Kurt Martin (art historian)

Kurt Martin (born January 31, 1899 in Zurich , Switzerland ; † January 27, 1975 in Bad Wiessee ) was a German art historian and museum director.

After stints at the Kunsthalle Mannheim and the Badisches Landesmuseum , Martin became director of the Staatliche Kunsthalle Karlsruhe in 1934 with the support of the Nazi Gauleiter Robert Wagner . He stayed that way until 1956. During the first years of his activity in Karlsruhe, Martin organized extensive rebuilding and renovation work, expanded the collection and rearranged it. In addition, he devoted himself intensively to popular education with a focus on Hans Thoma . Under Martin's leadership, the Kunsthalle acquired many works from the collections of victims of Nazi persecution.

In 1940, Martin also became head of the municipal museums of Strasbourg and general representative for the museums in Alsace and Baden . In these functions, Martin helped to prepare Robert Wagner's vision of a German-influenced cultural model district of Alsace-Baden. He propagated the goal of "overcoming the influence of French cultural propaganda in Alsace and stamping out". He was involved in expropriating Nazi persecutees and French loyal to France, so-called “enemies of the Reich”, in order to expropriate their collections and to bring works of art, which had been brought into the interior of France because of the threatened invasion of the Germans, back to the secretly annexed Alsace. The focus of Martin’s museum activity was the acquisition of around 500 works of art in Paris, the Netherlands and Germany, including - as far as is known - a few works obtained directly from victims of Nazi persecution. In 1941 Martin resisted the symbolic relocation of the Army Museum from Karlsruhe to Strasbourg.

Since the end of the war, Martin sought international cooperation and was committed to regaining the reputation of German culture. After the war, he helped the French and American authorities to recover works of art that had been stored in a bomb-proof manner during the war. In 1946 he was one of the co-founders of the International Council of Museums . He remained the head of the German representatives on this body for 15 years. A number of Karlsruhe works were unpacked from their salvage boxes and exhibited in Switzerland for the first time in 1947. As early as 1948 he curated an exhibition of modern German art in several cities in the USA, and in 1950 a Dürer exhibition in Paris. He was one of the initiators of the documenta , which first took place in 1955.

In 1956 he became director of the Karlsruhe Art Academy and in 1957 general director of the Bavarian State Painting Collections . Martin rearranged the holdings here too and acquired numerous works of art, especially modern ones. In 1964 he retired. He was one of the artistic advisors for the 1972 Olympic Games .

Life

Childhood, youth, war participation and studies

On January 31, 1899, Kurt Martin was born as the third son of the Baden professor of anthropology Rudolf Martin (1864–1925) and his wife Anna Hein (1865–1940) in Zurich . There he first attended elementary school before he switched to the École Nouvelle in Lausanne and later the secondary school in Karlsruhe . He graduated from high school in 1917 with the Abitur . He then served as a soldier in the First World War . In 1920 he began studying philosophy (with Martin Heidegger and Edmund Husserl, among others ) and art history (with Hans Jantzen ) at the University of Freiburg and then moved to the University of Munich , where he majored in art history with Heinrich Wölfflin in 1924 with a dissertation "The over Nuremberg stone sculpture in the 14th century" doctorate was. According to Josef Werner, Martin worked as an actor for two years before starting his museum career.

1927 to 1934 Mannheim and the Badisches Landesmuseum

He began his career in 1927 as a volunteer at the Kunsthalle Mannheim , whose director Gustav Friedrich Hartlaub was an important promoter of contemporary art. After a denunciation to the SS security service on March 28, 1945, Kurt Martin is said to have been "completely devoted to futurism " before 1933 . He is said to have maintained "constant contact with communists and cultural Bolsheviks" and to have been friends with a Jew named Wermer, who was politically active during the time of the Munich councilor. The sculptor Christoph Voll , whose works were viewed as "degenerate", is said to have been one of his friends. Martin later went to the Badisches Landesmuseum in Karlsruhe as a research assistant and then as a conservator . In 1931 he took on the task of organizing the exhibition “German Poets as Painters and Drawers” ​​for the Heidelberg Art Association.

He met Robert Wagner in the early 30s . Robert Wagner was a confidante of Adolf Hitler , founder of the NSDAP Gaus Baden, since 1927 publisher of the NS-Kampfblatt " Der Führer ", member of the state parliament of the NSDAP and since 1928 Baden Gauleiter of the National Socialist Society for German Culture . In 1932 he was in the national leadership of the Nazi Party received and on 11 March 1933 President and later Reich governor of Baden and NSDAP - Gauleiter .

1934 Baden Army Museum

In the autumn of 1933, Wagner commissioned Kurt Martin to build a Baden Army Museum . Together with Colonel a. D. Erich Blankenhorn , the former head of the Baden state police who had been dismissed by the new rulers shortly before, he took on the task of setting up an independent museum under the umbrella of the Baden State Museum . In addition, he was given rooms in the former stables of Karlsruhe Palace , the domicile of the State Museum. On May 13, 1934, Robert Wagner and Kurt Martin opened the museum as part of a two-day celebration in front of 80,000 people. In addition to Reichswehr departments and flag delegations from military associations, a number of delegations from Nazi organizations, including the SA , SS and the Reich Labor Service , marched in the demilitarized zone. Apparently to avoid diplomatic entanglements with France, Paul von Hindenburg , Hitler and the Reichswehr Minister Werner von Blomberg stayed away from the event and left greetings to be sent. In his opening address from the balcony of the castle, Martin explained that the museum had benefited from well over 1,000 militaria foundations. The museum should not only take into account the Baden regiments, but also the regiments of the former 15th Alsatian Army Corps. The museum should be “a speaking monument that should convey and bring closer to everyone the military-political achievements of our borderland people. [...] The youth should learn here to respect and understand the achievements of their fathers. ”Wagner said of the museum's objectives:“ What is being presented to the public today in the form of our Army Museum wants to be nothing more than an intellectual legacy from the time of wrestling and fighting for our Germany for wrestling and fighting for our Germany. ”In reality, the exhibition was just a“ Potemkin village ”. Erich Blankenhorn wrote about the state of the museum when it opened that, due to the short preparation time, it was only possible "to fill the first stables purely decorative with historically completely unrelated pictures and objects." For this reason, the museum opened one day after the Opening closed again initially.

1934 State Art Gallery Karlsruhe

Wagner made Martin head of the State Art Gallery in Karlsruhe on July 2, 1934 . He became the successor of Hans Adolf Bühler , who was loyal to the line and whose museum management had distinguished himself above all for his radical opposition to modernism, which the National Socialists vilified as " art of decay ". Martin was to remain head of the State Art Gallery until 1956.

Exhibition operations from 1934

Between 1934 and 1939 the state art gallery was restricted. In the years from 1934 to 1937 the orangery building at the Botanical Garden was rebuilt in order to house Baden paintings of the late 19th and 20th centuries in a separate department from 1938. From 1934 on, the department of old German paintings was redesigned and reopened in 1937. Then the newly designed department of Dutch and Flemish painters reopened.

Between 1934 and 1937 numerous exhibitions were held in the Kupferstichkabinett, including an exhibition on Hans Thoma in 1934 and an exhibition in 1936 on new acquisitions of old German paintings by the Staatliche Kunsthalle.

In addition, two traveling exhibitions were organized for the elementary schools in Baden: in 1936 a Hans Thoma exhibition, which was shown in 55 locations and attracted around 90,000 visitors, and an Albrecht Dürer exhibition in 1937, which was attended by around 45,000 visitors in 25 locations was visited.

Between 1934 and 1937, the Staatliche Kunsthalle organized around forty tours a year for the Reich Labor Service , the organization “ Kraft durch Freude ”, the National Socialist Women's Association , the Sisterhood of the Red Cross and schools. In the winter of 1935/1936, for example, three guided tours and two lectures on the topic of "Introduction to German Art" and two lectures for the Nazi women on Albrecht Dürer and Rembrandt were organized in cooperation with the " KdF " . The criteria according to which the collections were reorganized, as well as Martin's popular education activities, have not been researched.

