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When more than one thousand lost artworks by artists such as Paul Cézanne, Emil Nolde, Claude Monet, and Wassily Kandinsky turned up in the collection of Cornelius Gurlitt in 2012, the find was celebrated as a sensation. But the accusation that the collection was the product of wartime looting also hovered, unspoken, in the air. Now, for the first time, the works from the Gurlitt estate on view in Bonn and Bern are introduced in a comprehensive book that unfolds their turbulent history. This volume presents the artworks found at Gurlitt’s estate in their historical context, investigating the provenance of the works, which in some cases had been vilified by the National Socialist regime as “degenerate art,” and probing which works were looted, which purchased legally, and which acquired in forced sales. Additionally, contributors to the volume explore the biographies of Jewish collectors and artists who were the victims of art theft and the Holocaust, and retrace how stolen works were returned to museums and private collections after 1945. The official catalog to the exhibition from the Kunstmuseum Bern and the Bundeskunsthalle in Bonn, Gurlitt displays these artworks to the public for the first time and offers a nuanced account of this unique case in the postwar history of Germany.   

When more than one thousand lost artworks by artists such as Paul Cézanne, Emil Nolde, Claude Monet, and Wassily Kandinsky turned up in the collection of Cornelius Gurlitt in 2012, the find was celebrated as a sensation. But the accusation that the collection was the product of wartime looting also hovered, unspoken, in the air. Now, for the first time, the works from the Gurlitt estate on view in Bonn and Bern are introduced in a comprehensive book that unfolds their turbulent history. This volume presents the artworks found at Gurlitt’s estate in their historical context, investigating the provenance of the works, which in some cases had been vilified by the National Socialist regime as “degenerate art,” and probing which works were looted, which purchased legally, and which acquired in forced sales. Additionally, contributors to the volume explore the biographies of Jewish collectors and artists who were the victims of art theft and the Holocaust, and retrace how stolen works were returned to museums and private collections after 1945. The official catalog to the exhibition from the Kunstmuseum Bern and the Bundeskunsthalle in Bonn, Gurlitt displays these artworks to the public for the first time and offers a nuanced account of this unique case in the postwar history of Germany.   

Formateinband: Pappband mit Umschlag / gebundene Ausgabe VII, 444 S. (25 cm) 1. Aufl.; (Mit zahlreichen Abbildungen); Sehr guter Zustand. Sprache: Deutsch Gewicht in Gramm: 1700 [Stichwörter: Kunsthändler Hildebrand Gurlitt, Nationalsozialismus, Kunsthandel, Positionierung Gurlitts zur Moderne u.a.]

The world was stunned when eighty-year old Cornelius Gurlitt became an international media superstar in November 2013 on the discovery of over 1,400 artworks in his 1,076 square-foot Munich apartment, valued at around $1.35 billion. Gurlitt became known as a man who never was - he didn't have a bank account, never paid tax, never received social security. He simply did not exist. He had been hard-wired into a life of shadows and secrecy by his own father long before he had inherited his art collection built on the spoliation of museums and Jews during Hitler's Third Reich. The ensuing media frenzy unleashed international calls for restitution, unsettled international relations, and rocked the art world. Susan Ronald reveals in this stranger-than-fiction-tale how Hildebrand Gurlitt succeeded in looting in the name of the Third Reich, duping the Monuments Men and the Nazis alike. As an "official dealer" for Hitler and Goebbels, Hildebrand Gurlitt became one of the Third Reich's most prolific art looters. Yet he stole from Hitler too, allegedly to save modern art. Hitler's Art Thief is the untold story of Hildebrand Gurlitt, who stole more than art-he stole lives, too.

Representing composers and musical styles of the 19th and 20th centuries, these collections include student favorites and teacher selected classics, including works by Beyer, Köhler, Gurlitt, Bartók, Grieg, Schubert, and many more.

