Robert Edsel's Blog

Anyone that lives in the New York City area and wants to hear Robert Edsel talk about his latest book “The Monuments Men”. their fascinating story, and their relevance today, you are in luck. He is speaking at IFAR (International Foundation for Art Research) on Monday, April 26 from 6:00 – 8:00pm. The title of his talk is “The Invisible Heroes: The Monuments Men”.  Reservations are needed and is filling up fast, so don’t hesitate. The presentation is guaranteed to be entertaining, informative and thoroughly enjoyed by all that attend. Please click on the link below for more information and to make your reservations.

Details

Title: “The Invisible Heroes: The Monuments Men”

Date: Monday, April 26, 2010

Time: 6:00 – 8:00pm

Location: The Union League Club
38 East 37th Street (at Park Avenue), New York

Please Note: Reservations and pre-payment required. Also note: The Union League Club has a dress code; traditional business attire required.

The Invisible Heroes: The Monuments Men

James A Leach (Photo Courtesy of NEH)

One sure sign of demonstrable progress is the ongoing public recognition by key government officials of our efforts to recognize and preserve the legacy of the Monuments Men.  Last week the recently appointed Chairman of the National Endowment for the Humanities, a great friend and supporter of the Monuments Men Foundation, Jim Leach, spoke at a conference on cultural heritage at Rutgers University in New Brunswick, New Jersey.  One key aspect of his speech concerned the work of the Monuments Men and the role of the Foundation in making their story broadly visible.  Below is an excerpt of that portion of his remarks.  Those wishing to read the full text of his speech may do so by clicking on the following link: http://www.neh.gov/whoweare/speeches/04102010.html

As preservationists know, one of the most respectful cultural moments in our history came at a signal moment at the end of World War II when a small cadre of American military officers came to be cultural heroes. Subsequently dubbed the “Monuments Men,” they led in cataloguing and returning works of looted art from Nazi hands to countries of origin. It is only in the last dozen years or so that historians and filmmakers—one supported by the NEH—have begun to bring perspective to the unprecedented displacement of cultural artifacts that the Second World War precipitated. Unlike other nations that have too frequently absconded with art treasures as booty of war, the American military wisely recognized that cultural objects belonged to original owners rather than conquering armies. It would have been a public insult of unpardonable dimension to have taken a culturally punitive tack.

As chairman of a House Committee with jurisdiction over banking matters, I held four years of hearings in the mid-1990s on the greatest mass theft in history, a subject which for decades had been historically slighted because Nazi avarice was so overwhelmed by its accompaniment with the greatest mass murder in history. What we unearthed in stories of victims and from perspectives applied by historians and philosophers to the shadowy corners of the Holocaust where greed reined was an axiom about the nature of evil: The genesis of evil may begin with perpetrators of violence and injustice, but complicity too frequently lies beyond the perpetrator with those who cloak themselves in the legitimacy of private business and genteel society. Indifferent to the most unpardonable ramifications of human prejudice, many of the seemingly best and brightest in civilization’s most advanced cultures manipulated with little compunction manifestly oppressive circumstances in furtherance of self-interest.

Our Congressional hearings helped galvanize many European parliaments to hold comparable reviews and led to an international conference which I chaired at the State Department on Holocaust era displacement of art. These hearings and the art conference, as well as the work of an extraordinary Under Secretary of State, Stuart Eizenstat, sparked increased attention not only to the war-time role of international banks and insurance companies where symbolic additional victim compensation packages were developed, but led to the drawing up of new national and international art provenance standards for museums.

Left to Right: Generals Bradley, Patton, and Eisenhower (Photo Courtesy of National Archives)

Having heard about the extraordinary discovery of most all of Nazi Germany’s gold reserves and paper currency, along with its vast cultural wealth from Berlin’s greatest museums and libraries, in a salt mine in Merkers, Germany, Generals Eisenhower, Patton and Bradley left SHAEF headquarters in Rheims, France and made a several day visit to see it firsthand.  As the Monuments Men, led by George Stout, were urgently crating the works of art for removal from the mine, the generals descended in a rickety elevator manned by a lone German operator.

