"The Rape of Europa" Film Screening
The National Gallery of Art — Washington, DC
March 4, 2007
(As Prepared for Delivery)

Thank you, Peggy, for that kind introduction. I am honored to join all of you for this screening of a truly remarkable film, The Rape of Europa.

This afternoon I am pleased to acknowledge some important people and institutions:

• The National Gallery of Art, for hosting this screening.
• Robert H. Smith, the former president of the National Gallery, and his wife Clarice, herself an artist of renown. Bob has done so much, not only to collect and promote Italian art, but also to promote better understanding of American history and culture — goals that NEH shares.

The film you are about to see tells two significant stories. The first is a story of barbarism and cruelty — how the Nazis looted and destroyed thousands of priceless paintings, sculptures, and artifacts in Europe and Russia during the Third Reich and World War II. The second is a story of courage and decency - how America and its Allies worked to save and repatriate these stolen treasures during and after the war.

Despite the widespread recent interest in the history of World War II and the "Greatest Generation," this particular story is not yet widely known. Fortunately, that is beginning to change, due to the efforts of several people whom I now wish to recognize.

With us today is Lynn Nicholas, who wrote the book upon which this film is based. Lynn's book is an impressive piece of scholarship as well as a gripping read, and it was a much-deserving winner of the National Book Critics' Circle award.

Shortly after I became Chairman of NEH, we received a grant application to support the making of a documentary based on Lynn's book. Having read The Rape of Europa, I knew this would be a wonderful project. So in 2003, NEH awarded a $600,000 production grant to Oregon Public Broadcasting to fund The Rape of Europa film. NEH is very proud to have supported this endeavor — and today I am delighted to recognize the talented team that created this film: Richard Berge, Bonni Cohen and Nicole Newnham.

Another individual here today who deserves our gratitude is Robert Edsall. Bob generously supported the making of this film, and he has also published his own fine book on this subject titled Rescuing da Vinci. Bob has selflessly devoted his time and treasure to compiling the stories of the so-called "Monuments Men" — the Allied officers and soldiers who worked in the military's "Monuments, Fine Arts and Archives" section, which tracked down the stolen works of art.

The Rape of Europa rescues from oblivion the work of these unsung heroes, who took great risks to save a priceless part of our cultural patrimony. As an art historian, I have been privileged to know some of these individuals personally — including the late Frederick Hartt, a distinguished art historian at the University of Virginia who served as a "Monuments Man" in Italy. Several other "Monuments Men" were instrumental in the creation of the NEH. I'm thrilled that their story is now receiving the recognition it deserves.

This film is also a testament to the magnanimity of America and its Allies in World War II. Throughout the history of warfare, conquering armies have taken works of art and kept them as part of the spoils of war. Yet in this case, America and its Allies went to extraordinary lengths to recover these works and return them to their rightful owners. It is a profound example of the decency of democratic nations.

Now it is my honor to present to you The Rape of Europa.