(Faber Piano Adventures ). Includes the easier sonatas of Beethoven, Mozart, and Haydn. Contents include: Sonatina Op. 36, Nos. 4 & 6 (Clementi) * Sonatina Op. 54 No. 1 (Gurlitt) * Sonatina (Keller) * Sonatina Op. 88 Nos. 1 & 3 (Kuhlau) * Sonata Op. 49, No. 2 (Beethoven) * Sonata Hob. XVI/13 3rd mvt (Haydn) * Sonata K545 (Mozart) * Rondo a la Turk (from Sonata in a Major, K331) (Mozart) * and more. View Helpful Introductory Videos Here

Representing composers and musical styles of the 19th and 20th centuries, these collections include student favorites and teacher selected classics, including works by Beyer, Köhler, Gurlitt, Bartók, Grieg, Schubert, and many more.

This issue examines the legacy of Nazi-looted art in light of the 2012 discovery of the famous Hildebrand Gurlitt collection of stolen artwork in Germany. When the German government declassified the case almost two years later, the resulting scandal raised fundamental questions about the role of art dealers in the Third Reich, the mechanics of the Nazi black market for artwork, the shortcomings of postwar denazification, the failure of courts and governments to adjudicate stolen artwork claims, and the unwillingness of museums to determine the provenance of thousands of looted pieces of art. The contributors to this issue explore the continuities of art dealerships and auction houses from the Nazi period to the Federal Republic and take stock of the present political and cultural debate over the handling of this artwork. Special topic contributors. Konstantin Akinsha, Meike Hoffmann, Andreas Huyssen, Lawrence M. Kaye, Olaf Peters, Jonathan Petropoulos, Anson Rabinbach, Avinoam Shalem, Julia Voss, Amy Walsh

Representing composers and musical styles of the 19th and 20th centuries, these collections include student favorites and teacher selected classics, including works by Beyer, Köhler, Gurlitt, Bartók, Grieg, Schubert, and many more.

Representing composers and musical styles of the 19th and 20th centuries, these collections include student favorites and teacher selected classics, including works by Beyer, Köhler, Gurlitt, Bartók, Grieg, Schubert, and many more.

The world was stunned when eighty-year old Cornelius Gurlitt became an international media superstar in November 2013 on the discovery of over 1,400 artworks in his 1,076 square-foot Munich apartment, valued at around $1.35 billion. Gurlitt became known as a man who never was - he didn't have a bank account, never paid tax, never received social security. He simply did not exist. He had been hard-wired into a life of shadows and secrecy by his own father long before he had inherited his art collection built on the spoliation of museums and Jews during Hitler's Third Reich. The ensuing media frenzy unleashed international calls for restitution, unsettled international relations, and rocked the art world. Susan Ronald reveals in this stranger-than-fiction-tale how Hildebrand Gurlitt succeeded in looting in the name of the Third Reich, duping the Monuments Men and the Nazis alike. As an "official dealer" for Hitler and Goebbels, Hildebrand Gurlitt became one of the Third Reich's most prolific art looters. Yet he stole from Hitler too, allegedly to save modern art. Hitler's Art Thief is the untold story of Hildebrand Gurlitt, who stole more than art-he stole lives, too.

This 152-page collection of 16 early- to late-intermediate sonatinas compiled by Lynn Freeman Olson and edited by Martha Hilley includes works by Haydn, Clementi, Diabelli, Kuhlau, Gurlitt and Bartók. With a helpful introduction that contains practice suggestions, this edition effectively guides students through the important elements of the sonatina, including rapid finger work, varying tempo and the understanding of music construction. Included is a compact disc featuring performances by Kim O'Reilly Newman, who holds a Master of Music degree from the University of Illinois. She has performed throughout North America and Europe with the Hambro Quartet of Pianos and was an editor and recording pianist for Alfred Music. Kim is a brain tumor survivor and now specializes in performing music for the left hand.

Representing composers and musical styles of the 19th and 20th centuries, these collections include student favorites and teacher selected classics, including works by Beyer, Köhler, Gurlitt, Bartók, Grieg, Schubert, and many more.

Studies by Bertini, Burgmuller, Czerny, Duvernoy, Gretchaninoff, Gurlitt, Heller, Kirchner, Lemoine, Schumann, Schoenmehl and others, arranged in o...