Max Stern (1904-1987) stands as a pivotal figure in 20th-century art history, not as an artist himself, but as a highly influential German-Canadian art dealer, collector, and philanthropist. His life story is a dramatic narrative of early success, devastating persecution under the Nazi regime, resilience in exile, and a posthumous, ongoing quest for justice through art restitution. His journey from the esteemed Galerie Stern in Düsseldorf to founding the renowned Dominion Gallery in Montreal charts a significant course through the turbulent art world of his time, leaving an indelible mark on both European and Canadian art landscapes.
Early Life and Formative Years in the Art World
Born on April 18, 1904, in Mönchengladbach, Germany, Max Stern was immersed in the world of art from a young age. He was the son of Julius Stern, a respected German-Jewish textile merchant who transitioned into a prominent art dealer and collector in Düsseldorf. His father established the Galerie Julius Stern, which became a significant cultural institution. This familial environment undoubtedly shaped Max Stern's future path, providing him with an early education in connoisseurship and the intricacies of the art market.
Stern pursued a rigorous academic education, culminating in a doctorate in art history from the University of Bonn in 1928. His dissertation focused on the 19th-century Düsseldorf painter, Johann Wilhelm Preyer, demonstrating an early scholarly engagement with German art. To further hone his expertise, Stern undertook extensive studies and apprenticeships across Europe, immersing himself in the art scenes of major cultural capitals including Berlin, Vienna, and Paris. He also gained practical experience working in notable galleries such as Galerie Gsell in Vienna and the Heinemann Gallery in Munich, broadening his understanding of both historical and contemporary art movements.
The Galerie Stern in Düsseldorf: A Flourishing Enterprise
In 1928, following the completion of his doctorate, Max Stern joined his father's Galerie Julius Stern in Düsseldorf. The gallery, located on the prestigious Königsallee, was already well-established, known for its collection of Old Masters and 19th-century German and Dutch paintings. Artists like those from the Düsseldorf School of Painting, such as Andreas Achenbach and Oswald Achenbach, would have been familiar staples, alongside works by Dutch Golden Age painters.
Upon his father's death in 1934, Max Stern assumed full directorship of the gallery. He brought a fresh perspective, seeking to expand its scope. While continuing to deal in established masters, he also cautiously began to introduce more contemporary art, including works by German Impressionists like Max Liebermann, Lovis Corinth, and Max Slevogt. He also showed interest in French modernists, reportedly acquiring works by artists such as Amedeo Modigliani, though this sometimes met with resistance from more conservative tastes. His gallery became a hub for collectors and art lovers, contributing to the vibrant cultural life of Düsseldorf.
The gallery's inventory was diverse, reflecting Stern's broad knowledge. It included significant pieces that would later become central to his story of loss and restitution. Among these were works by Dutch Golden Age painters, such as a "Still Life with Flowers" then attributed to Jan van Eyck (more likely a later Dutch flower painter like Jan van Huysum or Rachel Ruysch, given the period and typical gallery stock), and a "Goat Picture" by Willem Buytewech. He also handled works by Italian masters and French Barbizon School painters like Jean-Baptiste-Camille Corot.
The Nazi Persecution and Forced Liquidation
The rise of the National Socialist Party in Germany in 1933 cast a dark shadow over Max Stern's life and career. As a Jew, he was immediately targeted by the increasingly oppressive and discriminatory Nazi policies. Jewish art dealers were systematically disenfranchised, their businesses Aryanized (forcibly transferred to non-Jewish ownership), and their collections often confiscated or sold under duress.
In 1935, Stern was compelled by the Reich Chamber for the Fine Arts (Reichskammer der bildenden Künste) to liquidate his gallery's holdings. This was a common tactic used by the Nazis to strip Jewish citizens of their assets. The forced sale of the Galerie Stern's inventory took place on November 13, 1937, at the Lempertz auction house in Cologne. Hundreds of valuable artworks were sold off, often at prices far below their market value. This event represented not only a devastating financial loss for Stern but also the destruction of his professional life in Germany and the dispersal of a carefully curated collection. Among the artists whose works were forcibly sold were not only Old Masters but also contemporary German artists whose work was not yet deemed "degenerate" but whose Jewish dealer was.
The Nazi regime's campaign against "Degenerate Art" (Entartete Kunst) further ravaged the German art scene, targeting modern artists like Emil Nolde, Ernst Ludwig Kirchner, Max Beckmann, Paul Klee, and Wassily Kandinsky. While Stern's gallery primarily focused on more established art, the cultural climate was one of extreme hostility towards artistic freedom and Jewish cultural participation.
Flight, Internment, and a New Beginning
Facing escalating persecution and the impossibility of continuing his livelihood, Max Stern made the difficult decision to flee Germany. In December 1937, shortly after the forced auction, he left for Paris, hoping to find refuge and perhaps rebuild his career. However, with the outbreak of World War II looming, his situation remained precarious. He subsequently moved to London.
