Johannes Vermeer
Vermeer and the Nazi Leadership
In World War II, the Nazis had overtaken most of Europe. They plundered all the best of Europe’s resources, particularly each nation’s great art treasures. As Germany’s leaders, Adolf Hitler and Hermann Goering had unusual interest in collecting these masterpieces. Among all the art available to them some art held a special appeal. The art of Johannes Vermeer was a coveted prize to both of them.
Adolf Hitler and Hermann Goering were powerful, ruthless people that were obsessed with art. Hitler had been rejected as a student from the Academy of Fine Arts in Vienna. According to the Richard Berge, Bonni Cohen, and Nicole Newnham in The Rape of Europa, this disturbed Hitler in part because he worked in realism …show more content…
There was one artist that fit all of Hitler’s requirements. His name was Johannes Vermeer (1632-1675). His work had been already highly prized before the Nazis came to power. In the 19th century his work was rediscovered and some called him “ the greatest painter who has ever lived” (Dolnick 91). Critics and historians praised his technique of depicting light and shadows. They found much to explore in the symbolism that Vermeer included in compositions. The scarcity of his work (only 35 paintings have been verified to exist) greatly added to Vermeer’s appeal according to James C. Harris (234). Goering was not looking to discover great-unknown artists; the cachet of the Vermeer name was the primary attraction for Goering. Dolnick argues that, “ Goering’s eagerness for a Vermeer had even less to do with aesthetics. For the Reich Marshal, ‘Vermeer’ was a brand name even better than ‘Rolls-Royce’ or ‘the Ritz’” (Dolnick 19). Goering did not appreciate the art itself as much as its price …show more content…
They had beauty and financial value and they endowed the possessor with the feeling of culture and refinement. For the Nazis, they were a means to demonstrate their power and superiority to the whole world. The works of Johannes Vermeer (1632-1675) were already accepted as among the best of all artworks. Given Hitler’s and Goering’s desire to amass great art, it stands to reason that both men were hungry to acquire Vermeer art.
Work Cited
Barron, Stephanie. "1937 Modern Art and Politics in Prewar Germany." "Degenerate Art" The Fate of the Avant-Garde in Nazi Germany. Ed. Stephanie Barron. New York: Harry N. Abrams, 1991. 9-22. Print.
Dolnick, Edward. The Forger’s Spell: A true Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieth Century. New York: Harper Collins P, 2008. Print.
Harris, James C. “ The Art of Painting.” Arch Gen Psychiatry 66.3 (2009): 234-235.
The Rape of Europa. Dir. Richard Berge, Bonni Cohen, and Nicole Newnham. Menemsha Films, 2006. Film
“ Vermeer’s life” Essential Vermeer. Web.
Vermeer, Johannes (1632 – 1675). Young Woman with a Water Pitcher c. 1662. Oil on canvas. Metropolitan Museum of Art, New York. Visual
In World War II, the Nazis had overtaken most of Europe. They plundered all the best of Europe’s resources, particularly each nation’s great art treasures. As Germany’s leaders, Adolf Hitler and Hermann Goering had unusual interest in collecting these masterpieces. Among all the art available to them some art held a special appeal. The art of Johannes Vermeer was a coveted prize to both of them.
Adolf Hitler and Hermann Goering were powerful, ruthless people that were obsessed with art. Hitler had been rejected as a student from the Academy of Fine Arts in Vienna. According to the Richard Berge, Bonni Cohen, and Nicole Newnham in The Rape of Europa, this disturbed Hitler in part because he worked in realism …show more content…
There was one artist that fit all of Hitler’s requirements. His name was Johannes Vermeer (1632-1675). His work had been already highly prized before the Nazis came to power. In the 19th century his work was rediscovered and some called him “ the greatest painter who has ever lived” (Dolnick 91). Critics and historians praised his technique of depicting light and shadows. They found much to explore in the symbolism that Vermeer included in compositions. The scarcity of his work (only 35 paintings have been verified to exist) greatly added to Vermeer’s appeal according to James C. Harris (234). Goering was not looking to discover great-unknown artists; the cachet of the Vermeer name was the primary attraction for Goering. Dolnick argues that, “ Goering’s eagerness for a Vermeer had even less to do with aesthetics. For the Reich Marshal, ‘Vermeer’ was a brand name even better than ‘Rolls-Royce’ or ‘the Ritz’” (Dolnick 19). Goering did not appreciate the art itself as much as its price …show more content…
They had beauty and financial value and they endowed the possessor with the feeling of culture and refinement. For the Nazis, they were a means to demonstrate their power and superiority to the whole world. The works of Johannes Vermeer (1632-1675) were already accepted as among the best of all artworks. Given Hitler’s and Goering’s desire to amass great art, it stands to reason that both men were hungry to acquire Vermeer art.
Work Cited
Barron, Stephanie. "1937 Modern Art and Politics in Prewar Germany." "Degenerate Art" The Fate of the Avant-Garde in Nazi Germany. Ed. Stephanie Barron. New York: Harry N. Abrams, 1991. 9-22. Print.
Dolnick, Edward. The Forger’s Spell: A true Story of Vermeer, Nazis, and the Greatest Art Hoax of the Twentieth Century. New York: Harper Collins P, 2008. Print.
Harris, James C. “ The Art of Painting.” Arch Gen Psychiatry 66.3 (2009): 234-235.
The Rape of Europa. Dir. Richard Berge, Bonni Cohen, and Nicole Newnham. Menemsha Films, 2006. Film
“ Vermeer’s life” Essential Vermeer. Web.
Vermeer, Johannes (1632 – 1675). Young Woman with a Water Pitcher c. 1662. Oil on canvas. Metropolitan Museum of Art, New York. Visual