Uncovering Hitler’s Private Museum | Raiders Of The Lost Art | Perspective

[Music] munich march 2012 in the district of schwabing the apartment of an 80 year old recluse called cornelius gurlitt is about to be graded [Music] [Music] little did people know that what would be found there would open up a pandora's box involving nazi loot degenerate art and hitler's own private museum cornelius garlit is not a name that would be familiar to many people until this year um someone that lived as a recluse in munich in a very modest flat he's a bit of an enigma he was a loner but we don't really know much about him well he was a very interesting man it wouldn't be surprising if he had a slightly uh slightly strange upbringing and some effect from that he wasn't seen much out and about and was someone who hasn't even watched television since 1963 he's really lived completely a solitary life as the investigators poured through the collection of this solitary man they uncovered over a thousand works by the likes of matisse picasso chagall and otto dix some of which were previously unknown there are things we think where did that come from you know where has that been for the last 60 years which is you know exactly what kenny this girl that wanted it's uh has lived a rather pathetic lonely life with all these pictures i wonder if it's uh if it's all true when the story was broken by focus magazine it captured the world's attention who was cornelius girlitt how had he stayed undetected for so long and just where did all of these artworks come from the answer to all of these questions begins in the town of srikal in eastern germany in 1930. [Music] zvikao was the hometown of cornelius girl it's father hildebrand gurlit he came from a well-known artistic family and worked in the galleries at the koenig albert museum hildebrand gullit was an art historian a good artist or an and dealer and he worked for various german museums he was known as being someone who had close links with the avant-garde's art world in germany with a lot of the modern expressionist painters of the day the first exhibition he put on was max peckstein which was you know quite alternative at that time um and he did worked with artists like katy kovetz a lot of the expressionists um so he was seen as really quite radical and i think you know a lot of people enjoyed the exhibitions but the kind of local traditionalists saw him as this kind of radical young guy who'd come in and really shaken things up and thicker but with the nazis coming to power in 1933 and hitler's hatred of the modern art movement hildebrand found himself out of a job in svekal and forced by the nazis to resign a new position he'd found in hamburg soon after gildebrand was not welcome in this new cultural era of germany modern art was declared an enemy of the state and culminated in the entirety kunst or so-called degenerate art exhibition of 1937. the nazis really felt very concerned about modern art the avant-garde in germany at that time and it's testament to how powerful that art is it was a genuine worry for them and they really wanted to outlaw it and ban it and also use it i think their own propaganda is if you're against our regime you'll end up like these people you'll be mad you'll be completely against the norm basically when hitler in order to try and focus the german nation's psyche on its future and its purity and its superiority and he wanted to connect the german nation in his definition the best forms of art he ordered a exhibition to be held of all this degenerate art [Music] so they mounted actually two exhibitions at the same time there was one of german art really for the last two thousand years then at the same time down the road in munich there was the antarctic exhibition which actually had more visitors than the other one unsurprisingly there was a huge exhibition held in munich in 1937 with paintings which they despised presented with slogans against modern art that which were written on the walls and this exhibition attracted two million visitors in munich which is an amazing number and it then went on to tour other german cities but it is most unusual to hold an exhibition of art that you despise i think a lot of um the journalists at that time who had been closely linked to avant-garde circles found it really hard because they were under pressure to write very scornful and scathing reports about the exhibition saying how how horrendous all this work was can you imagine you know if somebody put on a show sort of accepted british art now and then you're not allowed to see of course you go to the one you're not allowed to see i mean the kind of hideous art there were many people who went see it and many were horrified by it it was absolute chaos in there everything was hung stacked up on the walls paintings were lopsided things were propped against the wall some were unframed some were framed and they had graffiti explaining why each work was degenerate so even if you couldn't figure it out for yourself you were told whereas in the other exhibition it was all very classical monumental nudes representing classicism and longevity all the things that hitler wanted to build into his aryan race four times as many people went to the generous archer it was the uh as a corsair show and um you know maybe hitler's a secret modernist who knows i mean certainly he exposed more germans to modern art and i would never have seen it if you hadn't put that show on the antartica kunst exhibition was organized by the ministry of public enlightenment and propaganda headed by joseph goebbels [Music] [Music] and some of them went to look at it because they thought they'll never see it again they'd already been the book burnings earlier that year with ed burnt works by many many modern writers um so really there was a maybe a death knell to those avant-garde artists and their work so a lot of people who were sympathized went um at the same time as a lot of people going just to have a kind of scoff and laugh at it there were several reasons why the nazis despised