claimants' legal rights). The struggle for compensation from the Nazi era continues, and Lane asserts that these artistic treasures are "Hitler's last hostages." Lane's analysis of the victims and villains is fascinating, but her argument that the art represented a foray into the soul of the Third Reich is not entirely convincing. Summing Up: Recommended. Lower-division undergraduates through faculty; general readers. --Frederic Krome, University of Cincinnati--Clermont College

Nazi looting of European art is old news, but this expert, disheartening account reveals that Germany still possesses a great deal and refuses to give it up.Lane, the former chief European art reporter for the Wall Street Journal, writes that in 2012, German tax authorities raided the apartment of elderly bachelor Cornelius Gurlitt and found more than 1,200 precious artworks piled in every corner. They kept the news secret until a magazine revealed it in 2013 and then proceeded to stonewall the authorities, insisting that this was a tax matter and that the government had no obligation in other areas. Since then, aggressive claimants have received a few works, but most are housed at a Swiss museum following Gurlitt's bequest. Having delivered this news, Lane turns back the clock to recount the dismal yet captivating story, centered on Hitler, who, she reminds readers, grew up as an artist and remained obsessed by cultural matters throughout World War II. Another ongoing figure is satirical artist George Grosz, who immigrated before Hitler took power and saw his work reviled, confiscated, and never returned. Hitler's taste in art received enthusiastic cooperation from dealers including Cornelius' father, Hildebrand Gurlitt. Readers will gnash their teeth as Lane engagingly recounts how dealers who formerly represented avant-garde artists quickly adapted and dumped their "degenerate" modernist clientele, except for purchases at knock-down prices for their private collection. They happily accepted works that they knew were confiscated from Jews. After 1939, many dealers, led by Hildebrand, toured conquered countries collecting for Hitler's mythical future Fhrermuseum. When necessary, Hildebrand purchased works with an apparently unlimited national budget, although many ended up in his own collection, and most of them he successfully concealed after the war. Aware of art looting, the victorious Allies devoted modest effort to an investigation, but violent crimes took priority. Hildebrand and colleagues were cleared and resumed their careers.A gripping, original contribution to a still-unresolved Nazi crime. Copyright Kirkus Reviews, used with permission.