被纳粹偷盗的艺术（2017）

In 1941,the Nazis, the Gestapo,
1941年，纳粹占领军，盖世太保，
helped by the French authorities
在法国维希当局的帮助下，
forced the bank's vaults and plundered their contents.
强行闯入银行的保险库，洗劫了里面的东西。
They looted my grandfather's vault and Braque's too.
他们洗劫了我祖父和布拉克的保险库。
On the 5th of September 1941,Paul Rosenberg's collection and stock
1941年9月5日，保罗·罗森伯格的收藏和存货
were transferred to the Jeu de Paume Museum.
被转移到“室内网球场博物馆”。
该馆始建于1861年，拿破仑三世时期。原为室内网球场，
后改为博物馆。2021年进行了翻新改造。
Hermann Goring,number two at the Reich
赫尔曼.戈林，第三帝国的二号♥人物，
and head of the Luftwaffe,
纳粹空军的首脑，
used the Jeu de Paume Museum to store all the stolen works.
用“室内网球场博物馆”来存放所有被盗的作品。
Here in late 1941, Alphonse Kann's Braque Man with a Guitar
1941年末，阿尔方斯·卡恩收藏的的布拉克画的《拿吉他的男人》
and Paul Rosenberg's Matisse Woman in Blue in Front of a Fireplace
和保罗·罗森伯格收藏的马蒂斯画的《壁炉前的蓝衣女人》
lay within a few meters of each other.
相距不过几米。
To transfer the thousands of stolen works to the Jeu de Paume Museum,
为了将数千件被盗作品转移到“室内网球场博物馆”，
Goring used the services of the E.R.R.,the official looting body.
戈林利用了官方机构the E.R.R.，来充当抢劫的主体。
Goring took the E.R.R. under his wing,
戈林掌管着the E.R,R.，
（安东尼.孔德，卡恩家族的律师）
and this made transport and workforce available to the E.R.R. to regularly send things to Germany.
这使得the E.R.R.有了交通工具和劳动力，可以定期把东西送到德国。
（安东尼.孔德，卡恩家族的律师）
Goring had his own personal train.
戈林有他自己的专列。
The entire last wagon was used as a warehouse for looted works of art.
最后一节车厢被用作仓库，存放被掠夺的艺术品。
He spent a large part of his time seeking masterpieces throughout Europe
他花了大量的时间，在欧洲各地寻找杰作，
that could be looted from families and compiled into a vast personal collection at his home.
这些杰作可以从各个家庭中掠夺，并汇聚成他家中私人的海量收藏。
法国外♥交♥部♥的档案
As grandmaster of this villainous chess game,
作为下这场邪恶棋局的大♥师♥，
Hermann Goring claimed all rights over the destiny of the stolen works.
赫尔曼·戈林声称，对被盗作品的命运，拥有所有权利。
Man With a Guitar and Woman in Blue in Front of a Fireplace transited via his personal networks
《拿吉他的男人》和《壁炉前穿蓝衣服的女人》是通过他的个人网络运输的，
that also supplied his private collection.
这些网络，也丰富了他的私人收藏。
I'm just discovering these photographs.
我只是发现了这些照片。
They're incredible.
它们简直难以置信。
Goring has just visited the Jeu de Paume Museum,
戈林刚刚参观完“室内网球场博物馆”，
where the works that were plundered and looted from the Jewish families were stored.
那里存放着从犹太家庭掠夺来的作品。
Goring visited the Jeu de Paume Museum on over 20 occasions.
戈林参观了20多次“室内网球场博物馆”。
In November '42,
1942年11月，
February '41, March '41, April '41,
41年2月，41年3月，41年4月，
May '41, July '41, August '41,
41年5月，41年7月，41年8月，
December '41, February '42, March '42,
1941年12月，1942年2月，1942年3月，
14th of May '42, and November '42.
42年5月14日，和42年11月。
It's quite astonishing.
简直令人震惊。
The man spent his life there.
这个胖子，几乎要在那里生活了。
He would visit incognito.
他会隐姓埋名地去拜访。
Goring, that horrible character, liked degenerate art.
戈林，那个可怕的胖子，他喜欢“堕落的艺术”。
He had a room reserved for it,referred to as the Martyr Room
他为此专门留出一间屋子，称为“殉道者厅”，
where all the canvases he was interested in were exhibited,
他所感兴趣的油画，都陈列在那里，
and he helped himself freely from it.
以便他自♥由♥地欣赏。
This is a photograph of the Martyr Room, and in this room,hanging from floor to ceiling,
这是殉道者大厅的照片，在这个房♥间里，艺术品从地板，一直挂到天花板，
（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）
are all the works considered as belonging to degenerate art.
