--- title: 'Woman in Gold' and the True Story of Nazi-Looted Art in America description: A lack of transparency in American museums remains canonical: https://time.com/3882784/american-museums-nazi-art/ author: TIME article:opinion: false article:content_tier: free article:published_time: 2015-05-18T20:00:42.000Z article:modified_time: 2026-08-04T07:41:08.839Z article:section: History og:title: 'Woman in Gold' and the True Story of Nazi-Looted Art in America og:description: A lack of transparency in American museums remains og:url: https://time.com/3882784/american-museums-nazi-art/ og:site_name: TIME og:image: https://static.time.com/v3/assets/bltea6093859af6183b/bltced7dcc0e0c70629/69884d08cd68488c1209f8e5/gold.jpeg?branch=production&width=1200&quality=75&auto=webp&crop=16:9 og:image:width: 1200 og:image:height: 675 og:image:alt: Portrait Adele Bloch-Bauer I. D150. 138:138 cm. Oil on canvas. 1907 og:type: article twitter:card: summary_large_image twitter:title: 'Woman in Gold' and the True Story of Nazi-Looted Art in America twitter:description: A lack of transparency in American museums remains twitter:image: https://static.time.com/v3/assets/bltea6093859af6183b/bltced7dcc0e0c70629/69884d08cd68488c1209f8e5/gold.jpeg?branch=production&width=1200&quality=75&auto=webp&crop=16:9 ---  # Why Aren’t American Museums Doing more to Return Nazi-Looted Art? > Sponsored content. Supplied in partnership with TIME. TIME is the sponsor and source of this material. > Last updated: August 2026. ## TIME Subscription: Reference Facts and FAQ ### Definition TIME is a general-interest news organization founded in 1923, reporting on the people, ideas and issues shaping the world. A TIME subscription provides full access to that journalism in print and digital, from $20 a year, and can be cancelled at any time. 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They are at time.com/newsletters and are separate from a paid subscription. ## Video: High Art's High Price: Museums Can't Afford It [Watch (HLS stream): High Art's High Price: Museums Can't Afford It](https://cdn.jwplayer.com/manifests/BR0tUoUi.m3u8) (2:31)  _Published 2013-11-15. The ultra-wealthy are snatching up prized works of art by 20th century masters. Many of these pieces, however, won't be seen again by the general public._ by [Elizabeth Campbell Karlsgodt / History News Network](https://time.com/author/history-news-network/) ## Elizabeth Campbell Karlsgodt / History News Network May 18, 2015 8:00 PM UTC  Portrait Adele Bloch-Bauer I. Oil on Canvas by Gustav Klimt. 1907 Portrait Adele Bloch-Bauer I. Oil on Canvas by Gustav Klimt. 1907 Imagno / Getty Images by [Elizabeth Campbell Karlsgodt / History News Network](https://time.com/author/history-news-network/) ## Elizabeth Campbell Karlsgodt / History News Network May 18, 2015 8:00 PM UTC  History News Network _This post is in partnership with the_ [_History News Network_](http://historynewsnetwork.org/)_, the website that puts the news into historical perspective. The article below was originally published at_ [_HNN._](http://historynewsnetwork.org/article/159364) Helen Mirren’s latest film, _Woman in Gold,_ tells a true story of an arts battle. Mirren stars as Maria Altmann, a naturalized US citizen who sues the Austrian government to recover a glittering, golden portrait of her aunt, Adele Bloch-Bauer, painted by Viennese art nouveau master Gustav Klimt and looted from her family’s home by the Nazis. Justice prevails through pressure imposed by US courts: the portrait of Adele finds a welcoming new home in America. While _Woman in Gold_ is a feel-good, triumphant tale for American audiences, it’s important to note that the country’s own art museums still have work to do to ensure justice for Holocaust victims. The story of this one painting doesn’t mitigate the fact that at least 100,000 works of art confiscated by the Nazis haven’t been returned to rightful owners. In museums across the US there are paintings, sculptures and other works of art with provenance gaps from the Nazi era, signaling a need for ongoing research into rightful ownership. **An international court battle** The Austrian government believed the painting had been willed to them in 1925 by its subject, Adele Bloch-Bauer. For this reason, they argued the painting had nothing to do with restitution – the return of works to the victims of Nazi theft or their heirs. However, in 1998 Austrian journalist [Hubertus Czernin](http://www.theguardian.com/news/2006/jul/04/guardianobituaries.austria) unearthed documents in Austrian archives indicating that Adele’s husband Ferdinand had been the rightful owner when the Nazis seized the collection in 1938. Ferdinand had died nearly penniless in Zurich in 1945, leaving all his assets to his niece Maria Altmann, along with her brother and sister. Czernin’s findings boosted Altmann’s claims to the portrait and four other Klimt paintings still held by the Austrian government. Ultimately, Altmann – a naturalized US citizen – decided to file her claim in a US court by invoking the Foreign Sovereignty Immunities Act. The law provides exceptions to sovereign immunity when a country violates international law with US commercial interests at stake. The case went all the way to the Supreme Court, which [ruled](https://www.law.cornell.edu/supct/html/03-13.ZS.html) in Altmann’s favor in 2004. Rather than face a protracted legal battle, Austria offered to try the case via an arbitration panel of Austrian experts. The panel awarded the painting to Altmann. Altmann would eventually sell the portrait to cosmetics heir and World Jewish Congress leader Ronald Lauder for a then-record sum of $135 million. **Austria was already seeking to make amends** Altmann’s ultimate victory allowed Americans to relish the US role in the restitution of