Jonathan Petropoulos – författare

Nazi art looting has been the subject of enormous international attention in recent years, and the topic of two history bestsellers, Hector Feliciano's The Lost Museum and Lynn Nicholas's The Rape of Europa. But such books leave us wondering: What made thoughtful, educated, artistic men and women decide to put their talents in the service of a brutal and inhuman regime? This question is the starting point for The Faustian Bargain, Jonathan Petropoulos's study of the key figures in the art world of Nazi Germany. Petropoulos follows the careers of these prominent individuals who like Faust, that German archetype, chose to pursue artistic ends through collaboration with diabolical forces. Readers meet Ernst Buchner, the distinguished museum director and expert on Old Master paintings who "repatriated" the Van Eyck brother's Ghent altarpiece to Germany, and Karl Haberstock, an art dealer who filled German museums with works bought virtually at gunpoint from Jewish collectors. Robert Scholz, the leading art critic in the Third Reich, became an officer in the chief art looting unit in France and Kajetan Muhlmann--a leading art historian--was probably the single most prolific art plunderer in the war (and arguably in history). Finally, there is Arno Breker, a gifted artist who exchanged his modernist style for monumental realism and became Hitler's favorite sculptor. If it is striking that these educated men became part of the Nazi machine, it is more remarkable that most of them rehabilitated their careers and lived comfortably after the war. Petropoulos has discovered a network of these rehabilitated experts that flourished in the postwar period, and he argues that this is a key to the tens of thousands of looted artworks that are still "missing" today. Based on previously unreleased information and recently declassified documents, The Faustian Bargain is a gripping read about the art world during this period, and a fascinating examination of the intense relationship between culture and politics in the Third Reich.

Nazi art looting has been the subject of enormous international attention in recent years, and the topic of two history bestsellers, Hector Feliciano''s The Lost Museum and Lynn Nicholas''s The Rape of Europa. But such books leave us wondering: What made thoughtful, educated, artistic men and women decide to put their talents in the service of a brutal and inhuman regime? This question is the starting point for The Faustian Bargain, Jonathan Petropoulos''s study of the key figures in the art world of Nazi Germany. Petropoulos follows the careers of these prominent individuals who like Faust, that German archetype, chose to pursue artistic ends through collaboration with diabolical forces. Readers meet Ernst Buchner, the distinguished museum director and expert on Old Master paintings who "repatriated" the Van Eyck brother''s Ghent altarpiece to Germany, and Karl Haberstock, an art dealer who filled German museums with works bought virtually at gunpoint from Jewish collectors. Robert Scholz, the leading art critic in the Third Reich, became an officer in the chief art looting unit in France and Kajetan Muhlmann--a leading art historian--was probably the single most prolific art plunderer in the war (and arguably in history). Finally, there is Arno Breker, a gifted artist who exchanged his modernist style for monumental realism and became Hitler''s favorite sculptor. If it is striking that these educated men became part of the Nazi machine, it is more remarkable that most of them rehabilitated their careers and lived comfortably after the war. Petropoulos has discovered a network of these rehabilitated experts that flourished in the postwar period, and he argues that this is a key to the tens of thousands of looted artworks that are still "missing" today. Based on previously unreleased information and recently declassified documents, The Faustian Bargain is a gripping read about the art world during this period, and a fascinating examination of the intense relationship between culture and politics in the Third Reich.

The link between Hitler's Third Reich and European royalty has gone largely unexplored due to the secrecy surrounding royal families. Now, in Royals and the Reich, Jonathan Petropoulos uses unprecedented access to royal archives to tell the fascinating story of Queen Victoria's great-grandsons, the Princes of Hesse, and the important role they played in the Nazi regime. Petropolous tells the fascinating tale of how, lured by prominent positions in the Nazi regime and highly susceptible to nationalist appeals, the princes became enthusiastic supporters of Hitler and helped make the Nazis socially acceptable to wealthy, high-society patrons. Permitted access to Hessen family private papers and the Royal Archives at Windsor Castle, Petropoulos follows the story of the House of Hesse through to its tragic denouement - the princes' betrayal and persecution by an increasingly paranoid Hitler, followed by prosecution after the war.

The link between Hitler's Third Reich and European royalty has gone largely unexplored due to the secrecy surrounding royal families. Now, in Royals and the Reich, Jonathan Petropoulos uses unprecedented access to royal archives to tell the fascinating story of Queen Victoria's great-grandsons, the Princes of Hesse, and the important role they played in the Nazi regime. Petropolous tells the fascinating tale of how, lured by prominent positions in the Nazi regime and highly susceptible to nationalist appeals, the princes became enthusiastic supporters of Hitler and helped make the Nazis socially acceptable to wealthy, high-society patrons. Permitted access to Hessen family private papers and the Royal Archives at Windsor Castle, Petropoulos follows the story of the House of Hesse through to its tragic denouement - the princes' betrayal and persecution by an increasingly paranoid Hitler, followed by prosecution after the war.

