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By Peggy Savage

Summer season, 1938, and for the second one time, Britain is threatened by means of struggle with Germany. This time civilians too might be within the entrance line. In London, very various households are introduced jointly via the conflict. medical professionals, Amy and Dan, have twins, eighteen 12 months previous Tessa and Charlie. Nora, a working-class spouse and mom, has a twelve-year-old daughter, Sara whose dream is to develop into a physician, a wild notion for a working-class baby. jointly, and assisting one another, the 2 households fight to outlive and suffer the six years of struggle, and Sara fights to arrive her most unlikely dream.

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Former director J. Carter Brown at the Gallery was enthusiastic from the beginning and generously allowed me access to the wartime correspondence of his father, John Nicholas Brown. John Wilmerding gave me precious work space. Maygene Daniels guided me through the newly organized archives and Lisi Ferber shared her amazing fund of knowledge. Most wonderful were the entire staff of the library—and especially Neal Turtell, Caroline Backlund, Ariadne DuBasky, Ted Dalziel, Lamia Doumato, and Thomas McGill (who can find any book in the world).

Although not given the official orders for seizure of works until June 30, he and his committee were able to “select and secure” hundreds of works, sort them out, and produce a show by July 19—a feat any museum director would admire. The swiftness of the action gave curators little time to react. In Berlin, Ministry of Culture officials hastily telephoned museums in Prussia to warn of the coming purge. To get pictures out of their buildings, curators everywhere rushed to return those on loan from private owners or artists, such as Erich Heckel’s famous Zeltbahn Madonna, which the artist buried in his studio for the duration.

The art critic will be replaced by the art editor. , choosing objects for the opening of the Haus der Deutschen Kunst, 1937 (Photo by Heinrich Hoffmann) Ziegler was not a great artist, but as an exhibition organizer he excelled. Although not given the official orders for seizure of works until June 30, he and his committee were able to “select and secure” hundreds of works, sort them out, and produce a show by July 19—a feat any museum director would admire. The swiftness of the action gave curators little time to react.

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