Shortly before the beginning of the war, on July 2, 1939, the museum reopened its full operation. At the same time, the Kunsthalle celebrated its centenary. On this occasion Robert Wagner opened a memorial exhibition for Hans Thoma with 180 works. In addition to private collectors and galleries, the National Gallery in Berlin, the Hamburger Kunsthalle and the Städtische Galerie Frankfurt contributed loans. It was important for Martin to show Thoma as a “master of the German landscape and as a great portraitist”. At the same time, the newly renovated Feuerbach Hall was opened to the public again. This was where the German painting of the 19th century was housed, which had been "reorganized". The Baden state government donated a Trübner, the city of Karlsruhe a Thoma. From 1940 the art gallery was closed due to the war.

Party and government interventions, loss of art

In 1936, Martin resisted the NSDAP's request to remove Max Liebermann's paintings until the Baden Ministry of Culture decreed the removal of the works. In 1937 the Staatliche Kunsthalle had to deliver 15 paintings, three sculptures and 132 drawings, watercolors, prints, etc. as so-called degenerate art to other government agencies. Martin may have hidden works from the commission responsible for confiscation. Of the delivered works, it is only known where they are today in four cases. These are works by Ernst Barlach , Hanns Ludwig Katz , Karl Hofer , Emy Roeder .

Art procurement in general

Between 1934 and 1937, the Kunsthalle acquired 115 paintings under Martin's direction, including works by Hans Thoma , Emil Lugo and Hermann Daur .

Between 1938 and 1939 the art gallery acquired 53 paintings. Martin highlighted works by Wilhelm Trübner , Anselm Feuerbach and Hans Thoma in his report for this period . The works marked as “transfer” included those by Karl Buchholz , Hermann Burte , Joseph Fratrel and Adolph von Menzel . At the same time, the Kunsthalle also acquired 175 drawings, 636 prints and four sketchbooks. Among the drawings, Martin particularly highlighted eight sheets by Johann Jakob Biedermann , two by Ferdinand Kobell , three by Franz Kobell and nine by Wilhelm Trübner, as well as the "valuable early drawing by Hans Thoma, Schönau im Wiesental" as a gift from the Baden Gauleitung of the NSDAP.

In 1940 the Staatliche Kunsthalle Karlsruhe was "enriched by a few works, primarily by Baden artists". The museum acquired paintings by Albert Lang , Fritz Boehle , Ferdinand Keller , Ernst Württemberger and Eduard Hunziker, as well as various drawings by Hans Thoma and Ferdinand Keller.

In his activity report for 1940, Kurt Martin explains: "The General Administration was able to make some important acquisitions for the state museums, which will be reported on later in connection."

Procurement of art from Jewish collections

The Kunsthalle Karlsruhe continuously took over works of art from originally Jewish property under Martin, who was supposed to write in 1947 that he had always avoided buying from confiscated holdings. In a statement from 1947, Martin listed a good 100 works, including holdings from the collections by Richard Lenel , Mannheim (1 work), Benno Weil, Mannheim (1 work), Siegfried Reiss, Mannheim (44 works), Arthur Levis, Karlsruhe (1 work), E. Reiss, Heidelberg (3 works), Paul Homburger, Karlsruhe (3 works), Ettlinger, Karlsruhe (1 work), Klara Goldschmit , Karlsruhe, Salomon, Karlsruhe (1 work), Ernst Gallinek, Baden-Baden (16 works - a porcelain collection with over 400 objects probably went to the State Museum ) and Violetta von Waldberg, Heidelberg (wife of Max von Waldberg ) (4 works). The Kunsthalle took over the works from other government agencies that had previously expropriated them. Most of the works mentioned by Martin were transferred to the Kunsthalle by authorities above transferred, partly in return for cash payments to them. The Kunsthalle acquired 20 works on its own initiative from an “auction of Jewish property 6–9. August 1941 in Karlsruhe ”.

Rubens: Portrait of the Marchesa Veronica Spinola Doria - acquired in 1935 from van Diemen & Co., Berlin

In 1935 Kurt Martin acquired the work Portrait of the Marchesa Veronica Spinola Doria from Peter Paul Rubens at the liquidation auction of the Galerie van Diemen, Berlin for 63,000 RM. In the 1950s, the Kunsthalle Karlsruhe paid the descendants of the Jewish managing directors compensation. In 2000 they again asked for compensation without success. This acquisition was not specifically mentioned in the activity report for the years 1934–1937.

Expert from the foreign exchange office in Baden, Bensinger case

On June 20, 1939, Kurt Martin was appointed art expert at the Baden Foreign Exchange Office. Here it was his job to appreciate works of art by those willing to leave the country, especially those persecuted by the Nazi regime. On the basis of these estimates, among other things, the Reich flight tax and the Jewish property tax were calculated. Little is known about his work in this capacity. Research has been carried out into his behavior in connection with the Adolf Bensinger collection . In a letter to "Adolf Israel Bensinger" in the summer of 1939 he announced his visit to his Mannheim villa to view the works. He then demanded that the responsible regional tax office confiscate the collection. However, he suggested that most of the works should remain in Bensinger's house. Because of his severe heart condition, there is no fear of escaping or taking the works abroad with him. However, some works were to be transported to the Kunsthalle Karlsruhe. On the day the confiscation notice was served, June 28, 1939, Bensinger died. Martin urged the executor to receive seven works from the estate free of charge: two works by Thoma , two by Menzel , a Corot , a Renoir and a Daumier . Martin's efforts were unsuccessful, however, because Bensinger had appointed those of his relatives as heirs who were considered to be "first degree half-breeds". Martin resisted the lifting of the confiscation in favor of the heirs on the grounds that “a Jew [may] not dispose of his art possessions even by will.” However, Bensinger's household effects were auctioned on February 22, 1940. There are no known acquisitions by the Kunsthalle Karlsruhe from this auction.

1940 to 1944 "Upper Rhine" museums

With the occupation of Alsace, Robert Wagner became head of civil administration there with extensive political freedom. His main goal was to make Alsace "German" again, to make it the "first outstanding cultural center of the German Empire". The means to finance the cultural sector exceeded the means paid in the Reich area by a considerable amount. His aim pursued Wagner as in the performing arts through the creation of several theaters (General Director of today's Théâtre national de Strasbourg was Ingolf Kuntze ), the appointment of the modern for his performances music became known Hans Rosbaud as music director of the Orchester Philharmonique De Strasbourg , the establishment of numerous German libraries connected with the ban on speaking French in public and with the Germanization of French place names. In the field of museums, Kurt Martin was given the leading position and was involved in preparing Wagner's "vision of a cultural model district of Alsace-Baden (...)."

State agent for museums in Alsace

On November 17, 1940, Martin, as “State Plenipotentiary for Museums in Alsace”, describes the starting position for Strasbourg in an article on the future of museums in “our Land on the Upper Rhine” under the new political circumstances: In the city, the Palais Rohan and the Women's shelter “a unique unit in Germany” of architecture from the Middle Ages and the 18th century and the corresponding museum holdings. The concept developed by Martin aimed in particular at aligning existing museums with more regional and local perspectives as public education centers. The concept included some peculiarities: among other things, that Mannheim with its ethnological museum should "represent the colonial claims of Germany through an important ethnological museum", while the army museum in Karlsruhe should still document the "German defense on the Upper Rhine". It is "constant testimony to the incomparable achievement of the country and the people for the emerging unity of the empire". Against this background, Martin defined it as the goal for the Strasbourg collection to expand it "on the European plan", that is, to develop it into a collection of European importance. Martin wrote on another occasion that his task “requires large resources because the consequences of French cultural propaganda in Alsace must be overcome and eradicated.” Martin wanted the museums to be reorganized according to “German museum technology, so that their effect on the people would be their radiation to the west is also guaranteed ”. He counted among his tasks that all Alsatian museums “should be cleared of French tendencies as well as of French material”. In a letter from November 1941 to several museum directors, Martin wrote: “All French cultural assets are to be separated from the existing ones, the extensive Alsatian material is to be sifted for what is worth exhibiting and, as is the almost completely missing German material, to be added [...]. "

Head of the Municipal Museums of the City of Strasbourg and General Representative for the Upper Rhine Museums

At Wagner's instigation, Martin became head of the City Museums of Strasbourg. He kept his position in Karlsruhe. From April 1, 1941, he became head of the general administration of the Upper Rhine Museums, i.e. all museums in Baden and Alsace. This went hand in hand with a salary jump for Martin. This was in return for Martin's decision not to move to Berlin in early 1941. Martin had refused to take over from Eberhard Hanfstaengl , who had been given a forced leave of absence in 1937 because he had resisted the destruction of “degenerate art”.

