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HomePhotoBTA and UK Events* BRISTOL 22nd February - BTA member Colin Evans talk about German Art in the 20th Century



An application to join the Bristol Tbilisi Association or renew your existing membership is either through the online form (on left side) or downloadable Membership/Renewal Form 

If you use the downloadable Membership form please also download the additional Standing Order Form (which will simplify administration for BTA and for you!)

The subscription year runs from 1st January to 31st December. Subscriptions of new members who join after 1st November will run through to 31st December of the following year.

Members whose residential address given is more than 100 miles from Bristol may claim a 50% discount on the above rates and those whose residential address is outside the UK may claim a 100% discount (this applies to persons, not organisations).

By becoming a member of BTA:

  1. You entitled to attend and vote at our AGM
  2. You will be added to our members mailing list and receive information on all BTA activities/events and other Georgian-related new
  3. You will join our team and enjoy Georgian wine and fabulous Georgian food which accompanied almost all our meetings.

German Art in the 20th Century


When: 22nd February, at 7:30pm

Where: City Hall, College Green, Bristol BS1 5TR 


In my final talk in the trilogy - 22 February, 7.30, City Hall - I will try to answer the question ‘What happened to all the art?’ With war approaching the Nazis began to sell off much of the art they had confiscated but as the conflict gathered momentum there was a change in their plundering of the private and institutional collections in the countries they occupied. As well as modern art, which still offended their ideology, they grabbed masterpieces from all periods and styles with the intention of displaying them in the new Führermuseum to be built in Linz, Hitler’s birthplace, to celebrate the cultural dominance and the everlasting nature of the Third Reich.

Of course this project was never to come to fruition but the art was already in Germany only to be dispersed in various ways, legal and otherwise, during the post-war mayhem. Records are not comprehensive but by following the tracks of some of the works a pattern will emerge to suggest a story remarkable not least because of what it can tell us of the art market as it exists today.

I am looking forward to seeing you soon.

Colin Evans