Their sense of disconnection was palpable:  billions of dollars (in today’s currency) of gold bars and bagged coins sat stacked in one chamber adjacent to some of the world’s greatest works of art. Chests filled with gold fillings pulled from the mouths of murdered victims of the Nazi genocide sat idle, not yet smelted into bars to sit atop the Reichsbank horde.  Suitcases of silverware, another reminder of property stolen along with the lives of the owners, lined several walls.

General Eisenhower at Ohrdruf Concentration Camp (Photo Courtesy of National Archives)

Later that afternoon, the generals visited Ohrdruf, the first Nazi work camp liberated by American forces. Strewn before them were the corpses of the dead and emancipated figures of those near death.  General Patton, old “Blood and Guts”, had to lean against the side of one of the bunkhouse sheds as he was sick to his stomach from the horrors and stench of what he was witnessing.

President Franklin Roosevelt attending Yalta Conference in February 1945, less than 2 months before he died. (Photo Courtesy of Wikipedia Commons)

After dinner, as the generals returned to their respective tents, General Patton overheard on the BBC the announcement of President Roosevelt’s death earlier that day.  At age 63, 12 years into his presidency, having led the nation through its most perilous fiscal crisis and a world war, Roosevelt was gone. He did not live to see the fruits of his leadership – victory – which would follow 26 days later in Europe, and 125 days later in Japan.

April 12:  a day that had momentous implications for our nation, the world, and the Monuments Men.  (For a more detailed account of this story, please read The Monuments Men: Allied Heroes, Nazi Thieves and the Greatest Treasure Hunt in History).

Mary Regan Quessenberry 1915 - 2010 (Photo Courtesy of Robert M. Edsel Collection)

Monuments officer and U.S. Army veteran Mary Regan Quessenberry, died today, age 94. Mary was the sole living connection to the beginning of the Monuments Men efforts and the key people whose vision led to their creation.  From Langdon Warner, the great scholar of Asian art and swashbuckling explorer, to Paul Sachs, the founder of the first museum studies course in America, to Mason Hammond, legendary professor of Classics at Harvard: Mary knew them all.  We were so fortunate to find her and film her memories and stories while she was in good health.

Robert M. Edsel, Founder and President of the Monuments Men Foundation, presenting Mary Regan Quessenberry with the Flag of the United States that flew over the Capitol on June 6, 2007. (Photo Courtesy of Robert M. Edsel Collection)

Mary Regan Quessenberry played an important role in the post-war work of the Monuments Men,  a remarkable but small group of 345 men and women from thirteen nations, many of whom were museum directors, curators, artists and architects, who together worked to protect monuments and other cultural items from the destruction of World War II. In the last year of the war they tracked, located and ultimately returned more than five million artistic and cultural treasures stolen by Hitler and the Nazis. Mary assisted with the Monuments Men efforts to return millions of works of art to the countries from which these treasures had been stolen.

Born in Boston on October 10, 1915, Mary Regan attended Radcliffe College and later received a master’s degree in Fine Art from Harvard, where her professors included Monuments Men Paul Sachs, Langdon Warner, and Mason Hammond, all key figures in my new book, The Monuments Men. The United States entered World War II in December 1941. By July 1942 Mary had given up her job as a high school art teacher and was in uniform serving with the WAAC (Women’s Auxiliary Army Corps). Over 400,000 women applied to be part of the first group of women to serve in the US military; only 450 were chosen. She would later become a recruiter for WAC (Women’s Army Corps), where one of the highlights was meeting the Churchill family when they visited Boston. Mary was sent overseas in 1943. Prior to becoming a Monuments officer, she trained with the U.S. Army 8th Air Force under General Doolittle; she was also sent to the Royal Air Force base at Medmenham as part of the Central Interpretation Unit and later, Mary received orders to report to General Carl Spaatz. At that time he commanded the 8th, 9th, and 15th Army Air Corps and led the strategic bombing campaign against Germany reporting directly to General Eisenhower. Mary became “company commander of the 550 WACs who ran Spaatz Headquarters.” For her service as company commander, Mary received a Bronze Star.

