The Louvre Museum is stepping up its research to identify in its collections “
problematic
”
works
from Jewish families looted in 1939-1945, in cooperation with the Hôtel Drouot and the Shoah Memorial, its president told AFP. director.
Jean-Luc Martinez was leading a conference on Wednesday during which the eight departments of the museum made an initial assessment of the provenance of the works entered during this period.
A complex search from archives, inscriptions, labels, etc.
Read also: Jewish spoliations: showdown around
La Bergère
de Pissarro
“
It's a duty to remember
,” he said
.
It is not a question of casting suspicion on all these acquisitions.
We will watch
œ
works included in the inventories.
Between 1933 and 1945, the Louvre bought 13,943 works.
For the vast majority - 60/70% depending on the department - the provenance has been verified
”.
For many others, he explained, verification is ongoing although their provenance does not appear "
problematic"
.
“The problem is when a work was bought from a dealer who was able to obtain supplies from networks from which looted goods came.
Or that it was bought in public sales of looted property, where national museums were buyers
, said Jean-Luc Martinez.
In the painting department, problematic origins represent 1% of acquisitions.
"
"
The Louvre has nothing to hide
"
The Louvre has signed partnerships with the Shoah Memorial and with the Hôtel Drouot, which has the archives of the Parisian art trade.
“We have set ourselves the objective within 4 -5 years of a real assessment of the goods acquired between 1933 and 1945. The second stage will be the same exercise in the years 1950-1960 when the art market continues. to see circulating goods stolen from Jewish families, ”
said the director of the Louvre.
With the support of the special mission of the Ministry of Culture on looted property, other national museums, libraries, "
we are moving at another speed, we are expanding the perimeter
", he said, referring to the research on books, musical instruments, etc. An expert in the art market under the Occupation, Emmanuelle Polack was commissioned at the Louvre to explore the archives of an exhibition in September 1945 on
"new museum acquisitions national ”
.
“
The Louvre has nothing to hide and the reputational risk is enormous,
” summed up the director of the Louvre.
When “
the new generations want to know where these collections come from, how to react?
By making history, by establishing the facts
”.
"
I find it beneficial that they ask us to account,
" added the president of the first French museum.
