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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'Amis clearly belongs to the do-as-I-say-not-as-I-do school of pedagogy. More or less everything he says is demonstrably contradicted by elements of his own work, be they here or elsewhere.'
'The bar is set high at the outset, and readers are primed to wonder if Mikhail can make his case.'
Does Alan Mikhail's new life of the Sultan Selim I really overturn 'shibboleths that have held sway for a millennium'? Caroline Finkel investigates.
'Shopkeepers even cut out their names from shop paper bags and pasted them onto their books’ endpapers to feign wealth and gain cultural capital, as seen in a book owned by William Straw, a grocer.'
@laurenohagan91 on the Edwardian bookplate fashion.