納粹劫掠藝術品，是納粹德國盜竊藝術品及其他物品的有組織搶劫行為。特別是掠奪波蘭和猶太人的財產。掠奪從 1933 年開始，從沒收德國猶太人的財產開始，直到二戰結束。除了金銀外，還掠奪各重要文化物品，包括繪畫、陶瓷、書籍、宗教珍品，特別是被稱為「」的軍事單位「盜取」最多。 背景 Adolf Hitler was an unsuccessful artist who was denied admission to the Vienna Academy of Fine Arts Nonetheless he thought of himself as a connoisseur of the arts and in Mein Kampf he ferociously attacked modern art as degenerate including Cubism Futurism and Dadaism all of which he considered the product of a decadent 20thcentury society In 1933 when Hitler became Chancellor of Germany he enforced his aesthetic ideal on the nation The types of art that were favored among the Nazi party were classical portraits and landscapes by Old Masters particularly those of Germanic origin Modern art that did not match this was dubbed degenerate art by the Third Reich and all that was found in Germanys state museums was to be sold or destroyed With the sums raised the Führers objective was to establish the European Art Museum in Linz Other Nazi dignitaries like Reichsmarschall Hermann Göring and Foreign Affairs minister von Ribbentrop were also intent on taking advantage of German military conquests to increase their private art collections 掠奪猶太人 The systematic dispossession of Jewish people and the transfer of their homes businesses artworks financial assets musical instruments books and even home furnishings to the Reich was an integral component of the Holocaust In every country controlled by Nazis Jews were stripped of their assets through a wide array of mechanisms and Nazi looting organizations 出售從德國博物館沒收的藝術品 Art dealers Hildebrand Gurlitt Karl Buchholz Ferdinand Moeller and Bernhard Boehmer set up shop in Schloss Niederschonhausen just outside Berlin to sell a cache of near16000 paintings and sculptures which Hitler and Göring removed from the walls of German museums in 19371938 They were first put on display in the Haus der Kunst in Munich on 19 July 1937 with the Nazi leaders inviting public mockery by two million visitors who came to view the condemned modern art in the Degenerate Art Exhibition Propagandist Joseph Goebbels in a radio broadcast called Germanys degenerate artists garbage Hitler opened the Haus der Kunst exhibition with a speech In it he described German art as suffering a great and fatal illness 公開焚燒藝術品 Hildebrand Gurlitt and his colleagues did not have much success with their sales mainly because art labeled rubbish had small appeal So on 20 March 1939 they set fire to 1004 paintings and sculptures and 3825 watercolors drawings and prints in the courtyard of the Berlin Fire Department an act of infamy similar to their earlier wellknown book burnings The propaganda act raised the attention they hoped The Basel Museum in Switzerland arrived with 50000 Swiss francs to spend Shocked art lovers came to buy What is unknown after these sales is the number of paintings kept by Gurlitt Buchholz Moeller Boehmer and later sold by them to Switzerland and Americaships crossed the Atlantic from Lisbonfor personal gain 瑞士的公開拍賣和私人拍賣 The most notorious auction of Nazi looted art was the degenerate art auction organized by Theodor Fischer on 30 June 1939 at the Grand Hotel National in Lucerne Switzerland The artworks on offer had been deaccessioned from German museums by the Nazis yet many well known art dealers participated alongside proxies for major collectors and museums In addition to public auctions there were many private sales by art dealers The Commission for Art Recovery has characterized Switzerland as a magnet for assets from the rise of Hitler until the end of World War II Researching and documenting Switzerlands role as an artdealing centre and conduit for cultural assets in the Nazi period and in the immediate postwar period was one of the missions of the Bergier Commission under the directorship of Professor Georg Kreis 納粹盜竊組織 While the Nazis were in power they plundered cultural property from Germany and from every territory they occupied targeting Jewish property in particular This was conducted in a systematic manner with organizations specifically created to determine which public and private collections were most valuable to the Nazi Regime Some of the objects were earmarked for Hitlers never realized Führermuseum some objects went to other highranking officials such as Hermann Göring while other objects were traded to fund Nazi activities In 1940 an organization known as the Reichsleiter Rosenberg Institute for the Occupied Territories or ERR was formed headed for Alfred Rosenberg by The first operating unit the western branch for France Belgium and the Netherlands called the Western Agency was located in Paris The chief of this Dienststelle was Kurt von Behr Its original purpose was to collect Jewish and Freemasonic books and documents either for destruction or for removal to Germany for further study However late in 1940 