被纳粹偷盗的艺术（2017）

这么说吧。
You'll notice I'm smiling a little when you mention the story.
你会注意到，当你提到这个故事时，我微微一笑。
It's not a rare situation.
这种情况并不罕见。
Auction houses or art dealers contact the heirs of Jewish collectors and say,
拍卖♥♥行或艺术品经销商，联♥系♥犹太收藏家的继承人说，
we know where your painting is.
我们知道，你们家的画在哪里。
We can't tell you, but we can serve as an intermediary to reach an agreement,
我们不能告诉你们，但我们可以作为中间人，可以达成协议，
so that both you and the current owner benefit from the sale.
这样，你们和现在的所有人，都能从出♥售♥中获益。
It's very pragmatic, but legally,
这很务实，但在法律上，
it's highly questionable
这很值得怀疑，
because in my opinion, the Grunwald family
因为在我看来，格伦沃尔德家族
should've recovered their property.
应该收回他们的财产。
It's quite common.
这很正常。
We mustn't judge.
我们不能妄下结论。
The results speak for itself.
结果不言自明。
The painting reappeared, it became famous again
这幅画重新出现了，它在几十年后
after decades, it was wrenched from oblivion,
再次出名，它被遗忘过，
but the market spoke,and the market enabled the painting to obtain an incredible value.
但市场说话了，市场使这幅画，获得了令人难以置信的价值。
We hope that this story will serve as an example for many other restitution cases to come
我们希望这个故事，将成为今后许多其他赔偿案件的一个案例，
that amicable solutions are possible.
表明友好解决，是可能的。
21.7 million euros.
2710 万欧元。
Whatever the mysterious arrangement was,
不管这神秘的安排是什么
that was the sum the auction raised.
这是拍卖♥♥所得。
Meanwhile, the inquiry carried out by the investigating judge into Braque's Man With a Guitar dragged on.
与此同时，调查法官对布拉克的《拿吉他的人》的调查，
仍在继续。
Discussions between the Pompidou Center and Alphonse Kann's heirs remained highly charged.
蓬皮杜艺术中心与阿尔方斯·卡恩的继承人之间的讨论，
仍然高度紧张。
The accusation of concealment triggered lengthy research that did not succeed in throwing light on historical haze
“窝藏赃物”的指控，引发了漫长的研究，但未能成功揭开
surrounding the painting's journey just after it was looted.
围绕着这幅画，在被掠夺后的历史迷雾。
The accusation did not go through.
这项指控，没有被法♥院♥通过。
The judge closed the case.
法官终结了案件.
At the time, the judge gave me a hearing.
当时，法官让我参加了一个听证会。
（让,雅克.艾拉贡，乔治.蓬皮杜国家艺术中心的前主席1996-2002）
The study took a number of years and was never able to formally establish
这项研究花了数年时间，但始终无法♥正♥式证明，
（让,雅克.艾拉贡，乔治.蓬皮杜国家艺术中心的前主席1996-2002）
that at a particular moment in time,
在某个特定时刻，
a deed of assignment had been organized
阿尔方斯·卡恩与第三方之间
between Alphonse Kann and a third party,
存在转让契约，
so we concluded that Alphonse Kann's beneficiaries
因此我们得出结论，应该对阿尔方斯·卡恩的受益人
should be given the benefit of the doubt.
进行无罪推定。
The Pompidou Center kept the painting and indemnified the family.
蓬皮杜艺术中心保留了这幅画，并保证赔偿了家人。
（伊丽莎白.罗雅尔-格里姆布拉特，艺术品交易商，艺术史学者）
An agreement protocol was drawn up.
起草了一份协议议定书。
The Kann family certainly made the right decision that the painting should remain in the Pompidou Center.
卡恩家族做出了正确的决定，这幅画应该留在蓬皮杜艺术中心。
（托马斯.赛多克斯，艺术品顾问）
I think they were extremely generous and fair in not making the maximum amount of money out of it.
我认为,，他们没有从中赚取最多的钱，是非常慷慨和公平的。
I wouldn't be surprised, if today,a painting like that reached between 70 and 80 million euros.
如果，这幅画在今天，能卖♥♥到七千万到八千万欧元，我也不会感到惊讶。
You just don't find paintings like that anymore.
你再也找不到，像这样的画了。
It's incredibly rare,and it's one of the symbols of a movement,
这是非常罕见的，它是一个“现代主义运动”的象征之一，
if not the most important movement of the 20th century.
如果不是20世纪最重要的运动。
这是二十世纪艺术上的杰作，
也是法国二十世纪艺术上的杰作。
它在1965年的列斐伏尔拍卖♥♥会上，以你提到的价格售出。
Today,museums consider themselves responsible for the preservation of art.
