During World War Ii Each Branch of the Service Had an Art Program and Life Sent Artists Overseas

Allied program to assist protect cultural belongings (1906–1981)

"Monuments Men" redirects here. For the 2014 film, encounter The Monuments Men.

Monuments, Fine Arts, and Athenaeum program

The Ghent Altarpiece during recovery from the art depot in the Altaussee salt mine, 1945
Formation	1943
Dissolved	1946
Parent organization	Civil Affairs and War machine Government Sections of the Allied armies

The Monuments, Fine Arts, and Athenaeum program (MFAA) under the Civil Affairs and Armed forces Government Sections of the Allied armies was established in 1943 to help protect cultural property in war areas during and later World War II. The group of approximately 400 service members and civilians worked with military forces to safeguard historic and cultural monuments from war damage, and as the disharmonize came to a close, to find and return works of art and other items of cultural importance that had been stolen by the Nazis or hidden for safekeeping. Some of them are portrayed and honored in the 2014 movie The Monuments Men.

Many of the men and women of the MFAA, also known as "Monuments Men", went on to accept prolific careers. Largely art historians and museum personnel, many of the American members of the group had formative roles in the growth of the U.s.a.' greatest cultural institutions, including the National Gallery of Art, the Metropolitan Museum of Art, the Isabella Stewart Gardner Museum and the New York City Ballet. Members from other allied powers, such as the United kingdom of great britain and northern ireland and France, also found mail-war success in museums and other institutions across the earth.

The legacy of the men and women who served in the MFAA lives on through the cosmos of the Monuments Men Foundation for the Preservation of Art, a Us not-profit founded past American author and philanthropist Robert One thousand. Edsel.^[1] The Foundation seeks to further the mission of the MFAA by recovering Nazi looted artworks, documents, and other cultural objects and returning them to their rightful owners.^[2] Monuments men and women take worked direct with the Foundation, including Harry L. Ettlinger and Motoko Fujishiro Huthwaite.

Formation [edit]

Even earlier the U.S. entered World War Two, art professionals and organizations such every bit the American Defence Harvard Grouping and the American Quango of Learned Societies (ACLS) were working to identify and protect European fine art and monuments in harm's style or in danger of Nazi plundering. The groups sought a national organization affiliated with the military which would have the same goal. Francis Henry Taylor, managing director of the Metropolitan Museum of Art, took their concerns to Washington, D.C. Their efforts ultimately led to the institution past U.S. President Franklin D. Roosevelt of the "American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas" on June 23, 1943.

What began as a encephalon trust of the fine art world'southward finest during the war became a group of 345 men and women from 13 countries that comprised the Monuments, Fine Arts and Archives Section unit of measurement. They spent 1945 seeking out more than i,000 troves containing an estimated 5 meg pieces of artwork and cultural items stolen from wealthy Jews, museums, universities, and religious institutions. For half-dozen years after the give up, a smaller group of about sixty Monuments Men connected scouring Europe as art detectives.^[iii]

Ordinarily referred to equally the Roberts Commission after its chairman, Supreme Courtroom Justice Owen J. Roberts, the grouping was charged with promoting the preservation of cultural properties in war areas, including the European, Mediterranean, and Far Eastern Theaters of Operations, providing that this mission did not interfere with military operations. Headquartered at the National Gallery of Fine art in Washington D.C., the Committee drew up lists of and reports on European cultural treasures and provided them to war machine units, in hopes that these monuments would be protected whenever possible.

The Commission helped establish the MFAA branch within the Civil Affairs and War machine Government Sections of the Centrolineal armies, led by Major L. Bancel LaFarge. Subsequently the war, the Roberts Commission helped the MFAA and Allied Forces return Nazi-confiscated artworks to rightful owners. It also promoted public awareness of looted cultural works. The group was dissolved in June 1946, when the State Department took over its duties and functions.