Hermann Göring who in fact controlled the ERR issued an order that effectively changed the mission of the ERR mandating it to seize Jewish art collections and other objects The war loot had to be collected in a central place in Paris the Museum Jeu de Paume At this collection point worked art historians and other personnel who inventoried the loot before sending it to Germany Göring also commanded that the loot would first be divided between Hitler and himself Hitler later ordered that all confiscated works of art were to be made directly available to him From the end of 1940 to the end of 1942 Göring traveled 20 times to Paris In the Museum Jeu de Paume art dealer Bruno Lohse staged 20 expositions of the newly looted art objects especially for Göring from which Göring selected at least 594 pieces for his own collection Göring made Lohse his liaisonofficer and installed him in the ERR in March 1941 as the deputy leader of this unit Items which Hitler and Göring did not want were made available to other Nazi leaders Under Rosenberg and Görings leadership the ERR seized 21903 art objects from Germanoccupied countries Other Nazi looting organizations included the the organization run by the art historian Hans Posse which was particularly in charge of assembling the works for the Führermuseum the Dienststelle Mühlmann operated by Kajetan Mühlmann which operated primarily in the Netherlands and in Belgium and a Sonderkommando Kuensberg connected to the minister of foreign affairs Joachim von Ribbentrop which operated first in France then in Russia and North Africa In Western Europe with the advancing German troops were elements of the von Ribbentrop Battalion named after Joachim von Ribbentrop These men were responsible for entering private and institutional libraries in the occupied countries and removing any materials of interest to the Germans especially items of scientific technical or other informational value Art collections from prominent Jewish families including the Rothschilds the Rosenbergs the Wildensteins and the Schloss Family were the targets of confiscations because of their significant value Also Jewish art dealers sold art to German organizationsoften under duress eg the art dealerships of Jacques Goudstikker Benjamin and Nathan Katz and Kurt Walter Bachstitz Also nonJewish art dealers sold art to the Germans eg the art dealers De Boer and Hoogendijk in the Netherlands By the end of the war the Third Reich amassed hundreds of thousands of cultural objects 藝術品盜竊調查組 On 21 November 1944 at the request of Owen Roberts William J Donovan created the ALIU within the OSS to collect information on the looting confiscation and transfer of cultural objects by Nazi Germany its allies and the various individuals and organizations involved to prosecute war criminals and to restitute property The ALIU compiled information on individuals believed to have participated in art looting identifying a group of key suspects for capture and interrogation about their roles in carrying out Nazi policy Interrogations were conducted in Bad Aussee Austria ALIU 報告 The ALIU Reports detail the networks of Nazi officials art dealers and individuals involved in the Hitlers policy of spoliation of Jews in Nazioccupied Europe The ALIUs final report included 175 pages divided into three parts Detailed Interrogation Reports DIRs which focused individuals who played pivotal roles in German spoliation Consolidated Interrogations Reports CIRs and a Red Flag list of people involved in Nazi spoliation The ALIU Reports form one of the key records in the US Government Archives of Nazi Era Assets 詳細情報報告 The first group of reports detailing the networks and relations between art dealers and other agents employed by Hitler Göring and Rosenberg are organized by name Heinrich Hoffmann Ernst Buchner Gustav Rochlitz Gunter Schiedlausky Bruno Lohse Gisela Limberger Walter Andreas Hofer Karl Kress Walter Bornheim Hermann Voss and Karl Haberstock 綜合審訊報告 A second set of reports detail the art looting activities of Göring The Goering Collection the art looting activities of the Einsatzstab Reichsleiter Rosenberg ERR and Hitlers Linz Museum ALIU 紅旗名稱列表 The Art Looting Intelligence Unit published a list of Red Flag Names organizing them by country Germany France Switzerland The Netherlands Belgium Italy Spain Portugal Sweden and Luxembourg Each name is followed by a description of the persons activities their relations with other people in the spoliation network and in many cases information concerning their arrest or imprisonment by Allied forces To investigate and estimate Nazi plunder in the USSR during 1941 through 1945 the Soviet State Extraordinary Commission for Ascertaining and Investigating the Crimes Committed by the GermanFascist Invaders and Their Accomplices was formed on 2 November 1942 During the Great Patriotic War