Museum of the Fuhrer "
Creating a museum was for Hitler of special concern, and this particular his findings from a number of other megalomanskih fantasies of the Third Reich. Another would be to construct appropriate plans Fuhrer had every reason to. First, as the alleged master of Europe, and thus the owner of all of its museum collections. Secondly, as the leader of caring not just impressive, but also the edification of his triumphs - in spite of representativeness and breadth of the meeting was to carefully emphasize the superiority of the Aryan spirit. But most importantly - the fact that Hitler saw himself as not "a dilettante on the throne, like those monarchs of the past that laid the foundations of the greatest collections of European art but man, himself, without the council is able to understand the artistic values and deal professionally.
Those same professionals who were able to maintain it is a feeling, the Fuhrer seconded to create a museum. The project, dubbed the "special mission" Linz ", financed from a special fund, which receives funds from sales of the book" Mein Kampf ". The majestic building for sverhmuzeya had to build in Linz, Austria, of course, the chief architect of the Reich - Albert Speer. The Museum was opened should have been, as thought Hitler in the early 40's, ten years later, in 1950, when Germany's world domination will no doubt. Meanwhile, the exhibits of the future "Fuehrer Museum" from 1939 and arrived in Linz cars - from Poland and the Netherlands, France and Italy, Czechoslovakia and Germany. Equipment was assigned to art gifted Hans Posse, the director of Dresden's art gallery, which, unlike Speer, first held in relation to the Nazis is not loyal, and just in time to be noticed by talent saved the Director of Prosecutions. But at the same time made him the principal attorney in the Fuhrer's artistic affairs.
Although nothing would have prevented Hitler and the Posse to do so, ruin the famous museums of conquered Western capitals did not: Masterpieces of the Louvre, or, say, the Vienna Kunsthistorisches Museum remained in their places. Most of the works comes from the private collections of various kinds - from home to the collections of galleries and antique shops. Many exhibits have the honor to honor purchased (by present calculations, the formation of the collection has been spent overall score of 130 million Reichsmark), but how free are the actions of the sellers actually - of course, the big question, as well as the extent to which they legally owned the same time that sold. It is easy to assume that a large part among the thousands of exhibits, which were selected by the end of the war for the "Fuehrer Museum" were works that were confiscated without ado.
According to the promulgated data base, predictable success with the Fuehrer enjoyed by those who formed the basis of respectability of any European museum of the traditions - the old masters: a database including work Carpaccio, Botticelli, Leonardo da Vinci, Raphael, Titian, Guido Reni. For German Renaissance responsible Lucas Cranach, Durer and Altdorfer. Best of all, perhaps, is the ancient art of the Netherlands, XV-XVII centuries - from the Memling to Rubens: 17 paintings by Rembrandt (mostly portraits), 12 - Pieter Bruegel the Elder, two of Vermeer (and no - "Artist's Workshop" and "Astronomer") Nine Hals and bottled sea "small Dutch.
Naturally, Ingres, Delacroix, Courbet is, but there is no trace what the Parisian school, but even the Impressionists. But suddenly in demand French XVIII century with a gallant Boucher and Fragonard, and architectural fantasies by Hubert Robert. The XIX-XX centuries and himself the last century shows predictably fragmentary. For some reason a lot of things Symbolists (Puy de Chavannes, Pieces), is quite modern (1920) German painting, but the "correct", with realism and ideological. In general, the impressive abundance of modest German painting of the XIX century, in which far more decent burgher comfort than heroics.
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21.05.2009, 16:05
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