Today, there is a generation of war victims, descendants of 20th
century pioneers, now made modern masters, who rightfully seek to
reclaim works that had been held during the war, until divested
by the families of the artists. Into this category falls Jen Lissitsky,
son of El Lissitsky; he would like to recover works which his mother,
Sophie Kuppers-Lissitsky had collected pre-war. These include works
by George Grosz, Mondrian, Klee and Kandinsky. A current item in
question is Kandinsky’s early ‘Improvisation No 10’
acquired by the Basle-based Beyeler Foundation gallery in Basle,
soon after the Second World War, and a key element in the museum’s
public display. Jens Lissitsky was to have been offered a realistic
settlement by Beyeler, allowing them to retain the work for display,
but following judicial recommendation negotiations broke down over
valuations. The tug-of-art continues, to the detriment of the museum’s
public image. A similar controversy relates to a group of Malevich
paintings, entrusted by the artist to his friend, famous Berlin
architect Hugo Haring. Eventually in l956, under much pressure,
Haring agreed with the director of the Stedelijk Museum, Amsterdam,
to loan them 79 works, and there was an option for them too, but
after two years (which was 30 years after Haring had first taken
responsibility to safeguard the works on Malevich’s behalf).
Now the Malevich estate is minded to sue the Stedelijk for their
return.