NK 2556: Meister von Frankfurt - St. Christopherus, acquired in 1942 from Paul Cassirer, Amsterdam

Expropriation of art possessions from "anti-people and imperial" assets

Martin - since 1940 “state plenipotentiary for the safeguarding of art possessions from property hostile to the people and the empire in Alsace” - considered the acquisition of art from such property in addition to the repatriation of art that the French had brought before the Germans into western areas of France as his "most urgent task". According to the National Socialists' definition, such assets were owned by nationals of all those countries with which the German Reich was at war, Alsatians loyal to France in particular ("enemies of the Reich") and Jews and politically unpopular people (" enemies of the people ").

As a state agent, Martin was involved in the " Aryanization " of Jewish property. For example, he carried out an action in Alsace to “secure works of art from property that is hostile to the empire and the people”. He reported on this in March 1941 to the head of the special order in Linz , Hans Posse . Martin describes how, as part of this campaign, the apartments of Jews and expelled (non-Jewish) French were inspected and - probably already expropriated - works of art were "seized" and taken to depots. Martin notes that no significant works of art have been found. He mentions, among others, two works by Eugenio Lucas , a picture from the circle of Giovanni Paolo Pannini and a family portrait by the Strasbourg painter Joseph Melling , as well as sculptures, tapestries and furniture. In the aforementioned denunciation from March 1945, Kurt Martin is accused of having covered his Strasbourg colleague Paul Martin when he returned the confiscated works of art from an "enemy of the Reich" to him. The works of art came from the Pautrier collection and are said to have been handed over by Paul Martin to the Swiss consul in Strasbourg, who is said to have received them for Pautrier.

Collection and storage of art

Kurt Martin was awarded the War Merit Cross without Swords in September 1941 as an award for the successful return of Alsatian cultural assets from the interior of France to Alsace . In January 1942 he reported: "I would like to announce that all museum property that had fled the dangers of war to the occupied and unoccupied territory of France has now returned to Alsace."

While he was working in Strasbourg, Martin hardly organized any exhibitions because works of art of great importance had to be stored during the war to protect them from war damage. The storage of the works of art was later one of his main activities alongside the procurement of new works of art. His assistant, Elfriede Schulze-Battmann, took over the scientific processing of medieval stained glass windows from Alsatian churches .

Art purchases

Between 1941 and 1944, Martin bought around 500 works of art from various sources. For this he had a budget of 2 million Reichsmarks. Wagner had given him a free hand in making purchase decisions. This made him “privileged” compared to the heads of other cultural institutions. Martin devoted himself to the new task with full strength and great success. Nonetheless, he wrote to a colleague in July 1943: "The war is gradually taking on forms that make further purchases for our museums seem questionable and hardly justifiable from the human side." The majority of the works are located in Strasbourg.

Art acquisition in France

In Paris between 1941 and 1943, Martin acquired a number of works of art, including around 80 paintings, from mostly French dealers for the Strasbourg collection, 23 of them through the art dealer Adolph Wüster, who is attached to the German embassy. He was also in contact with the German ambassador Otto Abetz , with whom Martin had known since his student days. A generally exonerating American intelligence report classifies Martin as a "personal expert for Abetz". Martin did not make acquisitions from the holdings of the Einsatzstab Reichsleiter Rosenberg , but he did acquisitions from gallery owners and art dealers who were enriched by the National Socialist art theft. Among others, the following paintings acquired by Martin are still in the Musée des Beaux-Arts de Strasbourg today:

Artist	title	MBA number	Art dealer	Continued sale	Sales year	footnote	Illustration
Alfred Sisley	Landscape with house	MBA 1675	about Adolf Wüster at Fabiani's	Paris	March 25, 1942
Jean-Baptiste Camille Corot	View of the bell tower of Sainte Paterne in Orléans	MBA 1677	about Adolf Wüster from Renou & Colle	Paris	March 27, 1942
Francisco de Goya	Portrait of Bernardo d'Yriarte	MBA 1660		Paris	1942
Philipp Jakob Loutherbourg the Younger	Love scene in a park	MBA 1671		Paris	1942
Michel-Martin Drolling	Portrait of a girl	MBA 1681		Paris	1942
Thomas Couture	The decadence of the Romans (sketch)	MBA 1674		Paris	1942
Michel-Martin Drolling	Child with leg of mutton	MBA 1625 = 1625b		Paris	1942
Jean-Baptiste Oudry	Hunting scene	MBA 1668		Paris	1942
Jean-Baptiste Oudry	Hunting scene	MBA 1669		Paris	1942
Anthony van Dyck	Portrait of a woman	MBA 1651		Paris	1942
Emanuel de Witte	Inside of a gothic church	MBA 1655		Paris	1942
Louis Tocqué	Portrait of the Comtesse Loménie de Brienne	MBA 1665		Paris	1942
Jacques Linard	Allegory of the five senses with a landscape	MBA 16 ??		Paris	1941

Art acquisition in the Netherlands

From late 1941 to 1944, Martin acquired around 40 paintings and a number of other art objects in the Netherlands. Some works with Dutch provenance that Martin acquired are now part of the Nederlands Kunstbezit Collection (NK-Collection) or, in one case, have been restituted.

The following of Martin's acquisitions are recorded in the database of the NK Collection:

Artist	title	NK number	Art dealer	Point of sale	Sales year	footnote	Illustration
Copy after Francesco Guardi	Capriccio	NK1613	DA Hoogendijk & Co.	Amsterdam	1943
Jan van der Venne (formerly attributed)	Baptism of christ	NK1617	DA Hoogendijk & Co.	Amsterdam	1942
Gillis van Coninxloo	Still life with flowers	NK1801	H. Rudolph	Berlin	1942
Jan van Goyen	Winter landscape	NK1820	P. de Boer	Amsterdam	1943
Frans van Schooten	Still life with a pewter jug, prawns and cheese	NK1875	H. Abels	Cologne	1940
Daniel Vosmaer	Landscape with a manor house	NK1986	P. de Boer	Amsterdam	1942
Oskar Kokoschka	Still life with fish on the beach	NK2372	Paul Cassirer	Amsterdam	1943
Bernhard Strigel	Descent from the Cross	NK2500	DA Hoogendijk & Co.	Amsterdam	1942
Jan Anthoniszoon van Ravesteyn	Portrait of a woman	NK2527	N. Beets	Amsterdam	from 1940
Gerard ter Borch	Couple making music / music lesson	NK2740	Mühlmann office	The hague	1942
Abraham van Calraet	Landscape with Horsemen	NK2436	Kurt Walter Bachstitz	The hague	1943
Master of Frankfurt	Saint Christopher	NK2556	Paul Cassirer	-	1942
Barend Averkamp	Winter landscape	NK2482	MJ Schiltman	The hague	?
Peter Binoit	Still life with fruits	NK1619	P. de Boer	Amsterdam	1941
Jan van Goyen	River landscape with a church	NK2614	D. Katz	Dieren	?
Adrian Thomas Key	Portrait of a Man	NK2627	DA Hoogendijk & Co.	Amsterdam	1942
Master of Cappenberg (previously attributed)	Circumcision of Jesus	NK1614	J. Dik	Amsterdam	1942
Roelant Savery	Landscape with animals	NK2478	Paul Cassirer	Amsterdam	1942
Gerard ter Borch	Elbow of Cornelis de Graeff (1650–1678)	NK2925	E. Plietzsch	The Hague / Berlin	1944
Anonymous Elias Vonck (?)	Peasant girl in countryside	NK1616	Paul Cassirer	Amsterdam	1942
Paul de Vos	Hunting piece	NK2418	P. de Boer	Amsterdam	1942
Georg Flegel (formerly attributed to Peter Binoit )	Still life with flowers, fruits, nuts and a mouse	NK1615	Matthiessen Gallery	Berlin	1943
Jan Siberechts	Landscape with Shepherds, Sheep and Cows	NK1618	C. Th. F. Thurkow	-	1942
Willem Kalf	Still life (with Chinese bowl and goblet)	NK2491	MJ Schiltman	Amsterdam	from 1940
Jan van der Heyden	Cityscape	NK2441	P. de Boer	Amsterdam	1942

The following are known of the works that Martin acquired in the Netherlands for Strasbourg and that were returned to Strasbourg from their relocation sites in Germany after the war:

