A gripping, original contribution to a still-unresolved Nazi crime.




Nazi looting of European art is old news, but this expert, disheartening account reveals that Germany still possesses a great deal and refuses to give it up.

Lane, the former chief European art reporter for the Wall Street Journal, writes that in 2012, German tax authorities raided the apartment of elderly bachelor Cornelius Gurlitt and found more than 1,200 precious artworks piled in every corner. They kept the news secret until a magazine revealed it in 2013 and then proceeded to stonewall the authorities, insisting that this was a tax matter and that the government had no obligation in other areas. Since then, aggressive claimants have received a few works, but most are housed at a Swiss museum following Gurlitt’s bequest. Having delivered this news, Lane turns back the clock to recount the dismal yet captivating story, centered on Hitler, who, she reminds readers, grew up as an artist and remained obsessed by cultural matters throughout World War II. Another ongoing figure is satirical artist George Grosz, who immigrated before Hitler took power and saw his work reviled, confiscated, and never returned. Hitler’s taste in art received enthusiastic cooperation from dealers including Cornelius’ father, Hildebrand Gurlitt. Readers will gnash their teeth as Lane engagingly recounts how dealers who formerly represented avant-garde artists quickly adapted and dumped their “degenerate” modernist clientele, except for purchases at knock-down prices for their private collection. They happily accepted works that they knew were confiscated from Jews. After 1939, many dealers, led by Hildebrand, toured conquered countries collecting for Hitler’s mythical future Führermuseum. When necessary, Hildebrand purchased works with an apparently unlimited national budget, although many ended up in his own collection, and most of them he successfully concealed after the war. Aware of art looting, the victorious Allies devoted modest effort to an investigation, but violent crimes took priority. Hildebrand and colleagues were cleared and resumed their careers.

A gripping, original contribution to a still-unresolved Nazi crime.

Pub Date: Sept. 10, 2019

ISBN: 978-1-61039-736-0

Page Count: 336

Publisher: PublicAffairs

Review Posted Online: July 1, 2019

Kirkus Reviews Issue: July 15, 2019

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The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...


Elie Wiesel spent his early years in a small Transylvanian town as one of four children. 

He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

Pub Date: Jan. 16, 2006

ISBN: 0374500010

Page Count: 120

Publisher: Hill & Wang

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Jan. 15, 2006

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For Howard Zinn, long-time civil rights and anti-war activist, history and ideology have a lot in common. Since he thinks that everything is in someone's interest, the historian—Zinn posits—has to figure out whose interests he or she is defining/defending/reconstructing (hence one of his previous books, The Politics of History). Zinn has no doubts about where he stands in this "people's history": "it is a history disrespectful of governments and respectful of people's movements of resistance." So what we get here, instead of the usual survey of wars, presidents, and institutions, is a survey of the usual rebellions, strikes, and protest movements. Zinn starts out by depicting the arrival of Columbus in North America from the standpoint of the Indians (which amounts to their standpoint as constructed from the observations of the Europeans); and, after easily establishing the cultural disharmony that ensued, he goes on to the importation of slaves into the colonies. Add the laborers and indentured servants that followed, plus women and later immigrants, and you have Zinn's amorphous constituency. To hear Zinn tell it, all anyone did in America at any time was to oppress or be oppressed; and so he obscures as much as his hated mainstream historical foes do—only in Zinn's case there is that absurd presumption that virtually everything that came to pass was the work of ruling-class planning: this amounts to one great indictment for conspiracy. Despite surface similarities, this is not a social history, since we get no sense of the fabric of life. Instead of negating the one-sided histories he detests, Zinn has merely reversed the image; the distortion remains.

Pub Date: Jan. 1, 1979

ISBN: 0061965588

Page Count: 772

Publisher: Harper & Row

Review Posted Online: May 26, 2012

Kirkus Reviews Issue: Jan. 1, 1979

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