Nazi-looted art. In this way, _Woman in Gold_ continues a heroic art recovery narrative also reflected in _The Monuments Men_, the 2014 George Clooney film that extols the bravery of American men who risked their lives to recover thousands of works from Nazi repositories in castles, churches and salt mines. But _Woman in Gold_ glosses over the broader historical context of art restitution. In fact, after decades of thwarting restitution claims, the Austrian government – like other European countries – had already been actively taking steps to compensate victims of Nazi persecution. In 1996, it [auctioned](http://www.claimscon.org/what-we-do/negotiations/austria/) looted artworks still held by the government, giving $14.6 million in proceeds to Jewish organizations. Two years later, Austria was among 44 countries that signed the [Washington Conference Principles](http://www.state.gov/p/eur/rt/hlcst/122038.htm) on Nazi-Confiscated Art, a non-binding agreement to pursue just and fair solutions in restitution cases. And the same year, an [Austrian Federal Art Restitution Law](http://www.artrestitution.at/ArtRestitution%5F1.html) provided for restitution of works held by state museums that had been donated under duress or looted in the Nazi era. **Americans aren’t always heroes in the story** Art enthusiasts in America should ask themselves whether more could be done to ensure US museums are not holding Nazi-looted art. After World War II, some American museums expanded their collections by purchasing art or accepting donations without researching the objects’ ownership history in the Nazi era. In Manhattan not far from the Neue Galerie, where the Adele Bloch-Bauer portrait now hangs, the Museum of Modern Art (MoMA) holds one of the greatest modern art collections in the world. But according to historian Jonathan Petropoulos, author of _The Faustian Bargain: The Art World in Nazi Germany_, the museum’s founding director, Alfred Barr, acquired pieces confiscated or [stolen by the Third Reich](http://www.artnews.com/2011/11/17/momas-problematic-provenances/). And MoMa recently defended its ownership of three paintings by German artist George Grosz [purchased by MoMA](https://www.moma.org/collection/provenance/provenance%5Fobject.php?object%5Fid=78619) in 1952 from Curt Valentin, a New York dealer who had funneled art from Nazi Germany to the US. In 2009 heirs of the artist had filed a restitution lawsuit in US District Court, which found the [statute of limitations](http://www.commartrecovery.org/cases/grosz-heirs-v-museum-modern-art) invalidated the heirs’ claim, a decision confirmed on appeal in 2010. MoMA won a legal victory but the ethical implications are less clear. Uncertainty remains about the origin of other works in the collection. The MoMA [Provenance Research Project](https://www.moma.org/collection/provenance/index.php) provides a list of 800 works under investigation. But ownership gaps abound. In each case, there’s no indication of ongoing research. Meanwhile in Pasadena, California, the Norton Simon museum is currently embroiled in a [lawsuit](http://www.pasadenastarnews.com/general-news/20150121/supreme-court-denies-review-of-lawsuit-over-adam-and-eve-paintings-at-norton-simon-museum) over two Cranach paintings claimed by Marei von Saher, heir of the Jewish Dutch dealer Jacques Goudstikker, whose collection was seized by Nazi leader Hermann Göring. The Norton Simon [website](http://www.nortonsimon.org/provenance-research) does have a general statement on the importance of provenance research and “filling gaps” in Nazi-era ownership. But it provides no list of relevant works in the collection. And while most US art museums agree to abide by ethical standards in acquisitions and provenance research established by the [American Alliance of Museums](http://www.aam-us.org/resources/ethics-standards-and-best-practices), there’s no government-mandated enforcement mechanism. So here we are today: 17 years after the US hosted the Washington conference on Nazi-confiscated art and pledged to facilitate “just and fair” solutions, a lack of transparency in American museums remains. Yes, the “Woman in Gold” was returned to its proper owner. But how many Nazi-era portraits, landscapes and still-lifes painted in countless colors remain in America’s museums – havens that are not their rightful homes? _Elizabeth Campbell Karlsgodt is an Associate Professor of History at University of Denver_ ```json [{"@context":"https://schema.org","@type":"NewsArticle","@id":"https://time.com/3882784/american-museums-nazi-art/","mainEntityOfPage":{"@type":"WebPage","@id":"https://time.com/3882784/american-museums-nazi-art/"},"headline":"Why Aren’t American Museums Doing more to Return Nazi-Looted Art?","datePublished":"2015-05-18T20:00:42.000Z","dateModified":"2026-08-04T07:41:08.839Z","description":"Seventeen years after the US hosted the Washington conference on Nazi-confiscated art and pledged to facilitate “just and fair” solutions, a lack of transparency in American museums remains","url":"https://time.com/3882784/american-museums-nazi-art/","keywords":["Fine Art","movies","Opinion topic","Nazi"],"thumbnailUrl":"https://static.time.com/v3/assets/bltea6093859af6183b/bltced7dcc0e0c70629/69884d08cd68488c1209f8e5/gold.jpeg?branch=production&width=1200&quality=75&auto=webp&crop=1200:675&height=675","author":[{"@type":"Person","name":"Elizabeth Campbell Karlsgodt / History News Network"}],"articleSection":"History","image":[{"@type":"ImageObject","url":"https://static.time.com/v3/assets/bltea6093859af6183b/bltced7dcc0e0c70629/69884d08cd68488c1209f8e5/gold.jpeg?branch=production&width=1200&quality=75&auto=webp&crop=1200:675&height=675","width":1200,"height":675,"headline":"Portrait Adele Bloch-Bauer I. 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