被纳粹偷盗的艺术（2017）

被纳粹偷走的1500件艺术品被神秘发现:
其中马蒂斯、雷诺阿和其他许多人的作品
被发现藏在慕尼黑的一间公♥寓♥里。
我认为，这是近年来，被发现的在大屠♥杀♥期间最大的被盗画作。
Property rights are an important portion of civilized society.
财产所属权，是文明社会最重要的，组成部分之一。
法国在道义上，有责任在60年后，恢复这些作品的本来面目。
The Gurlitt Affair gave worldwide prominence to the still discreet history of Nazi looted works of art.
“古尔利特事件”，使纳粹掠夺艺术品的历史，在世界范围内，
引起了关注，这段历史，至今仍不为人知。
1.500 canvases were found buried in a Munich apartment,among them were works by Matisse, Chagall, and Renoir.
在慕尼黑的一间公♥寓♥里，发现了1500幅油画，
其中包括马蒂斯、夏加尔和雷诺阿的作品。
The story made the subject of the hidden, stolen,and looted works of art seem like some sort of mini-drama,
这个故事使隐匿、被盗和抢劫艺术作品的主题，
看起来像是，某类迷你剧中的情节，
like a riveting detective story,
就像一部引人入胜的侦探小说，
whereas in fact, it was part of a whole process of dehumanization and deculturalization of Europe.
而事实上，它曾是整个欧洲，“去人性化”和“去人文化”过程的一部分。
The Bern Museum of Fine Arts was designated custodian of what was called the Gurlitt Collection.
伯尔尼美术博物馆，被指定为“古尔利特收藏品”的保管人。
It is now therefore up to the museum to reveal what happened to the works and to restore them to their legitimate owners.
因此，现在要靠这家博物馆，来揭示这些作品的下落，
并将它们归还给，它们的合法主人。
Amidst the history of betrayal, power, money,and fascination for art,
在背叛、权力、金钱和对艺术迷恋的历史中，
Hitler had also undertaken a Nazification of Europe through an art genocide.
希♥特♥勒♥还通过艺术种族灭绝，对欧洲进行了“纳粹化”。
被纳粹偷盗的艺术品的双重洗劫
The looting of works is one of the last unresolved outcomes of the Second World War.
对艺术品的掠夺，是第二次世界大战最后未解决的结果之一。
100.000 works of art were stolen,and one million books were destroyed in France alone.
仅在法国，就有10万件艺术品被盗，100万本书被毁。
This is the story of three works of art,three major paintings stolen from three leading European collectors.
这是三件艺术品的故事，三幅重要的画作，从三位欧洲顶级收藏家那里被盗。
The Woman in Blue in Front of a Fireplace by Henri Matisse,
亨利·马蒂斯的《壁炉前穿蓝衣服的女人》，
belonging to Paul Rosenberg,
由保罗·罗森伯格收藏;
Wilted Sunflowers, also known as Autumn Sun II,
埃贡·席勒的《枯萎的向日葵》，也被称为《秋日II》，
by Egon Schiele, owned by Austrian collector Karl Grunwald,
由奥地利收藏家卡尔·格伦沃尔德收藏;
and Man with a Guitar by Georges Braque,
乔治·布拉克的《拿吉他的人》，
belonging to Alphonse Kann.
由阿尔方斯·卡恩收藏。
Three works symbolizing the genre of modern art
三件象征现代艺术流派的作品
qualified by the Nazis as a degenerate art,
被纳粹认定为，“堕落的艺术”，
the art that Hitler took upon himself to totally eradicate in the name of purification of culture,
希♥特♥勒♥以净化文化的名义，下决心彻底消灭了这种艺术，
whilst at the same time,using it as a form of currency.
同时，又把它当作一种流通货币的“形式”。
The way that they would use the looted art was important.
他们使用掠夺艺术品的手段，这点很重要。
I think you had categories,like everything in Nazism.
我认为，你要有分类，就像纳粹对待一切事物，都要分类一样。
You had the good art,which was classical art.