Artist	title	MBA number	Art dealer	footnote	Illustration
Philips Wouwerman	River landscape with gypsies	MBA 1963 / MAMCS 44.976.0.6	DA Hoogendijk & Co.
Conrad Faber from Kreuznach	Portrait of Anna Martoffin	MBA 1965 a. 1985	DA Hoogendijk & Co.
Pieter Claesz	Still life with cancer	MBA 1960	Van der Ploeg on Eduard Plietzsch
Nicoletto Semitecolo (or Maestro del Crocifisso di Pesaro), formerly attributed to Antonio Veneziano .	Pentecost	MBA 1966	Kurt Walter Bachstitz
Joachim Beuckelaer	fish market	MBA 1960	Pieter de Boer
Gerrit Willemsz Horst	Soldiers playing dice	MBA 1967
Leopold von Kalckreuth	Marie	MBA 1968 / MAMCS 55.974.0516
Cornelis Jacobsz Delff	Still life	MBA 1703	DA Hoogendijk & Co.
Cornelis van Haarlem	Earthly and heavenly love	MBA 1969
Willem van de Velde the Younger	marine	MBA 1964
Francesco Bassano the Younger and workshop	Mocking Christ	MBA 2026

Art acquisition in Germany

On January 5, 1943, Germany's war opponents passed the Inter-Allied Declaration in London. According to this, all legal transactions and transfers of ownership in the areas occupied by Germany from 1939 until the end of the war were to be legally ineffective. Martin was familiar with this declaration. Because of this declaration, Martin bought mainly in Germany from 1943 onwards, and less so in France and the Netherlands. For example, between January 27 and 29, 1943, the General Administration of the Upper Rhine Museums bought a limestone wall group showing the Entombment of Christ and an alabaster figure of Mary. Both works came from the property of the Jewish industrialist and art collector Harry Fuld, the son of the 1932 deceased Harry Fuld . He had to leave the works behind in Germany when he fled in 1936.

Army Museum of Strasbourg

In June 1941, Robert Wagner commissioned Martin to relocate the Baden Army Museum to Strasbourg. Strasbourg was to become the new capital of the Upper Rhine Gaus. Martin justified his reluctance to do so by saying that in Strasbourg he would be forced to honor the participation of Alsatians in the Napoleonic Wars. This threatens "the danger that, despite all caution on the part of the Germans, a place will be created where the French tradition could gather." At the mediation of the head of the army museums, General of the Infantry Friedrich Roese, an exhibition was finally opened in Strasbourg. The Alsatians' contributions to Napoleon's military successes were not mentioned. At the end of September 1941, Friedrich Roese appointed Martin's colleague and later successor from Karlsruhe, Jan Lauts, to be the director of the museum . Kurt Martin had suggested him for this position and thus saved him from being used at the front. In the spring of 1943 Hitler personally classified the Army Museum in Strasbourg because of its importance for "history education" and "defense advertising" as an "important war matter". It was opened on May 5, 1944, but was closed due to the war on August 18, 1944 by order of the Wehrmacht High Command .

Allegations of personal enrichment

After the war, Martin admitted to the American art protection officer Walter W. Horn that in October 1944 he had persuaded Ludwig Moser , then acting director of the Badisches Landesmuseum , to untruthfully certify that paintings and antique handicrafts had been bombed. Moser had previously reported Martin (and himself) to Horn and accused Martin of further "sinister and dishonorable professional dealings" and a friendly relationship with Robert Wagner. According to Horn, it was an act of resentment by a neglected, “neurotic” competitor who was not to be taken seriously. Only the accusation regarding false confirmations is worth checking. As Horn reports, Martin explained his procedure as follows: This was not done in order to embezzle the works. On the contrary: it was his intention to protect the art treasures from Allied confiscation.

In the previously mentioned denunciation from March 1945, which can hardly be checked for truthfulness, Martin is accused of having sold numerous works of art and furniture to a "Min.-Rat Krafft" in return for a stamp collection for his own profit. Martin's employees are said to have tapped his phone and discovered that French works of art (“definitely a Delacroix”) were being transferred to a Mannheim manufacturer named Hans Engelhorn. Martin himself also has an unusually large art collection of his own.

post war period

In the post-war period , the American authorities assessed him partly very positively and partly cautiously. He was able to resume his work as director of the Karlsruhe Kunsthalle immediately in the summer of 1945, in particular because Walter W. Horn and French art protection officers as well as his former French employees from Strasbourg confirmed his high integrity and qualifications. Kurt Martin assisted the French and American authorities in locating and recovering the works of art that had been stored to protect them from the effects of war.

Martin tried to get the international exchange of cultural goods and exhibitions going again after the war. In 1946 he was a co-founder of the International Council of Museums (ICOM) and for 15 years head of the German National Committee, the importance of which has increased since the beginning of his term of office, which can be seen, among other things, in the increasing number of members: at the end of the 1950s the association had 41 members, at the end of in the 1960s there were already more than two hundred.

As early as 1947, he was able to exhibit the masterpieces of the Karlsruhe Kunsthalle in St. Gallen , which had previously been packaged . He added a museum education department to the museum, which he reopened in 1951, which was new for the time. He shaped the collection primarily through the acquisition of 20th century art. His first exhibition in his own house, in the spring of 1948, was also the first presentation of American art in Germany after the war.

As early as 1948 he curated an exhibition of German art in several cities in the USA . In 1950 he was responsible for the exhibition Des maîtres de Cologne à Albrecht Dürer in Paris with works of old German painting, organized as a sign of Franco-German reconciliation . He gave the impetus for the exhibition German watercolors, drawings and prints: A midcentury review , which was shown in 1956 by the federal government in the USA. Martin was one of the founders of Club 53 of the Kassel documenta , which first took place in 1955 as an exhibition for contemporary art , and was a member of the documenta council for many years.

From 1948 until shortly before his death in 1975 he was a member of the administrative board of the Germanisches Nationalmuseum in Nuremberg .

In 1956 he became director of the Karlsruhe Art Academy . In the same year he posthumously edited the manuscripts of Karl Hofer , the expressionist painter and rector of the Berlin University of Fine Arts .

In 1957 he moved to Munich as the successor to Ernst Buchner to become General Director of the Bavarian State Painting Collections . He held this position until his retirement in 1964. Martin rearranged the holdings and closed gaps through acquisitions and foundations. He was particularly committed to expanding the Munich museums to include works of modern art. For example, in 1964 he acquired Pablo Picasso's "Madame Soler" from the art dealer Justin Thannhauser . In some cities in Bavaria he set up branch museums, which he equipped with paintings from depots. During his term of office, the controversial return or sale of a number of works of art, initially expropriated or confiscated after the war, to the families of Nazi functionaries Göring, von Schirach, Frank and Streicher.

In 1960 he had the architect Sep Ruf (including the new building of the Germanisches Nationalmuseum) build a bungalow with an atrium on a 3,000 square meter plot of land in the Menterschwaige villa colony in Munich- Harlaching at Hermine-Bland-Straße 3 , which has been a listed building since 2003 . The acquisition of the property was criticized by the Bavarian Supreme Audit Office as being too cheap (35.00 DM / m² instead of the achievable 70.00 DM / m²).

In 1963 he received the Bavarian Order of Merit , in 1964 he was promoted to Dr.-Ing. eh appointed by the TH Karlsruhe .

From 1965 Martin headed the commission that was responsible for distributing the remaining works of art from the Munich Central Art Collecting Point . A few years ago, the majority of the works were listed by the Bayerische Staatsgemäldegalerie as reports of so-called looted art and published on the Internet.

He was also involved in the design of the art program for the 1972 Olympic Games in Munich.

Private

Kurt Martin was Protestant . He had been married to the doctor Hildegard Wangrin since 1928.

Appreciation

Kurt Martin was one of the leading museum directors of his time. The art historian and full-time Karlsruhe provenance researcher Tessa Rosebrock, who u. a. financed by the city of Strasbourg, has examined his life most closely to date, comes to the conclusion for the first few years of his career that, despite external adjustments, he was in internal opposition to the Nazi regime. His character saved him from "being more infected by the brown ideology (...)". The Saarbrücken contemporary historian Rainer Möhler, however, doubts Martin's distance from National Socialism. Martin's biography can be compared with that of his “colleague” in occupied Alsace, the general music director Hans Rosbaud (1895–1962), “also a proven expert, personally with integrity and not a drooling National Socialist, but appointed and supported by the unscrupulous NSDAP Gauleiter Wagner, who flanked his ruthless Germanization policy in the illegally 'cold' annexed Alsace with a 'positive' national-socialist cultural work in music, science and art ”. The Munich provenance research colleague and art historian Andrea Bambi also suggests doubts about Rosebrock's assessment, making Rosebrock's assessment "thoughtful".

