CIR 4 LINZ S. Lane Faison describes Hitler's Linz museum as "a monument to Safe Art"

From June 1945 until the spring of 1946, Faison, Plaut, and Rousseau detained and interrogated hundreds of Nazi officials and collaborators on the whereabouts of looted works of art. - Monuments Men Foundation

"Looting always accompanies war; but Nazi looting, and especially Nazi art looting, was different. It was officially planned and expertly carried out. Looted art gave tone to an otherwise bare New Order. In the program to enhance the cultural prestige of the Master Race, the Sonderauftrag Linz was the master organization. Its work had a symbolic value far beyond the mere gathering of an Art collection for Adolf HITLER  Operating within the intellectual limits of Nazi philosophy, it barred the work of nearly every non-German artist who flourished after 800. It attempted to exalt 19th Century German masters by removing all relevant competition. together with the contemporary German art which was officially approved, HITLER's collection was a monument to Safe Art and an argument for the modern primacy of Germany. With its immense resources and its official prestige, the Sonderauftrag Linz tried to bring Art under the shadow of the Swastika. For a time it did."

S.L.F

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CONFIDENTIAL

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