Isabella Flores
During World War II, many of Adolph Menzel's paintings were appropriated and used for various purposes. For instance, his painting In the Jardin des Plantes, which was owned by the Jewish businessman Alfred Sommerguth, was sold at an auction in 1939 to pay taxes imposed on Jewish households. Another one of his paintings, Interior of a Gothic Church, was sold to Hitler's art dealer in 1938 and later returned to the heirs of Elsa Cohen, who had been persecuted by the Nazis for being Jewish. After Menzel's death, his paintings were also used as electoral posters by Adolf Hitler.
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What You'll Learn
- Hitler used Menzel's paintings as electoral posters
- Jewish businessman Alfred Sommerguth was forced to sell his collection of paintings, including a Menzel
- The Dutch Limbach Commission refused a restitution request for a Menzel painting that had belonged to a Jewish banker
- Menzel's paintings were appreciated by powerful and influential figures during his lifetime
- After his death, Menzel's funeral arrangements were directed by the Kaiser
Hitler used Menzel's paintings as electoral posters
Adolph Friedrich Erdmann von Menzel, born in 1815 in Breslau, Silesia, was a Prussian painter, draftsman, and illustrator. He is considered one of the most prominent German artists of the 19th century and was the most successful artist of his era in Germany. Menzel's fame stemmed from his illustrations of the 18th-century Prussian monarch, Frederick the Great, and his attention to historical accuracy and detail. He also depicted scenes of everyday life and was known for his small paintings and drawings, which often included his unconventional ideas.
After Menzel's death in 1905, his paintings were appropriated by Adolf Hitler and used as electoral posters. Hitler, himself a failed artist, had dreamed of becoming a professional painter but was rejected by the Academy of Fine Arts Vienna. He harbored a desire to "end my life as an artist," and so he took advantage of Menzel's posthumous reputation, using his works for his own political gain.
Hitler recognized the power of art in shaping public opinion and influencing voters. By co-opting Menzel's paintings, he could harness the emotional impact of the images and associate himself with the artist's success and popularity. Menzel's works, with their historical and patriotic themes, would have resonated with German audiences, and Hitler could exploit these connections to foster a sense of nationalism and pride.
Hitler's use of Menzel's paintings as electoral posters demonstrates the Nazi leader's understanding of propaganda and the visual arts as tools for political manipulation. It also highlights the ongoing impact of Menzel's artwork, which continues to leave its mark on German culture and history, even in the midst of war and changing regimes.
The specific details of which paintings were used and how they were altered or adapted for Hitler's purposes are not readily available. However, it is clear that Hitler's appropriation of Menzel's artwork was a strategic move, leveraging the artist's renown to bolster his own image and agenda.
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Jewish businessman Alfred Sommerguth was forced to sell his collection of paintings, including a Menzel
Adolph Menzel was a German Realist artist known for his drawings, etchings, and paintings. He is considered one of the two most prominent German painters of the 19th century and was the most successful artist of his era in Germany.
Now, coming to the Jewish businessman, Alfred Sommerguth, he was a German Jewish art collector and businessman. He was born on September 23, 1859, in Magdeburg, Germany, and made his fortune as the director and co-owner of the tobacco company Loeser & Wolff. He and his wife, Gertrude Sommerguth, were well-known figures in Berlin society and amassed a diverse art collection, including Dutch and Italian Renaissance masterpieces and works by French Impressionists. This included Adolph Menzel's painting "In the Jardin des Plantes," which depicted the main botanical garden in Paris.
When the Nazis came to power in Germany in 1933, Sommerguth, being Jewish, was persecuted and viewed with deep suspicion. He was forced to register his assets and compile a list of his artworks for the Nazi authorities. To pay the huge taxes imposed on Jewish households, as well as the "flight tax" that would allow him and his wife to leave Germany, Sommerguth was forced to sell most of his art collection, including the Menzel painting, at the Hans W. Lange auction house in Berlin on February 7, 1939. This sale also included another Menzel drawing from the Sommerguths' collection, which was sold to the Städel Museum.