and afterward until 1991 the Commission collected materials on Nazi crimes in the USSR including incidents of plunder Immediately following the war the Commission outlined damage in detail to 64 of the most valuable Soviet museums out of 427 damaged ones In the Russian SFSR 173 museums were found to have been plundered by the Nazis with looted items numbering in the hundreds of thousands After the dissolution of the USSR the Government of the Russian Federation formed the State Commission for the Restitution of Cultural Valuables to replace the Soviet Commission Experts from this Russian institution originally consulted the work of the Soviet Commission yet continue to catalog artworks lost during the war museum by museum lost artworks of 14 museums and the libraries of Voronezh Oblast Kursk Oblast Pskov Oblast Rostov Oblast Smolensk Oblast Northern Caucasus Gatchina Peterhof Palace Tsarskoye Selo Pushkin Novgorod and Novgorod Oblast as well as the bodies of the Russian State Archives and CPSU Archives were cataloged in 15 volumes all of which were made available online They contain detailed information on 1148908 items of lost artworks The total number of lost items is unknown so far because cataloging work for other damaged Russian museums is ongoing Alfred Rosenberg commanded the socalled ERR which was responsible for collecting art books and cultural objects from invaded countries and also transferred their captured library collections back to Berlin during the retreat from Russia In their search for research materials ERR teams and the Wehrmacht visited 375 archival institutions 402 museums 531 institutes and 957 libraries in Eastern Europe alone The ERR also operated in the early days of the blitzkrieg of the Low Countries This caused some confusion about authority priority and the chain of command among the German Army the von Rippentropp Battalion and the Gestapo and as a result of personal looting among the Army officers and troops These ERR teams were however very effective One account estimates that from the Soviet Union alone one hundred thousand geographical maps were taken on ideological grounds for academic research as means for political geographical and economic information on Soviet cities and regions or as collectors items After the occupation of Poland by German forces in September 1939 the Nazi regime committed genocide against Polish Jews and attempted to exterminate its upper classes as well as its culture Thousands of art objects were looted as the Nazis systematically carried out a plan of looting prepared even before the start of hostilities 25 museums and many other facilities were destroyed The total cost of German Nazi theft and destruction of Polish art is estimated at 20 billion dollars or an estimated 43 percent of Polish cultural heritage over 516000 individual art pieces were looted including 2800 paintings by European painters 11000 paintings by Polish painters 1400 sculptures 75000 manuscripts 25000 maps 90000 books including over 20000 printed before 1800 and hundreds of thousands of other items of artistic and historical value Germany still has much Polish material looted during World War II For decades there have been negotiations between Poland and Germany concerning the return of the looted Polish property The Anschluss joining of Austria and Germany began on 12 March 1938 Looting of Jewish properties began immediately Churches monasteries and museums were home to many pieces of art before the Nazis came but after the majority of the artwork was taken Ringstrasse which was a residence for many people but as well as a community center was confiscated and all of the art inside as well Between the years 1943 and 1945 salt mines in Altaussee held the majority of Nazi looted art Some from Austria and others from all around Europe In 1944 around 4700 pieces of art were then stored in the salt mines Führermuseum After Hitler became Chancellor he made plans to transform his home city of Linz Austria into the Third Reichs capital city for the arts Hitler hired architects to work from his own designs to build several galleries and museums which would collectively be known as the Führermuseum Hitler wanted to fill his museum with the greatest art treasures in the world and believed that most of the worlds finest art belonged to Germany after having been looted during the Napoleonic and First World wars Hermann Göring collection The Hermann Göring collection a personal collection of Reichsmarschall Hermann Göring was another large collection including confiscated property consisted of approximately 50 percent of works of art confiscated from the enemies of the Reich Assembled in large measure by art dealer Bruno Lohse Görings adviser and ERR representative in Paris in 1945 the collection included over 2000 individual pieces including more than 300 