{"id":11497,"date":"2025-01-24T11:48:30","date_gmt":"2025-01-24T10:48:30","guid":{"rendered":"https:\/\/fokum.org\/en\/?page_id=11497"},"modified":"2025-01-25T18:04:03","modified_gmt":"2025-01-25T17:04:03","slug":"dewinter-und-almstadt","status":"publish","type":"page","link":"https:\/\/fokum.org\/en\/dewinter-und-almstadt\/","title":{"rendered":"De Winter und Almstadt"},"content":{"rendered":"\n

Fokum Evening Lecture \u00a0Winter Term 2024\/2025<\/h1>\n

HYBRID EVENT \/\/ TU BERLIN \/ ONLINE<\/strong><\/span><\/h2>\n

El\u00e9a De Winter, Brussels, and Fenya Almstadt, Brussels\/Berlin talk about:<\/p>\n

The Belgian Art Market 1933-1960: from Institutional Players to Commercial Actors. The Role of Moving Companies and the Royal Museums of Fine Arts of Belgium during the Second World War<\/h2>\n
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Evening lecture in cooperation with the Royal Museums of Fine Arts of Belgium, the Universit\u00e9 Libre de Bruxelles and the Department of Digital Provenance at Technische Universit\u00e4t Berlin<\/span><\/p>\n<\/div>\n

Date:<\/strong> February 10, 2025, 18:15-19:45 h CET
Venue:<\/strong> H 0111 in the main building at TU Berlin, Stra\u00dfe des 17. Juni 135, 10623 Berlin
The event will be broadcast in parallel via TU Berlin Zoom: <\/strong>https:\/\/tu-berlin.zoom.us\/j\/63199001038?pwd=vDhGInsisULAesyi2Qu7LImdoc4mRY.1<\/span><\/a><\/span>, Meeting-ID: 631 9900 1038, Password: 399554<\/span><\/p>\n

++Recording of the event or parts of the event as well as screenshots are not permitted. By participating, you accept these terms of use.++<\/strong><\/span><\/p>\n

\"Advertisement

Advertisement of the moving company La Continentale Menk\u00e8s in the Brussels Trade and Industry Almanac of 1939, page 2353. \u00a9 Brussels Archives, City of Brussels.<\/p><\/div>\n

++Title, abstract and CV are always written in the respective language of presentation.++<\/p>\n

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Abstract:<\/strong> Despite extensive studies on the seizure of cultural assets across Europe and significant advancements in understanding the mechanisms of Nazi-art looting under occupation, Belgium\u2019s art market remains underexplored. Therefore the ProvEnhance project<\/strong><\/a> seeks to establish a methodological framework for Nazi-era provenance research in Belgium. As a case study, ProvEnhance examines a part of the collection of the Royal Museums of Fine Arts of Belgium and the correlative art market between pre- and post-war periods through innovative methodologies and archival exploration.
By combining art market studies with provenance research, the project contributes to foundational research, offering new insights into the structures of the Belgian art market as well as actors and objects involved in the art theft and its aftermath.
The lecture will emphasize the synergy of a transnational and dual approach by illustrating the involvement of moving companies in the transportation of seized cultural goods as a specific case example based on the current findings of the two PhD researchers Fenya Almstadt<\/strong> and El\u00e9a De Winter<\/strong>. While presenting their individual ongoing research endeavours, they will shed light on the varying degrees of collaboration by these companies under the German occupation, offering a nuanced perspective on complicity and resistance within this historical framework.
An introduction to the lecture will be provided by Aude Alexandre<\/strong> and Ingrid Goddeeris<\/strong>, the two coordinators of the ProvEnhance project. They will give an overview of the key objectives of the project, retrace antecedents of provenance research in Belgium since WWII and present recent developments in policy, the media and accessibility of sources.<\/p>\n

The ProvEnhance project<\/a> is funded by BELSPO, the Belgian Science Policy Office, and is the outcome of a partnership among four distinct institutions: the Royal Museums of Fine Arts of Belgium, l\u2019Universit\u00e9 libre de Bruxelles, the Department of Digital Provenance at Technische Universit\u00e4t Berlin, and the Belgian Study and Documentation Centre for War and Contemporary Society (CEGESOMA). In addition, an international committee composed of specialists in provenance research, art market studies, and digital humanities oversees the project.<\/p>\n<\/div>\n