你曾有好的艺术，也就是古典艺术。
It would go either to Hitler's collection
那就会被，要么是希♥特♥勒♥收藏，
to the German museum collections
要么是被德国博物馆收藏，
or to Goring's collection.
要么沦为戈林的藏品。
Then you had another type of art like Impressionism that could go
然后你有了另一类艺术，像印象派，
（赫克托.菲利齐阿诺，《遗失的博物馆》作者，南国出版社1995年）
to the Ministry of Foreign Affairs,
可以被外♥交♥部♥展出，
（赫克托.菲利齐阿诺，《遗失的博物馆》作者，南国出版社1995年）
the embassies, the German embassies,
还有各个大使♥馆♥，德国的大使♥馆♥，
and then you had degenerate art.
然后，你有了“堕落的艺术”。
Degenerate art was the pieces that would allow them,
“堕落的艺术”是那些能让他们，
like the Picassos, the Matisse, to barter them
像毕加索，马蒂斯，用以物易物的方式，
here in the Paris art market and to sell them away.
在巴黎艺术品市场上，卖♥♥掉的作品。
Even if this type of art was not appreciated and was publicly denigrated
即使这种类型的艺术不被欣赏，还被纳粹政♥权♥
by the Nazi regime, they were perfectly aware that it represented a vast financial aspect,
公开诋毁，纳粹们也非常清楚，它代表着巨大的金融方面的流向，
（托马斯.赛多克斯，艺术品顾问）
and that these works could not be destroyed,that it was better to trade them and contribute to the war effort.
这些作品不能被摧毁，最好是交易它们，为战争做贡献。
（托马斯.赛多克斯，艺术品顾问）
Degenerate art, is to him,
堕落的艺术，对他来说，
the art that comes out of degenerate minds,
是出自堕落的思想的艺术，
and he talks specifically about Cubism,
他特别谈到了立体主义，
Surrealism, and Dadaism.
超现实主义和达达主义。
How can someone like Michelangelo or the Mona Lisa,
像这样欣赏，米开朗基罗作品，或《蒙娜丽莎》的人，
and at the same time, can create and invent the Holocaust?
怎么能同时，想出和造成大屠♥杀♥呢?
Many art collectors in Paris were Jewish,and were therefore targeted as a priority for looting.
巴黎的许多艺术品收藏家，都是犹太人，因此，成为抢掠的首要目标。
Before and after the war,the French capital was the hub of the art market.
在战前和战后，法国首都，一直是艺术市场的中心。
Alphonse Kann was a prominent English art collector living in Paris.
阿尔方斯·卡恩，是一位住在巴黎的，著名英国艺术收藏家。
His collections featured Georges Braque's Man with a Guitar, a major painting and a founding work of Cubism.
他的收藏，包括乔治·布拉克的《拿吉他的人》，这是一幅重要画作，
也是立体主义的奠基性作品。
By 1940, Kann had fled to England.
到1940年，卡恩逃到了英国。
Alphonse Kann was an elegant dandy,
阿尔方斯·卡恩是个优雅的花♥花♥公♥子♥，
a banker and an art collector who had started out collecting old paintings,
一个是银行家，一个是艺术收藏家，他从收集旧画开始，
pre-Columbian and African objects of art and furniture.
从前哥伦布时期的美洲，和那时非洲的艺术品或家具。
（伊丽莎白.罗雅尔-格里姆布拉特，艺术品交易商，艺术史学者）
His taste in art was very eclectic and very accurate.
他的艺术品味非常兼收并蓄，非常准确。
（伊丽莎白.罗雅尔-格里姆布拉特，艺术品交易商，艺术史学者）
He was a rather amazing man.
他是一个相当有魅力的人。
（安东尼.孔德，卡恩家族的律师）
He was fascinated by modern art from 1910 to 1915 after the war,just after the First World War,and started buying it.
从1910年到1915年，一战结束后，他对现代艺术着迷，并开始购买♥♥。
（安东尼.孔德，卡恩家族的律师）
Alphonse Kann bought unprecedented volumes of pure Cubist Picassos with great determination.
