gurlitt_rodin_960x397.jpg
gurlitt_monet_960x397.jpg
gurlitt-0212_960x397.jpg
gurlitt-1008_960x397.jpg
gurlitt-0363_960x397.jpg
gurlitt-0507_960x397.jpg
gurlitt-1006_960x397.jpg
gurlitt-1125_960x209.jpg
gurlitt-1516_960x397.jpg
gurlitt-1027_960x297.jpg
gurlitt-marc-960x397.jpg

Gurlitt: Status Report

An Art Dealer in Nazi Germany

14 September 2018 to 7 January 2019, Gropius Bau, Berlin

News that the Bavarian Public Prosecutor’s office had seized the art collection of Cornelius Gurlitt (1932–2014), caused a national and international sensation when it was made public in November 2013. The 1500 works the reclusive son of the art dealer Hildebrand Gurlitt (1895–1956) had inherited from his father raised suspicions: had they been looted by the Nazis before and during the Second World War?

To investigate these suspicions and to study the cache, the German government provided funding to establish an international team of experts, the Schwabing Art Trove Taskforce. Cornelius Gurlitt agreed to restitute any work identified as expropriated unlawfully. Thus far, four such works have been returned to the heirs of their rightful owners.

In the exhibition at the Gropius Bau, the Bundeskunsthalle Bonn and the Kunstmuseum Bern present some 200 works from the Gurlitt estate and a wide range of original documents and historical photographs. The exhibition traces the twists and turns of Hildebrand Gurlitt’s career: from passionate champion of Modernism to participant in and beneficiary of the Aktion Entartete Kunst and, finally, ‒ despite a Jewish grandmother – to head buyer for Hitler’s planned “Führer Museum” in Linz. 

That notwithstanding, after the end of the war, he was able to resume his pre-war career as museum director without too much trouble. Complementing Gurlitt’s ambiguous biography, the exhibition sheds light on the lives of some of his contemporaries, focusing on the fate of Jewish artists, collectors and art dealers who fell victim to the Nazi regime.

Spanning a wide range of eras and styles – from Dürer to Monet and from Cranach to Kirchner and Rodin – the exhibition presents works that have been hidden from public view for decades and provides an insight into the current state of the investigation of the Gurlitt trove. By tracing the provenance of each of the works on show, the exhibition also sheds light on the complex history of the individual objects. Many of them were seized as ‘degenerate’ from German museums in 1937, others may have been unlawfully expropriated from their owners. For a great number of works, the provenance is likely to remain unclear because conclusive documents are lost or because the dealers involved made sure to cover their tracks.

#Gurlitt twitter | facebook | instagram

Photographing

Photographing in this exhibition is not only allowed but desired. Share your photos on social media and use the official hashtags.