so-called degenerate art hitler himself personally was very very conventional in his artistic taste and disliked modern art some of the artists who made the modern art like chagall for example were jewish and the nazis obviously despise them for that reason and there was also a very strong streak of conventionality in nazi thought they espoused old-fashioned traditional values and modern arts seem to just run counter to that the era of degenerate art may have ended hildebrand girl it's promising early career but he had even more pressing concerns he did have kind of jewish blood in him which would have made him slightly vulnerable to the nazis he was what they called a second second level michelin wasn't he so he was a quarter jewish it was probably better to play along hildebrand's heritage and his love of modernism would have seemingly ended any chance of a career in the art business but amazingly he was hired by the nazis to work as a dealer on behalf of the state when the nazis were getting rid of degenerate art he was singled out as one of a handful of major dealers who were entrusted with the task of selling off the art so that's where he got quite a lot of his pictures and he was quite interested in modern art he was able to ingratiate himself with the nazis because of his understanding of the whole of the jewish and other collectors of that current generation of art and become one of the main individuals who helped them lose art around europe he went on to work with the nazis as one of four dealers who were charged with basically making some money out of the modernist or degenerate artists they saw it i think there's a quote that said something like we've got to make some money out of this rubbish they just wanted to get it out of germany and sell it off and get foreign currency in as well he would argue that he'd saved some of the art by selling it off to foreign collectors rather than allowing the nazis to destroy it hildebrand had a talent for gaining access to artworks and he was soon buying pieces directly from those who had to sell as they were being persecuted or were forced to flee the country this is my offer for all nine of the drawings it is a fair offer i believe [Music] good good i'll arrange collection handle all the details it's very difficult to get inside the minds of people and um it was a very difficult period and people did things as we would now regard as wrong in many cases the art will be safe at least it is the art that you're saving yes of course they've already dismissed me from my gallery if they think i'm offering generous terms i i have a family i'm a quarter jewish one doesn't know precisely why he dealt with the nazis but uh the most obvious reason is that it was a way of making money this was a very comfortable easy life that got him out of all the problems of the rest of the war and the money must have been extremely good at a time when unless you're in the armaments business it was very difficult to make any money i'll send from i'll send my man for the paintings this afternoon doctor hildebrand gurlett would soon become one of the biggest dealers on behalf of the nazis the choice he had made would take him to paris where his mission was to acquire works for the fuhrer's own personal collection from nazi occupied france the 2012 munich artworks discovery had thrown light on the life and career of the man who had acquired the collection one hildebrand girl it he had started out as a respected museum director but with the nazis coming to power he became a key part of the commission for the exploitation of degenerate art works were brought directly from those being persecuted and were seized for the antartica kunst exhibition hildebrand was able to build up his own collection as he worked to sell these so-called degenerate art pieces abroad from where they were stored in the schoenhausen palace near berlin [Music] in the process he was able to hoard many works for himself this is how a number of paintings by the german artist otto dix who featured heavily in the degenerate art exhibition wound up in cornelius girlitt's apartment in munich autodex was heavily featured obviously his work is quite shocking visually very caricatured people saw it as really horrifying couldn't understand why he would choose to represent the human figure and face in that way during the first world war dicks was very shocked by what he saw and a lot of his pictures show the savagery of the fighting and the nazis despised his paintings as degenerate and he was categorized as such another artist that was interestingly very vilified was emildo who actually had been a member of the nazi party and a real sympathizer from quite early on but he was the artist that had the most works of any of them had 27 works featured in the exhibition and he was the one that had said you know i am a nazi sympathiser i stand up for what you believe in and there's a very sad story about him he's very elderly going to after the exhibition going to the authorities and saying i'm a sympathizer please can you release my work and they refused and he had very important crucifixion work which they wouldn't give him back despite his allegiance to the party the label degenerate even applied to music with an antartica music exhibition also being staged it was a bizarre and terrifying time for anyone working in the arts in germany and hildebrand girl it was caught right up in the middle of it i think we all want to see the kind of nazi epoch in terms of black and white and i think a lot of people were both black and white and certainly before the war he was incredibly white he was passionate about modernism and then the next thing you know he's in paris expropriating art from paul rosenberg and and the rothschilds and you know doing doing other kind of dreadful things [Music] it was in paris that hildebrand took full advantage of his new position of power the antartide kunst exhibition had made some of the best modern expressionist paintings available but with the nazis having taken control of france some of the