如今，博物馆认为自己有责任保护艺术品。
Many museums when confronted with request for restitution respond,
许多博物馆在面对归还请求时都做出了回应，
for centuries we have saved, protected,and made these works accessible.
几个世纪以来，我们一直在保存、保护这些作品，并使它们能够被大众理解。
（梅丽莎.穆勒，记者，当代美术杂♥志♥2013年刊登
《被偷盗的作品，被打碎的命运》作者）
That's our mission, and we don't want a painting
这是我们的使命，我们不希望一幅
which has since become extremely precious
从此变得极其珍贵的画作，
to disappear into the private sphere.
消失在私人领域里。
For museums, it has always been a complicated matter,
对于博物馆来说，这一直是一个复杂的问题，
（赫克托.菲利齐阿诺，《遗失的博物馆》作者，南国出版社1995年）
very complicated, because they do not deal
非常复杂，因为他们并没有把
with these paintings or with these art objects
这些画作或艺术品当作
as if they had been looted.
被掠夺的物品来处理。
They deal with them as if they were in museums
他们对待它们，就好像它们在博物馆里
or not in museums, and we know that many curators,
或不在博物馆里一样，我们知道很多博物馆馆长，
once they have an object inside the museum,
一旦他们把一件展品，放在博物馆里，
it should never leave the museum under any circumstance.
它在任何情况下，都不应该离开博物馆。
I do understand the museums.
我确实理解博物馆。
（安妮.辛克莱尔，记者，保罗.罗森伯格的孙女）
It's hard for them to part with the works because they have been hanging on their walls for 30 or 40 years, and all of a sudden,
他们很难放弃这些作品，因为它们已经在墙上，挂了三四十年了，突然之间，
（安妮.辛克莱尔，记者，保罗.罗森伯格的孙女）
they're asked to give them back.
他们被要求归还。
Yet, ultimately, it didn't belong to them.
然而，最终，它并不属于他们。
They were its custodians.
他们是它的管理人。
I understand their frustration,but it's also logical that they return things
我理解他们的沮丧，但他们退回不属于自己的东西
that they do not belong to them if they're not really theirs.
也是合乎逻辑的，如果这些东西不是他们的。
Today, the case of Braque still remains a highly sensitive affair in the memory of the Pompidou Center.
时至今日，布拉克案在蓬皮杜艺术中心的记忆中，仍然是一个高度敏感的事件。
After purchasing the painting in 1981,
在1981年购买♥♥了这幅画之后，
the museum had to pay a second very large sum,
博物馆不得不支付第二笔非常大的款项，
confidential this time,to keep the work in the national collections.
这次是保密的，以保持国家收藏的作品。
The case of Paul Rosenberg's Matisse recounts a different story.
保罗·罗森伯格收藏的马蒂斯的画作，则讲述了一个不同的故事。
The painting reappeared in 2012,
这幅画在2012年重新出现，
ironically, in the same Pompidou Museum during a Matisse retrospective
具有讽刺意味的是，在马蒂斯作品消失67年后，同样是在蓬皮杜艺术中心，
67 years after it first disappeared.
举办的马蒂斯回顾展上，首次出现。
Lent by a Norwegian foundation from Oslo,
《壁炉前的蓝衣女人》由挪威奥斯陆的
Woman in Blue in Front of a Fireplace was exhibited alongside dozens of other works by Matisse.
一个基金会借出，与马蒂斯的其他几十件作品一起展出。
As it happened,I didn't know the list of missing paintings off by heart, so I missed it.
碰巧的是，我并没有把丢失画作的名单背下来，所以我错过了。
Luckily, certain specialists,in particular Emmanuel Pollack,noticed it and pointed it out.
幸运的是，某些专家，特别是艾曼纽·波拉克，注意到了这一点，
并指出了这一点。
Our family was alerted that there was a painting that belonged to the family.
我们家族被告知，有一幅画是属于我们家族的。
We were contacted in spring of 2012
2012年春天，在纽约的罗森伯格家族的
by the lawyer of the Rosenberg family in New York,
律师联♥系♥了我们，
（托恩.汉森，挪威奥斯陆海尼.昂斯塔德艺术中心负责人）
and they presented us with the papers from E.R.R.
他们向我们出示了 E.R.R.的文件，
（托恩.汉森，挪威奥斯陆海尼.昂斯塔德艺术中心负责人）
that are now in Washington and claimed that the painting was stolen.