General Dwight D. Eisenhower facilitated the work of the MFAA by forbidding looting, destruction, and billeting in structures of cultural significance. He also repeatedly ordered his forces to assist the MFAA every bit much as possible. This was the get-go time in history an ground forces attempted to fight a war and at the same fourth dimension reduce harm to cultural monuments and property.

Prior to this war, no army had thought of protecting the monuments of the country in which and with which it was at war, and there were no precedents to follow.... All this was changed by a general order issued by Supreme Commander-in-Principal [General Eisenhower] only before he left Algiers, an order accompanied past a personal letter to all Commanders...the good name of the Army depended in great measure on the respect which it showed to the fine art heritage of the modernistic world.

—Lt. Col. Sir Leonard Woolley, Monuments, Fine Arts, and Athenaeum Officer^[4]

War operations [edit]

As Allied Forces made their way through Europe, liberating Nazi-occupied territories, Monuments Men were present in very modest numbers at the front lines. Defective handbooks, resource, or supervision, this initial handful of officers relied on their museum training and overall resourcefulness to perform their tasks. At that place was no established precedent for what they confronted. They worked in the field under the Operations Branch of SHAEF (Supreme Headquarters Allied Expeditionary Force, Europe, allowable by Eisenhower), and were actively involved in boxing preparations. In preparing to take Florence, which was used by the Nazis as a supply distribution center due to its fundamental location in Italia, Allied troops relied on aerial photographs provided by the MFAA which were marked with monuments of cultural importance so that pilots could avoid damaging such sites during bombings.

When damage to monuments did occur, MFAA personnel worked to assess damage and buy fourth dimension for the eventual restoration work that would follow. Monuments officeholder Deane Keller had a prominent role in saving the Campo Santo in Pisa subsequently a mortar round started a fire that melted the lead roof, which then bled downwardly the iconic 14th century fresco-covered walls. Keller led a team of Italian and American troops and restorers in recovering the remaining fragments of the frescoes and in building a temporary roof to protect the structure from further damage. Restoration of the frescoes continues even today.

Countless other monuments, churches, and works of art were saved or protected by the dedicated personnel of the MFAA section. Oftentimes inbound liberated towns and cities alee of ground troops, Monuments Men worked quickly to assess damage and brand temporary repairs before moving on with Centrolineal Armies as they conquered Nazi territory.

Two monuments officers were killed in Europe, both about the front end lines of the Centrolineal accelerate into Frg. Captain Walter Huchthausen, an American scholar and builder attached to the U.S. 9th Regular army, was killed in April 1945 by modest artillery fire somewhere n of Essen and eastward of Aachen, Germany.^[5] Major Ronald Edmond Balfour, a British scholar attached to the Canadian Beginning Army, was killed in March 1945 by an explosion in Cleves, Deutschland.^[six]

Art repositories [edit]

American and allied forces in Europe discovered hidden caches of priceless treasures. Many were the product of looting past Adolf Hitler and the Nazis. Others had been legitimately evacuated from museums for safekeeping. Monuments Men oversaw the safeguarding, cataloguing, removal and packing of all works from all these repositories.

In Italia, museum officials had sent their holdings to diverse countryside locations such as the Tuscan villa of Montegufoni, which housed some of the Florentine collections.^[7] Every bit Allied forces advanced through Italy, the German army retreated n, stealing paintings and sculptures from these repositories as they fled.^[eight] As German forces neared the Austrian border, they were forced to store well-nigh of their loot in various hiding places, such as a castle at Sand in Taufers and a jail cell in San Leonardo.