greatest art of the era was within reach paris has always been an important center of the art market particularly in the 20th century so it's no surprise that a german dealer would have very good and close contacts with paris and spend time there the best art of all belonged to paul rosenberg he'd managed to escape just in time but the same could not be said for his whole collection he's an incredibly important dealer and came from a family of dealers so he really had it in his lineage and he was most famously picasso's dealer from 1918 to 1940. he and picasso were like sort of family weren't they they um they lived next door to each other and they spent holidays together and it was you know um it was a love thing he was also a dealer for matisse from 1936 so he really had the big names and his gallery was on reliability and it was really known as the kind of hub in paris of these modern artists that were breaking the moulds you could find them all there with paul rosenberg resonate was one of the most important dealers particularly in modernist works and the post-impressionist early 20th century works he was among the most important dealers for that period well he was kind of mr cubism really wasn't he he and his brother leons were the big um sellers of mid-period cubism and they internationalized it and they um you know they opened a gallery in london a gallery in new york and they sold museum modern art and were you know had massive collections and were massively rich when things became more tense in europe he started to get nervous and did ship off a lot of his collection which was very very extensive so it was went to south america australia and also to london and new orleans galleries but unfortunately he didn't get everything out and in 1940 he fled to new york managed to get a visa got his family out very quickly but there were i think over 2 000 works left paul rosenberg's confiscated collection along with all other art labeled degenerate in france was stored at the jourda poem gallery in paris hildebrand girlitt was then able to purchase these works at knock down prices at the nearby druid auction house many sales were made at the druo auction house and that continued during the second world war and it was a place to trade in the work of the impressionists in post-impressionist between 1941 and 1945 while gurlitt was living and working in paris he was able to add top quality paintings to his already impressive collection but as the tide of the war turned against germany he needed to find a way to keep them for himself as chaos reigned towards the end of the war from about the early 1944 period when it was clear that the war was lost and the russians were approaching there were a lot of people who spent most of their time thinking about how they're going to survive at the end of war and for somebody like him in a very privileged position to move art to secret locations where he could say he was trying to sell it for the nazis but actually he was keeping it for himself at the end of the war having noted the warning signs hildebrand girl it moved swiftly and managed to relocate much of his art collection away from his home in dresden they were kept on a farm outside dresden and then they were in some sort of nameless castle in some nameless town in nameless southern germany it doesn't seem to be a collection that was put together with love you know it seems a kind of expedient collection it looks like the kind of collection that was designed to be sold quietly not raised too many eyebrows [Music] [Music] it was fortunate that hildebrand was able to get the works away from the city of dresden given what was about to happen [Music] with the allies approaching the firebombing of dresden provided him with an ideal cover story we had a home in dresden um and actually his street was bombed so i think hillary saw it as a very obvious and clear solution to their horde i think they just said you know our street was bombed all the records have gone all the arts gone we don't have anything we have no letters we've got nothing and it made complete sense because it was actually bombed and no one knew that i think hillary brand had actually taken the art out and very very last minute when the allies were approaching so there was no reason really why it wouldn't be true that it was bombed hildebrand girlitt had another secret though he had been hard to find works of art for hitler himself and in the process had greatly expanded his own collection his pretence that it had all been destroyed in dresden was successful for over half a century the horde was considered lost to the world and it would have remained so had his son cornelius not tried to sell one of his paintings just a couple of years ago a sale that would see the net begin to close in on this 60 year old crime the far bombing of dresden could have wiped out most of the artworks found in cornelius girl it's munich apartment in 2012 but his father hildebrand girlitt had been smart enough to transport his collection of over a thousand works away from the city when world war ii came to an end hildebrand had managed to get away with storing these artworks in a secret location thought to be on the outskirts of dresden he was able to return to his pre-war career in the art market but died suddenly in a car crash in 1956 his son cornelius then succeeded in moving the cache of works into the schwabbing apartment in 1960 [Music] they remained here for over 50 years where every night cornelius would take the paintings out of storage to admire them well it does seem that he just inherited the pictures the sun enjoyed them privately and would look at them and saw no reason why he should sell them or do anything with them so the status quo continued and he just took over his father's picture collection anybody who is the son of somebody with as extraordinary career as his father and the constant moves and times that his father was under suspicion and work for both the nazis and the allies he must have known that his father had been playing both sides