所有的作品，都曾被认为是“堕落的艺术”。
（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）
We can recognize works by Chagall, Matisse, Picasso,
我们可以认出，夏加尔、马蒂斯、毕加索的作品，
numerous works by Dali, Fernand Leger, and Torres Garcia.
还有达利、费尔南德.莱热和托雷斯·加西亚的大量作品。
According to us,that's the Braque there.
据我们所知，那是布拉克的作品。
You can see the composition and the size because it's a tall and narrow painting.
你可以看到构图和大小，因为这是一幅又高又窄的画。
The Jeu de Paume became the hub of Nazi looted art and its parallel market.
“室内网球场博物馆”成为纳粹掠夺艺术品窝藏地，
同时还是艺术品买♥♥卖♥♥的中心。
One young museum employee risked her life in tracking and registering the traceability of the paintings.
一位年轻的博物馆工作人员，冒着生命危险，
追踪并记录了，这些画作的可追溯性。
She was to play a key role in the post war restitution.
她将在战后的复原中，发挥关键作用。
Jaujard,the owner of the Louvre,
时任卢浮宫的馆长，雅克.约雅德，
asked Rose Valland, a young woman from a very modest background,
请出身普通的年轻女子罗斯·瓦兰到现场，
to be on site and to witness what the Nazis were doing.
为纳粹的罪行，做现场见证。
She was to play a key role.
她将扮演一个关键角色。
She observed and rummaged in the bins
她仔细观察并在箱子里翻找，
to obtain duplicates of everything that was written down.
想要得到所有记录下来的艺术品的副本。
She tried to obtain the addresses of the looted collectors.
她试图获得，被抢劫的收藏家的地址。
At night in the arrangerie,she would jot down
在晚上，她会在她的小笔记本上
in her little notebooks summaries of all the works
记下她看过的所有作品的概要，
she'd seen, where they came from,
它们来自哪里，
and where they were going as far as she knew.
以及她所知道的，它们将要的去向。
（安妮.辛克莱尔，记者，保罗.罗森伯格的孙女）
After the liberation, this proved to be a gold mine
光复后，这被证明是
for the French museums and collectors.
法国各个博物馆和收藏家们的金矿。
Rose Valland flagged that this painting of Braque's was going to be exchanged.
罗丝·瓦兰标记表明，布拉克的这幅画，将要被拿去交换。
（伊丽莎白.罗雅尔-格里姆布拉特，艺术品交易商，艺术史学者）
We have the exchange documents.
我们有用于交换的文件。
The document can be found in the archives of the Louvre,
这份文件可以在卢浮宫的档案中找到，
and the same document exists in the archives of the Musee D'Orsay.
同样的文件，也存在于奥赛博物馆的档案中。
It's very interesting to see the correlation between the exchanges
看到罗斯·瓦兰在这段时间里，对交换艺术品的记录，
that Rose Valland noted down during this period and Goring's visits.
与戈林的造访之间的联♥系♥，是非常有趣的。
For example, the exchange that interests us took place in February 1942,
例如，我们感兴趣的那次交换，发生在1942年2月，
（安东尼.孔德，卡恩家族的律师）
and Goring was there on the 25th of February 1942.
戈林在1942年2月25日，就在那里。
（安东尼.孔德，卡恩家族的律师）
We found the Braque Man with a Guitar, Item 1062,
我们找到了，布拉克画作《拿着吉他的男人》，编号♥1062，
with the reference HG, Hermann Goring.
上面写着HG，赫尔曼·戈林。
So, Man With a Guitar disappeared in 1942.
于是，《弹吉他的男人》在1942年消失了。
Like the Braque,Matisse's Woman in Blue in Front of a Fireplace was also exchanged.
和布拉克一样，马蒂斯的《壁炉前的蓝衣女人》也被交换了。
It was part of a batch of four Matisse paintings
这幅画是戈林与一位与他合作的
that Goring exchanged with a collaborator art dealer for a Jan Brueghel painting.
艺术品经销商，交换的马蒂斯四幅画作中的一幅。
Here we see that a member of the E.R.R.,
这里我们看到 E.R.R.的一名成员，
the body dedicated to the looting of art,
专门劫掠艺术品的机构，
is getting ready to serve him a glass of champagne,
正准备给他端上一杯香槟，
and the work he is holding is the Port of Antwerp by Jan Brueghel.
他手中的作品是扬·布鲁盖尔的《安特卫普港》。
Goring is sealing the agreement which is to recover the Jan Brueghel
戈林正在签署协议，换回扬·勃鲁盖尔的作品
and to exchange with the art dealer the four Matisse looted from the Jewish families.