Nazi art looting has been the subject of enormous international attention in recent years, and the topic of two history bestsellers, Hector Feliciano''s The Lost Museum and Lynn Nicholas''s The Rape of Europa. But such books leave us wondering: What made thoughtful, educated, artistic men and women decide to put their talents in the service of a brutal and inhuman regime? This question is the starting point for The Faustian Bargain, Jonathan Petropoulos''s study of the key figures in the art world of Nazi Germany. Petropoulos follows the careers of these prominent individuals who like Faust, that German archetype, chose to pursue artistic ends through collaboration with diabolical forces. Readers meet Ernst Buchner, the distinguished museum director and expert on Old Master paintings who "repatriated" the Van Eyck brother''s Ghent altarpiece to Germany, and Karl Haberstock, an art dealer who filled German museums with works bought virtually at gunpoint from Jewish collectors. Robert Scholz, the leading art critic in the Third Reich, became an officer in the chief art looting unit in France and Kajetan Muhlmann--a leading art historian--was probably the single most prolific art plunderer in the war (and arguably in history). Finally, there is Arno Breker, a gifted artist who exchanged his modernist style for monumental realism and became Hitler''s favorite sculptor. If it is striking that these educated men became part of the Nazi machine, it is more remarkable that most of them rehabilitated their careers and lived comfortably after the war. Petropoulos has discovered a network of these rehabilitated experts that flourished in the postwar period, and he argues that this is a key to the tens of thousands of looted artworks that are still "missing" today. Based on previously unreleased information and recently declassified documents, The Faustian Bargain is a gripping read about the art world during this period, and a fascinating examination of the intense relationship between culture and politics in the Third Reich.

A penetrating inquiry into the motives, moral dilemmas, and compromises of Walter Gropius, Emil Nolde, and other celebrated artists who chose to remain in Nazi Germany“What are we to make of those cultural figures, many with significant international reputations, who tried to find accommodation with the Nazi regime?” Jonathan Petropoulos asks in this exploration of some of the most acute moral questions of the Third Reich. In his nuanced analysis of prominent German artists, architects, composers, film directors, painters, and writers who rejected exile, choosing instead to stay during Germany’s darkest period, Petropoulos shows how individuals variously dealt with the regime’s public opposition to modern art. His findings explode the myth that all modern artists were anti-Nazi and all Nazis anti-modernist.  Artists Under Hitler closely examines cases of artists who failed in their attempts to find accommodation with the Nazi regime (Walter Gropius, Paul Hindemith, Gottfried Benn, Ernst Barlach, Emil Nolde) as well as others whose desire for official acceptance was realized (Richard Strauss, Gustaf Gründgens, Leni Riefenstahl, Arno Breker, Albert Speer). Collectively these ten figures illuminate the complex cultural history of Nazi Germany, while individually they provide haunting portraits of people facing excruciating choices and grave moral questions.

“What are we to make of those cultural figures, many with significant international reputations, who tried to find accommodation with the Nazi regime?” Jonathan Petropoulos asks in this exploration of some of the most acute moral questions of the Third Reich. In his nuanced analysis of prominent German artists, architects, composers, film directors, painters, and writers who rejected exile, choosing instead to stay during Germany’s darkest period, Petropoulos shows how individuals variously dealt with the regime’s public opposition to modern art. His findings explode the myth that all modern artists were anti-Nazi and all Nazis anti-modernist. Artists Under Hitler closely examines cases of artists who failed in their attempts to find accommodation with the Nazi regime (Walter Gropius, Paul Hindemith, Gottfried Benn, Ernst Barlach, Emil Nolde) as well as others whose desire for official acceptance was realized (Richard Strauss, Gustaf Gründgens, Leni Riefenstahl, Arno Breker, Albert Speer). Collectively these ten figures illuminate the complex cultural history of Nazi Germany, while individually they provide haunting portraits of people facing excruciating choices and grave moral questions.

A charged biography of a notorious Nazi art plunderer and his career in the postwar art world'A'Ap"e;[Petropoulos] brings Lohse into sharper focus, as a personality and axis point from which to explore a network of art dealers, collectors and museum curators connected to Nazi looting. . . . What emerges from Petropoulos's research is a portrait of a charismatic and nefarious figure who tainted everyone he touched."e; Nina Siegal, New York Times"e;Readers of art history and WWII biographies will appreciate this engrossing deep dive into one of the world's most prolific art looters."e; Publishers WeeklyBruno Lohse (1911'Ai2007) was one of the most notorious art plunderers in history. Appointed by Hermann Gv?ring to Hitler's art looting agency in Paris, he went on to help supervise the systematic theft and distribution of more than thirty thousand artworks, taken largely from French Jews, and to assist Gv?ring in amassing an enormous private art collection. By the 1950s Lohse was officially denazified but was back in the art dealing world, offering masterpieces of dubious origin to American museums. After his death, dozens of paintings by Renoir, Monet, and Pissarro, among others, were found in his Zurich bank vault and adorning the walls of his Munich home. Jonathan Petropoulos spent nearly a decade interviewing Lohse and continues to serve as an expert witness for Holocaust restitution cases. Here he tells the story of Lohse's life, offering a critical examination of the postwar art world.

