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The Lost Museum [Englisch] [Taschenbuch]

Feliciano
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The Lost Museum + The Rape of Europa: The Fate of Europe's Treasures in the Third Reich and the Second World War (Vintage) + The Monuments Men: Allied Heroes, Nazi Thieves and the Greatest Treasure Hunt in History
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Produktinformation

  • Taschenbuch: 336 Seiten
  • Verlag: Basic Books; Auflage: New and Updated. (4. April 1998)
  • Sprache: Englisch
  • ISBN-10: 0465041914
  • ISBN-13: 978-0465041916
  • Größe und/oder Gewicht: 23,1 x 15,2 x 1,9 cm
  • Durchschnittliche Kundenbewertung: 3.0 von 5 Sternen  Alle Rezensionen anzeigen (3 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 367.055 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)

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Produktbeschreibungen

Amazon.de

Pillage is one of the traditional perks of warfare. But it took Adolf Hitler to systematize the decimation and despoiling of cultures, and it took Hector Feliciano seven years to track five famous art collections stolen by the Nazis. He uncovered not only Nazi schemes but also a well-oiled machine of collaborators, informants, moving companies, and neighbors, all with their fingers in the pie. The Lost Museum reads like a good detective story. Inspired by a fascination with the theft of five prominent Parisian Jewish families' art collections, it focuses on the beneficiaries of the thefts and justice for its victims. Filled with family photos of the art, some never before seen by the public, The Lost Museum tracks the pieces as they passed through the hands of German officials, unscrupulous art dealers, and unsuspecting auction houses. That the network was so deviously intricate illustrates the enormous challenge of restitution.

The relationship between Nazi higher-ups, keen to advance their own collections, and non-Jewish dealers bodes well for the Parisian art scene. A Picasso for a Titian; two classics for eleven late-19th-/early-20th-century moderns? Such wheeling and dealing reduces art to tug-of-war commodities, and Feliciano's The Lost Museum at times seems to question nothing less than what art serves, and who profits from it. If you like a good detective story and can tolerate the frustration of justice impaired by greed, then this thoroughly documented dark tale is for you. -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.

Synopsis

Between 1939 and 1944, as the Nazis overran Europe, they were also quietly conducting another type of pillage. The Lost Museum tells the story of the Jewish art collectors and gallery owners in France who were stripped of rare works by artists such as Vermeer, Rembrandt, Degas, Czanne, and Picasso. Before they were through, the Nazis had taken more than 20,000 paintings, sculptures, and drawings from France. The Lost Museum explores the Nazis systematic confiscation of these artworks, focusing on the private collections of five families: Rothschild, Rosenberg, Bernheim-Jeune, David-Weill, and Schloss. The book is filled with private family photos of this art, some of which has never before been seen by the public, and it traces the fate of these works as they passed through the hands of top German officials, unscrupulous art dealers, and unwitting auction houses such as Christies and Sothebys.