According to Bambi, Martin’s work after the war is characterized by exemplary, international museum-political development work. "As a co-founder of the International Council of Museums, advisor to the Foreign Office, director of the Bavarian State Painting Collections from 1957 and advisor to the first Documenta and the Olympic Games, he had a major impact on German museum history in the 1960s and 1970s."

Kurt Martin's scientific interests were widespread. He published numerous publications on the art of the Middle Ages and the Renaissance , on French painting of the 19th century and on modern art .

Publications (selection)

• The Nuremberg monumental sculpture in the first half of the 14th century. Dissertation, University of Munich 1924
• The Nuremberg stone sculpture in the 14th century. Cassirer, Berlin 1927.
• German poet as painter and draftsman. Catalog of the Heidelberg exhibition. June 28 to August 31, 1931. Heidelberg. Winter, Heidelberg 1931.
• City of Schwetzingen (= The Art Monuments of Baden Volume 10: The Art Monuments of the Mannheim District , Second Section). CF Müller, Karlsruhe 1933.
• as editor: Jacob Burckhardt and the Karlsruhe gallery. Letters and reports. State Art Gallery, Karlsruhe 1941.
• Introduction to: Hans Thoma: Portraits of the family. Pictures and testimonials. = Portraits of the family of Hans Thoma (= Der Kunstbrief. 17, ZDB -ID 847345-6 ). Mann, Berlin 1947.
• Grünewald's crucifixion in the Karlsruhe gallery in the description by Joris Karl Huysmans. Kupferberg, Mainz 1947.
• Painting and sculpture in the Middle Ages from southwest Germany. = Peintures et sculptures du Moyen-age de l'Allemagne du Sud-Ouest. Kurhaus Baden-Baden, June - July 1947. Klein, Baden-Baden 1947, (exhibition catalog).
• Introduction to: Edouard Manet The shooting of Emperor Maximilian of Mexico (= The Art Letter. 55). Mann, Berlin 1948.
• as editor with Maurice Jardot: The masters of contemporary French painting. Klein, Baden-Baden 1948.
• as editor: Sketchbook by Hans Baldung Grien. “Karlsruhe Sketchbook” (= publication by the Holbein Society. 2, ZDB -ID 793402-6 ). 2 volumes. Holbein-Verlag, Basel 1950, (2nd edition. Phoebus-Verlag, Basel 1959).
• Introduction to: minstrels. Eighteen color reproductions from the Manessian song manuscript. Klein, Baden-Baden 1953, (several editions).
• Karl Hofer. Staatliche Kunsthalle Karlsruhe, March 27, 1954 to April 25, 1954. Karlsruhe, Hamburg 1954, (exhibition catalog).
• as editor: Kunst des Abendlandes. (A picture atlas in four volumes). 4 volumes. Braun, Karlsruhe 1955–1963.
• Guide through the Hans-Thoma-Museum. State Art Gallery, Karlsruhe 1957.
• Schwetzingen Palace and Gardens. Official guide through the palace and garden of Schwetzingen. Photos by Erich Bauer. Müller, Karlsruhe 1957.
• The Ottonian murals of St. George's Church in Reichenau-Oberzell (= Reichenau-Bücherei. 2, ZDB -ID 502159-5 ). Thorbecke, Konstanz 1961, (2nd, revised and expanded edition. Thorbecke, Sigmaringen 1975, ISBN 3-7995-3502-0 ).
• Alte Pinakothek Munich (= Great Art Guide. 37, ZDB -ID 259293-9 ). Schnell & Steiner, Munich et al. 1961 (several editions).
• The four apostles. Albrecht Dürer (= Reclam's Universal Library . No. 9087 = work monographs on the fine arts in Reclam's Universal Library. 87). Reclam, Stuttgart 1963.
• The painter Emanuel Fohn. Prestel, Munich 1965.
• Fates of the Isenheim Altarpiece. Memories from 1936 to 1945. In: Cahiers Alsaciens d'Archéologie, d'Art et d'Histoire. Vol. 11, 1967, ISSN  0575-0385 , pp. 211-216.
• as editor: The Battle of Alexander by Albrecht Altdorfer. Bruckmann, Munich 1969.
• as a contributor: sport in art. = Sport in art. = Le sport dans l'art. Catalog for the open-air exhibition for the Games of the 20th Olympiad in 1972. August 2nd - September 20th. Bruckmann, Munich 1972, ISBN 3-7654-1463-8 .
• Memories of French cultural policy in Freiburg i. Br. After the war. Thorbecke, Sigmaringen 1974, ISBN 3-7995-4023-7 .

literature

• Jan Lauts : Kurt Martin . In: Kunstchronik 28 (1975), pp. 206-216.
• Elfriede Schulze-Battmann : Kurt Martin . In: Badische Biographien NF 1, Kohlhammer, Stuttgart 1982, ISBN 3-17-007118-1 . Pp. 204-206.
• Elfriede Schulze-Battmann:  Martin, Kurt. In: New German Biography (NDB). Volume 16, Duncker & Humblot, Berlin 1990, ISBN 3-428-00197-4 , p. 281 f. ( Digitized version ).
• Christiane Fork: Martin, Kurt . In: Metzler Kunsthistoriker Lexikon. Two hundred and ten portraits of German-speaking authors from four centuries . 2nd Edition. Metzler, Stuttgart 1999, ISBN 978-3-476-02183-0 , pp. 276-277.
• Elodie Thouvenin: Kurt Martin et les musées alsaciens pendant l'Occupation (1940-44) . In: Cahiers alsaciens d'archéologie, d'art et d'histoire 45, 2002, pp. 165–177.
• Tessa Friederike Rosebrock: The Strasbourg museums in the period 1940–1944. Return, purchase and salvage of works of art under Kurt Martin and the General Management of the Upper Rhine Museums . In: Yearbook of the State Art Collections in Baden-Württemberg 43, 2006, pp. 99–122.
• Ernst Klee : The cultural lexicon for the Third Reich. Who was what before and after 1945. S. Fischer, Frankfurt am Main 2007, ISBN 978-3-10-039326-5 .
• Tessa Friederike Rosebrock: Kurt Martin and the Musée des Beaux-Arts de Strasbourg. Museum and exhibition policy in the “Third Reich” and in the immediate post-war period. Akademie-Verlag, Berlin 2012, ISBN 978-3-05-005189-5 ; E-book ISBN 978-3-05-006244-0 .
• Rainer Möhler: Review by: Tessa Friederike Rosebrock, Kurt Martin and the Musée des Beaux-Arts de Strasbourg. In: Francia-Recensio 2012/3 | 19./20. Century - Histoire contemporaine, [13. September 2012], last viewed on December 9, 2015.

