The Kunsthaus Zurich, one of Switzerland’s top museums, has found itself embroiled in controversy surrounding a prestigious art collection with questionable origins dating back to World War II. This collection, one of Europe’s most renowned private art troves, was acquired by the wealthy arms dealer Emil Buhrle, who rose to prominence during the war. Buhrle, a German-born industrialist who became a Swiss citizen in 1937, passed away in 1956, leaving behind a collection of approximately 600 artworks, including masterpieces by renowned artists such as Cezanne, Degas, Manet, Monet, Renoir, Rembrandt, Picasso, and Van Gogh.
The controversy surrounding this collection stems from suspicions that many of these artworks were acquired under dubious circumstances, including looting from their Jewish owners or being sold hastily as their owners fled the Nazis.
The Kunsthaus Zurich had already faced criticism in 2021 when it unveiled a new building to house about 170 pieces from the Buhrle Collection. In an attempt to address the concerns raised, the museum launched a new exhibition titled “A future for the past — the Buhrle Collection: art, context, war, and conflict.” This show aimed to provide a broader perspective, delving into what happened to the Jewish collectors whose art was taken during the Nazi era.
However, despite these efforts, some critics argue that the museum’s approach falls short. The museum even faced cyberattacks in 2023, where unidentified hackers branded Emil Buhrle as a “Nazi sympathizer.” Before the exhibition’s opening on November 3, an advisory committee of external experts resigned in protest against the museum’s insufficient focus on the former Jewish owners.
The committee representative expressed disappointment in a statement to the Swiss daily Le Temps, saying that only a small portion of the exhibition was dedicated to the fates of the persecuted, looted, and murdered Jewish collectors. She pointed out that Emil Buhrle profited from the historical context to assemble his collection, and it was problematic that the victims of the Nazis appeared to be marginalized.
Ann Demeester, the museum’s director, acknowledged the contentious nature of the collection and emphasized the importance of providing both the historical context and ensuring that the artworks are still visible.
The Buhrle Foundation, the organization that owns the collection, admitted that 13 paintings acquired by Buhrle during the war had been looted by the Nazis from Jewish owners in France. After legal proceedings in the late 1940s, Buhrle returned all 13 artworks to their rightful owners and then repurchased nine of them.
Demeester stressed that the artworks themselves are not guilty but serve as historical witnesses to the horrors of that era. The museum’s aim with the new exhibition is to address the historical issues surrounding the collection while ensuring that the artworks remain on display for the public to see.
The Buhrle Collection was previously housed in a private museum on the outskirts of Zurich until four masterpieces were stolen in a significant art heist in 2008. Although two of the stolen works were eventually recovered, a Cezanne painting and a Degas masterpiece, valued at approximately $110 million, are still missing.
The Kunsthaus Zurich worked with experts to trace the provenance of some of the artworks in the new exhibition. Explanatory texts accompany works known to have been looted, and videos featuring experts and historians debating the provenance have been included, encouraging visitors to share their opinions.
Demeester emphasized that the museum values discussions and views the institution as a platform for dialogue. While acknowledging the disagreement with experts over the exhibition’s presentation, the Kunsthaus expressed its regret and urged the continuation of this vital and interesting debate. The controversy surrounding the Buhrle Collection underscores the ongoing challenges of addressing the provenance of artworks acquired during a dark period in history.