After the sale, Alfred and Gertrude Sommerguth escaped Germany in 1941, first via Switzerland, then to Cuba, and finally to New York. Unfortunately, their bank accounts were frozen by the Nazi authorities, leaving them destitute. Alfred Sommerguth passed away on October 15, 1950, in New York, and his wife died four years later on April 8, 1954.
In 2011, there was a highly publicized story about the return of one of Sommerguth's paintings, "Madame La Suire" by Albert von Keller, to his heirs. This was the fourth painting returned to the Sommerguth estate in three years, but the Menzel painting "In the Jardin des Plantes" has not been recovered and its whereabouts remain unknown.
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The Dutch Limbach Commission refused a restitution request for a Menzel painting that had belonged to a Jewish banker
Adolph Friedrich Erdmann von Menzel was a German Realist artist known for his drawings, etchings, and paintings. He is considered one of the two most prominent German painters of the 19th century, alongside Caspar David Friedrich. Menzel's paintings were appreciated during his lifetime by notable figures such as Otto von Bismarck and William I. His fame arose from his illustrations of the 18th-century Prussian monarch, Frederick the Great, and his dedication to historical accuracy and attention to detail.
In 2015, the Dutch Limbach Commission, a state agency dealing with restitution claims, refused a restitution request for Menzel's painting, "A Weekday in Paris." This painting had originally belonged to a Jewish banker, Georges Behrens. The Limbach Commission's decision sparked criticism and contributed to a broader debate about the agency's policies and procedures.
The Dutch government has since overhauled its restitution guidelines, aiming to address concerns and ensure the return of Nazi-looted art to the rightful owners or Jewish institutions if heirs cannot be identified. This policy change reflects a commitment to addressing historical injustices and ensuring the return of items lost or acquired illegally during World War II.
The case of the Menzel painting refused by the Dutch Limbach Commission is not an isolated incident. There have been various claims and efforts worldwide to restitute artworks looted or sold under Nazi coercion. For example, the National Gallery of Canada returned a painting to the heirs of a French family, and the Düsseldorf government restituted a Wilhelm von Schadow painting to the heirs of a Jewish art dealer.
These efforts underscore the ongoing process of addressing the complex legacy of Nazi persecution and the importance of restituting cultural property to its rightful owners or their descendants.
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Menzel's paintings were appreciated by powerful and influential figures during his lifetime
Adolph Friedrich Erdmann von Menzel, born on December 8, 1815, was a German Realist artist known for his drawings, etchings, and paintings. He is considered one of the two most prominent German painters of the 19th century, alongside Caspar David Friedrich. During his lifetime, Menzel gained recognition for his illustrations of the 18th-century Prussian monarch, Frederick the Great, and his attention to historical accuracy and detail.
Menzel's talent was recognised by influential figures, including King Frederick William IV, who commissioned him to illustrate the works of Frederick the Great. Through these works, Menzel established himself as one of the foremost illustrators of his time. His fame and talent were also acknowledged by the poet Jules Laforgue, who, in the 1880s, described Menzel as a prominent figure in social gatherings, despite his professed estrangement from others.
Menzel's paintings were appreciated by powerful individuals such as Otto von Bismarck and William I. His works depicting scenes from the life of Frederick the Great, including "In the Tuileries," "The Ball Supper," and "At Confession," showcased his keen observation and honest workmanship. Among his most important paintings are "Iron Rolling Mill" (1872-1875) and "The Marketplace at Verona."
Menzel's talent extended beyond historical paintings, and he also excelled in creating small paintings and drawings from around 1840 onwards. These works, including interior, street, and landscape scenes, demonstrated his unorthodox vision and innovative approach to composition and subject matter. His paintings, such as "Room with a Balcony" (1845) and "The Artist's Sister in the Sitting Room" (1847), presaged the developments of the Impressionist movement in France, showcasing his refined feeling for the effects of light and his unique style.
Menzel's success and recognition during his lifetime were evident, and he received numerous honours. In 1898, he became the first painter to be admitted to the Order of the Black Eagle, which raised him to the nobility, and he changed his name to Adolph von Menzel. He was also made a member of the Académie des Beaux-Arts in Paris and the Royal Academy in London.