Web links

• Literature by and about Kurt Martin in the catalog of the German National Library
• Kurt Martin in the Dictionary of Art Historians
• Der Spiegel from November 15, 1971, “Not difficult to recognize”, p. 65
• Find reports from the Bayerische Staatsgemäldesammlungen, last viewed on November 20, 2014
• Der Spiegel from January 28, 2013, p. 34
• Kurt Martin at leo-bw (Baden-Württemberg regional information system)

Individual evidence

1. ^ Tessa Friederike Rosebrock: Kurt Martin and the Musée des Beaux-Arts de Strasbourg. Museum and exhibition policy in the 'Third Reich' and in the immediate post-war period . Akademie-Verlag, Berlin 2012, p. 48.
2. ↑ ^{a b c d e f} Elfriede Schulze-Battmann:  Martin, Kurt. In: New German Biography (NDB). Volume 16, Duncker & Humblot, Berlin 1990, ISBN 3-428-00197-4 , p. 281 f. ( Digitized version ).
3. ^ Josef Werner: Karlsruhe 1945: under swastika, tricolor and stars and stripes brown, Karlsruhe 1985, ISBN 3-7650-8047-0 , 9783765080470, p. 253 Google Books .
4. ^ Meinhold Lurz: Hartlaub, Gustav Friedrich. In: Baden-Württembergische Biographien , Volume 1. 1994, ISBN 978-3-17-012207-9 , p. 129 f. ( Text at LEO-BW ).
5. ↑ Rosebrock: “Kurt Martin”, p. 378ff., Doc. 11, p. 4 (letter from SD with annex “Concerning opaque machinations of the former director of the state art collections, Dr. Martin - Isenheimer Altar”, in Federal Archives, R 4901 , Vol. 5, No. 12261).
6. ↑ Rosebrock: "Kurt Martin", p. 49 ff.
7. ^ Ernst Klee : The dictionary of persons on the Third Reich . Who was what before and after 1945 (= The time of National Socialism. Bd. 16048). Updated edition. Fischer-Taschenbuch-Verlag, Frankfurt am Main 2005, ISBN 3-596-16048-0 , p. 651, s. a. Rosebrock: "Kurt Martin", pp. 25–34.
8. ^ Association of Friends of the Defense History Museum Schloss Rastatt e. V. (Ed.): Walk through history. 75 years of the Defense History Museum and 50 years of the Association of Friends of the WGM. Catalog for the special exhibition from July 18 to October 31, 2009 in the Military History Museum in Rastatt (= Catalog No. 7 from the series of study collections and special exhibitions in the Military History Museum in Rastatt), Karlsruhe 2009, ISBN 3-9810460-3-X , p. 10, s. a. Rosebrock: "Kurt Martin", pp. 49–53.
9. ↑ Der Führer , edition of May 13, 1934: "Major military concert with fireworks in the city garden", "The march on Sunday", "Call to the soldiers", "A tour through the army museum".
10. ↑ Der Führer , edition of May 13, 1934, Le Temps , edition of May 13, 1934, p. 1, "DÉPÊCHES DEJ." ÉTRANGER ” , s. a. Rosebrock: "Kurt Martin", pp. 49–53.
11. ^ Badische Werkkunst born 1934/35, August., Pp. 1–4 and Durlacher Tagblatt , edition of May 14, 1934.
12. ↑ Der Fuehrer , edition of May 13, 1934, p. 1: “The Badische Army Museum opens: A base for German hope for the future. Giant rally on the Karlsruher Schloßplatz - Reichsstatthalter Robert Wagner on the importance of the museum ”.
13. ^ Association of Friends of the Defense History Museum Schloss Rastatt e. V. [Ed.]: “Walk through history”, p. 10.
14. ↑ ^{a b} Rosebrock: "Kurt Martin", p. 63.
15. ^ ^{A b c d e} Staatliche Kunsthalle Karlsruhe, in Oberrheinische Kunst. Yearbook of the Upper Rhine Museums . Vol. 8 (1939), pp. 199-203. According to Rosebrock: "Kurt Martin", pp. 61 and 75, Martin closed the museum for several years after starting work. His aim was to divert public attention from the museum. The renovation work was only a pretext.
16. ^ ^{A b c} Karlsruhe State Art Gallery, in Upper Rhine Art. Yearbook of the Upper Rhine Museums, vol. 8 (1939), p. 200.
17. ↑ Staatliche Kunsthalle Karlsruhe (activity report 1938/39), in Oberrheinische Kunst. Yearbook of the Upper Rhine Museums. Vol. 9 (1940), pp. 226-227, s. a. Rosebrock: "Kurt Martin", p. 62.
18. ↑ s. on this Der Fuehrer , edition of June 26, 1939, p. 4: “The Hans-Thoma-Show in Karlsruhe (...) conversation with director Dr. Martin von der Staatliche Kunsthalle ”and from July 2, 1939, p. 4:“ Hans Thoma Memorial Exhibition in Karlsruhe. 180 selected masterpieces - the first exhibition in Germany for the 100th birthday of the master ”.
19. ↑ State Art Gallery Karlsruhe, in Upper Rhine Art. Yearbook of the Upper Rhine Museums . Vol. 8 (1939), p. 201.
20. ↑ Rosebrock: "Kurt Martin", pp. 64 and 69 f. The art losses are not mentioned in Martin's accounts.
21. ↑ Staatliche Kunsthalle Karlsruhe (activity report 1938/39), in Oberrheinische Kunst. Yearbook of the Upper Rhine Museums . Vol. 9, 1940, pp. 226-227, s. a. Rosebrock: "Kurt Martin", pp. 61–64.
22. ^ ^{A b} Andrea Bambi: Review by: Tessa Friederike Rosebrock: Kurt Martin and the Musée des Beaux-Arts de Strasbourg. Museum and exhibition policy in the Third Reich and in the immediate postwar period, Berlin: Akademie Verlag, 2012 . In: Sehepunkte review journal for the historical sciences . 2012. Retrieved November 20, 2015.
23. ↑ Stadtwiki Karlsruhe Bankhaus Homburger ; Provenance researcher clarifies origin ( memento from October 25, 2012 in the Internet Archive )
24. ^ Georg Patzer: "Monument Men" in Karlsruhe. In: Jüdische Allgemeine , February 18, 2014
25. ↑ Lost Art database .
26. ↑ Heidelberg History Association .
27. ^ Kurt Martin: Directory of the paintings, drawings and graphic sheets acquired by the Staatliche Kunsthalle Karlsruhe since 1933 from Jewish property . Karlsruhe, January 28, 1947. In: US-NARA, RG 260, M1947. Textual records created at the Wiesbaden Central Collecting Point. Roll 1st General Records. Art Intelligence: Kunsthalle. Sheet 1–11; s. a. Marlene Angermeyer-Deubner: The art gallery in the Third Reich. In: Stilstreit and Führerprinzip . Badischer Kunstverein Karlsruhe, Karlsruhe 1987, pp. 139, 155. and Rosebrock: "Kurt Martin", p. 101.
28. ^ Paul Graupe (Ed.): The holdings of the company Galerie van Diemen & Co., GmbH - old art, antiques, GmbH: both in liquidation; II. (Last) part; on April 26 and 27, 1935 (catalog no. 142), lot number 80, digitized version of Heidelberg University Library ; Gunnar Schnabel, Monika Tatzkow: “Nazi Looted Art. Manual. Art restitution worldwide ”, Berlin 2007, p. 265ff; for the gallery, see entry on www.lostart.de: Jewish collectors and art dealers (victims of National Socialist persecution and expropriation) for a reassessment of this auction see UK Spoliation Advisory Panel Report of September 16, 2015 Web ISBN 9781474124348 .
29. ^ Provenance Research: Staatliche Kunsthalle Karlsruhe (State Art Gallery of Karlsruhe) .
30. ↑ Rosebrock: "Kurt Martin", p. 100 and Doc. 7.
31. ↑ Monika Tatzkow: 'Practically smashed'. The Adolf Bensinger Art Collection, Mannheim . In: Christiane Fritsche, Johannes Paulmann (Ed.): 'Aryanization' in German cities . Boehlau, Cologne, Weimar, Vienna 2014, ISBN 978-3-412-22160-7 , pp. 260–283.
32. ↑ Monika Tatzkow: 'Practically smashed'. The Adolf Bensinger Art Collection, Mannheim . In: Christiane Fritsche, Johannes Paulmann (Ed.): 'Aryanization' in German cities . Boehlau, Cologne, Weimar, Vienna 2014, ISBN 978-3-412-22160-7 , p. 270 with reference to files of the Kunsthalle Karlsruhe from the General State Archives Karlsruhe.
33. ↑ Monika Tatzkow: 'Practically smashed'. The Adolf Bensinger Art Collection, Mannheim . In: Christiane Fritsche, Johannes Paulmann (Ed.): 'Aryanization' in German cities . Boehlau, Cologne, Weimar, Vienna 2014, ISBN 978-3-412-22160-7 , p. 271.
34. ↑ Monika Tatzkow: 'Practically smashed'. The Adolf Bensinger Art Collection, Mannheim . In: Christiane Fritsche, Johannes Paulmann (Ed.): 'Aryanization' in German cities . Boehlau, Cologne, Weimar, Vienna 2014, ISBN 978-3-412-22160-7 , p. 272.
