"Salt mines and castles: The discovery and restitution of looted European art" by Thomas Carr Howe. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

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This book is about whether or not great works of art should be returned.

Art museums, cases of beauty and calm in a fast-paced world, have emerged in recent decades as the most vibrant and popular of all cultural institutions. But as they have become more popular, their direction and values have been contested as never before. This engaging thematic history of the art museum from its inception in the eighteenth century to the present offers an essential framework for understanding contemporary debates as they have evolved in Europe and the United States.

Over the past two centuries, abuse of antiquities and fine art has evolved from the “spoils of war” into a medium for conducting terrorism which strives to erase the cultural heritage of “the other”. At the same time, the growth of the art market over the past fifty years has created opportunities for exploitation of cultural property. Since World War II, there has been maturing international awareness that armed conflict and looting pose a threat to cultural property; but simultaneously, art trafficking and the politics of cultural property create opportunities amidst risks in developed “collecting nations” and emerging “source nations”.This is the first book in the literature that touches on the interrelation of the financial value, politics, and security of cultural property and suggests the implications for the power of culture in global affairs. The intersection of these issues forms the basis for a new field which this book examines — cultural security. As part of the changing significance of cultural property in foreign relations, Cultural Security assesses corresponding security threats and opportunities for diplomacy.This book will take readers through the concepts and issues surrounding cultural property, cultural currency and cultural power, leaving readers with invaluable insights on the political economy of cultural property and the resulting source of “alternative power” in global affairs.

This book explores a variety of heritage dialogues, from global and specific approaches, combining different views, perceptions and senses. Following the first volume on Latin American Heritage as published in this book series in 2019, this new volume focuses on music, dance and railway heritage, considering artistic, archaeological, natural, ethnological and industrial aspects. It is divided into four thematic sections – 1) parties and cultural heritage, 2) railway heritage and museums, 3) archaeological heritage and tourism, and 4) cultural landscape and tourism – and presents chapters on a diverse range of topics, from samba and cultural identities in Rio de Janeiro and London to the "musealization" of railway assets, the history of Antarctic archaeology, the value of scenic landscapes and urban memory in Spain, and the cultural landscape of Brazil. This unique book explores a variety of heritage dialogues, pursuing global and specific approaches, and combining different views, perceptions and senses, including video fragments.

This first comprehensive analysis of the Third Reich's efforts to confiscate, loot, censor and influence art begins with a brief history of the looting of artworks in Western history. The artistic backgrounds of Adolf Hitler and Hermann Goring are examined, along with the various Nazi art looting organizations, and Nazi endeavors to both censor and manipulate the arts for propaganda purposes. Long-held beliefs about the Nazi destruction of "degenerate art" are examined, drawing on recently developed university databases, new translations of original documents and recently discovered information. Theft and destruction of artworks by the Allies and looting by Soviet trophy brigades are also documented.

This invaluable book, for the first time, brings together the international and European Union legal framework on cultural property law and the restitution of cultural property. Drawing on the author's extensive experience of international disputes, it provides a very comprehensive and useful commentary. Theories of cultural nationalism and cultural internationalism and their founding principles are explored. Irini Stamatoudi also draws on soft law sources, ethics, morality, public feeling and the role of international organisations to create a complete picture of the principles and trends emerging today.