Art
‘The artwork is not guilty’: Swiss museum unveils Nazi era collection
A prestigious Swiss institution is attempting to navigate the troubled waters of displaying an art collection with questionable origins dating back to World War II and Nazi looted art.
Kunsthaus Zurich, one of Switzerland’s top art museums, has launched a controversial new exhibition which aims at clarifying whether any of its artworks might be cultural property looted by the Nazis.
However, the museum has faced immense criticism for showcasing the collection acquired under questionable circumstances by industrialist Emil Bührle during World War II.
Critics argue that the museum’s attempt to provide “context” for the collection lacks sufficient focus on the plight of the artworks’ former Jewish owners.
Who was Emil Bührle?
Suspicions have long surrounded the Nazi-era origins of one of Europe’s most esteemed private art collections, amassed by the arms dealer Emil Bührle, who built his wealth during the war.
Bührle, a German-born industrialist who became a Swiss citizen in 1937 and passed away in 1956, accumulated approximately 600 artworks, including masterpieces by artists like Cezanne, Degas, Manet, Monet, Renoir, Rembrandt, Picasso, and Van Gogh.
Some of these artworks had been previously looted from their Jewish owners or sold at low prices as their owners fled from the Nazis.
Controversy surrounding the collection
In 2021, Kunsthaus Zurich faced criticism when it unveiled a new building to house around 170 pieces from the collection.
The museum’s latest exhibition, titled “A Future for the Past: The Buhrle Collection – Art, Context, War, and Conflict,” seeks to broaden its focus to examine the stories of the Jewish collectors.
However, some argue that it has not gone far enough, with cyberhackers targeting the museum’s website earlier this year and branding Bührle a “Nazi sympathiser.”
Even before the exhibition opened on 3 November, an advisory committee of external experts resigned in protest over the inadequate attention given to the former Jewish owners.
An unnamed committee representative told the Swiss daily Le Temps, “Despite our repeated recommendations to provide the necessary space to the fates of the collectors who were persecuted, looted and murdered, only a small portion is dedicated to them.”
Given that “Emil Bührle profited from the historical context to assemble his collection, it is problematic to have the impression that the (Nazi’s) victims are being marginalised,” she adds.
Addressing the historical issues
Ann Demeester, the museum director, explains, “We’re aware of the fact that this collection entails a lot of discussions, and we felt that we need to show the work but also with a context.”
The Bührle Foundation, which owns the collection, acknowledged that 13 paintings acquired by the arms dealer during the war had been looted by the Nazis from Jews in France.
Following court cases in the late 1940s, Bührle returned all 13 pieces to their rightful owners and then repurchased nine of them, according to the foundation.
“The artwork themselves are not guilty,” Demeester says, “but they are a testimony to this history of horror”.
She explains the aim of the new exhibition is “to address the historical issues but also to make sure that the artworks are still seen and don’t disappear from view.”
One of the displayed pieces in the new exhibition is a Renoir masterpiece from 1880 titled Portrait of Irene Cahen d’Anvers, which was confiscated by the Nazis and later returned by Buhrle to its Jewish owners, who then sold it back to him.
In addition to explanatory texts regarding works known to have been looted, the museum has included videos featuring experts and historians discussing the provenance and soliciting visitors’ opinions.
We don’t like controversy but we do like discussions,” Demeester says.
“A museum is a sanctuary for beautiful pictures, but it’s also… a platform where conversations take place,” she adds.
Video editor • Theo Farrant
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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”
On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.
Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”
The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.
Blaze in the West Wing
The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.
About Somerset House
Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.
Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.
Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.
Sudbury’s annual art and music festival is marking a significant milestone this year, celebrating its long-standing impact on the local cultural scene. The festival, which has grown from a small community event to a major celebration of creativity, brings together artists, musicians, and visitors from across the region for a weekend of vibrant performances and exhibitions.
The event features a diverse range of activities, from live music performances to art installations, workshops, and interactive exhibits that highlight both emerging and established talent. This year’s milestone celebration will also honor the festival’s history by showcasing some of the artists and performers who have contributed to its success over the years.
Organizers are excited to see how the festival has evolved, becoming a cornerstone of Sudbury’s cultural landscape. “This festival is a celebration of creativity, community, and the incredible talent we have here in Sudbury,” said one of the event’s coordinators. “It’s amazing to see how it has grown and the impact it continues to have on the arts community.”
With this year’s milestone celebration, the festival promises to be bigger and better than ever, with a full lineup of exciting events, workshops, and performances that will inspire and engage attendees of all ages.
The festival’s milestone is not just a reflection of its past success but a celebration of the continued vibrancy of Sudbury’s arts scene.
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