scholarly journals Predator. The Looting Activity of Pieter Nicolaas Menten (1899–1987)

2017 ◽  
pp. 112-147
Author(s):  
Nawojka Cieślińska-Lobkowicz
Keyword(s):  
Cultural Goods ◽  
Art Collections ◽  
German Occupation ◽  
The Public ◽  
Works Of Art ◽  
Art Collection ◽  
General Government ◽  
History Of ◽  
Post War ◽  
Special Case

The Nazi looting of works of art and cultural goods during 1933–1945 is usually divided into institutionalized and unauthorized, that is, wild one. The former was conducted by state and party special organizations and authorities, while the latter, widespread extensively in the east, was practiced by many Germans on their own account. The author suggests introducing a separate category of “specialized looting”, encompassing those who engaged in looting with full awareness – on their own account and/or on commission – and who were proficient in evaluation of the artistic goods and knew where and in whose possession they could be found. In the Reich and in occupied France and Holland there were many such expert robbers. In Poland their number remained small after the initial wave of official confiscations. The most notable exception was the Dutchman, Pieter Nicolaas Menten (1899–1987), who after the war became one of the wealthiest citizens of Holland and owner of a private art collection unavailable to the public. The scope, character, and methods of the looting conducted by Menten for his private use in Kraków and Lvov during the German occupation between early 1940 and the end of 1942 make him a very special case in the history of Nazi looting. These aspects are analyzed on the basis of extensive archival materials and evidence collected in Holland and Poland during the investigations and trials against Menten (the first one took place in the late 1940s and was followed by next ones in the late 1970s), who was accused of collaboration with the Germans and the massacre of Jewish inhabitants of the Galician villages of Urycz and Podhorodce in the summer of 1941. Menten was never sentenced for the looting of works of art in Kraków, where he was an appointed forced administrator of four Jewish artistic salons, or in Lvov, where he appropriated art collections and furnishings of several Lvov professors murdered on 4 July 1941. He was never found guilty even though when in January 1943 he left the General Government and went to Holland he took – with Himmler’s special permission – four railway carriages of valuable works of art, gold and silverware, antique furniture, and Oriental rugs. The post-war collection of works of art in Menten’s possession wasn’t liable to confiscation under Dutch law and has become dispersed.

scholarly journals Powstanie kawalerii SS Totenkopf i jej rola w niemieckiej polityce okupacyjnej na ziemiach polskich w latach 1939–1941

2020 ◽  
Vol 17 (4) ◽  
pp. 72-88
Author(s):  
Jarosław Dybek ◽  
Keyword(s):  
Third Reich ◽  
Popular Science ◽  
Science Literature ◽  
German Occupation ◽  
The Third ◽  
General Government ◽  
History Of ◽  
Polish Language ◽  
False Image ◽  
The Third Reich

The topic of the article is one of the German SS regiments stationed in occupied Poland and its role in The German occupation policy. While the history of the SS formation is very well known in both academic and popular science literature, its cavalry has not been elaborated in great detail thus far. Although this topic seems interesting, it has not yet been discussed in any book in the Polish language. Most of the literature related to this topic was published in German and English. The 1st SS Death’s Head Cavalry Regiment operated primarily in the General Government and was under the Higher SS and Police Command. Some of its squadrons also operated in areas annexed to the Reich, i.e. the Warta Voievodship (Reichsgau Wartheland). From this article we will learn about the formation of the SS Death’s Head cavalry and its gradual inclusion in the brutal occupation policy of the Third Reich in Poland. In the case of its formation, we are dealing with tasks such as combating the early partisan units, searching for weapons, participating in the creation of ghettos, or helping to eliminate Polish levels of the intelligentsia. Noteworthy is the participation of this unit in the production of the propaganda film “Kampfgeschwader Lützow”, in which Polish cavalrymen were presented attacking German tanks with sabres. This false image was reproduced after the war in some movies or books, and contributed to the distorted presentation of Polish soldiers in the defensive battles of 1939.

scholarly journals Konspiratorzy w Policji Polskiej i Polskiej Policji Kryminalnej w Krakowie w latach 1939‒1945

2020 ◽  
Vol 147 (3) ◽  
pp. 597-618
Author(s):  
Michał Chlipała
Keyword(s):  
Communist Regime ◽  
General Government ◽  
History Of ◽  
The Media ◽  
Post War ◽  
Polish Government ◽  
Popular Image