paintings The US National Archives and Records Administrations Consolidated Interrogation Report No 2 states that Göring never crudely looted instead he always managed to find a way of giving at least the appearance of honesty by a token payment or promise thereof to the confiscation authorities Although he and his agents never had an official connection with the German confiscation organizations they nevertheless used them to the fullest extent possible 納粹儲存的掠奪物品 thumbDwight D Eisenhower right inspects stolen artwork in a salt mine in Merkers accompanied by Omar Bradley left and George S Patton center The Third Reich amassed hundreds of thousands of objects from occupied nations and stored them in several key locations such as Musée Jeu de Paume in Paris and the Nazi headquarters in Munich As the Allied forces gained advantage in the war and bombed Germanys cities and historic institutions Germany began storing the artworks in salt mines and caves for protection from Allied bombing raids These mines and caves offered the appropriate humidity and temperature conditions for artworks Well known repositories of this kind were mines in Merkers Altaussee and Siegen These mines were not only used for the storage of looted art but also of art that had been in Germany and Austria before the beginning of the Nazi rule Degenerate art was legally banned by the Nazis from entering Germany and so ones designated were held in what was called the Martyrs Room at the Jeu de Paume Much of Paul Rosenbergs professional dealership and personal collection were so subsequently designated by the Nazis Following Joseph Goebbelss earlier private decree to sell these degenerate works for foreign currency to fund the building of the Führermuseum and the wider war effort Hermann Göring personally appointed a series of ERR approved dealers to liquidate these assets and then pass the funds to swell his personal art collection including Hildebrand Gurlitt With the looted degenerate art sold onward via Switzerland Rosenbergs collection was scattered across Europe Today some 70 of his paintings are missing including the large Picasso watercolor Naked Woman on the Beach painted in Provence in 1923 seven works by Matisse and the Portrait of Gabrielle Diot by Degas 掠奪猶太書籍 One of the things Nazis sought after during their invasion of European countries was Jewish books and writings Their goal was to collect all of Europes Jewish books and burn them One of the first countries to be raided was France where the Nazis took 50000 books from the Alliance Israélite Universelle 10000 from LEcole Rabbinique one of Pariss most significant rabbinic seminaries and 4000 volumes from the Federation of Jewish Societies of France an umbrella group From there they went on to take a total of 20000 books from the Lipschuetz Bookstore and another 28000 from the Rothschild familys personal collection before scouring the private homes of Paris and coming up with thousands of more books After sweeping France for every Jewish book they could find the Nazis moved on to the Netherlands where they would take millions more They raided the house of Hans Furstenberg a wealthy Jewish banker and stole his 16000 volume collection in Amsterdam they took 25000 volumes from the Bibliotheek van het Portugeesch Israelietisch Seminarium 4000 from Ashkenazic Beth ha Midrasch Ets Haim and 100000 from Bibliotheca Rosenthaliana In Italy the central synagogue of Rome contained two libraries one was owned by the Italian Rabbinic College and the other one was the Jewish community Library In 1943 the Nazis came through Italy packaged up every book from the synagogue and sent them back to Germany 即時後果 The Allies created special commissions such as the MFAA organization to help protect famous European monuments from destruction and after the war to travel to formerly Nazioccupied territories to find Nazi art repositories In 1944 and 1945 one of the greatest challenges for the Monuments Men was to keep Allied forces from plundering and taking artworks and sending them home to friends and family When offlimits warning signs failed to protect the artworks the Monuments Men started to mark the storage places with white tape which was used by Allied troops as a warning sign for unexploded mines They recovered thousands of objects many of which had been pillaged by the Nazis The Allies found these artworks in over 1050 repositories in Germany and Austria at the end of World War II In summer 1945 Capt Walter Farmer became the collecting points first director The first shipment of artworks arriving at Wiesbaden Collection Point included cases of antiquities Egyptian art Islamic artifacts and paintings from the Kaiser Friedrich Museum The collecting point also received materials from the Reichsbank and Nazilooted Polish liturgical collections At its height Wiesbaden stored