{"id":111332,"date":"2017-05-30T09:17:48","date_gmt":"2017-05-30T13:17:48","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=111332"},"modified":"2017-05-30T10:32:34","modified_gmt":"2017-05-30T14:32:34","slug":"the-nazis-are-still-ruining-art-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/05\/30\/the-nazis-are-still-ruining-art-and-other-news\/","title":{"rendered":"The Nazis Are Still Ruining Art, and Other News"},"content":{"rendered":"<div id=\"attachment_111333\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/nazipainting.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-111333\" class=\"wp-image-111333\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/nazipainting.jpg\" width=\"1000\" height=\"624\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/nazipainting.jpg 2334w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/nazipainting-300x187.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/nazipainting-768x479.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/nazipainting-1024x639.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-111333\" class=\"wp-caption-text\">Michele Marieschi, <i>La Punta Della Dogana e San Giorgio Maggiore<\/i>.<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>Even now, more than seventy years after the end of World War II, the Nazis have found new ways to ruin things. Art, for example. In July, Sotheby\u2019s will sell Michele Marieschi\u2019s eighteenth-century painting <em>La Punta Della Dogana e San Giorgio Maggiore<\/em>. You might wish to buy it\u2014it\u2019s a nice painting, on the face of it, containing boats, water, the sky, and other attractive things often found in paintings. But read the fine print. The painting was looted by the Nazis decades ago, and the Jewish family who\u2019d originally owned it has fought for generations to get it back. Now that it\u2019s been recovered, you\u2019d think the family could simply reclaim it. But the art market has other ideas, and the painting\u2019s market value has escalated; rather than return it, Sotheby\u2019s has brokered an uneasy settlement with the family. Nina Siegal has the story in detail: \u201c<a href=\"https:\/\/www.nytimes.com\/2017\/05\/28\/arts\/design\/michele-marieschi-painting-sothebys-auction-restitution.html?rref=collection%2Fsectioncollection%2Farts&amp;_r=0\" target=\"_blank\">It was 1937, Vienna, when a Jewish couple named Heinrich and Anna Maria Graf bought a vibrant eighteenth-century oil painting of the Grand Canal in Venice with the Punta Della Dogana in the background<\/a>. The work held pride of place in their living room, the highlight of their small but treasured art collection. One year later, Germany annexed Austria, and the Grafs and their twin six-year-old daughters, Erika and Eva, had to flee the country. They put their art into storage \u2026 By the time they settled in Forest Hills, Queens, it was 1942, and all their possessions had been looted by the Nazis \u2026 Looted artworks that have been in private hands for decades are coming to market after settlement agreements with the rightful owners, in a way that tries to address their tainted past. These agreements may not result in the return of the paintings to the heirs, but the compromise does provide at least a form of resolution and some compensation to the heirs, and brings the artworks out of hiding.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Philip Gourevitch, a former editor of <em>The Paris Review<\/em>,<em>\u00a0<\/em>remembers reading Denis Johnson\u2019s debut novel, <em>Angels<\/em>, in an ecstatic single sitting when he was twenty-one. He liked it so much that he decided he had to speak to Johnson\u2014immediately. Gourevitch writes, \u201c<a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/what-a-pair-of-lungs-denis-johnsons-ecstatic-american-voice\" target=\"_blank\">Who was this guy? Who wrote this language that carried traces of many writers I\u2019d read before but was its own world entirely?<\/a> If this was his first book, he must want to hear how good it is. The bio beneath his photo said he lived on Cape Cod. I picked up the phone and called information. I dialed the number the operator gave me, a woman answered, and when I said his name, she asked who was calling, and I said, \u2018A reader\u2019 \u2026 The only thing that he said that I remember exactly was when I asked him how long it had taken to write the book. He asked me if I was a writer, and I said that that remained to be seen. Then he answered my question: \u2018Twelve years,\u2019 he said. Later that night, I told a friend about my strange phone call, and when I got to the bit about twelve years, I said, \u2018You see, it\u2019s hopeless.\u2019 But that wasn\u2019t really what I felt, and I knew it. What I had felt when I hung up the phone was that I had got what I wanted. What I felt was: it was worth it.\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>Chris Ware on Saul Steinberg and the literal stamp he left on the art of cartooning: \u201c<a href=\"http:\/\/www.nybooks.com\/daily\/2017\/05\/26\/saul-steinbergs-view-of-the-world\/\" target=\"_blank\">One can\u2019t overstate the importance of Steinberg\u2019s working for reproduction, of his creating drawings to be disseminated to the mailboxes, laps, and, I guess, bathroom walls, of receptive readers and not, at least initially, to museum walls<\/a>.\u00a0<em>The Museum<\/em>\u00a0turns on an eminently Steinbergian tool\u2014the rubber stamp\u2014and, as a lithograph, manipulates the idea of reproduction while pictorially lampooning and dissembling it. Identical figures are plunked out to represent visitors and viewers of (what else?) official stamps of approval; over the museum\u2019s horizon, stamps rise like suns, the entire composition grounded and buttressed by illegible signatures and, of course, more stamps. As a visa-seeking \u00e9migr\u00e9 in his early life, Steinberg\u2019s fascination with legal seals is easily understandable \u2026 Steinberg bundles the stamp\u2019s sanctioning power and aesthetics into the frame of the art itself, stamping his own authorizing red imprimatur in that expected nonspace outside the image, along with his signature (legible, one notes) and, as a digestif, a blind stamp (a stamp without ink, visible by the impression it leaves on the page), just to snuff out any lingering doubt about the drawing\u2019s authenticity and, by proxy, the artist\u2019s own legitimacy.