L to R: Mary Regan Quessenberry, Mary Churchill and Unknown (Photo Courtesy of NARA)

Following the Allied victory, Mary read in Stars and Stripes that officers with an art history background were needed as Monuments Men. Despite having more than enough points to return home, Mary traveled to Berlin to volunteer for service with the Monuments Men. As a Monuments officer stationed in Berlin, Mary traveled to the Munich Collecting Point, Wiesbaden Collecting Point, various repositories, and badly damaged cities. She worked with fellow Monuments Men Bancel LaFarge, Rose Valland, Charles Kuhn, Calvin Hathaway and others to restitute stolen works of art to their rightful owners. She served as a Monuments officer until 1948, when she retired as a Major after an extraordinary and accomplished military career.

Mary returned home to the United States and taught humanities at the University of Florida, and married her husband Tim Quessenberry in 1965, who preceded her. We shall miss her greatly.

In the short while I have served the National World War ll Museum board as a trustee, I have come to know many of the very fine people that run this great organization and museum.  To the person they are incredibly enthusiastic about the mission of the museum and the opportunity they have to further the telling of the heroism of Americans who fought to preserve the liberties we enjoy today.  I have met some of the other trustees who have worked for years donating time and financial resources to making the museum a reality, truly one of the great visitor experiences anywhere.  This was reinforced for all of us at the Monuments Men Foundation this past weekend during our company visit to New Orleans where I was a keynote speaker about the Monuments Men at the International World War II Conference.

One of the more prominent members of the board is Super Bowl winning quarterback Drew Brees of the New Orleans Saints.  Drew’s grandfather stormed onto the beaches of the South Pacific during World War II as a young marine.   He knows firsthand the importance of honoring these remarkable veterans and sharing the story of their sacrifices with people today.  In fact, Drew has participated in several USO tours to visit our troops overseas.  It speaks well of this young man that his life and conduct off the competitive field is defined by helping others and serving his community.

People such as Drew make the National World War II Museum the special place it has become.  The Monuments Men Foundation is so very excited about our ongoing relationship with the Museum and the day when the legacy of the Monuments Men and their story will be a part of the permanent exhibitions on display.

To view Drew Bree’s speaking about the National World War II Museum and the importance of its mission, please click on the link.

Rembrandt, "The Storm on the Sea of Galilee", 1633, Oil on canvas, inscribed on the rudder, 161.7 x 129.8 cm (Image Courtesy of Isabella Stewart Museum)

Today it has been 20 years since 13 invaluable works of art were stolen from the Isabella Stewart Gardner Museum in Boston, in what has been called the largest property theft in recorded history.

Vermeer, "The Concert", 1658–1660 Oil on canvas, 72.5 x 64.7 cm. (Image Courtesy of Isabella Stewart Museum)

On the night of March 18, 1990, two thieves dressed as Boston police officers gained entry to the museum, handcuffed both night guards, and proceeded to spend about 40 minutes stealing art from 3 different galleries. Among the missing works of art are Vermeer’s The Concert and Rembrandt’s Storm on the Sea of Galilee. A $5 reward is still being offered for information leading to the recovery of the works of art.

For more information on the theft, please visit the museum’s website:
http://www.gardnermuseum.org/information/theft.asp

Monuments Man George Stout (Image Courtesy of National Archives)

The Gardner Museum is one of the premiere museums in the United States, established at the turn of the 20^th century. It houses more than 2,500 works of art in an intimately designed space. Monuments Man George Stout [link to his bio] served as Director of the Isabella Stewart Gardner Museum from 1955 to 1970.