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After his death, Menzel's funeral arrangements were directed by the Kaiser
Adolph Friedrich Erdmann von Menzel was a German Realist artist known for his drawings, etchings, and paintings. He is considered one of the two most prominent German artists of the 19th century and was the most successful artist of his time in Germany. Menzel's fame stemmed from his illustrations of the 18th-century Prussian monarch, Frederick the Great, and his dedication to historical accuracy and attention to detail. He also depicted scenes of everyday life in his works, such as "In the Tuileries", "The Ball Supper", and "At Confession". Menzel's talent extended beyond history paintings, as he also excelled in creating small paintings and drawings that expressed his unconventional ideas.
After Menzel's death in Berlin in 1905, his funeral arrangements were directed by the Kaiser, who walked behind his coffin. This honour was befitting of an artist who had received many accolades during his lifetime, including being the first painter admitted to the Order of the Black Eagle, which led to his knighthood and elevation to nobility, becoming "Adolph von Menzel". He was also a member of the Académie des Beaux-Arts in Paris and the Royal Academy in London.
Menzel's renown extended beyond his death, as his paintings continued to gain recognition and were exhibited in prestigious venues. One of his most famous paintings, "Frederick and His Own in the Battle of Hochkirch", was exhibited at the Academy of Arts and the Paris World's Fair. This particular work stood out from other battle paintings by placing anonymous soldiers in the foreground, capturing the moment of defeat in the Battle of Hochkirch in 1758.
Despite his posthumous acclaim, some of Menzel's paintings faced a more tumultuous fate during World War II. One notable example is "In the Jardin des Plantes", which was owned by the Jewish businessman Alfred Sommerguth and his wife, Gertrud. As the Nazis rose to power, Alfred, working in the Ministry of Interior, was viewed with deep suspicion due to his Jewish faith. He was forced to register his valuable art collection, which included the Menzel painting, with the Nazi authorities. To pay the exorbitant taxes imposed on Jewish households and the "flight tax" to leave Germany, Alfred had to sell most of his collection, including the Menzel, at an auction in Berlin in 1939. Thankfully, Alfred and Gertrud managed to escape Germany in 1941 and eventually settled in New York, although they faced significant challenges along the way. The current whereabouts of "In the Jardin des Plantes" remain unknown.
Another of Menzel's paintings, "Interior of a Gothic Church", originally belonged to Elsa Cohen, a Jewish owner who was persecuted by the Nazis. She was forced to sell the painting to Hitler's art dealer, Hildebrand Gurlitt, in 1938. It was later rediscovered in the possession of Hildebrand's son, Cornelius Gurlitt. This particular work was returned to Elsa Cohen's heirs by Germany's Culture Minister in 2017.
While some of Menzel's paintings faced upheaval during the war, his overall legacy remains significant. His artworks continue to be sought after, exhibited, and restituted, ensuring that his talent and contribution to the art world are remembered and appreciated.
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Frequently asked questions
Many of Adolph Menzel's paintings were acquired by museums in Berlin and did not leave Germany during the war. However, some of his artworks were owned by Jewish collectors, such as Alfred Sommerguth, who were persecuted by the Nazis and forced to sell their collections. Some of these artworks ended up in the possession of Hitler's art dealer, while others were sold at auction houses.
Yes, after his death in 1905, Adolph Hitler appropriated Menzel's historical illustrations for use as electoral posters.
Yes, some of Menzel's paintings were lost during the war. One example is "In the Jardin des Plantes," which was owned by Jewish businessman Alfred Sommerguth and has not been seen since 1939.
Yes, in some cases, Menzel's paintings were restituted to the heirs of their original Jewish owners. For example, in 2017, Germany's Culture Minister Monika Gruetter returned "Interior of a Gothic Church" to the heirs of Elsa Cohen, who had sold it under duress to Hitler's art dealer in 1938.
You can refer to the German Lost Art Foundation's website, which lists numerous Menzel artworks, as well as the Monuments Men and Women Foundation's WWII Most Wanted Art Playing Cards, which feature Menzel's "In the Jardin des Plantes."