Conspirators in the Polish Blue Police and Polish Criminal Police in Kraków during 1939‒1945 The article describes the history of Polish pre-war policemen who were forced to continue their service in the Polish Police in the General Government (the so-called Blue Police), created by German occupying authorities. Many of these policemen, faithful to the oath they had made before the war, worked for the Polish Underground State. In Kraków, the capital of the General Government, in the Autumn of 1939, Polish policemen began to create conspiracy structures, which gradually became one of the most effective Polish intelligence networks. Thanks to them, the Home Army, subordinated to the Polish Government-in-exile in London, could learn the secrets of the Kraków Gestapo and the German police. Despite the enormous efforts of the German counter-intelligence machine and the losses among the conspirators, they worked out the exact structure of the German forces in Kraków, helped the persecuted population and infiltrated secret German institutions. In post-war Poland, many of them experienced persecution at the hands of the communist regime. Most of them preferred to keep their wartime experiences secret. To this day their activities are poorly known, being suppressed by the popular image of a Polish policeman-collaborator created by the media.

scholarly journals The Interaction of the State Museum Fund and Museums of the Tatar ASSR in the 1920s

2018 ◽  
Vol 15 (6) ◽  
pp. 754-763 ◽  
Author(s):  
Natalia V. Gerasimova
Keyword(s):  
Fine Arts ◽  
The State ◽  
Public And Private ◽  
Art Collections ◽  
Art Collection ◽  
State Museum ◽  
Scientific Principles ◽  
History Of ◽  
Private Museums ◽  
First Time

The article is devoted to one of the Soviet State’s policy directions at the first stage of its existence, aimed at the preservation of cultural va­lues and the formation of museum art collections. The poorly studied question about the features of this policy implementation is revealed on the example of the TASSR (Kazan Province — before May 1920), where in the 1920s a whole network of museums was created; almost in each of them, an art department was organized. The appeal to this topic is relevant in connection with the opening of a large number of public and private museums, which face similar challenges, as well as the active scientific activities of museums to study their own collections, in the framework of creation of the State Catalogue of the Museum Fund of the Russian Federation. For the first time, the article introduces into scientific circulation a number of sources, on the basis of which the main directions of this activity, as well as the museums’ art collections themselves, are analyzed. In the TASSR, the interaction with the State Museum Fund (SMF) was carried out by the Department for Museums and Protection of Monuments of Art, Anti­quities and Nature, employees of which (P.M. Dulsky and P.E. Kornilov) were engaged not only in organization of the artworks’ transferring to museums, but also in their selection. The article states that, thanks to the SMF, the Central Museum of the TASSR had the most complete and valuable art collection, and an interesting collection was formed in the Kozmodemyansky District Museum, which was part of the Kazan Province until 1920. This study shows that the SMF was an important and effective mechanism for the implementation of state policy in the field of culture: its activities contributed to the creation of provincial museums’ collections, based on scientific principles and aimed at presenting the history of fine arts development.

The Civil Service

2004 ◽  
Author(s):  
Vernon Bogdanor
Keyword(s):  
Twentieth Century ◽  
Great Britain ◽  
Civil Service ◽  
Public Utilities ◽  
The Public ◽  
History Of ◽  
Post War ◽  
The Revolution

This chapter examines the history of the civil service in Great Britain. It suggests that the revolution in Whitehall during the last two decades of the twentieth century transformed the civil service, and that many of the public utilities nationalised by the post-war Attlee government were privatised. Other major changes include the reduction in the size of the civil service and the application of market disciplines to it.

The development of public superannuation schemes

1950 ◽  
Vol 76 (1) ◽  
pp. 3-37
Author(s):  
A. C. Robb
Keyword(s):  
Public Service ◽  
Public Services ◽  
Common Pattern ◽  
The Public ◽  
Future Developments ◽  
History Of ◽  
Post War

A study of the history of public superannuation schemes reveals that, in general, steady progress has been, and is being, made; there is, however, little consistency as between various branches of the public service. There have already been many post-war developments, in which there is some evidence of a common pattern, yet in which there are many startling divergencies. In view of the ever-increasing scope of the public services, it is surely time to give serious consideration to the question of standardization of such schemes; and the object of this paper is to suggest possible future developments along these lines.