National Gallery of Art in Washington, D.C. (Image Courtesy of Wikipedia Images)

When visiting the National Gallery of Art in Washington, it’s hard to believe it is only 69 years old.  Its majestic appearance and rich collections suggest a museum many centuries in age.  How could all these artistic treasures be assembled so late in history?  Who had the vision to suggest that the United States finally have a national collection for the people such as those in nearly all European countries?

National Gallery of Art West Side in the 1940s (Image Courtesy of Wikipedia Images)

In fact, hard as it is to believe, much of the success of the National Gallery of Art is due to the generosity of one man:  Andrew W. Mellon. Mellon was a successful financier before serving as the Secretary of the Treasury from 1921-1932 and U.S. Ambassador to the United Kingdom from 1932-1933. He began collecting art, mostly old master painters and sculpture, during World War l.  By the late 1920s he had developed a vision that would become the National Gallery of Art, a collection of the world’s greatest works of art for the benefit of its citizens.   However, while he continued to add to his extraordinary collection, his plans for the museum and the donations he would make that would assure its construction were kept secret.

Andrew Mellon (Image Courtesy of National Gallery of Art)

In 1930, with the world firmly in the grip of the Depression, Mellon seized on one of the greatest buying opportunities in the history of collecting: a series of purchases from Russia’s greatest museum, the Hermitage in St. Petersburg, a once in a lifetime event driven by orders from Soviet Premier Stalin to museum officials to raise cash by selling art. This despicable decision by Stalin was received with shock by museum officials, but fear of the repercussions outweighed any alternative.  In the course of a year Mellon purchased 21 paintings, the likes of which would never have been available but for these extraordinary circumstances, including Raphael’s Alba Madonna and Jan van Eyck’s The Annunciation.  It was the coup of Mellon’s collecting career.

The Opening Ceremony at the National Gallery of Art presided by President Franklin D. Roosevelt. (Image Courtesy of National Gallery of Art)

In 1936 Mellon wrote President Roosevelt and formally offered to build the National Gallery of Art building and donate his collection to the nation.  Ultimately 121 paintings and 21 pieces of sculpture from Mellon’s collection were gifted.  Not only did he provide $15 million to build the building, but he also stipulated that it would not bear his name.  This was not only an extraordinary act of selflessness but also a strategically wise decision because Mellon knew he had to enlist the support of his peers to also promise their respective collections to the National Gallery of Art.  Putting his name on the building was something he understood would make that task difficult if not impossible. By excluding his name from the building Mellon was empowered to persuade others, including Samuel H. Kress, Chester Dale, and Joseph P. Widener, to donate or commit their collections to the nation.  In the coming years these great collectors and many others made gifts of collections and funds, a tradition that continues to this day.

Leonardo da Vinci, "Ginevra de Benci", 1476, Oil on Wood, 38.8 cm × 36.7 cm (15.3 in × 14.4 in) (Image Courtesy of Wikipedia Images)

Mellon also established a trust, donating $10 million, to fund the Gallery during those early years.  This was just the beginning of almost a century of philanthropy by the Mellon family as Mellon’s son, Paul, and daughter, Ailsa Mellon Bruce, continued their father’s support with generous financial donations as well as works of art.  In fact, the only painting by Leonardo da Vinci in an American collection, Ginevra de’ Benci, is at the National Gallery of Art, made possible by the Ailsa Mellon Bruce fund.

Robert M. Edsel speaking at The National Gallery of Art in January 2010. (Photo Courtesy of Robert M. Edsel Collection)

The National Gallery of Art is one of our nation’s greatest cultural centers and is full of visitors every day of the year but for the two it is closed. The facilities are state of the art and beautiful to admire. Anyone wanting to see one of the world’s great collections of art need not travel further than Washington, D.C. For those seeking a great example of selfless giving, study Andrew Mellon and his role in making this once lofty vision a reality.

