The new extension to the Kunsthaus Zürich has been home to an impressive collection of French art since it opened in 2021. However, a shadow hangs over the illustrious works, which the private Bührle Foundation has loaned to the publicly funded museum on a permanent basis (see “Swiss Review” 2/2022). Industrialist Emil G. Bührle (1890–1956) made his fortune through arms sales to buyers that included Nazi Germany. A keen collector of art, Bührle acquired paintContentious paintings withdrawn from Zurich museum ings that Jews had previously been forced to sell for financial reasons as the Nazis closed in. Criticism of the Kunsthaus has been unrelenting ever since the permanent loan of Bührle’s paintings began. There was hardly any let-up even when the Kunsthaus began providing a more candid account of the exhibition’s historical context in 2023. Critics continue to lament what they believe is an inadequate appreciation of the perspective of the victims of National Socialism. In June, the Bührle Foundation took the highly unusual step of removing five paintings from the rooms of the Kunsthaus Zürich. These were works (see captions on the right) that previous Jewish owners had originally sold under duress during the era of Nazi persecution. The Bührle Foundation now aims to find a “fair and just solution” with the legal heirs of the former owners. “The Dinner” by Claude Monet remains on the exhibition wall. Photo: Keystone Swiss Review / October 2024 / No.5 24 Images
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