Komitet Białoruski w Generalnym Gubernatorstwie (1940–1945)

2018 ◽  
Vol 11 ◽  
pp. 32-64
Author(s):  
Jerzy Grzybowski
Keyword(s):  
Ethnic Group ◽  
Prisoners Of War ◽  
Divide And Conquer ◽  
Religious Activities ◽  
German Occupation ◽  
Soviet Occupation ◽  
General Government ◽  
History Of ◽  
The Subject ◽  
Soviet Occupation Zone

The subject of this study is the activity of the Belarusians in the General Government in 1940–1945. Belarusians were the fifth largest ethnic group in the GG. The German occupation authorities, applying the principle of “divide and conquer”, were ready to give Belarusians some freedom in the sphere of culture, religion and economy. In 1940, the Belarusian Committee was established in Warsaw, with branches in Biała Podlaska and Kraków. The majority of committee members were Belarusians and Poles – prisoners of war and refugees from the Soviet occupation zone of Poland. As a priority of this organization, cultural, educational and religious activities among the Belarusians in the General Government were recognized. The activists of the committee managed to create a school in Warsaw and two parishes (Orthodox and Catholic). Belarusian activities faced some difficulties. Serious problems for the Belarusians Committee caused the activities of Ukrainian organizations in the GG. One of the episodes in the history of the Belarusian Committee is the cooperation of its activists with German military intelligence.

scholarly journals Vasiljevic’s collections of folk melodies: A Serbian musical treasure

Muzikologija ◽  
2016 ◽  
pp. 171-198
Author(s):  
Sanja Radinovic
Keyword(s):  
World War Ii ◽  
Developmental Stages ◽  
World War ◽  
The Public ◽  
Field Worker ◽  
Great Productivity ◽  
History Of ◽  
Full Sense ◽  
Available Technology ◽  
Post War

Miodrag A. Vasiljevic (1903-1963) was given a unique opportunity to span two great developmental stages in the history of Serbian ethnomusicology, occurring in the middle of the 20th century. The first of them was between the two World Wars, the stage in which Serbian musical folklore became Vasiljevic?s life passion and in which he accomplished his early professional achievements. In the next stage, which started after World War II, he reached the zenith of his creation in slightly less than twenty years, setting new standards of the discipline, and providing fundamental directions for his successors, thereby immeasurably enlarging the corpus of collected material. Due all of these revolutionary innovations from the post-war period, Vasiljevic is rightly considered to be not only the founder of modern Serbian ethnomusicology, but also the first person in Serbia worthy of being called an ethnomusicologist in the full sense of the word. Of the numerous results by which Vasiljevic permanently indebted his people, the most pronounced does not belong to the category of pioneering endeavours, but is manifested in his melographic opus - an achievement which even today has not been surpassed in Serbia in terms of its span, scope and value. Such great productivity in recording resulted from the fact that Vasiljevic had been devoted to melography from his childhood, and most intensely from 1932 to the end of his life. The exact number of examples which Vasiljevic transcribed directly in the field before 1951 and those which he recorded on a tape-recorder after that time is still unknown, since many of them are still unavailable to the public, but it can be assumed that there are several thousand melodies in total. Among them are 3,198 which have already been published. That precious corpus of Vasiljevic?s available material is contained in twelve collections (the largest number ever regarding any collector in Serbia so far), issued from 1950 to 2009. The first four collections offer comprehensive material from Kosmet, Sandzak, Macedonia and the region of Leskovac, and they were edited by Vasiljevic himself during the last ten years of his life or so. Posthumous publications were devoted to Montenegro, Vojvodina, Resava and various parts of central Serbia, as well as to the repertoires of the famous singer Hamdija Sahinpasic (1914/16-2003) from Sandzak, and gypsy female singer Malika Jeminovic Kostana (1872?-1945) from the vicinity of Vranje. Until now there have still not been any comprehensive studies on Vasiljevic?s ethnomusicological activity, although there are valuable articles. In these, Vasiljevic?s melographic contribution is usually emphasised much more than his scientific one, which is much more modest in its scope. Since the existing writings mostly deal with collections published during his life, this paper results from the intention to give a complete picture of the material, so all Vasiljevic?s collections were critically considered according to the chronology of their publication. Each of the publications emerged to witness to both Vasiljevic as a field worker and to some of the important stages of his own ethnomusicological development. The last part of the text focuses on the fact that a decline in production of ethnomusicological collection publications has been evident in Serbia over the last few decades. Nowadays, this negative trend is conditioned by two key reasons. One is the perfected and easily available technology of digital audio recording and the copying of sound recordings. The second is reflected in the general developmental orientation of the discipline.