35. ↑ Monika Tatzkow: 'Practically smashed'. The Adolf Bensinger Art Collection, Mannheim . In: Christiane Fritsche, Johannes Paulmann (Ed.): 'Aryanization' in German cities . Boehlau, Cologne, Weimar, Vienna 2014, ISBN 978-3-412-22160-7 , p. 273.
36. ↑ Monika Tatzkow: 'Practically smashed'. The Adolf Bensinger Art Collection, Mannheim . In: Christiane Fritsche, Johannes Paulmann (Ed.): 'Aryanization' in German cities . Boehlau, Cologne, Weimar, Vienna 2014, ISBN 978-3-412-22160-7 , pp. 277–281.
37. ↑ Rosebrock: "Kurt Martin", pp. 30–34
38. ^ Bernhard von Hülsen: Change of scenery in Alsace: Theater and society in Strasbourg between Germany and France 1890-1944 . Leipzig 2003, ISBN 3-936522-74-X , Google Books , p. 361.
39. ^ Bernhard von Hülsen: Change of scenery in Alsace: Theater and society in Strasbourg between Germany and France 1890-1944. Leipzig 2003, ISBN 3-936522-74-X , PUB-ID 2434977, pp. 360, 385.
40. ^ Lothar Kettenacker: "National Socialist Volkstumsppolitik im Elsaß", Stuttgart 1973, pp. 180-183
41. ^ Lothar Kettenacker: "National Socialist People's Politics in Alsace", Stuttgart 1973, p. 74
42. ↑ Rosebrock: "Kurt Martin", p. 83 f.
43. ↑ The Palais Rohan housed the Archaeological Museum ( Musée Archéologique ), the Museum of Applied Arts ( Musée des Arts décoratifs ), the Cabinet of Prints and Drawings ( Cabinet des estampes et dessins ) and the Museum of Fine Arts ( Musée des Beaux-arts ).
44. ↑ Der Führer, special edition November 17, 1940, "Museums on the Upper Rhine"
45. ↑ Rosebrock: "Kurt Martin", p. 353, Doc 4
46. ↑ Rosebrock: "Kurt Martin", p. 92
47. ↑ Rosebrock: "Kurt Martin", p. 202.
48. ↑ Rosebrock: "Kurt Martin", p. 90
49. ↑ Rosebrock: “Kurt Martin”, pp. 70–75 and 91 and Doc. 5 of August 6, 1941 AMS 7 MW 249 - “(...) but it is on the part of the CdZ in return for his appointment Berlin has refused, a corresponding expansion of its position in Strasbourg and Karlsruhe has been promised. (…) Mr Martin also wishes that no purchasing commission be placed at his side, but that he only talk to his head of department about the purchases intended from the city budget. to negotiate with the City Commissioner ”. Rosebrock calculates his remuneration at RM 13,948 annually instead of the original RM 9,868, but below the RM 18,500 that Martin could have earned in Berlin.
50. ^ Ernst Klee: The culture lexicon for the Third Reich. Who was what before and after 1945. S. Fischer, Frankfurt am Main 2007, p. 395.
51. ↑ Rosebrock: "Kurt Martin", p. 96 and Doc 6.
52. ^ Letter from Hans Posse to Martin Bormann. Dresden, April 15, 1941 and copy of the report on the seizure of works of art from property hostile to the empire and the people in Alsace. The state agent for museums in Alsace. (signed) Dr. Martin. Strasbourg, March 12, 1941. In: US-NARA, RG 260. Administrative records, correspondence, denazification orders, custody receipts, property cards, Jewish restitution claim records, property declarations, and other records from the Munich CCP. Correspondence of Hans Bormann and Martin (!) Posse, April 41 - June 1941. Pages 14–16.
53. ↑ Rosebrock: "Kurt Martin", p. 376ff, doc. 11, p. 4, (letter SD with annex “Re. Opaque machinations of the former director of the state art collections, Dr. Martin - Isenheimer Altar”, in Federal Archives, R 4901, Vol. 5, No. 12261)
54. ^ Perhaps the doctor Lucien-Marie Pautrier
55. ↑ Rosebrock: "Kurt Martin", p. 82f
56. ↑ Rosebrock: "Kurt Martin", p. 162f u. 191-200
57. ↑ Preservation of monuments in Baden-Wuerttemberg - Newsletter of the State Preservation of Monuments, Vol. 30, No. 4 (2001) [Obituary by Dr. Elfriede Schulze-Battmann, Schulze-Battmann is the author of Martin's entry in the New German Biography.] .
58. ↑ Andrea Christine Bambi: Review by Tessa Friederike Rosebrock, Kurt Martin and the Musée des Beaux-Arts de Strasbourg. In: sehepunkte 12, 2012, No. 6 [15. June 2012], last accessed: April 9, 2014
59. ↑ Rosebrock: "Kurt Martin", s. 162 below.
60. ↑ Rosebrock: "Kurt Martin", p. 274ff
61. ↑ Rosebrock: "Kurt Martin", pp. 131–136, on Wüster see: Persons and corporations involved in the Nazi art theft on www.lostart.de ( Memento from November 29, 2014 in the Internet Archive )
62. ^ Critical to this assessment: Rosebrock: "Kurt Martin", p. 343
63. ↑ Rosebrock: "Kurt Martin", p. 170.
64. ↑ References in Rosebrock: "Kurt Martin", pp. 135–144
65. ^ Wüster to Martin, invoice, March 25, 1942, in: GLA 441 Zug. 1981/70, No. 377. According to: Rosebrock: "Kurt Martin", pp. 135-136.
66. ^ Renou & Colle: Confirmation, August 26, 1942, in: GLA 441 Zug. 1981/70, No. 377. According to: Rosebrock: "Kurt Martin", p. 137.
67. ↑ Approval for the purchase and export from France by the German art protection department, January 14, 1942, in: GLA 441 Zug. 1981/70, No. 377. After: Rosebrock: "Kurt Martin", p. 143. Hans Haug: Demain s'effectuera au Palais des Rohan la réouverture du Musée des Beaux-Arts de Strasbourg, in: DNA, October 29 1948. According to: Rosebrock: "Kurt Martin", p. 5.
68. ↑ ^{a b c} Approval for the purchase and export from France by the German art protection department, January 14, 1942, in: GLA 441 Zug. 1981/70, No. 377. According to: Rosebrock: "Kurt Martin", pp. 143-144.
69. ↑ Approval for the purchase and export from France by the German art protection department, January 14, 1942, in: GLA 441 Zug. 1981/70, No. 377. According to: Rosebrock: "Kurt Martin", p. 143.
70. ^ ^{A b} Hans Haug: Demain s'effectuera au Palais des Rohan la réouverture du Musée des Beaux-Arts de Strasbourg, in: DNA, October 29, 1948. After: Rosebrock: "Kurt Martin", p. 5. Hans Haug: Acknowledgment of receipt 2 Oudry, 1 Bassano, December 19, 1945, in: MAE carton no. 336, D 23, Strasbourg I 1, 2, 3, 4, 5, 8. According to: Rosebrock: “Kurt Martin”, p. 267.
71. ^ ^{A b c} Hans Haug: Demain s'effectuera au Palais des Rohan la réouverture du Musée des Beaux-Arts de Strasbourg, in: DNA, October 29, 1948. According to: Rosebrock: "Kurt Martin", p. 3.
72. ^ Ernst Klee: The culture lexicon for the Third Reich. Who was what before and after 1945. S. Fischer, Frankfurt am Main 2007, p. 395.
73. ^ A comprehensive overview in Rosebrock: "Kurt Martin", p. 125, note 171, especially p. 147–160 and p. 170
74. ↑ www.herkomstgezocht.nl. Recommendation regarding Mayer 7 March 2011 . (No longer available online.) Archived from the original on September 24, 2015 ; accessed on January 23, 2018 . Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  
75. ↑ www.herkomstgezocht.nl NK 1613, last viewed on May 19, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved May 19, 2014. 
76. ↑ www.herkomstgezocht.nl NK 1617, last viewed on May 19, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved May 19, 2014. 
77. ↑ www.herkomstgezocht.nl NK 1801, last viewed on May 19, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved May 19, 2014. 
78. ↑ www.herkomstgezocht.nl NK 1820, last viewed on May 19, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved May 19, 2014. 
79. ↑ www.herkomstgezocht.nl NK 1875, last viewed on May 19, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved May 19, 2014. 
80. ↑ www.herkomstgezocht.nl NK 1986, last viewed on May 19, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved May 19, 2014. 
81. ↑ www.herkomstgezocht.nl NK 2372, last accessed on May 19, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved May 19, 2014. 
82. ↑ www.herkomstgezocht.nl NK 2500, last seen on May 19, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved May 19, 2014. 
