MARC record from Internet Archive

LEADER: 08136cam 2201105 i 4500
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005 20210826213710.0
008 930527s1994 nyuac b 001 0 eng
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050 00 $aN8795.3.E85$bN53 1994
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100 1 $aNicholas, Lynn H.,$eauthor.
245 14 $aThe rape of Europa :$bthe fate of Europe's treasures in the Third Reich and the Second World War /$cLynn H. Nicholas.
250 $aFirst edition.
264 1 $aNew York :$bAlfred A. Knopf,$c1994.
264 4 $c©1994
300 $ax, 498 pages :$billustrations, maps, portraits ;$c25 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references (pages 467-475) and index.
505 0 $aI. Prologue: They had four years: Germany before the war: the Nazi art purges -- II. Period of adjustment: The Nazi collectors organize; Austria provides, Europe hides -- III. Eastern orientations: Poland, 1939-1945 -- IV. Lives and property: invasion of the West; the Nazi art machine in Holland -- V. Lenity and cruelty: occupied France: protection and confiscation -- VI. Business and pleasure: France: the art market flourishes; Nazi Kultur withers -- VII. Plus ça change: the invasion of the Soviet Union -- VIII. Inch by inch: the launching of the Allied protection effort -- IX. The red-hot rake: Italy, 1943-1945 -- X. Touch and go: the Allies take over: Northern Europe, 1944-1945 -- XI. Ashes and darkness: treasure hunts in the ruined Reich, 1945 -- XII. Mixed motives: the temptation of Germany's homeless collections -- XIII. The art of the possible: fifty years of restitution and recovery.
520 $aThe treasures of Quedlinburg ... the Trojan gold ... the Amber Room. These fabled objects are only the tiny summit of an immense mountain of artifacts - artistic, religious, historic - that were sold, confiscated, stolen, dismembered, defaced, destroyed, or buried as Europe succumbed first to the greed and fury of the Nazis and then to the ravages of war. Now, in a riveting account brimming with tales of courage and sacrifice, of venality and beastliness, Lynn H. Nicholas meticulously reconstructs the full story of this act of cultural rape and its aftermath. In doing so, she offers a new perspective on the history of the Third Reich and of World War II. From the day Hitler came to power, art was a matter of highest priority to the Reich. He and other Nazis (especially Hermann Goering) were ravenous collectors, stopping at nothing to acquire paintings and sculpture, as well as coins, books, tapestries, jewels, furniture - everything. Their insatiable appetite (feared by the museum directors who sent their collections into hiding as war loomed) whipped the international art market into a frenzy of often sleazy dealing. When the German occupation of Poland, France, the Low Countries, and finally Italy began, a colossal wave of organized and casual pillage stripped entire countries of their heritage as works of art were subjected to confiscation, wanton destruction, concealment in damp mines, and perilous transport across combat zones.
520 8 $aMeanwhile, in Washington and London curators and scholars campaigned energetically to convince President Franklin Roosevelt, Prime Minister Winston Churchill, and, most importantly, General Dwight Eisenhower to add the protection of art and edifices to the Allied invasion agenda. The landings in Italy and France, and the ultimate victory of the Allies, brought a dedicated corps of "Monuments officers" to the ravaged continent. On the front lines or immediately behind, they shored up bombed churches, cleaned the vandalized buildings and collections, and rescued great masterpieces such as the Ghent altarpiece from the mines. The Monuments officers spent six years locating and sorting huge repositories of treasure, and restoring their contents to museums and surviving owners. But much that was destroyed or stolen (by the Nazis and Soviets in organized looting and by individuals of all nations) has never been found. It is a story without an ending. More revelations can be expected in years to come. The facts behind these events will be clear and the human stories deeply moving to all who read Lynn H. Nicholas's impeccably researched, engagingly written account of the rapacity, horror, devotion, and heroism that characterized a unique and terrible era.
610 20 $aAllied Forces.$bSupreme Headquarters.$bMonuments, Fine Arts and Archives Section$xHistory.
650 0 $aArt thefts$zEurope.
651 0 $aGermany$xCultural policy.
650 0 $aWorld War, 1939-1945$vArt and the war.
651 0 $aGermany$xPolitics and government$y1933-1945.
650 1 $aArt thefts$zEurope.
651 1 $aGermany$xCultural policy.
651 1 $aGermany$xPolitics and government$y1933-1945.
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651 7 $aEurope.$2fast$0(OCoLC)fst01245064
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611 27 $aBMBF-Statusseminar$2gnd
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650 7 $aWeltkrieg$g1939-1945$2gnd
650 17 $aKunstroof.$2gtt
650 17 $aDerde Rijk.$2gtt
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650 7 $aWorld War, 1939-1945$vArt and the war.$2nli
651 7 $aGermany$xCultural policy$y1933-1945.$2nli
650 7 $aGuerre mondiale (1914-1918)$xArt et guerre.$2ram
650 7 $aObjets d'art$xVol$zEurope$y1900-1945.$2ram
650 7 $aGuerre mondiale (1939-1945)$xArt et guerre.$2ram
650 7 $aTrésors artistiques durant la guerre$zEurope$y1900-1945.$2ram
651 7 $aAllemagne$xPolitique et gouvernement$y1933-1945.$2ram
650 7 $aArt thefts.$2sears
651 7 $aDeutschland.$2swd
647 7 $aWorld War$d(1939-1945)$2fast$0(OCoLC)fst01180924
648 4 $aGeschichte 1938-1945.
648 4 $aGeschichte 1939-1945.
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648 7 $aGeschichte 1938-1945.$2swd
655 7 $aArt.$2fast$0(OCoLC)fst01423702
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776 08 $iOnline version:$aNicholas, Lynn H.$tRape of Europa.$b1st ed.$dNew York : Knopf, 1994$w(OCoLC)607764390
776 08 $iOnline version:$aNicholas, Lynn H.$tRape of Europa.$b1st ed.$dNew York : Knopf, 1994$w(OCoLC)623809270
856 42 $3Publisher description$uhttp://catdir.loc.gov/catdir/enhancements/fy0904/93011317-d.html
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