Word: ernsts
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Dates: during 1960-1969
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What University of California Political Scientist Ernst Haas calls "ever-expanding islands of cooperation" have grown markedly in the past two decades. The military associations-NATO, CENTO and SEATO-stemmed from the threat of Communist aggression. Partly because of their success, they are now somewhat in disarray, looking for new, mainly diplomatic functions. The political groupings, from the Council of Europe to the creaky Arab League, are mere debating societies. By far the most important and promising groupings are economic, and the model that inspires all of them is the Common Market. By bringing down tariff barriers within a vast...
...fast that a style is lucky to last more than a couple of years before it is pronounced dead by the critics. With such a declaration, many a collector decides that he had better unload, prices decline, and artists get despondent. More in anger than in jest, Painter Jimmy Ernst ticked off an "unhappy proliferation" of present and possibly future styles: "Op and pop, sop (soft-edge-optical), plop-plop (from catsup bottles), abrev (abstract revisionism), exab (express-abstraction), geopimp (geometric-post-impressionism), kipab (kinetic-pcst-abstraction), syncromesh (easy to shift), nero (new eroticism), and perhaps even esthex (esthetic experiments...
...Ernst married an American girl who had attended the Dayton Art Institute. When she happened on the oils stuffed in a trunk, her husband assured her: "They're nothing-just some junk I got gypped on." Unable to dismiss them from her mind, Mrs. Ernst spent seven years trying to identify them in art books and libraries. Finally, in 1945, she convinced her husband that they should take the paintings to New York. Art dealers there declared the badly cracked canvases to be worthless fakes or copies. But by searching in the New York Public Library, the Ernsts found...
Hoping he could still collect, Ernst took the paintings to the Dayton Art Institute, where the director, Siegfried Weng, asked for advice from the FBI and New York's Metropolitan Museum of Art. The paintings were declared genuine, but technically they were enemy property, and the U.S. promptly impounded them. In fact, they were nearly sold at auction until the State Department intervened, pointing out that as the property of a public museum, they belonged to the German people. The works were then deposited in the National Gallery-in ground floor vaults...
...return the paintings to Germany required a special act of Congress last September, but no proviso was made for Ernst, who now hopes to recoup something eventually from the Bonn government. But even when the paintings leave the National Gallery next month, they will still not be safely home. Weimar lies in East Germany, so Congress has handed Bonn the responsibility of ultimately returning them to the museum from which, almost half a century ago, they were taken...