the Emil Bührle collection no longer hides its dark side

By Le Figaro with AFP

Published ,

The museum, with the authorization of the EG Bührle Collection Foundation, owner of the works, has revised the concept of presentation of this permanent private loan, leaving more room for pedagogy and debate. ARND WIEGMANN / AFP

In Zurich, the exhibition of works that this arms dealer acquired to the detriment of their Jewish owners still raises so many questions.

THE Zurich Kunsthausone of the most prestigious museums in Switzerland, presents “in context» his collection Emil Bührle, an arms dealer who amed his masterpieces in the troubled circumstances of forced sales and Nazi spoliations of the Second World War. “In the history of Bührle collection there have always been moments of controversy that respond to the signs of the times and we now live in a different era», Explains to AFP the director of the museum, Ann Demeester, presenting this exhibition entitled A future for the past. Bührle Collection: art, context, war and conflict. But the controversy continues around the place reserved for the fate of the former owners of these paintings in the new museography.

The Zurich Museum of Fine Arts was the subject of criticism during the opening in 2021 of an imposing new building intended to house the impressive collection of 170 works by the German industrialist and patron who was naturalized Swiss. The man’s journey and acquisitions are intriguing. Before his death in 1956, the arms dealer had amed a vast collection of some 600 pieces including works by Manet, Renoir, Degas, Monet, Sisley, Cézanne, Rembrandt, Toulouse-Lautrec, Pico, Braque, Van Gogh or Gauguin. Some had previously been stolen from Jews or sold in a hurry by their owners to escape the Nazis.

Read alsoJewish dispossessions: Élizabeth Royer-Grimblat, painting researcher

Retrace the route

Between 1936 and 1945, he acquired around 150 works. And after the war, it was discovered that 13 of them had been stolen and Bührle had to return them. He acquired nine of them a second time, tracing the museum on its website. Until 2015, the collection was visible in a very confidential site in Zurich, but paintings were stolen during a hold-up in 2008, which prompted the museum to move the whole thing.

To turn the page on the controversy, the Kunsthaus called on experts responsible for retracing the journey of certain works and is presenting an exhibition on Friday focused on transparency.

The exhibition opens with an account of the journey of Pierre-Auguste Renoir’s impressionist masterpiece, Portrait of Irène Cahen of Antwerp (1850) confiscated by the Nazis before being returned to its Jewish owners after the war and then sold to Emil Bührle. “We thought it was important to openly address problematic issues that have been discussed in the media in recent years but never here in our home», says Ann Demeester. Thus, the museum obtained authorization from the EG Bührle Collection Foundation, owner of the works, to review the concept of presentation of this permanent private loan, leaving more room for pedagogy and debate.

A committee of experts

Beyond the explanatory notes devoted to certain looted works and their former Jewish owners, the museum solicits visitors’ opinions through digital surveys and allows them to hear through interposed screens the contradictory points of view of numerous experts and historians. “We don’t like controversy but we like discussions, so if a museum is a sanctuary for beautiful images, it is also (…) a platform where conversations take place», pleads Ann Demeester.

Even before the exhibition opened, an external advisory committee of specialists involved in the preparation of the exhibition preferred to throw in the towel. “Despite our repeated recommendations to give the necessary space to the fate of persecuted, despoiled and murdered collectors, only a small part of the exhibition is devoted to their presentation and recognition.», confides a representative of the committee to the daily The weather. To the extent that Emil Bührle took advantage of this historical context to build his collection, it is problematic to have the impression that the victims of National Socialism are marginalized», she adds.

Grateful “disagreements on the concrete realization» of the exhibition, the Kunsthaus officially said “to regret» this rupture, calling, however, to continue a debate “valuable and interesting“.

» A future for the past. Bührle Collection: art, context, war and conflict. From November 3 and “for at least a year”, according to the museum.

” data-script=”” >

Source link

Leave a Reply