这些文件现在在华盛顿，他们声称这幅画是被盗的。
It was the first case in Norway,so it's of course a heavy burden for a small museum
这是挪威的第一个案例，所以对于一个小博物馆来说，开始调查
to start investigating such a huge issue.
这么大的问题，当然是一个沉重的负担。
（贡尔纳.施耐贝尔，律师，
《橱窗故事：复原纳粹掠获艺术品及争议》作者2008年出版）
When you know the conditions the work was lost in,and that it was sold during the Nazi era,
当你知道这件作品丢失的环境，以及它是在纳粹时期被卖♥♥掉的，
things become more complicated because we needed to trace the work of art during the ensuing 50 years
事情就变得复杂了，因为我们需要在接下来的50年里追踪这件艺术品，
even though it was sometimes sold four or five times, and that's very difficult.
尽管它有时被卖♥♥了四五次，这是非常困难的。
When we deframed the paintings,
当我们拆开这些画的镜框时，
we couldn't find any traces or evidence
我们根本找不到，任何关于这幅画的
of the history of the painting at all.
历史的痕迹或证据。
The only mark on the back of the painting is a stamp for a Norwegian crown,so it's been brought into Norway.
这幅画的背面唯一的印记，是挪威王冠的印♥章♥，
所以，这幅画是被带到挪威的。
That's the only thing we know.
这是我们唯一知道的。
Like for Braque,the heirs had to prove the Woman in Blue in Front of a Fireplace had indeed belonged to Paul Rosenberg.
像布拉克一样，继承人必须证明《壁炉前穿蓝衣服的女人》
确实属于保罗·罗森伯格。
They had to provide proof that it had been in the vault in Libourne.
他们必须提供证据，证明它曾存放在利布尔纳的保险库中。
At the archives of the French Ministry of Foreign Affairs,Paul Rosenberg's actions
在法国外♥交♥部♥的档案中，可以追溯到保罗·罗森伯格
can be traced as he set out to find his canvases as soon as the war ended.
在战争一结束，就开始寻找这幅油画的行为。
There, there is a very important note.
这里有一个非常重要的注释。
So, vault of Libourne,as indicated in my letter
所以，利布尔纳的金库，正如我在15号♥的
dated the 15th, the vault was forced open
信中提到的，金库在1941年4月28日
on the 28th of April, 1941.
被强行打开过。
In the presence of the occupying authorities.
是当着占领当局的面前打开的。
The contents of the vault were transferred to another vault, and an inventory was drawn up
库房♥里的东西被转移到另一个库房♥里，而货物清单则由
by the director of the Bordeaux School of Fine Arts,Mr. Roganneau.
波尔多美术学院的院长罗甘瑙先生起草的。
（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）
So here, you can clearly see a painting by Matisse,
所以在这里，你可以清楚地看到马蒂斯的一幅画，
Woman in Blue in Front of a Fireplace,
《壁炉前穿蓝衣服的女人》，
measuring 60 by 81, does indeed feature
60乘81，确实在列在了
in this inventory drawn up by Roganneau from the Libourne vault.
罗甘瑙从利布尔纳库房♥，起草的清单中。
We know that in September 1941,these works arrived at the Jeu de Paume Museum.
我们知道，1941年9月，这些作品被送到了“室内网球场”博物馆。
On the back of an information card of a Matisse drawing,
在一张马蒂斯画作的信息卡的背面，
I see a list, an inventory with Woman in Blue in Front of a Fireplace
我看到了一个清单，一个有《壁炉前穿蓝衣服的女人》名字的清单，
with the inventory number of Paul Rosenberg's collection,
上面有保罗·罗森伯格收藏的清单编号♥，
and the fact that it's presented with this sentence,
而且上面，确实有这句话，
taken either in Floirac or in Paris,
取自弗卢瓦拉克，或者取自巴黎，
leads me to believe that it was not recovered
这让我相信，它在战后没有被找到，
after the war, but that he was still searching for his works.
但他仍在寻找他的作品。
The presence of the Woman in Blue in Front of a Fireplace
《壁炉前穿蓝衣服的女人》出现在
in the Libourne vault confirms it belonged to Paul Rosenberg.
利布尔纳库房♥清单中，证实了它属于保罗·罗森伯格。
It remains to be determined whether or not at the time of the acquisition
海尼.昂斯塔德夫妇在购买♥♥这幅画时，
the Henie Onstad couple knew it was a looted painting.
是否知道，这是一幅被掠夺的画，还有待确定。
The painting entered the Norwegian foundation before the 1960s because between 1960 and 1963,
这幅画在20世纪60年代之前进入挪威基金会，因为在1960年至1963年期间，
I tracked it in the exhibition catalogs about 17 times which makes me think the couple,