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In diesem Buch (Mehr dazu)
Einleitungssatz
To begin this intricate story we must first go to the Louvre Museum in Paris. Lesen Sie die erste Seite
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Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
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1 von 1 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen A fascinating story poorly told 3. Juni 1999
Format:Taschenbuch
Those of you who read Lynn Nicholas' astonishing The Rape of Europa will be disappointed by this book, which is in many ways a necessary supplement to Nicholas' spine-tingling work. The record of greed, fear, coercion and barbarism visible behind the glittering surface of the Parisian art world in the 1940's is a truly moving human story. The photographs, all of now-vanished works of modern art, provide a valuable record for the historian, as many of the lost works have never been published. Unfortunately, the book is nearly ruined by a flat and pedestrian writing style. The author may have taken years to write this book, and conducted hundreds of interviews, but one would never know that. Feliciano writes as if he were a USA Today reporter - utterly superficial treatments of serious issues and no sign whatsoever of any personal investment in the story. The art and personalities of the period deserved a better historian than Mr. Feliciano, I am sorry to say. Useful for the documentary information only.
War diese Rezension für Sie hilfreich?
3.0 von 5 Sternen German arrogance and art dealer greed in WWII. 30. Juni 1998
Von Ein Kunde
Format:Taschenbuch
A repititious summary of art work confiscations by the Nazis, particularly from Jewish galleries, during World War II. Plentiful accusations of greed by cooperating art dealers, including some famous names, during and after the war. The French government to this day has performed questionably in returning works by famous artists to their pre-war owners. The Swiss government, in harmony with its management of Jewish refugee bank deposits, has performed even worse. Over-all, a depressing litany of evil deeds in a poorly structured account of art world activity during the German occupation of France.
War diese Rezension für Sie hilfreich?
3.0 von 5 Sternen German arrogance and art dealer greed in WWII. 30. Juni 1998
Von Ein Kunde
Format:Taschenbuch
A repititious summary of art work confiscations by the Nazis, particularly from Jewish galleries, during World War II. Plentiful accusations of greed by cooperating art dealers, including some famous names, during and after the war. The French government to this day has performed questionably in returning works by famous artists to their pre-war owners. The Swiss government, in harmony with its management of Jewish refugee bank deposits, has performed even worse. Over-all, a depressing litany of evil deeds in a poorly structured account of art world activity during the German occupation of France.
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Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Amazon.com: 4.1 von 5 Sternen  21 Rezensionen
39 von 43 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen A fascinating story poorly told 3. Juni 1999
Von Bragan Thomas - Veröffentlicht auf Amazon.com
Format:Taschenbuch
Those of you who read Lynn Nicholas' astonishing The Rape of Europa will be disappointed by this book, which is in many ways a necessary supplement to Nicholas' spine-tingling work. The record of greed, fear, coercion and barbarism visible behind the glittering surface of the Parisian art world in the 1940's is a truly moving human story. The photographs, all of now-vanished works of modern art, provide a valuable record for the historian, as many of the lost works have never been published. Unfortunately, the book is nearly ruined by a flat and pedestrian writing style. The author may have taken years to write this book, and conducted hundreds of interviews, but one would never know that. Feliciano writes as if he were a USA Today reporter - utterly superficial treatments of serious issues and no sign whatsoever of any personal investment in the story. The art and personalities of the period deserved a better historian than Mr. Feliciano, I am sorry to say. Useful for the documentary information only.
23 von 26 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen The most important art book in a decade 21. Juni 2007
Von Lisa - Veröffentlicht auf Amazon.com
Format:Taschenbuch
Other books may relate how the Nazis plundered art, but this book actually led the world to do something about it. You know how you read in the paper all the time that some heir of a Holocaust victim is in a lawsuit to get back valuable paintings? It's directly a result of The Lost Museum. For fifty years, nothing happened in terms of restitution. Feliciano's groundbreaking investigative research is what led museums to examine the provenance of their artwork, caused governments to change their statutes of limitations, and urged heirs to pursue artworks they assumed had long ago vanished.

I wish I could give it more than five stars.
13 von 14 Kunden fanden die folgende Rezension hilfreich
2.0 von 5 Sternen A Big Hit in France? Go Figure... 8. Juli 2008
Von Amy Smith - Veröffentlicht auf Amazon.com
Format:Taschenbuch
This was a big hit in France when it came out, but as an English-language book it suffers by comparison to Lynn Nicholas's magisterial 'Rape of Europa,' a vastly better book on the same topic--better written and better researched. Feliciano takes what is, in and of itself, a fascinating, profound story and cheapens it with his overheated writing style. Also, he claims to have made a lot of new documentary discoveries--the Schenker papers, documenting the shipment of looted works within France--which aren't so new, as anyone who reads Nicholas's book knows. Those documents have been publicly accessible since the late 1970s. On the whole I would not recommend this book, but would recommend the Rape of Europa instead.
9 von 9 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen A really interesting part of WWII that I never knew before. 2. April 1998
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format:Gebundene Ausgabe
A fascinating story about another way the Germans persecuted the countries they conquered during WWII. The writing is not great and there are problems of a linear time-line, but overall an interesting read because it is very obvious the author did a lot of research into this seldom written about part of the war.
6 von 6 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen German arrogance and art dealer greed in WWII. 30. Juni 1998
Von Ein Kunde - Veröffentlicht auf Amazon.com
Format:Taschenbuch
A repititious summary of art work confiscations by the Nazis, particularly from Jewish galleries, during World War II. Plentiful accusations of greed by cooperating art dealers, including some famous names, during and after the war. The French government to this day has performed questionably in returning works by famous artists to their pre-war owners. The Swiss government, in harmony with its management of Jewish refugee bank deposits, has performed even worse. Over-all, a depressing litany of evil deeds in a poorly structured account of art world activity during the German occupation of France.
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