identified and restituted approximately 700000 individual objects including paintings and sculptures mainly to keep them away from the Soviet Army and wartime reparations The Allies collected the artworks and stored them in collecting points in particular the Central Collection Point in Munich until they could be returned The identifiable works of art that had been acquired by the Germans during the Nazi rule were returned to the countries from which they were taken It was up to the governments of each nation if and under which circumstances they would return the objects to the original owners When the Munich collection point was closed the owners of many of the objects had not been found Nations were also unable to find all the owners or to verify that they were dead There are many organizations put in place to help return the stolen items taken from the Jewish people For example Project Heart the World Jewish Restitution Organization and the Conference on Jewish Material Claims Against Germany Depending on the circumstances these organizations may receive the art works in lieu of the heirs 後期發展 Although most of the stolen artworks and antiques were documented found or recovered by the victorious Allied armies principally hidden away in salt mines tunnels and secluded castles many artworks have never been returned to their rightful owners Art dealers galleries and museums worldwide have been compelled to research their collections provenance in order to investigate claims that some of the work was acquired after it had been stolen from its original owners Already in 1985 years before American museums recognized the issue and before the international conference on Nazilooted assets of Holocaust victims European countries released inventory lists of works of art coins and medals that were confiscated from Jews by the Nazis during World War II and announced the details of a process for returning the works to their owners and rightful heirs In 1998 an Austrian advisory panel recommended the return of 6292 objets dart to their legal owners most of whom are Jews under the terms of a 1998 restitution law Nazi concentration camp and death camp victims had to strip completely before their murder and all their personal belongings were stolen The very valuable items such as gold coins rings spectacles jewelry and other precious metal items were sent to the Reichsbank for conversion to bullion The value was then credited to SS accounts Pieces of art looted by the Nazis can still be found in RussianSoviet and American institutions the Metropolitan Museum of Art revealed a list of 393 paintings that have gaps in their provenance during the Nazi Era the Art Institute of Chicago has posted a listing of more than 500 works for which links in the chain of ownership for the years 19331945 are still unclear or not yet fully determined The San Diego Museum of Art and the Los Angeles County Museum of Art provide lists on the internet to determine if art items within their collection were stolen by the Nazis Stuart Eizenstat the Under Secretary of State and head of the US delegation sponsoring the 1998 international conference on Nazilooted assets of Holocaust victims in Washington conference stated that From now on the sale purchase exchange and display of art from this period will be addressed with greater sensitivity and a higher international standard of responsibility The conference was attended by more than 49 countries and 13 different private entities and the goal was to come to a federal consensus on how to handle NaziEra Looted Art The conference was built on the foundation of the Nazi Gold Conference held in London in 1997 The US Department of State hosted the conference with the US Holocaust Memorial Museum from 30 November to 3 December 1998 After the conference the Association of Art Museum Directors developed guidelines which require museums to review the provenance or history of their collections focussing especially on art looted by the Nazis The National Gallery of Art in Washington identified more than 400 European paintings with gaps in their provenance during the World War II era One particular piece of art Still Life with Fruit and Game by the 16thcentury Flemish painter Frans Snyders was sold by Karl Haberstock whom the World Jewish Congress describes as one of the most notorious Nazi art dealers In 2000 the New York Citys Museum of Modern Art still told the US Congress that they were not aware of a single Nazitainted work of art in our collection of the more than 100000 they held In 1979 two paintings a Renoir Tête de jeune fille and a Pissarro Rue de village appeared on Interpols 12 Most Wanted List but to date noone knows their whereabouts ATA Newsletter Nov 79 vol 1 no 9 p 1 78 32612 The New Jersey owner has asked the International Foundation for Art Research IFAR to republish