阿方斯·卡恩以极大的决心，购买♥♥了前所未有的“纯立体派”毕加索的作品。
He knew full well that they were extremely difficult works,and that the general public did not understand them.
他清楚地知道，这些是极其艰难的工作，一般公众不理解它们。
At the time of the occupation,the German Special Services arrived.
在德占期间，德国特勤局的官员光临了。
If necessary, the French police helped out because let's face it,it was in the middle of the collaboration.
如果有必要，法国警方会提供帮助，对此，我们要面对现实，那时期毕竟是，
在维希政♥府♥与德国妥协期间。
Kann had left for England a couple of years before,and his house in St.- Germain-en-Laye was looted.
卡恩在几年前，就去了英国。因此，他在圣日尔曼莱昂的住♥宅♥，被洗劫了。
It was early October 1940 right at the start.
掠夺，从1940年10月初就开始了。
In Germany before the war started,they had already established a list of the objects that they may want.
在德国，在战争开始之前，他们已经草拟了一个，
他们可能，想获得的物品清单。
From the very first day of the occupation in June 1940,the occupation of Paris,
从1940年6月，占领巴黎的第一天起，
they started looting objects from the very first day,
他们从第一天就开始抢劫，
looting galleries especially.
特别是抢劫，各个美术馆。
The lists mentioned Paul Rosenberg,a key figure in the Parisian art market.
这些名单提到了保罗·罗森伯格，他是巴黎艺术市场的关键人物。
In early 1940, he fled the French capital
1940年初，他逃离法国首都，
for southwest France in a bid to seek shelter for his family and his most important works,
前往法国西南部，为家人和他最重要的作品寻求庇护，
among them Woman in Blue in Front of a Fireplace by Matisse.
其中包括马蒂斯的《壁炉前穿蓝色衣服的女人》。
As Rosenberg's collection was so reputed and well-known,the collector was a priority target for the Nazis.
由于罗森伯格的收藏声名远扬，这位收藏家，成为纳粹的首要目标。
His family gallery featured works by major Impressionists alongside masterpieces of modern art.
他的家庭画廊，展出了主要印象派画家的作品，和现代艺术的杰作。
Paul Rosenberg forged dealer and friendship bonds with Picasso,
保罗·罗森伯格与毕加索，建立了经销和友谊关系，
（安妮.辛克莱尔，记者，保罗.罗森伯格的孙女）
Braque, and Matisse.
还有布拉克和马蒂斯。
When you have great art dealers,
当你有优秀的艺术品经销商时，
（赫克托.菲利齐阿诺，《遗失的博物馆》作者，南国出版社1995年）
they will be helping artists develop their careers,
他们将帮助艺术家发展他们的事业，
（赫克托.菲利齐阿诺，《遗失的博物馆》作者，南国出版社1995年）
and this is what happened with Paul Rosenberg.
保罗·罗森伯格，就是这样的经销商。
It wasn't simply a case of him just commissioning and selling.
这不仅仅是，他的委托和销♥售♥。
He didn't just trade.
他不仅仅是交易。
He was perhaps also an impresario.
他也是一个经理人。
He promoted them and accompanied them,and he also commissioned works.
他提拔他们，陪伴他们，还委托他们创作。
He followed them.
他跟随着艺术家们。
This is an art dealer who dealt with Picasso,
这是一个和毕加索打过交道的艺术品商，
Mattise, Braque, and Leger.
还有马蒂斯，布拉克，和莱热。
In the 20s and 30s, this is man who was controlling part of modern art.
在20年代和30年代，这家伙控制着现代艺术的一部分。
In 1939 in Lucerne,the Nazis organized a major sale of degenerate art that had been looted from German museums.
1939年在瑞士卢塞恩，纳粹当局组织了一场大型拍卖♥♥，
拍卖♥♥德国博物馆掠获来的，“堕落艺术品”。
All profits from the sale were poured into the war effort.