Beginning in late March 1945, Allied forces began discovering these subconscious repositories in what became the "greatest treasure chase in history". In Federal republic of germany alone, U.South. forces found about 1,500 repositories of fine art and cultural objects looted from institutions and individuals across Europe, too as German and Austrian museum collections that had been evacuated for safekeeping. Soviet forces also fabricated discoveries, such as treasures from the extraordinary Dresden Transport Museum. Hundreds of the artifacts were surrendered by, or had their locations reported past, SS General Karl Wolff as office of Operation Sunrise, his cloak-and-dagger negotiation with the Role of Strategic Services. These included the contents of the Uffizi and Pitti palaces and paintings past Titian and Botticelli.^{[nine] [8]}

Some of the repositories discovered past Monuments Men in Frg, Austria, and Italia were:

• Berchtesgaden, Frg: The 101st Airborne Segmentation, known as the "Screaming Eagles", establish more than 1,000 paintings and sculptures stolen by High german Reichsmarschall Hermann Göring. The cache had been transferred from his country estate, Carinhall, and moved to Berchtesgaden in April 1945.
• Bernterode, Federal republic of germany: Americans constitute 4 coffins containing the remains of Deutschland'south greatest leaders, including those of Frederick the Bully (Frederick II of Prussia) and field marshal Paul Von Hindenburg. Also plant in the mine were 271 paintings, including court portraits from the Prussian Sanssouci palace in Potsdam, Germany, which had been subconscious backside a locked door and a brick wall nearly 5 feet thick. The site was originally used as an ammunition and military supply complex manned past hundreds of slave laborers.
• Merkers, Germany: The Kaiserode mine at Merkers was discovered by the U.South. 3rd Ground forces under General George S. Patton in April 1945. Reichsbank gold, along with 400 paintings from the Berlin museums and numerous other crates of treasures were also discovered. More dismal discoveries included gilt and personal belongings from Nazi concentration campsite victims.
• Neuschwanstein Castle, Deutschland: Over vi,000 items stolen past the ERR (Einsatzstab Reichsleiter Rosenberg, Alfred Rosenberg's task forcefulness that handled the "legalized" looting of Jews) from private collectors in France were found hither, including article of furniture, jewelry (come across Nazi gilded), paintings and other holding. Monuments Man Capt. James Rorimer oversaw the evacuation of the repository, which as well held ERR documents.
• Altaussee, Austria: This all-encompassing complex of table salt mines served equally a huge repository for art stolen by the Nazis, but it also independent holdings from Austrian collections. More than 6,500 paintings lone were discovered at Altaussee. The contents included: Belgian-owned treasures such as Michelangelo's Madonna of Bruges stolen from the Church of Our Lady in Bruges, and Jan van Eyck's Ghent Altarpiece stolen from Saint Bavo Cathedral in Ghent; Vermeer'due south The Astronomer and The Art of Painting which were to exist focal points of Hitler's Führermuseum in Linz, Republic of austria; and paintings from the Capodimonte Museum in Naples, Italian republic that had been stolen by the Hermann Göring Tank Sectionalisation (Fallschirm-Panzer Partition 1 Hermann Göring) at Monte Cassino in Italy.
• San Leonardo, Italia: In the jail cell of this far northern town, Allied officials discovered paintings from the Uffizi that had been hurriedly unloaded by retreating German language troops. Among the masterpieces were paintings past Sandro Botticelli, Filippo Lippi and Giovanni Bellini.

Restitutions [edit]

In early May 1945, Lt. Col. Geoffrey Webb, British MFAA principal at Eisenhower'due south headquarters, proposed that U.Southward. forces rapidly prepare buildings in Germany so that they might receive large shipments of artworks and other cultural property establish in the numerous repositories. Eisenhower directed his subordinates to immediately begin preparing such buildings, ordering that art objects were to be handled just by MFAA personnel. Suitable locations with little damage and adequate storage space were difficult to detect.

By July 1945, U.S. forces had established two key collecting points within the U.S. Zone in Germany: Munich and Wiesbaden. Secondary collecting points were too established in various High german towns, including: Bad Wildungen, Heilbronn, Marburg, Nuremberg, and Oberammergau. One of the more than disquisitional of these secondary collecting points was at Offenbach, where officials candy millions of Nazi-looted books, archives, manuscripts, Jewish objects such as Torah scrolls, and property seized from Masonic lodges.

