Jerry Saltz isn’t the only art critic constructing alternate realities based upon the news of the Munich Hoard. Jonathan Jones takes to the Guardian’s pages with these thoughts about the find in Cornelius Gurlitt’s apartment:
It raises massive questions about the fate of art in and after the second world war. As the allies entered Germany in the last phase of the war they took with them experts, nicknamed the “monuments men”, whose job was to find out where the Nazis had stashed looted works of art. For it was not just modern art the Nazis abused. All over Europe, they seized the best masterpieces from the finest museums. Many of these, including such treasures as Titian’s Danae and Van Eyck’s Ghent altarpiece, were found stashed in mountain tunnels and mines. Others, including many of the works of art shown in the Degenerate Art exhibit, are believed lost for ever. Paintings such as Van Gogh’s The Painter on his Way to Work and 14 masterpieces by Gustav Klimt are written off as destroyed. But is it possible a Nazi network preserved a secret world of stolen art after 1945? Is it even possible such art was used to fund neo-Nazi activities or maintain war criminals in quiet comfort?
To put it another way: were Hildebrand Gurlitt and his son unique, or is the find in Munich a clue to some larger network of Nazi art hoarders sitting on secret treasures all this time in postwar Europe, living off occasional covert sales of the Picassos that they keep among the canned foods in their anonymous flats?
Does the Munich hoard turn the story of art and the Nazis on its head? (Guardian)