of the street and that may well i think have set up various tensions within him cornelius had remained hidden from society for all this time but with no state health insurance in his old age he was forced to enter the art market himself and sell one of his paintings for much needed funds spending so much time alone cornelius was known to write what he intended to say on cue cards when faced with a conversation [Music] good afternoon this is the painting that i wish to sell good afternoon this is the painting that i wish to sell columbia scarlett decided to part with this important work by max beckmann the lion tamer because he was getting increasingly ill and i think really out of desperation he just decided to sell one via an auction house in cologne [Music] the auction house centre representative is they do to come and do evaluation and she came in expecting i'm not sure what into a very gloomy dark flat [Music] mr girlett i'm ms balman from the auction house we spoke on the phone yes come in she had no inkling of what else was hiding in that flat how did you come by it was it in your family my mother's you don't have any more then no this is the only one this is the painting that i wish to sell well when it was taken to the german auction house lempats it was very clearly in the provenance his father's name was up in lights and his father's name is on our red flag list any picture we see anywhere in the world with his name we undertake extensive research so it would have been immediately obvious to lempats that this picture was claimed by the family of the victims of the original persecution and so the normal thing then is to contact the family and to say to them this picture is coming up for sale and there is a deal that can be done whereby you should get some of the proceeds whether they knew at the time the exact circumstances under which he'd held it is probably doubtful they probably thought he got it in possibly good faith that's highly debatable now i think he made an arrangement with the heirs of the pre-war owner so they agreed to split um the proceeds and it just went on the market as a normal pitcher and wasn't particularly closely examined i would like to know what was in the collection in 1956 before hildebrand died and how much of that has been sold off quietly in the intervening years but by selling the lion tamer cornelius had started the process that would lead to his eventual downfall he was merely following the example of his father hildebrand though who had been expected to generate funds by selling modern paintings but he also had another major role to purchase or otherwise acquire works for the fuhrer himself hitler had grand plans for his own purpose-built fuhrer museum in his hometown of lintz and he needed the greatest works in history to fit it his desire to make a mark in the art world had started from a very young age when he first moved to vienna in 1905. [Music] when he was young hitler wanted to become an artist and he applied to study at the academy of fine arts in vienna and was turned down twice he was rejected stayed out without even interviews so he really got a slap in the face from that he felt rejected at a crucial point in his career i think that made him dislike the art establishment and by this time the art establishment had been seen as supporting the development of modern and 20th century art he does believe that there is a kind of con a world conspiracy not specifically against him but people against people like him people with his kind of taste and it's these nasty interchangeable sort of deranged jewish bolshevik folk who like that kind of painting vienna at the start of the early 20th century was the home of a bustling new artistic community that hitler simply did not fit into in vienna there was no doubt there was a very libertarian rather degenerate feeling to the city and it's quite clear that in vienna at the time the austro-hungarian empire was was was falling to bits i think it's it's what had happened in paris sort of 25 years before you had a kind of imperial heavy hand suddenly um in the case of the french was lifted by napoleon's third being got rid of in in vienna it was just you know poor old francios have been there for 50 years by that time and i think also it was the city of sigmund freud because one thing all of these things have in common is kind of psychic introspection um and a kind of an idea of the possibility of madness um and that of course went down like a cup of cold sick with the nazis they didn't like that something at all i think in vienna was what was incredible as a real mix of all the different arts as it were so there was the birth of atonal music happened in vienna you had a new psychological study from freud you had artists like klimt and then the next generation following him showing an emotional response to art that was about the internal rather than the external so it was coming from all directions it was music it was theater it was literature it was art it was a real sort of hotbed for this new avant-garde a new way of seeing and thinking there was some great work done in mathematics and science uh there was some great work done in psychology but you can see a lot of people would have felt that that was all pretty strange and a bit unsettling and there was some in many ways great art but what would be to them and even now rather shocking in some ways it was very exciting the early 20th century in vienna i mean culturally there were a lot of avant-garde artists who were really pushing the boundaries in vienna at the time when hitler was living there in the early 20th century there was quite a conflict between the avant-garde and the traditional art which was the art that hitler espoused hitler's traditional style which included watercolors and drab sketches of the sights of vienna were not going to cut it in this new modern art scene but his enormous political success allowed hitler to finally fulfill his artistic ambitions with the construction of the fuhrer museum in his country at birth austria the fuhrer