ABSTRACT
Financial motivations were woven into the Twentieth Century German Art project. With their provision of Max Liebermann's Kartoffelpflucker, a large-scale oil by one of Germany's most prominent Jewish artists, Max and Hedi Stern made a key contribution to the anti-Nazi potency of Twentieth Century German Art. As established dealers seeking to continue their business in exile, however, and with the work marked for sale in the London catalogue, their loan must also be recognized as an attempt to sell German modernism in Britain. While suggesting a market for German modernism in the London of 1938, the participation of Max and Hedi Stern in Twentieth Century German Art also draws attention to the particular experience of emigre German art dealers in Britain at this time. The loans made by art dealers to Twentieth Century German Art once again illustrate both the international mix of the show's contributors, and their broad range of motivations.