出♥售♥所得的全部利润，都用于了战争。
Collectors and museum directors from all over the world flocked to the sale
来自世界各地的收藏家，和博物馆馆长蜂拥而至，
because magnificent works were put on the market at unbeatable prices.
因为精美的作品，以无与伦比的价格，投放向市场。
It attracted huge crowds,but my grandfather said he wouldn't buy any of the works.
它吸引了大批观众，但我祖父说，他不会买♥♥任何作品。
He wouldn't give a single coin to the Nazis as he said the money would fall back down upon them in the form of bombs.
他不会给纳粹一分钱，因为他说这些钱，会以炸♥弹♥的形式，落在他们身上。
So he was identified as being refractory to the Nazis and was blacklisted.
因此，他被认定为，对纳粹统治的“顽固分子”，并被列入黑名单。
This resulted in him closing his gallery,and they retreated to near Bordeaux.
这导致他关闭了他的画廊，他们撤退到波尔多附近。
But interestingly, the illusion that we could go back to Paris to open the gallery again was still there.
但有趣的是，我们依然心存幻想，可以回到巴黎，可以再次开放画廊。
He wrote to Matisse saying,you'll see, I'll return to Paris in April or May.
他写信给马蒂斯说，你会看到，我将在四月或五月，回到巴黎。
He thought he would open the gallery again in April or May of 1940 and put on a fantastic exhibition.
他想在1940年4月或5月，再次开放画廊，举办一场精彩的展览。
In the beginning, almost none of the collectors,
一开始，几乎没有一个收藏家，
the Rothschilds, the Rosenbergs, the Kanns,
包括罗斯柴尔德家族，罗森伯格家族，卡恩家族，
they never thought that there could be looting
他们从未想过，在战争期间
during the war, this type of methodical, systematic looting.
会有抢劫，会有这种系统性的抢劫。
This was unthinkable,so they wanted to protect it, perhaps,from the havoc of war,from the soldier of war.
这是不可想象的，所以他们想保护它，也许会，
不受战乱的破坏，不受打仗士兵的伤害。
He had a lot of his paintings brought to southwest France near Bordeaux.
我祖父收藏的许多画作，被带到法国西南部的，波尔多附近。
He hired a vault at the BNCI,the French national bank for trade and industry
他在法国“国家贸易和工业银行”租佣了一个保险库
which had a secured vault in Libourne saying they'll be safe here.
那是在利布尔纳的一个安全的保险库，并说，在这里会很安全的。
Braque, who visited him,hired the vault next to his.
布拉克拜访过他，租下了他隔壁的保险库。
At the time, Libourne was in the occupied zone,
此时，利布尔纳沦为了德占区，
and persecution against Jews were increasingly frequent.
对犹太人的迫♥害♥，也越来越频繁。
Over there, he will have to leave very quickly,but he left behind many many things.
在那里，他将不得不很快离开，但他留下了很多东西。
Then my grandfather, grandmother,and mother, families were torn apart,
然后，我的祖父、祖母和母亲的家庭已经四分五裂，
crossed the border at Hendaye to flee across Spain to Portugal.
他们纷纷越过边境，从西班牙逃到葡萄牙。
Miraculously, they were able to get away,
奇迹般的是，他们成功地逃脱了，
take the boat in the middle of the mines and submarines and reach America.
乘坐轮船，穿过潜水艇，水雷密布的海面，到达了美国。
Paul Rosenberg attracted feelings jealousy,
保罗·罗森伯格引起了某些人的嫉妒感，
so certain intermediaries denounced him.
因此，某些中间商揭发了他。
（艾曼纽.波拉克，国家艺术史研究所副研究员，法国纪念物博物馆档案部经理）
There were people who wanted to negotiate,who wanted to have either a percentage of it, a commission.
有些人想要和占领当局谈判，他们要么想要一定比例分成，要么想要佣金。
In kind, they would be receiving paintings from the Rosenberg collection in exchange for their information.
作为交换，他们将从罗森伯格的收藏中，获得画作，作为
他们揭发检举的酬劳。