Sites Related to Crawford Williamson Long in Georgia

2016 ◽  
Vol 125 (5) ◽  
pp. 850-860 ◽  
Author(s):  
Katie J. Roddy ◽  
Vicki Starnes ◽  
Sukumar P. Desai
Keyword(s):  
Surgical Procedures ◽  
Anesthetic Agent ◽  
Main Site ◽  
The Public ◽  
University Of Georgia ◽  
Art Collection ◽  
History Of ◽  
The University ◽  
Inhaled Anesthetic ◽  
Surgical Operations

Abstract Background Crawford Williamson Long (1815 to 1878) was the first to use ether as an inhaled anesthetic for surgical operations. By not publishing his discovery for 7 yr, his pioneering work was largely overshadowed by that of Horace Wells (1815 to 1848), Charles Thomas Jackson (1805 to 1880), and William Thomas Green Morton (1819 to 1868). As a result, sites commemorating Long’s discovery are not offered the same recognition as those affiliated with Wells or Morton. Methods We highlight sites in Athens, Danielsville, and Jefferson, Georgia, that honor the first man to regularly use ether as an anesthetic agent. Extensive site visits, examination of museum artifacts, and genealogical research were used to obtain information being presented. Results Historic Oconee Hill Cemetery in Athens is where Long and members of his family are buried. Established in 1856, it is closely linked to the history of Athens and the University of Georgia (Athens, Georgia). The main site we describe is the Crawford W. Long Museum, located in Jefferson, Georgia, which opened to the public in 1957. It has undergone extensive renovations and holds an expansive collection of Long’s family heirlooms and personal artifacts. In addition, it displays an impressive art collection, depicting Long, surgical procedures, members of Long’s family, and homes associated with him. Visitors to the museum may also enjoy a walking audio tour that highlights the life of Long and his contribution to medicine. Conclusions We provide information on sites and artifacts that honor Georgia’s most celebrated physician. Much of this has not been published before, and it is our hope that Crawford Williamson Long’s legacy receives the attention it richly deserves.

Kina warszawskie: wrzesień–grudzień 1939 roku

2017 ◽  
Vol 61 (0) ◽  
pp. 0-0
Author(s):  
Karol Szymański
Keyword(s):  
World War Ii ◽  
Third Reich ◽  
World War ◽  
German Occupation ◽  
General Government ◽  
History Of ◽  
Fire Victims ◽  
The Third Reich ◽  
To Come ◽  
The City

Karol Szymański depicts the history of the Warsaw cinemas and analyzes the cinema repertoire in the particular time from September to December 1939 (that is from the outbreak of World War II, through the defense and the siege of Warsaw, until the first months of the German occupation) taking into account a wider context of living conditions in the capital as well as a changing front and political situation. The author draws attention, among other things, to the rapid decrease in the cinema audience in the first week of September. As a consequence cinemas ceased to work, which made them unable to fulfill their informational or propaganda role and provide the inhabitants of the fighting city with the escapist or uplifting entertainment. During the siege of Warsaw some cinemas changed their functions and became a shelter for several thousand fire victims and refugees, while others were irretrievably destroyed in bombings and fires. In turn, after the capitulation and takeover of the city by the Germans, some of the most representative cinemas which survived (they were entirely expropriated by the administration of the General Government) began to gradually resume their activity from the beginning of November. By the end of 1939 there were already eight reactivated cinemas in Warsaw, including one (Helgoland, former Palladium) intended only for the Germans. These cinemas showed only German films – they were entertaining productions which were well-executed, devoid of explicit propaganda or ideological elements, with the greatest stars of the Third Reich cinema. However, December 1939 brought also the first action of the Polish resistance against German cinemas and cinema audience in Warsaw, which in the years to come developed and became an important element of the civilian fight against the occupant.

scholarly journals The Social Experiences and Uses of Post-War Modernist Urban Heritage Conservation and Regeneration: London’s Southbank Centre

Heritage ◽  
2021 ◽  
Vol 4 (2) ◽  
pp. 641-663
Author(s):  
Patricia Aelbrecht
Keyword(s):  
Urban Design ◽  
Social Experiences ◽  
The Public ◽  
Urban Heritage ◽  
The Social ◽  
History Of ◽  
Post War ◽  
The 1960S ◽  
Incomplete Assessments ◽  
Do So

Since the 1960s, post-war modernist heritage has been largely criticised and victimised by the public opinion because of its material failures and elitist social projects. Despite these critiques, post-war modernist heritage is being reassessed, revalued and in some places successfully rehabilitated. There is a growing recognition that most of the critiques have often been the result of subjective and biased value and taste judgments or incomplete assessments that took into account neither urban design nor the users’ experiences. This paper aims to contribute to these reassessments of post-war modernist urban heritage legacies. To do so, it places the user’s social experiences and uses, and the urban design at the centre of the analysis, by using a combination of ethnographic methods and urban design analysis and focusing on the public spaces of South Bank Centre in London, the UK’s largest and most iconic and contested post-war modernist ensemble with a long history of conservation and regeneration projects. Taken together, the findings demonstrate the importance of including the users’ social experiences and uses in the conservation and regeneration agendas if we want to achieve more objective and inclusive assessments.

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