museum was going to be in austria and lintz which was the hometown of hitler and he really wanted to construct this enormous pantheon of the culture of the new rice it would be an art museum but not only that a library opera house theater everything to do with his new imposed culture would be here in this enormous great symbol of his power he's not the only man he's not the only megalomaniac man who has seen at a museum is maybe the best way to have your your name set for posterity as ambitious as the fuhrer museum was on its own it was actually only a part of the grand restructuring of the entire city of lintz really quite early on in 1936 he had already spoken to his head architects at that time it was going to be 500 feet long you know albert sphere lots and lots and lots of columns perry styles um all the usual nazi claptrap he poured over the plans poured over what works he wanted to get and then he went on a really a rampage across the country that they're invading taking works from jewish families from museums a lot of religious art was taken from churches even in germany and stored them at that time ready for the fury museums and it was a kind of degree of thought that went into it because it was you know it was going to be the central museum of the reich it was going to have a collection that effectively showed the whole course of art history leading to germany every single masterpiece from right across time would be housed here in that museum and people were going to come from all over the reich to lintz to see it so there was also the adolf hitler hotel as part of the complex because of course they would have to have somewhere to stay when they got there one of the people entrusted with acquiring works for this audacious museum was hildebrand girlitt during his time in paris girlitt was a big time buyer who acquired major works he even spent five million francs on a suzanne landscape painting of the valley de la which later proved to be a fake but he wasn't alone in trying to acquire works for hitler dr hans posse a close confidant of the fuhrer was tasked with seizing the most challenging paintings to obtain including works by johannes vermeer hitler's taste ran mostly to german and austrian romantic 19th century art so he i imagine there would have been lots of um casper david friedrich and that sort of stuff but the [ __ ] trap who was buying for him was was a great expert in in netherlandish and flemish art so i mean there was you know there were two vermeers for example and there were going to be lots and lots of the old michelangelo you know big stuff if you're going to find a museum you've got to have if it's going to be the great pictures of the world some of the great dutch and italian masters there were two masterpieces by vermeer which were destined for the fuhrer museum one of which was bought and one of which was stolen now the bought one was called the artist studio very very important work by vermeer and hitler actually bought that directly from count gernan himself for quite a lot of money but his descendants are now contesting it's still a case that's that's going on as we speak the other was stolen from the rothschild family as part of the [ __ ] taken from them the fuhrer museum along with other grand schemes for the reconstruction of lintz never got past the design stage but many artworks had already been acquired ready to be moved in they had been stored in munich but with the threat of bombing the hall was moved to safe keeping to a salt mine in the austrian region of altasey they were boxed up sent there and no one really knew much else about it [Music] when the war in europe came to an end the allies managed to track down the salt mine in alta sea inside they were able to recover both the astronomer and the artist's studio they also managed to reclaim a stolen bust by michelangelo and the priceless ghent altarpiece all of which were taken in preparation for the fuhrer museum the kent older piece was a um a seminal work i think that's the right expression by the van arks and it set a a tone and a procedure for things that makes it historically enormously important but i think perhaps the most valuable painting taken during the war were those various vermeers that were stolen individually even for hitler getting hold of vermeers and pictures of that quality not easy i mean it's just really very fortunate that those were not destroyed i mean there were quite a lot of very good pictures which were pretty certain were destroyed i.e there's records of where they were and it's known that that place was bombed or damaged or flooded or whatever and the pictures were destroyed [Music] just as hitler's secret hoard had been recovered at the end of the war time was running out for cornelius girl it's stash and a trip to switzerland would prove to be his final undoing [Music] until 2010 cornelius girlett's remarkable cache of over 1400 artworks was still unknown to the world he had managed to successfully sell the lion tamer painting by max beckman for quick funds but his luck started to run out when he was stopped at a customs point on a train from switzerland well garlic was on a train and from zurich to munich and he was stopped by german customs officials who were just doing we believe just doing routine checks and he was found to have a substantial amount of cash with him he had had on him 9 000 euros which is just under the limit of what you have to declare coming out of switzerland this was a trade from zurich to munich and then they looked for his identity papers and certainly other and he appeared to be a rather strange individual hence the germans then raided his flat [Music] he had no tax and references no health insurance he's someone who's been completely off the radar of the german authorities so they were quite surprised to find him with this huge loot i mean i think they thought why is this old man carrying 9 000 euros from switzerland as i say it's an entirely legal thing to do but i suppose it raised questions i must have flagged him up on some horrible