Not only Adolf Hitler and Hermann G???ring utilized the occupation of France during the Second World War to procure artworks for their collections -- German museums also made acquisitions at the time. The advantageous foreign exchange rate and the large range of artworks, for instance, from seized Jewish property, afforded favorable opportunities. French museums like the Louvre also expanded their holdings during this time. Many purchases by German museums were restituted to France in the postwar period, while some have ...
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Not only Adolf Hitler and Hermann G???ring utilized the occupation of France during the Second World War to procure artworks for their collections -- German museums also made acquisitions at the time. The advantageous foreign exchange rate and the large range of artworks, for instance, from seized Jewish property, afforded favorable opportunities. French museums like the Louvre also expanded their holdings during this time. Many purchases by German museums were restituted to France in the postwar period, while some have remained in the collections until today and are first now becoming a focus of research. The essays in the volume from German and French perspectives analyze the similarities and differences in the activities of museums on the French art market during the occupation for the first time. Adolf Hitler et Hermann G???ring ne sont pas les seuls ??? avoir profit??? de l'Occupation de la France par l'Allemagne pendant la Seconde Guerre mondiale pour acqu???rir des oeuvres d'art pour leurs collections - les mus???es allemands y ont ???galement fait des acquisitions. Le taux de change avantageux et l'offre importante d'oeuvres d'art provenant par exemple de propri???t???s juives spoli???es ont offert des opportunit???s favorables. Les mus???es fran???ais, comme le Louvre, ont ???galement ???largi leurs collections ??? cette ???poque. De nombreuses acquisitions de mus???es allemands ont ???t??? restitu???es ??? la France dans l'apr???s-guerre, mais certaines sont rest???es dans les collections jusqu'??? ce jour et n'ont attir??? l'attention des chercheurs que r???cemment. Les contributions de ce volume analysent pour la premi???re fois, des points de vue fran???ais et allemand, les points communs et les diff???rences entre les activit???s des mus???es sur le march??? de l'art fran???ais pendant l'Occupation.
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