In summer 1945, Capt. Walter Farmer became the collecting bespeak's first director. The kickoff shipment of artworks arriving at Wiesbaden. When his superiors ordered that he send to the U.South. 202 German-endemic paintings in his custody, Farmer and 35 others who were in charge of the Wiesbaden collection point gathered to depict upwards what has go known every bit the Wiesbaden manifesto on 7 November 1945, declaring "We wish to state that, from our own knowledge, no historical grievance volition rankle so long or be the cause of so much justified bitterness as the removal for whatever reason of a role of the heritage of any nation even if that heritage may exist interpreted as a prize of war." Among the co-signers was Lt. Charles Percy Parkhurst of the U.South. Navy.^{[ten] [11]}

Once an object arrived at a collecting point, it was recorded, photographed, studied, and sometimes conserved so that it could be returned to its country of origin every bit soon as possible. Some objects were easily identifiable and could be quickly returned, such as the Veit Stoss Altar of Veit Stoss from St. Mary's Basilica in Kraków, which had been discovered in the Nuremberg Castle. Others, such as unmarked paintings or library collections, were much more difficult to process. Amongst the facilities were:

• Munich Primal Collecting Point (MCP): Monuments officer Lt. Craig Hugh Smyth established the MCP in July 1945. He converted the former Führerbau, which housed Hitler'due south function, into a functional art depot complete with photography studios and conservation labs. This facility primarily housed art stolen by the ERR from individual collections and Hitler's drove found at Altaussee.
• Wiesbaden Collecting Point (WCP): Monuments officer Capt. Walter Farmer helped establish this facility in July 1945. Fine art from the Berlin museums and other items found in the mines at Merkers were processed here. Museum collections stored at Siegen and Grasleben also were sent to Wiesbaden.
• Offenbach Collecting Point (OCP), also known as the Offenbach Archival Depot: Established in July 1945 in the I.G. Farben building on the Chief River just outside Frankfurt, Offenbach primarily served equally an archival depot. Because the OCP housed the largest drove of Jewish cultural belongings in the globe, including the unabridged holdings of the Rothschild Library in Frankfurt and cultural objects from Masonic lodges, restitutions were complicated. Identification of the millions of books, religious objects and other materials was boring. Many of the owners had go victims of the Holocaust leaving no i alive to pursue claims. The facility was closed in 1948 and its remaining unclaimed items were transferred to Wiesbaden.

Occupation of Japan [edit]

Every bit the war neared its end in Nippon in 1945, Monuments Men George Stout and Major Laurence Sickman recommended creating an MFAA sectionalisation there. Consequently, the Arts and Monuments Segmentation of the Civil Information and Education Section of GHQ of the Supreme Command of the Centrolineal Powers in Tokyo was established. Stout was the Master of the Sectionalisation from nigh Baronial 1945 until the center of 1946.^[12]

Langdon Warner, archaeologist and curator of Oriental art at Harvard'due south Fogg Museum, advised the MFAA Section in Nippon from April to September 1946. Other members included Howard Hollis, Lt. Col. Harold Gould Henderson, Lt. Sherman Lee, and Lt. Patrick Lennox Tierney.^{[12] [13] [14]}

MFAA personnel [edit]

The American museum establishment led the efforts to create the MFAA section. Its members included museum directors, curators, and art historians, as well equally those who aspired to join their ranks. Many major museums employed ane or more MFAA officers before or after the state of war, including the National Gallery of Art, the Metropolitan Museum of Art, the Museum of Modern Art, the Toledo Museum of Art, and the Nelson-Atkins Museum of Art.

Many other Monuments Men were or became professors at esteemed universities such as Harvard, Yale, Princeton, New York University, Williams Higher, and Columbia Academy, among others. Paul J. Sachs' famous "Museum Course" at Harvard had educated dozens of futurity museum personnel in the decades preceding World War II. S. Lane Faison's passion for art history was passed on to hundreds of students and future museum leaders at Williams College in the 1960s and 1970s, some of whom are currently directors at major Us museums.^{[ citation needed ]}

Upon returning home from service overseas, many former MFAA personnel led the creation or improvement of some of the leading cultural institutions in the United States. MFAA personnel became founders, presidents, and members of cultural institutions such as the New York Metropolis Ballet, the New York Urban center Landmarks Preservation Commission, the American Association of Museums, the American Association of Museum Directors, the Archaeological Establish of America, the Society of Architectural Historians, the American Lodge of Landscape Architects, the National Endowment for the Humanities, and the National Endowment for the Arts, besides every bit respected artists, architects, musicians, and archivists.

