THE ART OF ATONEMENT: HOW MANDATED TRANSPARENCY CAN HELP RETURN MASTERPIECES LOST DURING WORLD WAR II
In: Boston College International and Comparative Law Review, Jg. 38 (2015-04-01), S. 305
Online
academicJournal
INTRODUCTION In September of 2010, German authorities stopped Cornelius Gurlitt on the train. 2 Suspecting tax evasion, investigators eventually searched his home, where an incredible surprise was waiting for them. 3 Within Gurlitt's small and some-what dingy apartment was a cache of artwork worth an estimated $ 1.4 billion. 4 Paintings by Picasso and Matisse, among others, which had previously been thought lost, were among the incredible treasure found. 5 Hildebrand Gurlitt, Cornelius's father, had been one of the art dealers selected by the Nazi regime to assist them in the systematic looting and forced sales of Jewish-owned artworks. 6 The stripping of these artworks from Jewish owners is one of the ongoing legacies of World War II, and much of this art has yet to be returned to its original owners or their heirs. 7 Since the end of World War II, international bodies and members of the international community have worked to return art looted by the Nazis to the rightful owners. 8 Despite a general consensus that the pieces should be returned, there have been many impediments to following through with this belief. 9 Difficulties arise when current owners feel that they have proper title to pieces, even though the works may have been forcibly sold or seized during World War II. 10 Other obstacles include the striking lack of transparency within the art world, as well as technical impediments, such as statute of limitations defenses. 11 Part I of this Note provides an introduction ...
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THE ART OF ATONEMENT: HOW MANDATED TRANSPARENCY CAN HELP RETURN MASTERPIECES LOST DURING WORLD WAR II
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Autor/in / Beteiligte Person: | FOULKES, LUCIA |
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Zeitschrift: | Boston College International and Comparative Law Review, Jg. 38 (2015-04-01), S. 305 |
Veröffentlichung: | 2015 |
Medientyp: | academicJournal |
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