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If paintings could speak. The political and media treatment of the returns of Art pillaged, stolen and looted by the Nazis (France 1945-2008)

Identifieur interne : 000079 ( Hal/Corpus ); précédent : 000078; suivant : 000080

If paintings could speak. The political and media treatment of the returns of Art pillaged, stolen and looted by the Nazis (France 1945-2008)

Auteurs : Corinne Bouchoux

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RBID : Hal:tel-00951875

Descripteurs français

English descriptors

Abstract

Numerous paintings looted and pillaged by the Nazis during the Second World War were declared as missing at the Property and Private Interests Agency. Most belonged to Jews. After the war, a commission to recover art works was set up and some were brought back. France, like some other countries, obtained some of the stolen pieces recuperated thanks to country to country agreements. 85,000 claims have been made, 61,233 have been found, mostly in Germany and Austria. 45,000 have been given back, but some paintings remained unclaimed and some owners could not find their property. Among non-reclaimed paintings, 2000 were selected for French museums, where they were kept. 12,000 have been sold at auction. In 1952, this restitution phase came to an end and the FRG took over this affair in order to compensate victims. This matter was totally forgotten. After the fall of the Berlin Wall, the looted Art affair re-appeared. What is the Foreign Affairs Ministery's policy on this subject? Why was this affair forgotten? What are the communication strategies of the actors? From action to oblivion (1945-1955), from remembrance to slow mediatisation (1955-1969), from silence (1969-1996) to the communication era (1997-2008), this thesis, which intersects public archives, arts and mainstream press, and interviews, ends with the setting up of a delayed franco-French justice, thanks to the Mattéoli commission (1997), together with the new wave of restitutions and compensation, following the Washington principles (1998).

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<abstract xml:lang="en">Numerous paintings looted and pillaged by the Nazis during the Second World War were declared as missing at the Property and Private Interests Agency. Most belonged to Jews. After the war, a commission to recover art works was set up and some were brought back. France, like some other countries, obtained some of the stolen pieces recuperated thanks to country to country agreements. 85,000 claims have been made, 61,233 have been found, mostly in Germany and Austria. 45,000 have been given back, but some paintings remained unclaimed and some owners could not find their property. Among non-reclaimed paintings, 2000 were selected for French museums, where they were kept. 12,000 have been sold at auction. In 1952, this restitution phase came to an end and the FRG took over this affair in order to compensate victims. This matter was totally forgotten. After the fall of the Berlin Wall, the looted Art affair re-appeared. What is the Foreign Affairs Ministery's policy on this subject? Why was this affair forgotten? What are the communication strategies of the actors? From action to oblivion (1945-1955), from remembrance to slow mediatisation (1955-1969), from silence (1969-1996) to the communication era (1997-2008), this thesis, which intersects public archives, arts and mainstream press, and interviews, ends with the setting up of a delayed franco-French justice, thanks to the Mattéoli commission (1997), together with the new wave of restitutions and compensation, following the Washington principles (1998).</abstract>
<abstract xml:lang="fr">De nombreux tableaux spoliés et pillés par les nazis durant la Seconde Guerre mondiale ont fait l'objet d'une déclaration à l'Office des biens et intérêts privés. La plupart appartenaient à des juifs. Après la guerre, une commission de récupération artistique est mise en place et récupère des œuvres. La France obtient, comme un certain nombre de pays, un retour des œuvres restituées d'État à État. 85 000 demandes sont déposées, 61 233 objets artistiques sont retrouvés, essentiellement en Allemagne et en Autriche. 45 000 sont rendus, mais des tableaux restent orphelins et des propriétaires ne retrouvent pas leur bien. Parmi les œuvres non réclamées, 2 000 sont choisies pour les Musées de France où elles sont gardiennées et 12 000 sont vendues aux enchères. En 1952 s'achève cette phase de restitutions et la RFA prend ensuite en charge ce dossier pour une politique d'indemnisation. Entre 1950 et 1995, cette histoire est totalement oubliée. Après la chute du mur de Berlin (1989), le dossier des pillages artistiques est réouvert. Quel en est le traitement administratif au ministère des Affaires étrangères ? Et son traitement médiatique et politique ? Avec quelles interactions ? Quelles sont les raisons de l'oubli de ces restitutions et indemnisations ? Quelles sont les stratégies de communication des acteurs ? De l'action à l'oubli (1945-1955), de la réminiscence à la lente médiatisation (1955-1969), du silence (1969-1996) à l'ère de la communication (1997-2008), la thèse, qui croise les archives publiques, la presse artistique et généraliste et des entretiens, s'achève avec la mise en place d'une justice tardive franco-française grâce à la Commission Mattéoli (1997) et la nouvelle vague de restitutions et d'indemnisation en application des principes de Washington (1998).</abstract>
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