information about the theft with the hope that someone will recognize the paintings The owner wrote IFAR that when his parents emigrated from Berlin in 1938 two of their paintings mysteriously disappeared All of their other possessions were shipped from Germany to the US via the Netherlands and everything except the box containing these two paintings arrived intact After World War II the owners father made a considerable effort to locate the paintings but was unsuccessful Over the years numerous efforts have been made to recover them articles have been published and an advertisement appeared in the German magazine Die Weltkunst 15 May 1959 A considerable reward has been offered subject to usual conditions but there has been no response However restitution efforts initiated by German politicians have not been free of controversy either As the German law for restitution applies to cultural assets lost as a result of Nazi persecutionwhich includes paintings that Jews who emigrated from Germany sold to support themselves pretty much any trade involving Jews in that era is affected and the benefit of the doubt is given to claimants German leftist politicians Klaus Wowereit SPD mayor of Berlin and Thomas Flierl Linkspartei were sued in 2006 for being overly willing to give away the 1913 painting Berliner Straßenszene of expressionist Ernst Ludwig Kirchner which was in Berlins Brücke Museum On display in Cologne in 1937 it had been sold for 3000 Reichsmark by a Jewish family residing in Switzerland to a German collector This sum is considered by experts to have been well over the market price The museum which obtained the painting in 1980 after several ownership changes could not prove that the family actually received the money It was restituted to the heiress of the former owners and she had it auctioned off for 381 million In 2010 as work began to extend an underground line from Alexanderplatz through the historic city centre to the Brandenburg Gate a number of sculptures from the degenerate art exhibition were unearthed in the cellar of a private house close to the Rote Rathaus These included for example the bronze cubist style statue of a female dancer by the artist Marg Moll and are now on display at the Neues Museum From 2013 up to 2015 a committee researched the collection of the Dutch Royal family The committee focussed on all objects acquired by the family since 1933 and which were made prior to 1945 In total 1300 artworks were studied Dutch musea had already researched their collection in order to find objects stolen by the Nazis It appeared that one painting of the forest near Huis ten Bosch by the Dutch painter Joris van der Haagen came from a Jewish collector He was forced to hand the painting over to the former Jewish bank Lippmann Rosenthal Co in Amsterdam which collected money and other possessions of the Jews in Amsterdam The painting was bought by Queen Juliana in 1960 The family plans to return the painting to the heirs of the owner in 1942 a Jewish collector 到今天的影響 Approximately 20 percent of the art in Europe was looted by the Nazis and there are well over 100000 items that have not been returned to their rightful owners The majority of what is still missing includes everyday objects such as china crystal or silver The extent to which looted art was taken was seen according to Spiegler as The Nazi art confiscation program has been called the greatest displacement of art in human history the end of World War II The United States Government has estimated that German forces and other Nazi agents before and during World War II had seized or coerced the sale of one fifth of all Western art then in existence approximately a quarter of a million pieces of art Because of such wide displacement of Nazi looted art from all over Europe to this day some tens of thousands of artworks stolen by the Nazis have still not been located Some objects of great cultural significance remain missing though how much has yet to be determined This is a major issue for the art market since legitimate organizations do not want to deal in objects with unclear ownership titles Since the mid1990s after several books magazines and newspapers began exposing the subject to the general public many dealers auction houses and museums have grown more careful about checking the provenance of objects that are available for purchase in case they are looted Some museums in the US and elsewhere have agreed to check the provenance of works in their collections In addition to the role of courts in determining restitution or compensation some states have created official bodies for the consideration and resolution of claims In the UK the Spoliation Advisory Panel advises the Department for Culture Media and Sport on such claims IFAR a notforprofit educational and research organization maintains a database of looted