Show bibliography
Illustrations
  1. Auguste Rodin (1840–1917), Crouching Woman, ca. 1882, marble, 33.5 x x 27,5 x 18 cm, www.lostart.de/EN/Fund/521802,Kunstmuseum Bern, Bequest of Cornelius Gurlitt 2014, Provenance undergoingbclarification / Currently no indications of beinglooted art ProvenanceAuguste Rodin (1840–1917), Crouching Woman, ca. 1882, marble, 33.5 x x 27,5 x 18 cm , www.lostart.de/EN/Fund/521802, Kunstmuseum Bern, Bequest of Cornelius Gurlitt 2014, Provenance undergoingbclarification / Currently no indications of beinglooted art Provenance
  2. Claude Monet (1840–1926) Waterloo Bridge, 1903Bequest of Cornelius Gurlitt 2014Claude Monet (1840–1926) Waterloo Bridge, 1903, Bequest of Cornelius Gurlitt 2014
  3. Otto Griebel (1895–1972), Hippodrome in St. Pauli, 1923, Watercolour on preliminary sketch with graphite on vellum paper,Kunstmuseum Bern,, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification / Currently no indications of being looted artOtto Griebel (1895–1972), Hippodrome in St. Pauli, 1923, Watercolour on preliminary sketch with graphite on vellum paper, Kunstmuseum Bern,, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification / Currently no indications of being looted art
  4. Paul Signac (1863–1935), Quai de Clichy, 1887, oil on canvas, www.lostart.de/EN/Fund/532975, Kunstmuseum Bern, Bequest of Cornelius, Gurlitt 2014, Provenance undergoing clarification / Currently no indications of being looted artPaul Signac (1863–1935), Quai de Clichy, 1887, Öl auf Leinwand, www.lostart.de/DE/Fund/532975, Kunstmuseum Bern, Legat Cornelius Gurlitt 2014, Provenienz in Abklärung / aktuell kein Raubkunstverdacht
  5. [Translate to english:] Bernhard Kretzschmar (1889–1972), Streetcar, n. d., Watercolour and China ink on vellum paper, www.lostart.de/EN/Fund/477900,Kunstmuseum Bern, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarificationBernhard Kretzschmar (1889–1972), Streetcar, n. d., Watercolour and China ink on vellum paper, www.lostart.de/EN/Fund/477900, Kunstmuseum Bern, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification
  6. Emil Nolde (1867–1956), The Fisherman's Children, 1926, coloured Lithograph and mezzotint on Japan paper, Kunstmuseum Bern, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification / Currently no indications of being looted art© Nolde Stiftung SeebüllEmil Nolde (1867–1956), The Fisherman's Children, 1926, coloured Lithograph and mezzotint on Japan paper, Kunstmuseum Bern, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification /Currently no indications of being looted art © Nolde Stiftung Seebüll
  7. Édouard Manet (1832–1883), Sea in Stormy Weather, 1873, Oil on canvas, www.lostart.de/EN/Fund/532966,Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarificationÉdouard Manet (1832–1883), Sea in Stormy Weather, 1873, Oil on canvas, www.lostart.de/EN/Fund/532966, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification
  8. Max Liebermann (1847–1935), Figures at the Seaside, n. d., Pastel on vellum paper, www.lostart.de/EN/Fund/532955,Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarificationMax Liebermann (1847–1935), Figures at the Seaside, n. d., Pastel on vellum paper, www.lostart.de/EN/Fund/532955, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification
  9. Cornelia Gurlitt (1890–1918), Untitled (Two Women), Brown ink and watercolour on paper© Kunstmuseum Bern, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification / Currently no indications of being looted artCornelia Gurlitt (1890–1918), Untitled (Two Women), Brown ink and watercolour on paper, Kunstmuseum Bern, Bequest of Cornelius Gurlitt 2014, Provenance undergoing clarification / Currently no indications of being looted art
  10. Ernst Ludwig Kirchner, (1880–1938), Two Nudes on a Bed (Two Models), c. 1907/08, Black chalk and coloured chalk on laid paper© Kunstmuseum Bern, Bequest of Cornelius Gurlitt, inv.no. A 2017.041Ernst Ludwig Kirchner, (1880–1938), Two Nudes on a Bed (Two Models), c. 1907/08, Black chalk and coloured chalk on laid paper, Kunstmuseum Bern, Bequest of Cornelius Gurlitt, inv.no. A 2017.041
  11. Franz Marc (1880–1916), Pferde in Landschaft, 1911, Kunstmuseum Bern, Legat Cornelius Gurlitt 2014, Provenienz in Abklärung / aktuell kein Raubkunstverdacht© Kunstmuseum BernFranz Marc (1880–1916), Pferde in Landschaft, 1911, Kunstmuseum Bern, Legat Cornelius Gurlitt 2014, Provenienz in Abklärung / aktuell kein Raubkunstverdacht © Kunstmuseum Bern

Kunst- und Ausstellungshalle der Bundesrepublik Deutschland

Museumsmeile Bonn
Friedrich-Ebert-Allee 4
53113 Bonn
T +49 228 9171–200

Opening hours

Mondays closed
Tuesdays and Wednesdays, 10 a.m.–9 p.m.
Thursdays–Sundays, 10 a.m.–7 p.m.
(including public holidays even those which fall on Mondays)

Gefördert durch