On November 3, 2013, the BBC reported that a trove of more
than 1500 pieces of art was found in a private stash in Munich, Germany. The medium in this instance is credible as government
organizations and the evidence is revenue office and police reports. The
sources are listed and therefore transparent. A variety of periodicals reported
on the same topic, among them are the New York Times and the Associated Press. The audience
is general rather than focused and would be any individual interested in
history, human rights or culture. According to this particular publication,
the works had been missing since the 1930s or 1940s when they were confiscated
by the Nazis around the time of the onset of the Second World War. Godfrey Barker,
an art historian interviewed for the piece; claimed
that the pieces had been labeled as ‘degenerate,’ by the Nazi forces because
they were primarily modern art. The body
of works includes creations by masters such as Chagall, Matisse, and Picasso
and the entire collection is thought to be worth in the neighborhood of 1.5
billion dollars based upon the appraisals of experts. The magazine the Force, which broke another version of
the story, argues that if the facts are confirmed the long-hidden paintings
represent the largest such finding from a single source that has ever been
located. Interestingly, the works were unintentionally stumbled upon by tax
collectors who had uncovered them hidden in darkened storage rooms at the home
of Cornelius Gurlitt. Gurlitt had inherited them from his art-dealer father;
now deceased. A warrant issued for tax evasion in 2011 had allowed authorities legal
access to his residence. The article
states that the younger Gurlitt had sold some of the historic finds privately
over the years, as he had needed the cash. The masterpieces are believed to
have been originally under the care of Paul Rosenberg, a Jewish art dealer who
had fled France in the forties. More than 200 of these works of art are
currently under police warrant for return to their rightful heirs. The academic warrant for this argument is the common understanding that these works
of art are invaluable to humanity over and above their original owners’ investment
and should be respected and protected as cultural artifacts. There is no obvious
attempt to persuade, the context is historical and this argument is
fact/evidentiary-based. There is no apparent rebuttal because it is a news report
rather than an argument. No counter-claim is offered.
http://www.nytimes.com/2013/11/06/arts/design/in-a-rediscovered-trove-of-art-a-triumph-over-the-nazis-will.html?_r=0