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摘要
Winner of the National Book Critics Circle Award The cast of characters includes Hitler and Goering, Gertrude Stein and Marc Chagall--not to mention works by artists from Leonardo da Vinci to Pablo Picasso. And the story told in this superbly researched and suspenseful book is that of the Third Reich's war on European culture and the Allies' desperate effort to preserve it. From the Nazi purges of "Degenerate Art" and Goering's shopping sprees in occupied Paris to the perilous journey of theMona Lisafrom Paris and the painstaking reclamation of the priceless treasures of liberated Italy,The Rape of Europais a sweeping narrative of greed, philistinism, and heroism that combines superlative scholarship with a compelling drama. "Nicholas knows the art world as well as any military historian knows his battlefield.... Her work deserves the widest reading."--New York Times Book Review
评论 (5)
出版社周刊评论
``Never had works of art been so important to a political movement and never had they been moved about on such a vast scale.'' Nicholas's lavishly illustrated work chronicles the transfer, trading and looting of a large proportion of Europe's cultural treasures by the Nazis and the recovery of most of them during the Allied counterattack and early postwar years. She describes the Nazis' attempt to ``purify'' the world of ``degenerate'' art and their orgy of destruction, confiscation and theft, and reveals how curators at the Louvre in Paris, the Uffizi in Florence and other great museums supervised the removal of objects d'art to places of safety that included mine shafts and remote chateaux in anticipation of the German onslaught. Among these treasures were such masterpieces of sculpture and oils as Winged Victory of Samothrace and Van Gogh's Dr. Gachet , tapestries, church altars, crown jewels, literary manuscripts and symphonic scores. Nicholas's detailed account, meticulously researched in museum archives and supplemented with interviews, brings into focus the men and women who took responsibility for the protection, preservation, rescue and restoration of the artistic patrimony of Europe. Ambitious and fully realized, the book is a major contribution to the history of art; and first-time author Nicholas, an academic researcher of European history, shows herself to be a writer of notable talent. (May) (c) Copyright PWxyz, LLC. All rights reserved
Kirkus评论
A sprawling, vivid look at the fate of Europe's artworks during WW II. ``Never,'' states Nicholas in her admirably accomplished first book, ``had works of art been so important to a political movement and never had they been moved about on such a vast scale....'' Charting this unprecedented movement, Nicholas begins with the Nazis' twofold ``purification'' effort to ban ``degenerate'' culture and to scour public and private collections of enemy lands and races for nobly Germanic art. Backed always by astonishing statistics, the author recounts not only the brutal pursuit of both goals in western continental Europe and the even harsher, racially motivated pillage of Russian and Polish art treasures, but also the baffling exceptions to rules: the modernist ``garbage'' (Goebbels) imported into Germany and auctioned for hard foreign currency; the Jewish experts in Nordic art made ``Honorary Aryans''; the hands of Jewish women kissed by Goering in his quest for favorite canvases. As a former researcher at Washington's National Gallery who made a childhood visit through the devastated Germany of 1948, Nicholas is well equipped to elucidate the technicalities and vivify the chaos of wartime Europe's emergency storage sites, their improvised safety and climate controls, the economics and legalities of the art trade and postwar reclamations, and America's interests during and after the war in custodianship, reparation politics, and efforts to protect its own collections. Nonetheless, Nicholas does not, so to speak, lose the big picture, duly prefacing each country-by-country account with background history of the war. One interesting Cold War issue she considers is the politically sensitive return to newly Communist countries of plundered religious relics. The book abounds in poignant and bizarre details, from masterpieces traded for everything from human lives to ``8 kilograms of millet,'' to Chinese bronzes found holding manure in East German pigsties. Nicholas restores harrowing political contexts to ``safe,'' pristinely displayed museum masterpieces. (87 b&w illustrations and 3 maps)
《书目》(Booklist)书评
The world is still trying to fathom the enormity of the violence perpetrated by the Nazis. While the unending horror of the Holocaust continues to shock and baffle us, other facets of this unprecedented attempt at ethnic and cultural annihilation are still being revealed. One such facet consists of the mind-boggling facts about the Germans' wholesale pillaging of the art treasures of Europe. Nicholas painstakingly reconstructs the entire art debacle, relating one improbable but fully documented tale after another of systematic confiscation, outright theft, shameful deal-making, and fiendish destruction. The flip side to these atrocities is a litany of heroic efforts by curators, art historians, and many others to conceal, preserve, and protect the art of their land. Nicholas chronicles dozens of risky and dramatic struggles to keep the treasures of Poland, Czechoslovakia, Holland, France, Russia, and Italy out of the hands of their mad conquerors. While thousands upon thousands of precious paintings, sculptures, medieval manuscripts, and other invaluable objects were torn from churches, homes, libraries, and museums and shipped to Germany, hundreds more were frantically buried, camouflaged, or stashed in basements, country estates, salt mines, or quarry tunnels. Nicholas is in full command of a daunting amount of detailed information. She eloquently and efficiently introduces a huge cast of characters and artworks and manages to cover both the terrifying war years and the curatorial and logistical nightmare of their aftermath, when the Allies' overworked "Monument men" labored against all odds and in spite of many controversies to return recovered masterpieces to their rightful owners. Nicholas, a first-time author, has constructed a momentous and riveting work. ~--Donna Seaman
Choice 评论
Nicholas ably surveys and details the Nazi plundering, destruction, and sale of modern art in the 1930s, and the large-scale confiscations in the occupied territories during the war. Her account is richly detailed and full of anecdotal insights regarding Nazi acquisitiveness. Allied personnel, many of them museum curators or art historians, often heroically spared objects from expropriation by soldiers and civilians at war's end, or from damage through deterioration in the postwar chaos. On occasion, the amount of detail overwhelms the narrative. One wishes for more analysis and reflection of the role of culture in the determined effort of the Nazis to loot Europe's patrimony. How was art used as an instrument of political legitimation? This key question is left unanswered. Nonetheless, the book's wonderfully textured descriptions, based on oral testimonies, archival research, and the key secondary literature, provides an insight into incredible human greed and determined cultural politics during the catastrophic middle years of the 20th century. General readers; upper-division undergraduates and above. M. Deshmukh; George Mason University
《图书馆杂志》(Library Journal )书评
First-time author Nicholas presents a poorly written survey of the traffic in art under the Nazi regime, first in Germany and then in occupied Europe. She has a great deal of information, but it is not presented clearly or consistently. Nicholas has worked extensively with original documents and secondary works to reconstruct the German confiscation of art across the Continent, not just from Jews but from individuals and institutions in every country. Part cultural policy, part individual cupidity-especially by Goering-part egomania (Hitler's plans for a great museum in Linz), the ``rape of Europe'' makes for an engrossing story, but it is beyond the author's powers to deal with this story at more than an anecdotal level. While more limited in scope, firsthand accounts like Craig Smyth's Repatriation of Art from the Collecting Point in Munich After World War II (Abner Schram, 1988) are preferable. Pass on this.-Jack Perry Brown, Art Inst. of Chicago Lib. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.