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Germany returns famous artwork looted by Nazis

The German government Wednesday handed three works of art stolen during the Nazi occupation of France back to descendants of their original owner, collector and Jewish lawyer Armand Dorville.

Published: 23 January 2020 09:47 CET

Germany returns famous artwork looted by Nazis

Monika Grütters (CDU, l) returns three works identified as Nazi looted art to Francine Kahn, grandniece of the art collector Armand Dorville, in her office in the Federal Chancellery. Photo: DPA

It was part of a programme to return artefacts looted by the Nazis, included two paintings “Dame en robe du soir” (woman in an evening gown) and “Portrait d'une dame” (portrait of a woman) by Jean-Louis Forain.

The third was a drawing by Constantin Guys, a Dutch-born Frenchman who worked as a Crimean war correspondent.

They are among hundreds of looted items logged for return to owners or their descendants by German-Austrian collector Cornelius Gurlitt, who died in 2014. The Nazis engaged his father Hildebrand — who was part-Jewish — to sell items either stolen or confiscated from Jewish owners.

READ ALSO: Nazi-era art trove heir Cornelius Gurlitt dies

Dorville died in 1941 and his collection was distributed to museums and private collectors.

The family was unable to flee occupied France and most members were killed by the Nazis, who occupied the country from 1940-1944.

Several close relatives of Dorville's brother Charles perished at Auschwitz.

“It is no longer possible to make up for the suffering of the Dorville family under the Nazi persecution but we must render them visible and this restitution comprises an important gesture of historic justice,” said German secretary of state for culture, Monika Grütters.

Investigators discovered some 1,500 works, including drawings and prints by Pablo Picasso, in the house of Cornelius Gurlitt in 2013. To date just 13 have been returned to the families of their original owners.

READ ALSO: Germany doubles funding to return Nazi art

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African-born director's new vision for Berlin cultural magnet

The “Haus der Kulturen der Welt” (House of World Cultures), or HKW, was built by the Americans in 1956 during the Cold War for propaganda purposes, at a time when Germany was still divided.

New director Ndikung said it had been located “strategically” so that people on the other side of the Berlin Wall, in the then-communist East, could see it.

This was “representing freedom” but “from the Western perspective”, the 46-year-old told AFP.

Now Ndikung, born in Cameroon before coming to study in Germany 26 years ago, wants to transform it into a place filled with “different cultures of the world”.

The centre, by the river Spree, is known locally as the “pregnant oyster” due to its sweeping, curved roof. It does not have its own collections but is home to exhibition rooms and a 1,000-seat auditorium.

It reopened in June after renovations, and Ndikung’s first project “Quilombismo” fits in with his aims of expanding the centre’s offerings.

The exhibition takes its name from the Brazilian term “Quilombo”, referring to the communities formed in the 17th century by African slaves, who fled to remote parts of the South American country.

Throughout the summer, there will also be performances, concerts, films, discussions and an exhibition of contemporary art from post-colonial societies across Africa, the Americas, Asia and Oceania.

‘Rethink the space’

“We have been trying to… rethink the space. We invited artists to paint walls… even the floor,” Ndikung said.

And part of the “Quilombismo” exhibition can be found glued to the floor -African braids laced together, a symbol of liberation for black people, which was created by Zimbabwean artist Nontsikelelo Mutiti.

According to Ndikung, African slaves on plantations sometimes plaited their hair in certain ways as a kind of coded message to those seeking to escape, showing them which direction to head.

READ ALSO: Germany hands back looted artefacts to Nigeria

His quest for aestheticism is reflected in his appearance: with a colourful suit and headgear, as well as huge rings on his fingers, he rarely goes unnoticed.

During his interview with AFP, Ndikung was wearing a green scarf and cap, a blue-ish jacket and big, sky-blue shoes.

With a doctorate in medical biology, he used to work as an engineer before devoting himself to art.

In 2010, he founded the Savvy Gallery in Berlin, bringing together art from the West and elsewhere, and in 2017 was one of the curators of Documenta, a prestigious contemporary art event in the German city of Kassel.

Convinced of the belief that history “has been written by a particular type of people, mostly white and men,” Ndikung has had all the rooms in the HKW renamed after women.

These are figures who have “done something important in the advancement of the world” but were “erased” from history, he added. Among them is Frenchwoman Paulette Nardal, born in Martinique in 1896.

She helped inspire the creation of the “negritude” movement, which aimed to develop black literary consciousness, and was the first black woman to study at the Sorbonne in Paris.

Reassessing history

Ndikung’s appointment at the HKW comes as awareness grows in Germany about its colonial past, which has long been overshadowed by the atrocities committed during the era of Adolf Hitler’s Nazis.

Berlin has in recent years started returning looted objects to African countries which it occupied in the early 20th century — Burundi, Rwanda, Tanzania, Namibia and Cameroon.

“It’s long overdue,” said Ndikung.

He was born in Cameroon’s capital, Yaounde, into an anglophone family.

The country is majority francophone but also home to an anglophone minority and has faced deadly unrest in English-speaking areas, where armed insurgents are fighting to establish an independent homeland.

One of his dreams is to open a museum in Cameroon “bringing together historical and contemporary objects” from different countries, he said.

He would love to locate it in Bamenda, the capital of Cameroon’s restive Northwest region.

“But there is a war in Bamenda, so I can’t,” he says.

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