Several portraits of British Monuments Men and Women are in the permanent collection of National Portrait Gallery, London.

Awards [edit]

Surviving members receiving the Congressional Gold Medal in 2015

• 

  Monuments Men Congressional Gold Medal, presented 9 June 2014.

  

  Reverse

  2007 National Humanities Medal, was awarded to the Monuments Men Foundation for the Preservation of Fine art on behalf of the US.
• 2009 honorary Doctor of Fine Arts, by MassArt ^[15]
• On May 19, 2014, the U.s. Firm of Representatives voted to pass the Monuments Men Recognition Human activity of 2013, a bill that would honour the Monuments Men a Congressional Aureate Medal "in recognition of their heroic function in the preservation, protection, and restitution of monuments, works of fine art, and artifacts of cultural importance during and following" Earth War II.^[16] Representatives praised the Monuments Men for preserving cultural heritage.^[17] The award was given after several years of tireless piece of work on the part of the Monuments Men Foundation for the Preservation of Art, and its founder Robert One thousand. Edsel.^[xviii]

2014 movie [edit]

The Monuments, Fine Arts, and Athenaeum program is the subject of the 2014 Sony Pictures and 20th Century Play tricks movie The Monuments Men. The movie, which stars George Clooney, Matt Damon, Jean Dujardin and Cate Blanchett, is based on Robert Chiliad. Edsel's New York Times acknowledged 2007 volume Monuments Men: Centrolineal Heroes, Nazi Thieves and the Greatest Treasure Hunt in History.^[19]

See likewise [edit]

• Roberts Commission
• List of Monuments, Fine Arts, and Archives (MFAA) personnel
• Counterintelligence Corps
• Art repatriation
• Art theft and looting during Earth War II
• Monuments Men Foundation for the Preservation of Fine art
• Rescuing Da Vinci
• The Rape of Europa
• Wiesbaden manifesto

References [edit]

Notes

1. ^ "Monuments Men Foundation for the Preservation of Art". National Endowment for the Humanities (NEH).
2. ^ "Monuments Men Foundation I Earth War II I Art Preservation I Art". MonumentsMenFdn.
3. ^ "Where the Nazis Hid Their Art: The Castle Backside 'Monuments Men'". The Daily Beast . Retrieved 24 April 2015.
4. ^ Lambourne, Nicola (2001). War Damage in Western Europe: The Devastation of Historic Monuments During the Second Globe War . Edinburgh University Press. p. 124. ISBN978-0-7486-1285-vii . Retrieved 24 April 2015. Prior to this state of war, no army had idea of protecting the monuments of the country.
5. ^ Edsel, Robert M. (2009). The Monuments Men: Allied Heroes, Nazi Thieves, and the Greatest Treasure Hunt in History . New York: Center Street. pp. 284-6.
6. ^ Edsel, (2009), pp. 242-5.
7. ^ "When Montegufoni Sheltered Uffizi Masterpieces During The War". world wide web.posarellivillas.com. January 20, 2017.
8. ^ ^{a b} Brey, Ilaria Dagnini (Jan 2014). "How the Monuments Men Saved Italy's Treasures". Smithsonian.
9. ^ Toland, John (2014-11-26). The Last 100 Days: The Tumultuous and Controversial Story of the Final Days of Globe War Two in Europe. Random House Publishing Group. ISBN9780804180948.
10. ^ Farmer, Walter I. (2000). The Safekeepers: A Memoir of the Arts at the End of Globe State of war II. Berlin and New York: Walter de Gruyter. ISBN978-iii-11-016897-6.
11. ^ Howe Jr., Thomas C. (1946). Salt mines and castles: The discovery and restitution of looted European art. Indiana: Bobbs-Merrill Co.
12. ^ ^{a b} Ueno, Rihoko (October 29, 2012). "Monuments Men in Japan: Discoveries in the George Leslie Stout papers". Archives of American Art. Smithsonian Institution. Retrieved 20 September 2013.
13. ^ Weber, Bruce (July xi, 2008). "Sherman Lee, Who Led Cleveland Museum, Dies at 90". The New York Times.
14. ^ Kappes, John (July 9, 2008). "Sherman Lee, who led the Cleveland Museum of Art to global renown, expressionless at 90". The Patently Dealer. Cleveland.
15. ^ "War & Art: A Tribute to The Monuments Men". MassArt Library Web log . Retrieved 24 April 2015.
16. ^ "H.R. 3658 - Summary". Us Congress. Retrieved 20 May 2014.
17. ^ Marcos, Cristina (May 19, 2014). "Business firm votes to accolade medals to 'Monuments Men,' Jack Nicklaus". The Loma . Retrieved May 20, 2014.
18. ^ "Congressional Golden Medal Ceremony for Monuments Men | C-Span.org". www.c-bridge.org.
19. ^ "Sony to Dissever George Clooney Drama 'Monuments Men' With Trick". TheWrap . Retrieved 24 Apr 2015.

