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'Nazi plunder' refers to art theft and other items stolen as a result of the organized looting of European countries during the time of the Third Reich by agents acting on behalf of the ruling Nazi Party of Germany. Plundering occurred from 1933 until the end of World War II, although most plunder was acquired during the war. In addition to gold, silver and currency, cultural items of great significance were stolen, including paintings, ceramics, books, and religious treasures.<br/><br/> Although most of these items were recovered by agents of the Monuments, Fine Arts, and Archives program (MFAA), affectionately referred to as the Monuments Men, on behalf of the Allies immediately following the war, many are still missing.
'Nazi plunder' refers to art theft and other items stolen as a result of the organized looting of European countries during the time of the Third Reich by agents acting on behalf of the ruling Nazi Party of Germany. Plundering occurred from 1933 until the end of World War II, although most plunder was acquired during the war. In addition to gold, silver and currency, cultural items of great significance were stolen, including paintings, ceramics, books, and religious treasures.<br/><br/> Although most of these items were recovered by agents of the Monuments, Fine Arts, and Archives program (MFAA), affectionately referred to as the Monuments Men, on behalf of the Allies immediately following the war, many are still missing.
'Nazi plunder' refers to art theft and other items stolen as a result of the organized looting of European countries during the time of the Third Reich by agents acting on behalf of the ruling Nazi Party of Germany. Plundering occurred from 1933 until the end of World War II, although most plunder was acquired during the war. In addition to gold, silver and currency, cultural items of great significance were stolen, including paintings, ceramics, books, and religious treasures.<br/><br/> Although most of these items were recovered by agents of the Monuments, Fine Arts, and Archives program (MFAA), affectionately referred to as the Monuments Men, on behalf of the Allies immediately following the war, many are still missing.
The Ghent Altarpiece (also called the Adoration of the Mystic Lamb or The Lamb of God, Dutch: Het Lam Gods) is a very large and complex 15th-century Early Flemish polyptych panel painting.<br/><br/> Commissioned and designed as an altarpiece, it comprises 12 panels, eight of which are hinged shutters painted on each side, giving two distinct views depending on whether they are open or closed. Except for Sundays and festive holidays, the outer wings were closed and covered with cloth.<br/><br/> It was begun by Hubert van Eyck who was most likely responsible for the overall design, but died in 1426. Probably, the individual panels were executed by his younger and better known brother Jan van Eyck between 1430 and 1432.<br/><br/> In 1945, the altarpiece was returned from Germany after spending much of World War II hidden in an Austrian salt mine, which greatly damaged the paint and varnish.
Oriental carpets more than two centuries old have rarely survived and are rarely represented in Islamic Art since Sunni Islam (and to a lesser extent Shia) eschews representational art in favour of precisely the repetetive geometric symbols and arabesques found, for example, in oriental carpets.<br/><br/> This means that most examples of 17th century and earlier oriental carpets, mainly produced in Muslim lands, are only to be found in paintings from Christian lands where rich oriental carpets were associated with wealth, power and taste.<br/><br/> Such carpets featured as an important decorative feature in paintings from the 14th century onwards, leading to the dichotomy that there are more depictions of oriental carpets produced before the 17th century in European paintings than there are actual oriental carpets surviving from the same period.<br/><br/> Because of this European paintings have proved an invaluable source of reference for the study of the history of carpetmaking and carpets.
Jan van Eyck was an Early Netherlandish painter active in Bruges and one of the most significant Northern Renaissance artists of the 15th century.<br/><br/> In addition to the Ghent Altarpiece and the illuminated miniatures of the Turin-Milan Hours, about 20 surviving paintings are confidently attributed to him, all dated between 1432 and 1439.