artYarrow Andrew L A Lucrative Crime Grows Into a Costly Epidemic New York Times March 20 1990 In 2013 the Canadian government created the Holocaustera Provenance Research and BestPractice Guidelines Project through which they are investigating the holdings of six art galleries in Canada 1992 年國際婦女運動檔案館發現 On 14 January 1992 historian Marc Jansen reported in an article in NRC Handelsblad that archival collections stolen from the Netherlands including the records of the International Archives for the Womens Movement which had been looted in 1940 had been found in Russia The confiscated records were initially sent to Berlin and later was moved to Sudetenland for security reasons At the end of the war the Red Army took the documents from Germanoccupied Czechoslovakia and in 19451946 stored them in the KGBs meaning special archive which was housed in Moscow Though agreements were drafted almost immediately after the discovery bureaucratic delays kept the archives from being returned for 11 years In 2003 the partial recovery of the papers of some of the most noted feminists in the prewar period including Aletta Jacobs and Rosa Manus some 4650 books and periodicals records of the International Council of Women and International Woman Suffrage Alliance among many photographs were returned Approximately half of the original collection is still unrecovered 2012 年慕尼黑藝術品發現 In early 2012 over 1000 pieces of artwork were discovered at the home of Cornelius Gurlitt the son of Hildebrand Gurlitt of which about 200300 pieces are suspected of being looted art some of which may have been exhibited in the degenerate art exhibition held by the Nazis before World War II in several large German cities The collection contains works by Marc Chagall Otto Dix and Henri Matisse Renoir and Max Liebermann among many others 2014 年紐倫堡藝術品發現 In January 2014 researcher Dominik Radlmaier of the city of Nuremberg announced that eight objects had been identified as lost art with a further 11 being under strong suspicion The citys research project was started in 2004 and Radlmaier has been investigating fulltime since then 2015 年波蘭瓦烏布日赫傳聞裝甲列車 In Wałbrzych Poland two amateur explorersPiotr Koper and Andreas Richterclaim to have found a rumored armored train that is believed to be filled with gold gems and weapons The train was rumored to be sealed in a tunnel in the closing days of World War II before the collapse of the Third Reich Only 10 percent of the tunnel has been explored because much of the tunnel has collapsed Finding the train will be an expensive and complicated operation involving a lot of funding digging and drilling However to support their claims the explorers said experts have examined the site with groundpenetrating thermal and magnetic sensors that picked up signs of a railway tunnel with metal tracks The legitimacy of these claims has yet to be determined yet the explorers are requesting 10 percent of the value of whatever is within the train if their findings are correct Polands deputy culture minister Piotr Zuchowski said he was 99 percent convinced that the train had finally been found but scientists claim that the explorers findings are false 猶太數字文化恢復專案 The Jewish Digital Cultural Recovery Project JDCRP is a comprehensive database that focusses on the Jewishowned art and cultural objects plundered by the Nazis and their allies from 1933 to 1945 The JDCRP was initiated in May 2016 by the Conference on Jewish Material Claims Against Germany in collaboration with the Commission for Art Recovery Their goal was to further expand on the already existent database of objects stolen by the Einsatzstab Reichsleiter Rosenberg one of the primary Nazi agencies involved with the plunder of cultural artifacts in Nazioccupied nations during World War II By creating this database the JDCRP is positioned to accomplish numerous goals The collection of this data on looted Jewish objects during WWII can provide a deeper understanding of various looting agencies employed by the Nazi party current whereabouts of individual artifacts and details on persecuted Jewish artists In addition the information collected by the JDCRP can provide further guidance to families and heirs of art museums and the art market Lastly the JDCRP can serve as a way to memorialize Jewish artists that were victims of the Nazi partys looting and celebrate their artistic legacies Overall the goal of the JDCRP is not to replace existing databases and publications regarding stolen art during the Third Reich but rather to supplement the already available information and build upon it with a focus on art plundered from Jews Furthermore the mission of the JDCRP is not only to establish a central database for this information and make it easily accessible but also to develop a network of institutions that can work to promote additional research on this