The International Conference on World War II will be held from March 18^th – 20^th in New Orleans, Louisiana, sponsored by the National World War II Museum. This 3-day event will consist of keynote addresses, lectures, conferences, and roundtable discussions.

Robert Edsel is giving the keynote address on Friday, March 19 from 8:30am – 10:00, after which he will be discussing Art & War at 10:30, with Marc Pachter and Rick Atkinson. Some of the other topics that will be discussed during the conference are Allies at War, Death from Above, Espionage, Normandy, and War Crime Trials. There will also be an opportunity to meet Robert and the other speakers at a roundtable reception on Friday evening. Included with conference passes is the chance to view the museum’s exhibits as well as Beyond All Boundaries – the museum’s newest multi-experiential film at the Solomon Victory Theater. This film is truly a not to be missed visual experience.

If you are interested in attending this conference, please go to www.ww2conference.com to register on-line, or call 1-877-813-3329 x 500 or 504-527-6012 x 500. We look forward to seeing you there this week.

If you are fan of “Band of Brothers”, then you are in for a treat when “The Pacific” premiers this Sunday at 9pm EST/8pm CST on HBO. This ten part miniseries follows the lives of 3 marines who fought in the war of the Pacific. All reviews of this show gave it the highest of marks and compliments, not surprising since the same team that produced “Band of Brothers” produced “The Pacific” including Steven Spielberg and Tom Hanks. I hope everyone has a chance to watch this highly anticipated show and remembers the men and women who gave their live to save us from tyranny.

“The Pacific” Homepage

Elliott Dlin, the longtime director of Dallas’ Holocaust Museum. (Photo Courtesy of Dallas Morning News)

Everyone who has accomplished anything of importance has benefited by a key break from someone else.  Perhaps it was the opening of a door to see someone otherwise unavailable, or help with solving a seemingly irresolvable problem.  Oftentimes it’s something as simple as receiving an encouraging word.  This has certainly been true for the Monuments Men Foundation!

One of the people who played an important role in our work and was a constant supporter of mine was Elliot Dlin, an instrumental figure in the Jewish community and longtime director of the Dallas Holocaust Museum.  This week, Elliot died at the far too young age of 57.

I met Elliot at a booksigning for my first book, Rescuing Da Vinci, in 2006.  This large man, who possessed the charming and genuine smile of a happy boy, came bounding up to me, bypassing the line of people in the most kind and enthusiastic of ways, and said….”I’m Elliot Dlin and I can’t wait to show you some of the documents and letters your work has brought to mind!!!” His passion and and energy for not only his work, but LIFE, were hallmarks of his engaging personality.

Over the next three years I saw Elliot 3-4 times per year, sometimes at events, and on other occasions when I visited the Dallas Holocaust Museum.  Each time he would greet me with his warm smile and tell me how happy he was to see me – and I always knew he meant it.  This fine man and dedicated public servant followed our work closely and took time to relay his pride in our achievements.  He was a giver, a sharer, someone who wanted those around him to succeed.

In late 2006 Elliot contacted me, even before the Foundation was officially formed, to seek my assistance with several calls he had received from someone who claimed to have important Nazi documents.  Elliot selflessly turned this over to the Foundation to handle.  Over the course of the following year the Foundation not only determined the importance of the discovery, but ultimately acquired and then donated these documents to the National Archives.  It was a great success for the Foundation and the Dallas Holocaust Museum, and a significant benefit for our nation. No one was more pleased than Elliot and appropriately so:  but for his call to us, we might never have known about the lead.

We mourn the loss of this good man and extend to his family, and all those who knew and loved him, our most sincere condolences.

Elliot Dlin at the 2008 Hope for Humanities Dinner and Award Banquet. (Photo Courtesy of Dallas Holocaust Museum)