Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
2023
Thanks to his uncommon connoisseurship Ludwig Pollak was entrusted to write several catalogues of prestigious private collections – the Nelidow (1903) and Stroganoff (1912) collections above all- and to buy and sell different kind of works of art to some of the richest collectors and most influential museums’ directors of his time, such as J. P. Morgan and Wilhelm Bode. At the same time Pollak collected several precious objects for his private collection, including ancient and medieval sculptures, terracotta bozzetti of the greatest Italian masters of the Baroque and hundreds of Old Masters drawings, still circulating among today’s art market. He was a very passionate collector of drawings of the Baroque era and he shared his enthusiasm in this field with the young Denis Mahon, with whom he had an intense correspondence between 1936 and 1937. The deep experience and artistic knowledge of the archaeologist were not able to save him and his family from the Nazi-fascist deportation from the Rome ghetto on 16th October 1943. A part of the precious objects of his private collection saved from the last auctions’ sales were donated to the Municipality of Rome in 1951 and 1958 by the last Pollak’s heir Margarete Süssmann Nicod, his second wife’s sister.
museum and society
Exhibition Review: Arte Liberata 1937-1947. Capolavori Salvati dalla Guerra, Scuderie del Quirinale, Rome, Italy, 16 December 2022 – 10 April 20232023 •
Museum and Society
'Arte Liberata 1937-1947. Capolavori Salvati dalla Guerra', Scuderie del Quirinale, Rome, Italy, 16 December 2022 – 10 April 20232015 •
2018 •
Adolf Hitler’s ideological henchman Alfred Rosenberg was beheaded at Nuremberg, condemned to death as a war criminal; the charges against him included the looting of cultural valuables by his “Special Task Force,” namely the Einsatzstab Reichsleiter Rosenberg (ERR). The ERR was only one of the main Nazi agencies involved with looted cultural valuables during the war, and it operated only in Nazi-occupied countries, not those incorporated in the Reich (and hence not in Czechoslovakia). While French authorities may claim a figure as high as 100,000 art objects taken out of France, the ERR boasted the seizure of over 20,000 works of art from French and Belgian Jewish collections as quoted in the Nuremberg trial. As concerns us here, most important for recovery of art aZer the war and its return to victims or heirs in the West (some by then having taken refuge across the Atlantic), was the detail with which the ERR carefully documented their Western art loot and its destinations.
Jahrbuch Preußischer Kulturbesitz Bd. 51 / 2015
"During the Second World War in Italy, several lists were created of movable works of art worthy of protection, subdivided into classes of importance: “objects of exceptional artistic and historical interest”; “objects of great value”; “objects of minor artistic and historical value”. Similar lists classified the immovable works of art to be protected from air raids. At the beginning of the war, the Ministry of National Education ordered the superintendents to focus on the defense of the most precious monuments, whose loss would have been “a mourning for the Nation and art”. Moreover, some objects were so important for the people that they didn’t want them to be removed. During the First World War in Venice, the Lion of St. Mark in Piazzetta San Marco could not be removed since it was a symbol of the city defense. Superintendents often complained about the difficulty of selecting and classifying objects. But who was the personnel charged with the heavy task of selecting works of art to be protected? And what makes an object worthy to be protected and to be protected before the others? After 1943, during the Italian Campaign, new protection plans were made. A new list pointed out the Italian masterpieces that had to be sheltered in the Vatican and Pietro Toesca helped to select the north Italy top works to be removed. A German military unit, the Kunstschutz, began to operate in Italy. The Kunstschutz was ordered to protect “the works of the Italian genius”, protecting immovable works of art against air raids and evacuating the deposits of the works of art located in the battle line. The Kunstschutz managed to convince the Organisation Todt to meet expenses of the protection of Giotto’s frescoes in Scrovegni Chapel in Padua and Piero della Francesca’s frescoes in Arezzo, but also of Teodolinda Chapel in Monza, due to its importance for German history. The German conception of “Italian national heritage” was different from that of the Italian protection offices, that included even non-Italian works of art within the “national heritage” concept, as for Adam and Eve by Lucas Cranach in the Uffizi, that Hitler admired during his visit in Florence. Whose national patrimony? "
«Heritage in the making. Dealing with legacies of Fascist Italy and Nazi Germany», edited by Bartolini Flaminia, in «Ex Novo. Journal of Archeology»
Collecting Mussolini: The Case of the Susmel-Bargellini Collection.2020 •
Heritage Studies has dealt with Italian Fascism in different ways but paying little attention to the movable items linked to the regime, such as paintings, sculptures and memorabilia. Over the last decade, private collections linked to the Mussolini iconography have emerged, owing to a renewed social acceptance of it and more items of Mussoliniana being readily available. Due to the reluctance of experts to confront this issue and the expansion of private museums in Italy, spontaneous initiatives have sprung up including a permanent exhibition of Mussolini iconography as part of the MAGI'900 Museum in Pieve di Cento, which consists of approximately 250 portraits of the Duce in different media. The nucleus of the original collection once belonged to the historian Duilio Susmel and was part of a large documentary collection put together during the 1960s and 1970s. Susmel hoped it would become a museum or a centre for Fascist studies, but ultimately it remained in his private villa near Florence until the 1990s. The archive is now split between Rome and Salò, and the Mussoliniana was purchased by Bargellini, who added busts, paintings and knick-knacks. Since 2009 it has been on display in a section of Bargellini's museum entitled Arte del Ventennio. Therefore, the Italian State tolerates its existence but sadly it is ignored by most experts, despite the study opportunities it offers.
2014 •
1988 •
2003 •
2020 ASEE Virtual Annual Conference Content Access Proceedings
Validation of the Climate Scale in the Persistence of Engineers in the Academy Survey (PEAS)Revista Brasileira de Direito Empresarial
Responsabilidade Objetiva Das Pessoas Jurídicas Na Lei Nº 12.846/13: O Interesse Como Critério Normativo e O Conflito De Interesses Como Objeto De Compliance2018 •
2014 •
2019 •
InfoDesign - Revista Brasileira de Design da Informação
Design da informação em bulas de medicamento: análise e classificação da estrutura e apresentação gráfica de seu conteúdo textual2014 •
2020 •
Open Journal of Civil Engineering
Environmental and Cost Advantages of Using Polyethylene Terephthalate Fibre Reinforced Concrete with Fly Ash as a Partial Cement Replacement2019 •
Revista Mexicana de Ciencias Pecuarias
Aprovechamiento de biosólidos como abonos orgánicos en pastizales áridos y semiáridos2004 •
Nephrology Dialysis Transplantation
Effect of comorbidities on survival in patients >80 years of age at onset of renal replacement therapy: data from the ERA-EDTA Registry2021 •
Cancer Epidemiology, Biomarkers & Prevention
Chlamydia pneumoniae Infection and Risk of Lung CancerGoldschmidt2021 abstracts
Critical metal enrichment in laterites from Chile2021 •
Bioelectromagnetics
Activation-dependent and biphasic electromagnetic field effects: Model based on cooperative enzyme kinetics in cellular signaling1996 •
2020 •
Journal of the Physical Society of Japan
Quantifying Similarity between Markets with Application to High Frequency Financial Data2006 •
2017 •