\u201d<\/li>\n<\/ul>\n<ul>\n<li>Jon K. Lauck\u2019s new book <em>From Warm Center to Ragged Edge <\/em>traces the history of the East Coast\u2019s scorn for the Midwest: when did we begin to cast a whole vibrant region of the country as \u201cflyover states\u201d? Reviewing the book, Michael Dirda writes, \u201c<a href=\"https:\/\/www.washingtonpost.com\/entertainment\/books\/how-the-midwest-went-from-the-idealized-to-derided\/2017\/05\/24\/f9f29ab4-3cbc-11e7-9e48-c4f199710b69_story.html?nid&amp;utm_term=.4ae29ffdeb98\">Lauck traces the birth of this condescension to the 1920s, when writers and critics began to attack life in the Midwest as narrow-minded and repressive<\/a>. Books such as Edgar Lee Masters\u2019s <em>Spoon River Anthology<\/em>, Sherwood Anderson\u2019s <em>Winesburg, Ohio<\/em> and Sinclair Lewis\u2019s <em>Main Street<\/em> quickly exemplified what has been called \u2018the revolt from the village.\u2019 City slickers like H. L. Mencken and magazines such as <em>The\u00a0New Yorker<\/em> further ridiculed the Midwest as a backward, second-class culture of yokels and rednecks who lacked a dedication to the intellect, let alone sensitivity to the arts. A few critics, such as Bernard DeVoto, argued against these simplistic orthodoxies. As Nebraska writer Bess Streeter Aldrich movingly declared, \u2018A writer may portray some of the decent things of life around him and reserve the privilege to call that real life, too.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>Simon Schama on the long, radiant career of Hokusai: \u201c<a href=\"https:\/\/www.ft.com\/content\/36329b06-4068-11e7-9d56-25f963e998b2\" target=\"_blank\">Hokusai, who died in 1849, is often thought of as the last genius of the woodblock color print revolution, a people\u2019s art if ever there was one, which had begun over a century earlier<\/a>. But his long life stretched all the way back to the middle of the eighteenth century, when the supply of woodblock prints\u2014costing about the price of a double helping of noodles\u2014transformed how art was consumed. It was a genre invented to satisfy the cultural appetite of the biggest city in the world, the million-plus population of Edo (now Tokyo) \u2026 For all his exalted sense of vocation and Buddhist devotion, [Hokusai] was, in his own way, an outrageous showman with art as his magic. Summoned to perform before the shogun, he laid down a thick band of blue, then pulled a live chicken from a basket which hopped around in the paint. Hokusai declared the result <em>Autumn leaves at Tatsuta river<\/em>. In 1804, before an audience come to see a temple sculpture, Hokusai used a hemp broom and fifty-four liters of ink to make a colossal, twenty-meter-long portrait of the founder of Zen Buddhism.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: selling a painting that was once property of the Nazis, and more.<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[35,28363,2546,2530,28995,28994,28993,3196,10588,1787,1483,8663,8025,15009,12251],"class_list":["post-111332","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-art","tag-art-market","tag-chris-ware","tag-denis-johnson","tag-hokusai","tag-jon-k-lauck","tag-la-punta-della-dogana","tag-looting","tag-nazis","tag-philip-gourevitch","tag-saul-steinberg","tag-simon-schama","tag-sothebys","tag-the-midwest","tag-theft"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>A Painting, Once Looted by Nazis, Returns to the Art Market<\/title>\n<meta name=\"description\" content=\"In today\u2019s arts and culture news: selling a painting that was once property of the Nazis, a young Philip Gourevitch calls Denis Johnson, and more.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2017\/05\/30\/the-nazis-are-still-ruining-art-and-other-news\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Nazis Are Still Ruining Art, and Other News by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"May 30, 2017 \u2013 In today\u2019s roundup: selling a painting that was once property of the Nazis, and more.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2017\/05\/30\/the-nazis-are-still-ruining-art-and-other-news\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2017-05-30T13:17:48+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-05-30T14:32:34+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/nazipainting.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2334\" \/>\n\t<meta property=\"og:image:height\" content=\"1457\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Dan Piepenbring\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Dan Piepenbring\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/05\/30\/the-nazis-are-still-ruining-art-and-other-news\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/05\/30\/the-nazis-are-still-ruining-art-and-other-news\/\"},\"author\":{\"name\":\"Dan Piepenbring\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/6b16ca558fc538230f135c3220dfd3c8\"},\"headline\":\"The Nazis Are Still Ruining Art, and Other News\",\"datePublished\":\"2017-05-30T13:17:48+00:00\",\"dateModified\":\"2017-05-30T14:32:34+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/05\/30\/the-nazis-are-still-ruining-art-and-other-news\/\"},\"wordCount\":1193,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2017\/05\/30\/the-nazis-are-still-ruining-art-and-other-news\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/nazipainting.jpg\",\"keywords\":[\"art\",\"art market\",\"Chris Ware\",\"Denis Johnson\",\"Hokusai\",\"Jon K. 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