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Debunking the Myth of "Nazi-Looted Art"

By Mike King

THE MONUMENTS MEN

Starring George Clooney, Matt Damon, Bill Murray, Cate Blanchett - directed by George Clooney.

 Based on the book by Robert Edsel

OFFICIAL DESCRIPTION

"Based on the true story of the greatest treasure hunt in history, The Monuments Men is an action-thriller focusing on an unlikely World War II platoon, tasked by FDR with going into Germany to rescue artistic masterpieces from Nazi thieves and returning them to their rightful owners.

It would be an impossible mission: with the art trapped behind enemy lines, and with the German army under orders to destroy everything as the Reich fell, how could these guys, seven museum directors, curators, and art historians, all more familiar with Michelangelo than the M-1, possibly hope to succeed?
But as the Monuments Men, as they were called, found themselves in a race against time to avoid the destruction of 1000 years of culture, they would risk their lives to protect and defend mankind's greatest achievements."

The REAL Story of "Nazi Looted Art"


ART PROTECTION DURING WORLD WAR I
 
Under Kaiser Wilhelm II during World War I, the highly cultured Germans go to great lengths to protect and preserve artworks located in enemy territory or near a zone of combat. The German word to describe this principal of saving Europe's cultural and artistic treasures during wartime is "Kunstschutz" (art protection).

Kaiser Wilhelm tried to avert the war which was forced upon Germany. Even while winning the war, the Kaiser held out an olive branch to the Allies, while his Kunstschutz units protected artworks belonging to enemy nations.

ART IS RETURNED AFTER THE WAR

At the end of World War I, rescued artworks are returned voluntarily. Unlike World War II, anti-German propaganda actually fades away following World War I. As a result, Germany is later praised for "Kunstschutz" / art protection during "The Great War". 

World War I was very destructive. Thanks to Germany, many works of art located in Belgium and France were saved.

ART PROTECTION DURING WORLD WAR II

A talented painter himself, Adolf Hitler has a great appreciation for art and culture. He sees Churchill and FDR as uncultured barbarians with merciless disregard for innocent life, architecture, and works of art. As the Germans under Kaiser Wilhelm II had done during World War I, Hitler too orders the protection of artworks throughout the combat theatres of Western and Eastern Europe.
 
"Again and again I uttered these warnings against this specific type of aerial warfare, and I did so for over three and a half months. That these warnings failed to impress Mr. Churchill does not surprise me in the least. For what does this man care for the lives of others? What does he care for culture or for architecture?" -- Adolf Hitler

Churchill the Barbarian   //  Hitler the cultured gentleman (with Norwegian figure skater Sonja Henning)  //  A Painting By Adolf Hitler

MARSHAL GORING HEADS THE KUNSTSCHUTZ

The task of protecting the art of Europe is handed over to Air Force Marshal Hermann Goring.  As Allied terror bombing ravages Europe, thousands of paintings and sculptures from Italy, France, Belgium, Russia, Romania, and Poland are gathered and meticulously inventoried by the Germans.
This process only began in the fall of 1943. Had the Germans wanted to "loot" the art of Europe, they could easily have done so in 1940, 1941, 1942, and the first 9 months of 1943. It was only after Allied carpet bombardment was unleashed upon Italy (later on France), and the Soviets began advancing from the East, that the German began gathering up the artwork.

As men of culture, Hitler and Goring placed high priority on art protection.

Rescued from Naples: 'Danaë' by Titian (l) and "The Blind Leading The Blind" by Pieter Bruegel

HITLER SAVES ROME

Hitler respects ancient Rome as one of the cultural pillars of Europe. As the Americans and British approach Rome from the South, Hitler orders his troops to evacuate. Knowing that an Allied air and ground attack would destroy many of its cultural icons, The “Eternal City” is left open for the Allies to march in uncontested.  Hitler’s decision to leave Rome as an undefended "Open City" saves the great city from ruin. Athens and Florence are also declared Open Cities.

Hitler's unforced evacuation spared Rome and its cultural wonders from the "collateral damage" of the merciless barbarian Allies.

SPEAKING OF "LOOTED ART'

Irony of irony! Barbaric American looting of Europe includes the taking of personal possessions, livestock, women, and works of art. In the East, it’s not even necessary to speak about the wholesale looting and ghastly gang raping carried out by the Red Army.
Again in 2003, the U.S. occupiers of Iraq deliberately stood down as barbarians and professional thieves looted the priceless cultural treasures of that unfortunate nation.

Much of the stuff the Allies stole has never been returned.During the Iraq war, U.S. surrogates systematically looted the ancient treasures of the Baghdad Museum.

WHO INVENTED THE 'NAZI LOOTING' STORY?

After the war, the American Art Looting Investigation Unit (ALIU) of the Office of Strategic Services (OSS) issues 13 reports on the German plundering of art.  By the way, this is the same OSS whose other “findings” accuse the Germans of using the bodies of dead Jews to make “shrunken heads”, “lamp shades” and “bars of soap” - allegations which are today universally acknowledged to have been false.

The OSS is the forerunner to the CIA.

The "Cloak & Dagger" Logo of the OSS says it all! An Agency whose stated purpose involves strategic deception and propaganda crafted the "looted art" lie. The mass-murderer Eisenhower (shown examining "looted art") also helped to sell the post war lie.

THE LIE WON'T DIE

In the months, years, and decades following the war, endlessly repeated propaganda has elevated the OSS-CIA fable of “looted Nazi art” into a virtual reality in the minds of the brainwashed public. However, as is the case with so many other elements of the “official story" of World War II, this too is a lie.

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