War matters

Gazing out on the incomparable Austrian Tyrol landscape from Hitler's Eagle's Nest at Berchtesgaden two weeks ago focused my mind on what was planned there. The Eagle's Nest is part of the former health resort that was converted into the "Fuhrersperrgebeit" or "Fuhrer's off-limits area", which in the end became a second seat of power alongside Berlin for Hitler and his cronies. The Eagle’s Nest itself was a 50th birthday present from Martin Bormann to Hitler in 1939, and remains the only relic of this large area in OberSalzburg, which centred around the Berghof, Hitler’s country retreat. The Berghof itself was bombed at the end of the war and then the ruins razed to the ground when the area was finally handed back to the state of Bavaria in 1952 to avoid it becoming a centre for neo-Nazi activity. Rather incongruously an Inter Continental Hotel now stands on the site of the Berghof. Up on the mountain above it, the Eagle’s Nest remains unscathed apart from missing chips of marble taken by allied troops as mementoes from the vast fireplace that Goering had given Hitler.

The US army were first to the site on 10th May 1945, 11 days after Hitler’s death in the Berlin bunker, and found amongst other things a collection of burnt paintings. Why they had been burnt and whether they were destined for Hitler’s proposed Fuhrermuseum in Linz, Austria is unclear. I blogged in March about the work of the Monuments Men in saving the looted art treasures of Europe, and I am looking forward to revisiting the issue again when I am part of a panel discussion at the Australian National Maritime Museum this Friday as part of the launch of the DVD of the film.

The War was of course a world one, and its tentacles reached all the way to Australia. We are currently working on the conservation of an air raid shelter sign at Sydney’s Town Hall station, reflecting how concerned the population was that Sydney would be bombed.

You don’t need to scratch the surface very hard to find more evidence - I came across another sign in a back corridor of the Powerhouse Museum, Ultimo only last week, which reads 'A.R.P' standing for Air Raid Precautions.

There is a great summary of how Sydney responded to the threat of invasion at http://scratchingsydneyssurface.wordpress.com/tag/town-hall-station

Monuments Men

It is not often that a conservator appears in a movie – we are one of those professions that tend to operate under the radar, hidden away in the back of museums. But when we do hit the limelight we like to do it in style, so it is great to see a conservator playing a lead role in the recently released Monuments Men, played by none other than George Clooney.

George plays the central character of George Stout (called Frank Stokes in the film) who was a key player in the Monuments Men, or to give them their full title, the Monuments, Fine Art and Archives (MFA&A) section. Set up by the Allied Forces in World War II, they were entrusted with the mission of locating and protecting works taken by the Nazi Regime. The film is based on the book of the same name by Robert Edsel, and tells their remarkable story, based around a simple job description: to save as much of the culture of Europe as they could during combat.

 

Stout packing Michelangelo's Madonna of Bruges in the mines at Altaussee, Austria, July 1945

There are many angles that could be followed off the back of the story, from Hitler’s grand plans for the museum to outdo all other museums, the FuhrerMuseum in his birthplace, Linz, Austria to the recent discovery of 1378 looted works of art in the Munich home of Cornelius Gurlitt.

However, warming to our theme, let us return to George Stout and the conservation component of the Monuments Men story. Stout studied art history at Harvard and was then drawn to the Fogg Museum (part of Harvard) for its unique approach of applying science to the study and preservation of art, at a time when art restoration was the preserve of art historian or artists. In 1928, the Fogg director, Edward W. Forbes established the Fogg’s Department for Technical Studies and named Stout as the museum’s first conservator. In 1932 they launched 'Technical Studies in the Field of the Fine Arts', the first journal dedicated to conservation related research. Partnering with the chemist John Gettens, Stout then went on to produce 'Paintings Materials, A Short Encyclopaedia', which remains today a standard reference for conservators.

As the attack on Pearl Harbour in 1941 increased fears that the war would reach America, Stout began work on a ‘cultural first aid’ manual for  the armed forces called 'Notes on Safeguarding and Conserving Cultural Material in the Field'. So he was an obvious choice to be one of the first to join the Monuments Men when it was formed in 1942. After the war he continued to have a distinguished career, becoming director of the Worcester Art Museum and the Isabella Stewart Gardener Museum in Boston. More importantly, as a result of his Monuments Men experience and his appreciation of how international conservation professionals can work so well together, he was the driving force and one of the founding members of the International Institute for the Conservation of Historic and Artistic Works (IIC) of which I am privileged to be currently Vice President.

Enjoy the film, but do also read the book as it tells an astonishing story about some truly passionate men who in the end saved some 2.5 million items including 468,000 works of art.