Günther Schiedlausky

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Günther Schiedlausky (born November 28, 1907 in Berlin ; † May 28, 2003 ) was a German art historian and museum expert at the Germanic National Museum .

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In 1934 he completed his studies in art history at the University of Marburg with a dissertation with Kurt Steinbart on Martin Grünberg, a Brandenburg master builder at the turn of the 17th and 18th centuries . Then Schiedlausky worked as a volunteer at the Berlin museums , initially in the sculpture collection, the then department for Christian sculptures. In 1936 he worked on an inventory of art monuments in Silesia and went to the Florence Art History Institute for a year on a scholarship. In 1937 he worked again in Berlin in the Kupferstichkabinett of the State Museums and was then a research associate in the sculpture collection. The draft for military service in 1940 interrupted his scientific career. He was assigned to the task force of Reichsleiter Rosenberg as an art expert and was involved in the Nazi theft of works of art in France under Kurt von Behr . From November 3, 1940 to December 1941, he prepared ten special shows for Hermann Göring in Paris under his immediate superior Bruno Lohse in order to fulfill his predatory interests. In April 1941 he accompanied the first transport of important works of art by train from Paris to Germany. He became the chief curator of the German depot, which was spread over various locations. At the end of the war in 1945, Schiedlausky and others prevented the ordered demolition of the stolen works of art stored at Neuschwanstein Castle and in the Altaussee salt mine . In August, Schiedlausky was interrogated by the American OSS , which helped to assign the origin of many works of art.

After his release from prisoner-of-war, in 1951 he began to publish his first publications on mining phenomena in art and from 1953 worked as a research assistant at the Bochum mining museum . Ludwig Grote , first director of the Germanisches Nationalmuseum, brought him to Nuremberg in 1955 as a consultant for the arts and crafts of the Middle Ages and modern times, also responsible for the guild antiquities and the Judaica as well as for looking after the Neunhof Palace, which has been operated by the museum since 1959 .

Ludwig Grote's establishment of the collection in the Heuss-Bau, completed in 1958 (until 1974) and, above all, the newly designed display of medieval art on the ground floor of the so-called Westkopf in 1967, were part of Schiedlausky's tenure. He was involved in exhibitions, around 1962 "Barock in Nürnberg". During his time the Echternach Codex was acquired . One of the most valuable purchases was a set of unique, secular silver goblets from the 14th century. As early as 1956, the volume “Food and Drink” appeared in the “Library of the Germanisches Nationalmuseum”. Table customs until the end of the Middle Ages "and 1961" Tea, coffee, chocolate. Your entry into European society «. They show a broad interest in everyday history . Work on one of the finest Nuremberg goldsmith's work, the St. Martins Cup of Hans Beutmüller , and seemingly marginal phenomena such zibellino , Bisamäpfel , joke vessels , toothpick or the spittoon and the study " cooling ball and heat apple " confirmed this.

In 1970 he left the service and lived in Seebruck . Special interests were the silversmith's art and goldsmithing .

His brother was the SS doctor Gerhard Schiedlausky .

Publications (selection)

  • Martin Grünberg , a master builder from the Brandenburg region at the turn of the 17th and 18th centuries , (Diss. 1934) exp. Edition, Burg 1944
  • Tea, coffee, chocolate - your entry into European society. Munich 1961.
  • Cooling ball and heat apple , Deutscher Kunstverlag, Munich Berlin 1984

literature

Web links

supporting documents

  1. Michael H. Sprenger: Richard Hamann and Marburg Art History between 1933 and 1945 , in: Jutta Held u. a. (Ed.): Art history at the universities under National Socialism , Göttingen 2003, p. 70
  2. Volker button, Stefan Martens: Görings Reich. Self-staging in Carinhall , Links Verlag, Berlin 2006, p. 127
  3. ^ Günther Haase: Art theft and art protection , BoD 2008, p. 146 f