In an interview a few years ago I asked René Huyghe, Chief Curator of the Louvre in the Vichy years, exactly how he would define those in the French art world who had collaborated. Without hesitation he said that the collaborators had been the ones who had knowingly used the wartime situation to advance their careers. Jonathan Petropoulos, in his fascinating and well-researched study, The Faustian Bargain, gives us some twenty case histories of German art professionals who did just that.
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'The Bible is all but silent on yellow, as it is on most colours.'
'Houses always reveal something of their occupants, but none so much as writers’ houses.'
Frances Wilson goes from Keats House to Dove Cottage and beyond.
'I miss, in this free society ... the kind of solidarity, the shared accountability, the willingness to risk one’s skin for others, that came with the unremitting threat levelled against dissident society.'
Roger Scruton interviews Vaclev Havel (2003).