topic The JDCRP accumulates data from a variety of sources A few examples include inventories of looted objects found by Allied forces lists of stolen objects submitted by victims and lists of looted and restituted cultural objects compiled by governments Once data is gathered on a specific object the JDCRP strives to exhibit the following pieces of information details regarding the stolen object background on the perpetrators and victims of the theft information on those who profited from the thefts and specifics on the locations at which the stolen object s were held On 1 January 2020 the JDCRP launched its Pilot Project centered around the famous art collection of Adolphe Schloss The purpose of this initial launch is to test the feasibility of a central database for stolen Jewish artifacts and to determine the manner in which the JDCRP database will be constructed and maintained This venture is funded by the European Union and is intended to establish the framework necessary for the JDCRP 其他被掠奪的藝術品 FileLiebermann Max Zwei Reiter am Strand GurlittjpgMax Liebermanns Two Riders On The Beach discovered in the Gurlitt Collection and subsequently restituted to the descendants of the original Jewish owner FileMarc Franz Pferde in LandschaftjpgFranz Marcs Pferde in Landschaft one of the artworks discovered in Munich in 2012 FileEgon Schiele 069jpgPortrait of Wally by Egon Schiele 1912 FileRaphael missingjpgRaphaels Portrait of a Young Man was looted by the Germans from the Czartoryski Museum in 1939 Although Polish officials state that it has been known for years that the painting survived the war its whereabouts remain unknown 另見 Amber room Art theft and looting during World War II Aryanization Berlinka Evacuation of the Louvre museum art collection during World War II Vugesta Reichsleiter Rosenberg Taskforce Arthur SeyssInquart Bruno Lohse Fuhrermuseum Kajetan Mühlmann List of claims for restitution for Nazilooted art List of missing treasure Menzel v List The Monuments Men film Nazi gold Nazilooted artworks of Vincent van Gogh Woman in Gold film Vugesta MAktion 參考 進一步閱讀 Campbell E 2020 Claiming National Heritage State Appropriation of Nazi Art Plunder in Postwar Western Europe Journal of Contemporary History Edsel Robert M Contributions by Brett Witter 2009 Monuments Men Allied Heroes Nazi Thieves and the Greatest Treasure Hunt in History Center Street Aly Götz 2007 Hitlers Beneficiaries Plunder Racial War and the Nazi Welfare State Metropolitan Books Feliciano Hector 1997 The Lost Museum New York Harper Collins Hadden R L 2008 The Heringen Collection of the US Geological Survey Library Reston Virginia Earth Sciences History Journal of the History of the Earth Sciences Society v27 n2 pp 242265 Harclerode Peter and Pittaway Brendan 1999 The Lost Masters WWII and the Looting of Europes Treasurehouses London Orion Books Löhr Hanns Christian 2005 Das Braune Haus der Kunst Hitler und der Sonderauftrag Linz AkademieVerlag Löhr Hanns Christian 2018 Kunst als Waffe Der Einsatzstab Reichsleiter Rosenberg Ideologie und Kunstraub im Dritten Reich Gebr Mann Nicholas Lynn 1994 The Rape of Europa London Macmillan Publishers OConnor AnneMarie 2012 The Lady in Gold The Extraordinary Tale of Gustav Klimts Masterpiece Portrait of Adele BlochBauer Alfred A Knopf New York OSS Report Activity of the Einsatzstab Rosenberg in France 15 August 1945 Petropoulos Jonathan 1996 Art as Politics in the Third Reich Chapel Hill University of North Carolina Press Petropoulos Jonathan 2000 The Faustian Bargain The Art World in Nazi Germany London Penguin Press Schwarz Birgit 2004 Hitlers Museum Die Fotoalben Gemäldegalerie Linz Wien Böhlau Verlag Simpson Elizabeth 1997 The Spoils of War World War II and Its Aftermath The Loss Reappearance and Recovery of Cultural Property New York Harry N Abrams in association with the Bard Graduate Center Slany William Z US Interagency Report on US and Allied Wartime and Post Postwar Relations and Negotiations with Argentina Portugal Spain Sweden and Turkey on Looted Gold and German External Assets American University International Law Review 14 no 1 1998 147153 Yeide Nancy H 2009 Beyond Dreams of Avarice The Hermann Göring Collection Laurel Publishing Foreword by Robert M Edsel 外部連結 New York Times Holocaust and the Nazi Era Archived Nazi Plundering from Holocaust Survivors NetworkiSurvivedorg Looted Art Recovery Department of National Heritage Wartime losses Holocaust Claims Processing Office HCPO of the New York State Banking Department The Commission for the Compensation of Victims of Spoliation Commission pour lIndemnisation des Victimes de Spoliations CIVS France The Holocaust Victims Information and Support Center HVISC Austria Washington Conference Principles On NaziConfiscated Art Council of Europe Resolution 1205 Vilnius 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