Bibliography

• Paolucci, Stefano. I Monuments Men ai Colli Albani. La protezione dei beni culturali in tempo di guerra. Vicende e documenti (1943-1948). Passamonti Editore, 2020. ISBN 978-1657013162.
• Albergoni, Attilio. La Guerra dell'Arte Edited by Navarra editore - Soprintendenza ai Beni Culturali e Ambientali Regione Siciliana Palermo - Palermo 2017
• Bell, H. E. and Jenkinson, Hilary. Italian Athenaeum During the War and at Its Shut. Edited by the British Commission on the Preservation and Restitution of Works of Art, Archives and Other Material in Enemy Hands. London: HMSO 1947.
• Boi, Marta G. Guerra eastward beni culturali, Giardini editore (Pisa,1986)
• Coccoli, Carlotta. "Repertorio dei fondi dell'Archivio Centrale dello Stato relativi alla tutela dei monumenti italiani dalle offese belliche nella seconda guerra mondiale" in Treccani, Gian Paolo (a cura di), Monumenti alla guerra. Città, danni bellici due east ricostruzione nel secondo dopoguerra, Milano, Franco Angeli Storia Urbana, pp. 303–329.
• Coccoli, Carlotta. "Il destino del patrimonio artistico bresciano durante la seconda guerra mondiale", in Civiltà Bresciana, anno Xix, n. ii, giugno 2010, pp. 127–148.
• Coccoli, Carlotta. "'First Assistance and Repairs' il ruolo degli Alleati nella salvaguardia dei monumenti italiani", in 'ANATKH northward. 62/2011, pp. 13–23.
• Coccoli, Carlotta. "Danni bellici e restauro dei monumenti italiani: orientamenti di lettura", in Coccoli, Carlotta and Venezia, Marsilio (eds.) Guerra, monumenti, ricostruzione. Architetture due east centri storici italiani nel secondo conflitto mondiale, a cura di Lorenzo de Stefani(2011_, pp. 685–688
• Edsel, Robert K. Rescuing Da Vinci: Hitler and the Nazis Stole Europe's Corking Fine art, America and her Allies Recovered It (Dallas, 2006)
• Edsel, Robert M. Monuments Men: Allied Heroes, Nazi Thieves and the Greatest Treasure Hunt in History. Preface Publishing, 2009.
• Edsel, Robert Thousand. Saving Italy: The Race to Rescue a Nation'southward Treasures from the Nazis. W. W. Norton & Visitor, 2013.
• Edsel, Robert M. The Greatest Treasure Hunt in History: the Story of the Monuments Men Scholastic Inc, 2019.
• "L war-damaged monuments of Italy", Istituto poligrafico dello Stato, (Roma, 1946)
• Jelusić, Marko. "Ein Zufluchtsort für weltbekannte Kunst. Bad Wildungen als Bergungsdepot für das Landesmuseum und das Kestner-Museum Hannover während des Zweiten Weltkrieges". Hannoversche Geschichtsblätter 65 (2011). 111-134. ISBN 3775259651
• Kurtz, Michael J. America and the Return of Nazi Contraband (Cambridge, 2006)
• O'Connor, Anne-Marie. (2012). The Lady in Gold, The Extraordinary Tale of Gustav Klimt'south Masterpiece, Portrait of Adele Bloch-Bauer, Alfred A. Knopf, New York, ISBN 0-307-26564-1.
• Paolucci, Stefano. I "Monuments Men" ai Colli Albani: la protezione dei beni culturali in tempo di guerra. Vicende due east documenti (1943-1948), in "Bollettino della Unione Storia ed Arte", s. 3, due north. 11, gennaio-dicembre 2016, pp. 35-74.
• Paolucci, Stefano. Il capitano Deane Keller: un "Monuments Man" ai Castelli Romani, in "Castelli Romani", LVI, n. 3, maggio-giugno 2016, pp. 79-85.
• Roberts Commission, Report on the American Commission for the Protection and Salvage of Artistic and Historic Monuments in War Areas (Washington, 1946)
• Simpson, Elizabeth (ed.) The Spoils of War. World War II and its Aftermath: The Loss, Reappearance, and Recovery of Cultural Property (New York, 1997).
• United States War Section. "Civil Affairs Information Guide: Field Protection of Objects of Art and Archives". War Department Pamphlet Nr. 31-103.
• U.s.a. War Department. "Preservation and Utilise of Key Records in Germany". War Department Pamphlet Nr. 31-123.