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Aude Alexandre<\/span><\/a> is Head of the Institutional Archives at the Royal Museums of Fine Arts of Belgium (RMFAB). Since 2023 she has been coordinating, with Ingrid Goddeeris, the research project ProvEnhance, financed by the Belgian Federal Science Policy (Belspo). From 2022 to 2024, she also served as a lecturer in Archival Science at the Universit\u00e9 libre de Bruxelles (ULB). Before joining the RMFAB, she had an extensive career in scientific and university libraries in Belgium (ULi\u00e8ge, ULB), France (EHESS) and Italy (Academia Belgica). She holds a BA in Art history (University of Namur, 1999), a MA in Languages and Literatures (Universit\u00e9 libre de Bruxelles, Indo-European Languages, 2002), a degree in Specialized Studies in Information Sciences & Technology (Universit\u00e9 libre de Bruxelles, 2004), and a degree in Archival Studies (Vatican School of Palaeography, Diplomatics and Archives Administration, 2008).<\/p>\n

Ingrid Goddeeris<\/span><\/a> has worked at the Royal Museums of Fine Arts of Belgium (RMFAB) for 25 years, first at the institutional archives and since 2003 as head of the museum library. Her research focuses on the Belgian and international art market of the 19th century, with particular attention to the network of art dealers and provenance research, which is also the subject of her Phd in preparation. Because of her interest in the reverse of paintings, in particular collectors’ marks and seals, she joined the team of the Jordaens Van Dyck Panel Paintings Project in 2018. She is also a member of the research group Cultural History since 1750 at KU Leuven. Together with Aude Alexandre, she has been coordinating the ProvEnhance research project since 2023. Ingrid holds an MA in History of Art (KU Leuven, 1997), an additional degree in History (KU Leuven, 1998) and in Archives & Records Management (VUB, KU Leuven, UGent, 1999).<\/p>\n

Fenya Almstadt<\/span><\/a> studied art history, history and social and cultural anthropology in Berlin, Potsdam and Rennes. Since October 2023 she is a PhD researcher within the ProvEnhance project, investigating the Royal Museum of Fine Arts of Belgium\u2019s (RMFAB) acquisitions, practices and networks between 1933-1960 as well as the implications of Nazi-looting of cultural assets in Belgium. Her research interests include Nazi-era provenance research and the 20th century art market with a special focus on the role of female actors. Previously she assisted a provenance research project at the Liebermann Villa on Lake Wannsee, worked for the foundation ZUR\u00dcCKGEBEN as well as a freelance referee at the Sachsenhausen Memorial and Museum. Fenya is affiliated to the Brussels Art Markets Laboratory (ULB) and the Arbeitskreis Provenienzforschung in Germany.<\/p>\n

El\u00e9a De Winter<\/span><\/a> (1994) studied art history at Ghent University (2021). Since October 2023 she is preparing a PhD on the art market in Belgium between 1933-1960 at the Universit\u00e9 Libre de Bruxelles in collaboration with the Royal Museums of Fine Arts of Belgium, Technische Universit\u00e4t Berlin and CegeSoma. This doctoral project is part of the ProvEnhance project \u2013 Enhancing the provenance data of the collections of the Royal Museums of Fine Arts of Belgium (RMFAB) since 1933. Scientific study, digital valorization and narrative in context. El\u00e9a is an affiliated researcher at the research group Art in Belgium since 1945 (UGent) and the Brussels Art Markets Laboratory (ULB).<\/p>\n<\/div>\n<\/div>\n

back<\/a><\/p>\n

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Fokum Evening Lecture \u00a0Winter Term 2024\/2025 HYBRID EVENT \/\/ TU BERLIN \/ ONLINE El\u00e9a De Winter, Brussels, and Fenya Almstadt, Brussels\/Berlin talk about: The Belgian Art Market 1933-1960: from Institutional Players to Commercial Actors. The Role of Moving Companies and the Royal Museums of Fine Arts of Belgium during the Second World War Evening lecture […]<\/p>\n","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-11497","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/11497","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/comments?post=11497"}],"version-history":[{"count":16,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/11497\/revisions"}],"predecessor-version":[{"id":11544,"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/pages\/11497\/revisions\/11544"}],"wp:attachment":[{"href":"https:\/\/fokum.org\/en\/wp-json\/wp\/v2\/media?parent=11497"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}