83. ↑ www.herkomstgezocht.nl NK 2527, last viewed on May 19, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved May 19, 2014. 
84. ↑ www.herkomstgezocht.nl NK 2740, last viewed on May 19, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved May 19, 2014. 
85. ↑ www.herkomstgezocht.nl NK 2740, last viewed on May 19, 2014 ( memento of the original from September 24, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. There is talk of an acquisition by the Kunsthalle Hamburg. Already in the recommendation of the Dutch Restitutiecommissie RC 1.78 from 2009, para. 15, but it is said that the work was acquired by Kurt Martin during the war (see Generallandesarchiv Karlsruhe, signature no. 441 access 1981/70). During the war, Martin acquired a number of handicrafts as well as medals and coins from the same Jewish art dealer (see Dutch National Archives, HA-Na-SNK Inv. No. 2.08.42 No. 285 Verkoopen Dr. K. Martin (…) and Federal Archives Koblenz 323, no.574, sheet 44). Ten of these works were entered in the Lost Art database  ( page can no longer be accessed , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. recorded.   
86. ↑ www.herkomstgezocht NK2556, last viewed November 20, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved November 17, 2014. 
87. ^ Sotheby's catalog Old Master and British Painting May 2, 2012, last viewed on November 17, 2014
88. ↑ Restitutiecommissie RC 1.111 Recommendation regarding Mayer
89. ↑ www.herkomstgezocht.nl NK2482, last accessed November 20, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved November 18, 2014. 
90. ↑ www.herkomstgezocht.nl NK1619, last viewed November 20, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved November 18, 2014. 
91. ↑ www.herkomstgezocht.nl NK2614, last viewed November 20, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved November 18, 2014. 
92. ↑ www.herkomstgezocht.nl NK2627, last viewed on November 20, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved November 18, 2014. 
93. ↑ www.herkomstgezocht.nl NK1614, last viewed November 20, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved November 18, 2014. 
94. ↑ www.herkomstgezocht.nl NK 2478, last accessed November 20, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved November 18, 2014. 
95. ↑ www.herkomstgezocht.nl NK2925, last accessed November 20, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved November 18, 2014. 
96. ↑ www.herkomstgezocht.nl NK1616, last viewed November 20, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved November 18, 2014. 
97. ↑ www.herkomstgezocht.nl NK2418, last accessed November 20, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved November 18, 2014. 
98. ↑ www.herkomstgezocht.nl NK1615, last viewed November 20, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved November 18, 2014. 
99. ↑ www.herkomstgezocht.nl NK1618, last viewed November 20, 2014 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved November 18, 2014. 
100. ↑ www.herkomstgezocht.nl, NK2491 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved November 21, 2014. 
101. ↑ www.herkomstgezocht.nl, NK2441 . Archived from the original on September 24, 2015. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved November 21, 2014. 
102. ↑ Rosebrock: "Kurt Martin", p. 266.
103. ↑ ^{a b c d e f g h} Schmittlein to Président de la Cour de Récupération artistique, November 10, 1945, in: MAE carton no. 416, P 64 Musée de Strasbourg (sousdossier: 1947–1951). After: Rosebrock: "Kurt Martin", p. 266.
104. ^ Schmittlein to the President of the Cour de Récupération Artistique, November 10, 1945, in: MAE carton no. 416, P 64 Musée de Strasbourg (sousdossier: 1947–1951). After: Rosebrock: "Kurt Martin", pp. 266–267.
105. ↑ Schmittlein to Président de la Cour de Récupération artistique, November 10, 1945, in: MAE carton no. 416, P 64 Musée de Strasbourg (sousdossier: 1947–1951) and "Art inventory of the Gen. Verwaltung 1943", in: GLA 441 train. 1981/70, No. 379. According to: Rosebrock: "Kurt Martin", pp. 266-267.
106. ↑ Hans Haug: Receipt 2 Oudry, 1 Bassano, December 19, 1945, in: MAE carton no. 336, D 23, Strasbourg I 1, 2, 3, 4, 5, 8. According to: Rosebrock: "Kurt Martin", P. 267.
107. ↑ Rosebrock: "Kurt Martin", p. 161.
108. ↑ Press release of the Badisches Landesmuseum Karlsruhe, undated “Entombment of Christ. Provenance research in the BLM ”, last viewed on November 20, 2014 and Rosebrock:“ Kurt Martin ”, p. 164.
109. ↑ Laut is the later author of an obituary for: Kurt Martin . In: Kunstchronik 28, 1975, pp. 206–216.
110. ↑ Rosebrock: "Kurt Martin", pp. 215–222.
111. ↑ Rosebrock: "Kurt Martin", p. 394f, Doc. 16, p. 5f. (Walter Horn (Headquarters US Forces European Theater G-5 Division Economics Branch, MFA & A Subsection, Intelligence Unit)) to James J. Rorimer : Art Intelligence Report on Kurt Martin, September 17, 1945, in: NARA M 1947 (published on www .footnote.com).
112. ↑ Rosebrock: “Kurt Martin”, p. 378ff, Doc. 11, p. 4, letter SD with annex “Betr. Opaque machinations of the former director of the state art collections, Dr. Martin - Isenheimer Altar “, in Federal Archives, R 4901, Vol. 5, No. 12261
113. ^ Perhaps Leopold Krafft von Dellmensingen
114. ↑ perhaps a grandson of Friedrich Engelhorn
115. ↑ on allegations of corruption against Wagner see Marcus Popplow: “Felix Wankel. More than an inventor's life ”. Sutton Verlag, Erfurt 2011, p. 52f and Sascha Becker: "Games, technology and war - The" machine game child "Felix Wankel and National Socialism 1918–1950", Marburg 2013, p. 264f
116. ↑ US-NARA, RG 239, M1944. Records of the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas, 1943-1946. Roll 9. Reports File-Looted Art. Sheets 9 and 68, “Widespread Reputation as, a man of integrity and strong anti-Nazi leanings. According to one authoritative source, however, he played a double game. "; but also see US-NARA, RG 260, M1947. Textual records created at the Wiesbaden Central Collecting Point include administrative files and monthly reports. Roll 1st General Records. Art Intelligence: Martin, Kurt. Pages 1 - 7, here pages 3 and 11. Quoted from fold3.com .
117. ↑ Rosebrock: "Kurt Martin", pp. 253-261.
118. ↑ Rosebrock: "Kurt Martin", p. 316f.
119. ↑ Rosebrock: "Kurt Martin", p. 332f
120. ↑ Karl Hofer: "On the legal in the fine arts", ed. v. Kurt Martin, Berlin 1956.
121. ↑ Schoeps et al. a. / Bavaria US District Court, SD New York, 2014 WL 2915894 (SDNY), page 2 . Archived from the original on March 5, 2016. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved November 20, 2015. 
122. ↑ Nazi-Looted Art returned by Germany to the high-ranking Nazis who looted it rather than returning it to rightful owners
123. ↑ Munich's Looted Art Bazaar, 2016 Sueddeutsche Zeitung 25 June 2016 By Catrin Lorch and Jörg Häntzschel
124. ↑ Sep Call last viewed: May 9, 2014 ; see also: List of architectural monuments in Harlaching .
125. ↑ BAYERN: Not difficult to see . 15th November 1971.
126. ↑ Find reports from the Bayerische Staatsgemäldesammlungen, last viewed on November 20, 2014 .
127. ^ Christiane Fork: Martin, Kurt . In: Metzler Kunsthistoriker Lexikon. Two hundred and ten portraits of German-speaking authors from four centuries. 2nd Edition. Metzler, Stuttgart 1999, p. 276.
128. ^ Kunsthalle Karlsruhe , last viewed on December 11, 2015.
129. ↑ Rosebrock: "Kurt Martin", p. IX.
130. ↑ Rosebrock: "Kurt Martin", p. 345
131. ^ Rainer Möhler: Review by: Tessa Friederike Rosebrock, Kurt Martin and the Musée des Beaux-Arts de Strasbourg. In: Francia-Recensio 2012/3 | 19./20. Century - Histoire contemporaine [13.09.2012], last accessed: 9 December 2015.