ZURICH — With the opening of an imposing extension on Saturday, the Zurich Kunsthaus turned Switzerland’s largest artwork museum. The huge new dice designed by the British architect David Chipperfield, reverse the unique constructing on a central sq., greater than doubles the museum’s exhibition area.
An ethereal atrium results in a newly put in backyard, and marble staircases take guests to spacious galleries bathed in filtered daylight. On the second flooring, they’ll admire masterpieces by Monet, Cézanne, Gauguin, van Gogh and Degas.
These works as soon as belonged to Emil Georg Bührle, a Swiss industrialist who died in 1956 however whose darkish legacy haunted the opening of the brand new $220-million extension. Though it has lengthy been recognized that Bührle made his fortune by promoting arms to Nazi Germany, and that he purchased artwork that was looted by the regime, new revelations maintain rising.
In August, a Swiss journal, Beobachter, reported that Bührle employed a whole lot of women and younger ladies from troubled backgrounds in slave-labor-like conditions in Switzerland as late because the Nineteen Fifties. This month, the journal mentioned that in 1941, Bührle snapped up two Swiss spinning mills at discount costs after their earlier house owners — Jews whose belongings in Germany had been “aryanized” in compelled gross sales — had fled to Argentina.
And two weeks earlier than the brand new extension’s opening, a e-book in regards to the Kunsthaus by the historian Erich Keller was printed. Its German title interprets as “The Contaminated Museum.”
“It’s tough,” mentioned Christoph Becker, the director of the Kunsthaus, after fielding questions from reporters at a information convention on Wednesday. “However the debate is an efficient factor.”
The connections between Bührle and the Kunsthaus date again to 1940, when Bührle turned a member of its board of trustees. He funded an earlier extension, accomplished in 1958. A bust and plaque on the entrance of an exhibition corridor named after him honor his contribution.
Now, 203 artworks belonging to the Basis E. G. Bührle Assortment, a corporation arrange by the industrialist’s household after his loss of life, have entered the Kunsthaus assortment on a 20-year mortgage. About 170 are on present within the new extension.
In a current interview, Keller mentioned that the Kunsthaus ought to by no means have accepted the inspiration’s provide to place these works on show. “It’s a set constructed with cash from arms gross sales, from slave labor, from baby labor,” he mentioned.
Born in 1890 in Germany, Bührle served within the nation’s military throughout World Battle I, then began working for a software producer within the metropolis of Magdeburg. He moved to Zurich in 1924 to run the same operation, the place he patented and manufactured antiaircraft cannons for export world wide.
Throughout World Battle II, his firm produced weapons for each the Allies and Nazi Germany, and Bührle turned the richest man in Switzerland. Although the Allies put his firm on a blacklist after the warfare, the boycott was lifted in 1946 and the enterprise continued to develop.
Between 1936 and 1956, Bührle purchased greater than 600 artworks — a few of them looted from Jews by the Nazis. In 1948, the Swiss Supreme Courtroom ordered him to return 13 items.
When Impressionist masterpieces from the gathering had been displayed on the Nationwide Gallery in Washington in 1990, the critic Michael Kimmelman wrote in The New York Instances that the museum “ought to by no means have undertaken” the exhibition. “The purpose just isn’t that these works shouldn’t be seen, however that they need to be seen in a significant context,” he wrote.
In considered one of a dozen rooms dedicated to the Bührle assortment within the Kunsthaus’s new extension, a show addresses the industrialist’s profession and the provenance of his artwork with wall textual content, paperwork and pictures. Earlier than the present opened on the Kunsthaus, officers from the town and area of Zurich commissioned a examine from Zurich College, printed final 12 months, inspecting Bührle’s biography and the origins of the fortune he used to purchase artwork. The museum’s board of trustees consists of representatives of the town and regional governments.
But duty for analysis into the provenance of particular person artworks was out of that examine’s scope. The Bührle Basis itself started conducting provenance analysis in 2002, and the outcomes are printed on the foundation’s website, although there isn’t a detailed possession historical past on the labels subsequent to the work on show within the Kunsthaus.
Lukas Gloor, the director of the Bührle Basis, mentioned in an interview that “right now, we are able to ensure that there isn’t a looted artwork, within the strictest sense, within the assortment,” however added, “We don’t rule out the chance that new info may come to gentle.”
In his e-book, Keller voices misgivings in regards to the basis’s analysis, calling the provenance experiences on its web site “a filter which withholds decisive info.”
He cites an 1879 Cézanne work, “Paysage,” for instance. The muse’s web site doesn’t point out that its prewar house owners, Martha and Berthold Nothmann, had been Jewish; it says the couple “left Germany in 1939,” as an alternative of spelling out that they fled persecution.
Monet’s 1880 “Poppy Discipline Close to Vétheuil” is one other contested work. Bührle purchased it in 1941 at a Swiss gallery for lower than half its market worth, in response to a 2012 report by the historian Thomas Buomberger. It had been provided on the market by Hans Erich Emden, the son of a German Jewish department-store mogul whose belongings in Germany had been expropriated by the Nazis after he moved to Switzerland.
The muse rejected a declare from Emden’s heirs, arguing that the sale was not a results of Nazi persecution. Gloor mentioned that circumstances by which German Jews bought belongings whereas exiled in Switzerland shouldn’t essentially be thought-about gross sales underneath duress.
“Switzerland was not German-occupied; there was no persecution in Switzerland,” he mentioned. “Folks had been free to promote, or not promote.”
With the gathering’s transfer to the Kunsthaus, duty for provenance analysis now rests with the museum, although any restitution resolution would fall to the inspiration because the proprietor, Gloor mentioned. He added that researchers had now been granted unrestricted entry to the inspiration’s archives, that are being saved on the museum.
Gloor mentioned he hoped unbiased students would scrutinize the inspiration’s work. “I’m pleased for colleagues to ask questions or dig deeper,” he mentioned.
Corinne Mauch, Zurich’s mayor, mentioned in an interview that she hoped the Kunsthaus’s extension would strengthen Zurich’s attraction as a cultural vacation spot. “Zurich has all the time been perceived because the finance and banking middle,” she mentioned. “It has been gaining profile as a cultural middle lately. And this constructing is a milestone.”
She mentioned she stood behind the biographical analysis performed by the college and the provenance analysis by the Bührle Basis, which she described as a Swiss pioneer in researching the possession historical past of its artworks.
“You will need to present the work, however it is crucial that we current them in an exemplary means, which suggests confronting the problematic features,” she mentioned. “I don’t assume this debate will finish simply because we’ve opened the extension.”