The Metropolitan Museum of Art and a Greek foundation are facing a lawsuit over the acquisition of a Vincent van Gogh oil painting that was stolen by the Nazis. The heirs of a German-Jewish family claim that they were forced to leave behind the painting, titled “Olive Picking,” in Munich when they fled Nazi rule. They are now seeking the return of the artwork to its rightful owners.
The lawsuit alleges that The Met and the Basil and Elise Goulandris Foundation purchased the painting without conducting thorough research into its provenance. The painting, created in 1889, depicts three women picking olives from a grove. The Stern family, who originally owned the painting, purchased it in 1935 but were prevented from taking it with them when they fled to California in 1936. The Nazis confiscated the painting and sold it in 1938, eventually leading to its arrival in New York.
The controversial history of the painting includes a series of transactions that allegedly involved the painting being sold without disclosing its connection to the Stern family. The painting was eventually acquired by Vincent Astor, whose wife later consigned it to the Knoedler Gallery, which sold it to The Met in 1956. The museum curator at the time, Theodore Rousseau, Jr., failed to recognize the painting’s Nazi-looted status, despite serving in the Art Looting Investigation Unit during the war.
In 1972, The Met sold the painting to the Goulandris family, who currently display it in a museum in Athens. The lawsuit accuses the Goulandris Foundation of deliberately concealing the painting’s provenance through a series of transfers.
The lawsuit also questions The Met’s decision to deaccession the painting, suggesting that the museum was concerned about the possibility of another institution reporting it as looted. However, museum officials maintain that the decision was based on the painting’s perceived lesser importance compared to other van Gogh works in the collection.
The ongoing legal battle highlights the importance of researching the provenance of artworks and ensuring that stolen pieces are returned to their rightful owners. The Met has taken steps to improve its provenance research efforts, with a team of analysts dedicated to investigating the history of its vast collection.
As the case unfolds in federal court, the art world continues to grapple with the legacy of Nazi-era looting and the importance of restitution for stolen artworks. The Met remains committed to addressing Nazi-era claims and seeking resolution for any illegally appropriated objects in its collection.