A charged biography of a notorious Nazi art plunderer and his career in the postwar art world  “[Petropoulos] brings Lohse into sharper focus, as a personality and axis point from which to explore a network of art dealers, collectors and museum curators connected to Nazi looting. . . . What emerges from Petropoulos’s research is a portrait of a charismatic and nefarious figure who tainted everyone he touched.”—Nina Siegal, New York Times  “Readers of art history and WWII biographies will appreciate this engrossing deep dive into one of the world’s most prolific art looters.”—Publishers Weekly  Bruno Lohse (1911–2007) was one of the most notorious art plunderers in history. Appointed by Hermann Göring to Hitler’s art looting agency in Paris, he went on to help supervise the systematic theft and distribution of more than thirty thousand artworks, taken largely from French Jews, and to assist Göring in amassing an enormous private art collection. By the 1950s Lohse was officially denazified but was back in the art dealing world, offering masterpieces of dubious origin to American museums. After his death, dozens of paintings by Renoir, Monet, and Pissarro, among others, were found in his Zurich bank vault and adorning the walls of his Munich home.  Jonathan Petropoulos spent nearly a decade interviewing Lohse and continues to serve as an expert witness for Holocaust restitution cases. His research was central to the 2024 documentary film Plunderer: The Life and Times of a Nazi Art Thief, produced by John S. Friedman. In this book Petropoulos tells the story of Lohse’s life, offering a critical examination of the postwar art world.

The political elite of Nazi Germany perceived itself as a cultural elite as well. This work explores the elite's cultural aspirations by examining both the formulation of a national aesthetic policy and the content of the private art collections held by high-ranking Nazis. The author demonstrates that these leaders manipulated public policy and their own collecting patterns to articulate fundamental tenets of Nazi ideology. The work begins by tracing the evolution of aesthetic policy from the purges of museum staff and academics labelled as ""undesirable"" in 1933 to the confiscation of Jewish-owned artworks in the late 1930s and the organized plundering of art from occupied areas during the war. The author then reconstructs the collections of prominent Nazi officials - including Hitler, Goring, Goebbels, Himmler, Speer, and Ribbentrop - and argues that their private holdings defined their relationships to one another within the Nazi hierachy in addition to reflecting their racist and nationalist beliefs. According to the author, art collecting offered the political elite a way to achieve legitimacy and social standing, thereby providing a common cultural language for the leaders of the Third Reich.

Memory, History, and Responsibility: Reassessments of the Holocaust, Implications for the Future contains the highlights from the ninth 'Lessons and Legacies' conference. The conference, held during the height of the genocide in Darfur, sought to reexamine how the darkness of the Holocaust continues to shadow human existence more than sixty years after World War II left the Third Reich in ruins. The collection opens with Saul Friedlander's call for interdisciplinary approaches to Holocaust research. The essays that follow draw on the latest methodologies in the fields of history, literature, philosophy, religion, film, and gender studies, among others. Together both the leading scholars of the Holocaust and the next generation of scholars engage the difficult reality - as raised by editors Petropoulos, Rapaport, and Roth in their introduction - that the legacies of the Holocaust have not proved sufficient in intervening against human-made mass death, let alone preventing or eliminating it.

Memory, History, and Responsibility: Reassessments of the Holocaust, Implications for the Future contains the highlights from the ninth 'Lessons and Legacies' conference. The conference, held during the height of the genocide in Darfur, sought to reexamine how the darkness of the Holocaust continues to shadow human existence more than sixty years after World War II left the Third Reich in ruins. The collection opens with Saul Friedlander's call for interdisciplinary approaches to Holocaust research. The essays that follow draw on the latest methodologies in the fields of history, literature, philosophy, religion, film, and gender studies, among others. Together both the leading scholars of the Holocaust and the next generation of scholars engage the difficult reality - as raised by editors Petropoulos, Rapaport, and Roth in their introduction - that the legacies of the Holocaust have not proved sufficient in intervening against human-made mass death, let alone preventing or eliminating it.

Few essays about the Holocaust are better known or more important than Primo Levi’s reflections on what he called “the gray zone,” a reality in which moral ambiguity and compromise were pronounced. In this volume accomplished Holocaust scholars, among them Raul Hilberg, Gerhard L. Weinberg, Christopher Browning, Peter Hayes, and Lynn Rapaport, explore the terrain that Levi identified. Together they bring a necessary interdisciplinary focus to bear on timely and often controversial topics in cutting-edge Holocaust studies that range from historical analysis to popular culture. While each essay utilizes a particular methodology and argues for its own thesis, the volume as a whole advances the claim that the more we learn about the Holocaust, the more complex that event turns out to be. Only if ambiguities and compromises in the Holocaust and its aftermath are identified, explored, and at times allowed to remain--lest resolution deceive us--will our awareness of the Holocaust and its implications be as full as possible.