并把从犹太家庭掠夺的，四幅马蒂斯作品，交换给艺术品商。
The state of the art market in Paris during the war,
考虑到战争期间，巴黎艺术品市场的状况，
I realize that it was a very lively place.
我意识到，那是一个非常热闹的地方。
They operated in a network.
他们在一个网络中运作。
It was an illegal market,a parallel market.
这是一个非法市场，一个与掠夺并行的市场。
They operated a network and subsidiaries emerged.
他们经营着一个网络，然后，子公♥司♥出现了。
There were auctions at war constantly.
战争中，不断有拍卖♥♥进行。
Many art dealers were open,which meant a lot of collaboration,
许多艺术品经销商都是公开的，这意味着很多合作，
（赫克托.菲利齐阿诺，《遗失的博物馆》作者，南国出版社1995年）
of course, naturally, it has to mean collaboration.
当然，自然地，这必须意味着“同流合污”。
（赫克托.菲利齐阿诺，《遗失的博物馆》作者，南国出版社1995年）
Everybody, everybody,I say that in all honesty,
每个人，每个人，我诚实地说，
including French gallery owners during the occupation,
包括占领期间，法国画廊的老板们，
everybody profited from the looting.
每个人都从抢劫中获利。
On October the 31st, 1942,
1942年10月31日，
we can read sale of assets of Israeli Khann,three days of sales.
我们可以看到犹太人卡恩家族的资产被出♥售♥，三天的销♥售♥。
The Gazette of the Hotel Drouot auctioning house three days of sales.
根据巴黎德陆欧酒店的公告，在其拍卖♥♥大厅卖♥♥了三天。
Do you know what three days of sales represents?
你知道三天的销♥售♥，意味着什么吗?
Hundreds of canvases, and that's just the French part.
成交了数百幅油画，这还只是法国的部分。
The two Braque and Matisse canvases that were stolen from Alphonse Kann and Paul Rosenberg
两幅从阿尔方斯.卡恩和保罗.罗森伯格处抢劫来的，布拉克和马蒂斯的油画，
disappeared into the parallel market.
在平行市场上消失了。
The Nazis carried on plundering European art heritage.
纳粹继续掠夺欧洲的艺术遗产。
The same message that they apply,
他们提供的同样的信息，
let's say to bring in people from Paris to Auschwitz,
比如说，把人们从巴黎，押运到奥斯维辛，
you know by using trains,by using cattle trains, cattle wagons,
你知道，通过使用火车，用运牛的火车，装牛的车厢，
we have to put it as an analogy in how they did the looting.
我们必须得把这件事，与他们怎么进行洗劫联♥系♥起来。
I think it was more or less the same method that was applied.
我认为，这或多或少地，采用的都是相同的方法。
Throughout Europe,the Nazis used an industrialized system for looting.
在整个欧洲，纳粹使用工业化体系进行抢劫。
It was designed to let no work escape.
这被设计成，逃跑是无用的。
In 1942 in Austria, the enlightened collector Karl Grunwald fled the country
1942年，在奥地利，开明的收藏家卡尔·格伦沃尔德，带着他的一些收藏品
with a few of his works including Wilted Sunflowers by Egon Schiele.
逃离了这个国家，其中包括埃贡·席勒的《枯萎的向日葵》。
Karl Grunwald managed to remove from Austria a large share of the paintings
卡尔·格伦沃尔德设法从奥地利，拿走了一大部分
he was most fond of by declaring them to be of lower value than they really were,
他最喜欢的画作，他宣称，这些画作的价值，低于它们的实际价值，
（梅丽莎.穆勒，记者，美术杂♥志♥2013年刊登《被偷盗的作品，被打碎的命运》作者）
so that nobody was interested in the works he had collected.
所以，没有人对他收藏品感兴趣。
（梅丽莎.穆勒，记者，美术杂♥志♥2013年刊登《被偷盗的作品，被打碎的命运》作者）
He had them transported to Strasbourg where he placed them in a warehouse.
他把它们运到斯特拉斯堡，放在一个仓库里。
He himself had managed to obtain and to buy a visa to leave Austria.
他自己设法获得并购买♥♥了，离开奥地利的签证。
He hoped to reach the US by crossing France
他希望穿越法国，从西班牙出发
and leaving from Spain,but the rest of the family
到达美国，但家里的其他人
did not manage to buy visas in time and were deported.
没能及时买♥♥到签证，被驱逐出境了。
（托马斯.赛多克斯，艺术品顾问）
Unfortunately,when Karl Grunwald had to leave France,he no longer had access
不幸的是，当卡尔·格伦沃尔德不得不离开法国时，他再也无法
to the warehouse, and in order to save his own life,
进入那间仓库，为了挽救自己的生命，