tax database somewhere i would not be at all surprised if in fact his name was on the list of those individuals who had german germans with bank accounts in there switzerland been some whistleblowers in the swiss banks who gave these lists of names to the american and german intelligence services so i wonder whether in fact they hadn't spotted him as it were from under those lists [Music] when will you bring them back finding 1400 works of art in germany is just the start of the treasure hunt the cramped london officers of the art lost register have been besieged ever since german prosecutors announced the discovery of works by masters such as mark chagall henry matisse and pablo picasso the race is now on to find the rightful owners what is unusual is the sheer size of the collection um 1400 pictures and drawings ranging from works on paper right through to oil paintings it's got a lot of the german expressionists in there people like emil knowles max peck stein peckstein right through to picassos matisses and it's really quite broad and it's said to be a value over a billion euros it's slightly unfortunate the whole thing was kept very quiet for about a year or so and it only emerged later when a german magazine discovered what had happened and published a story that it came out and i say it's important to come out but if there are claimants for the pictures it's important that they're all recorded publicly so we know what's out there [Music] [Music] at least one of the works found in the munich apartment a matisse painting of a seated woman is thought to have belonged to paul rosenberg there's been a lot of criticism on the case that there haven't been so a very detailed inventory released which is against the established policy of how you should deal with stolen art and the family of paul rosenberg are already questioning whether this is their seated woman the recovery process of paul rosenberg's stolen paintings has been long and arduous it started right at the end of world war ii with rosenberg's son lieutenant rosenberg was the son of paul rosenberg who was the parisian dealer who went fled to new york uh at the start of the war who had been the um the dealer for all these great matisse and picasso and people like that and he found some of his father's pictures and as well of all the other things and it's fascinating i mean there's still 70 picassos missing out there in the world um from the war and lots of paul rosenberg's collection's still unaccounted for but that's a separate part of history because then paul rosenberg's granddaughter is anne sinclair she's a wonderful lady and she's pursuing the pictures in her own way through the courts and is is actively involved in that at the moment so you can see this the evolution of how the stolen art um is is recovered if it belongs to ann sinclair and her family the descendants of paul rosenberg then i think they have every right to make a claim for it however just six months after his story was revealed to the world cornelius girlett passed away following ill health after heart surgery during that time it was discovered that he held even further paintings in two properties he owned in austria these included works by renoir and monet in a surprising twist though the burn museum of fine arts revealed that they'd been named the sole heir of cornelius girlett's collection despite him having had no connection to the institution during his lifetime but the restitution process of many of the works in the collection could continue for a long time it's extremely complex working with restitution tracing back and uh trying to figure out who actually owns these paintings and what circumstances they went from the family or owner pre-war and into the hands of hildebrand girls so it's going to be a lot of research very detailed and who knows how long it's going to take and actually if we'll ever know the full history and provenance of every single work well i think one of the lessons of this is that the art trade has to be more open and people buying at auction have to ask more questions about the works this is happening more now and there's been increasing focus in the last 10 years on provenance but i think the gurlick case shows the importance of monitoring it carefully and people asking questions by and large the rule of thumb so far is right and wrong is concerned if the nazis have had anything to do with any art deal between the mid-30s and 1946 they must always lose it's a it's a principle it's not a anybody's law or anything like that it's just a kind of modern principle which i agree with so could there be any more cornelius girlids out there with hidden masterpieces just waiting to be found to get well into the 21st century and for these things still to be coming up it is quite a you know quite an eye-opener i don't think they're going to be everywhere i think it's probably a very rare case there are quite a lot of people who've got the odd work or two but but something of this scale has not emerged in many many years i think it's unlikely there are many people who've got something of that size stashed away secretly i think this is a real one-off and the fact that he was such a reclusive character made this possible but it's certainly not going to be something that happens every day it will probably take years to sort out the pictures and what category they fall into and whether any were looted and the whole saga will take a long time to resolve

Channel: Perspective

Views: 18,266

Keywords: Arts, The Arts, Theatre, Music, Full EPisode, Full documentary, documentary, performing arts, free documentary, documentaries, full documentary, history, history documentaries, history documentary, raiders of the lost art, art, art history, history of art, art history documentary, looted art, stolen art, cornelius gurlitt, cornelius gurlitt documentary, entartete kunst, adolf hitler, nazism, munich, otto dix, pablo picasso, henri matisse, art documentary, degenerate art

Id: Lak7cHxrpNU

Length: 43min 39sec (2619 seconds)

Published: Sat Dec 04 2021