Further reading

• Coccoli, Carlotta (2017) Monumenti violati. Danni bellici e riparazioni in Italia nel 1943-1945: il ruolo degli Alleati, Nardini ISBN 978-88-404-4453-6
• Dagnini Brey, Ilaria (2010) The Venus Fixers: The Remarkable Story of the Allied Soldiers Who Saved Italia's Art During World War II, Picador ISBN 9780312429904
• Eckert, Astrid Thousand. (2012). The Struggle for the Files: The Western Allies and the Return of German Archives afterward the Second World War. New York, Cambridge University Press, ch. I. ISBN 978-0521880183
• Flanner, Janet (1947) Men and Monuments. New York: Harper. (Reissued equally paperback 1990: ISBN 978-0306804175).;
• Nicholas, Lynn H. (May 1995) [1994]. The Rape of Europa: The Fate of Europe'due south Treasures in the Tertiary Reich and the 2nd World War. New York City: Vintage Books. ISBN978-0-679-40069-one. OCLC 32531154.

External links [edit]

• Roberts Committee Records, U.S. National Archives and Records Administration
• Records Concerning the Primal Collecting Points, U.S. National Archives and Records Assistants
• Monuments Men Foundation for the Preservation of Fine art
• Offenbach Archival Depot, Usa Holocaust Memorial Museum
• Nazi-era Provenance Internet Portal, American Brotherhood of Museums
• The Rape of Europa, 2006 PBS motion-picture show, aired November 24, 2008 PBS (Oregon Public Broadcasting)
• World War Two "Monuments Men" Archival Collections at the Archives of American Art, Online exhibition, Athenaeum of American Art, Smithsonian Institution
• "Monuments and the NGA". National Gallery of Art.
• Voices of the Monuments Men: oral history interviews.
• Webcast presentation virtually Saving Italy on May 9, 2013, at the Pritzker Military Library.

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Source: https://en.wikipedia.org/wiki/Monuments,_Fine_Arts,_and_Archives_program

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