In a cruel twist of fate, with Britain's entry into the war in 1939, Stern, as a German national, was classified as an "enemy alien." He was arrested in 1940 and interned, first on the Isle of Man, and then transported to an internment camp in Canada. He spent approximately two years in detention in camps located in New Brunswick and Quebec. This period of internment, despite its hardships, inadvertently led him to the country that would become his new home.
Upon his release in 1941 or 1942, Max Stern chose to remain in Canada. He initially worked various jobs, including as a picture restorer, leveraging his deep knowledge of art. His determination and expertise soon paved the way for a remarkable comeback in the art world. He settled in Montreal, a city with a burgeoning, albeit relatively small, art scene.
The Dominion Gallery: A Canadian Art Institution
In 1947, Max Stern acquired a controlling interest in the Dominion Gallery of Fine Art (Galerie Dominion) in Montreal, which had been founded by Rose Millman. He became its director and, over the subsequent decades, transformed it into one of Canada's most prestigious and influential commercial art galleries. The Dominion Gallery, under Stern's astute leadership, played a crucial role in shaping Canadian art tastes and fostering the careers of numerous artists.
Stern's vision for the Dominion Gallery was twofold: to introduce international modern art to Canadian audiences and to champion contemporary Canadian artists, helping them gain national and international recognition. He had an exceptional eye for talent and a keen understanding of the art market, which allowed him to build an impressive inventory and client base.
He was instrumental in promoting the work of pioneering Canadian modernists. He became a key dealer for Emily Carr, one of Canada's most celebrated artists, acquiring a significant portion of her estate's works and organizing important exhibitions. He also supported other leading Canadian figures such as Goodridge Roberts, Jean-Paul Riopelle (a prominent member of Les Automatistes), Paul-Émile Borduas (another key Automatiste), Arthur Lismer, and Lawren Harris (both members of the Group of Seven). His support extended to sculptors as well, including Louis Archambault.
Championing International Masters in Canada
Simultaneously, Max Stern leveraged his European connections and expertise to bring major international art to Canada. He introduced Canadian collectors to the works of European masters, significantly broadening the country's artistic horizons. The Dominion Gallery became known for its holdings of 19th and 20th-century European art.
Stern famously acquired and exhibited works by titans of modern art such as Pablo Picasso, Auguste Rodin (he held a significant collection of Rodin's sculptures, making the Dominion Gallery a key source for his work in North America), Georges Braque, Wassily Kandinsky, Marc Chagall, Joan Miró, Fernand Léger, and Henry Moore. He also dealt in works by Impressionists and Post-Impressionists like Camille Pissarro and Maurice Utrillo. By showcasing these artists, Stern educated a generation of Canadian collectors and helped to build important private and public collections across the country.
His gallery was not just a commercial space; it was a cultural hub. Stern organized numerous exhibitions, published catalogues, and actively participated in the cultural life of Montreal and Canada. He was known for his scholarly approach, his discerning eye, and his commitment to the artists he represented. His efforts helped to elevate the status of Canadian art and integrate it into a broader international context.
The Max Stern Art Restitution Project: A Posthumous Quest for Justice
Max Stern never forgot the injustice he suffered at the hands of the Nazis and the loss of his family's art collection. Throughout his life, he sought to recover some of the stolen works, but the task was immense and complex. Upon his death in Paris on May 20, 1987, he bequeathed the bulk of his estate, including his rights to the lost artworks, to three major universities: Concordia University and McGill University in Montreal, and the Hebrew University in Jerusalem.
This bequest led to the establishment of the Max Stern Art Restitution Project in 2002. Spearheaded by Concordia University on behalf of the three beneficiary institutions, the project is dedicated to researching, locating, and recovering the artworks that were forcibly sold or confiscated from the Galerie Stern. This initiative is one of the most significant and persistent efforts in the field of Holocaust-era art restitution.
The project has faced numerous legal and logistical challenges, as artworks have passed through many hands over the decades, often ending up in private collections or museums worldwide. Despite these difficulties, the Max Stern Art Restitution Project has achieved notable successes. As of the late 2010s, more than twenty paintings had been returned. These include works such as "The Auction" by Adriaen Brouwer (or follower), "Flight into Egypt" by an unknown artist of the School of Jan Wellens de Cock, and "Girl from the Sabine Mountains" by Franz Xaver Winterhalter.
Each recovery is a testament to Stern's enduring legacy and a small victory against the historical injustices of the Nazi era. The project also plays a vital educational role, raising awareness about the issue of looted art and the importance of provenance research. The recovered works serve as powerful reminders of a dark chapter in history and the resilience of cultural heritage.
Controversies and Enduring Significance
Max Stern's story, particularly the efforts to recover his lost art, has not been without controversy. In 2008, a planned exhibition in Düsseldorf about Max Stern and the restitution project, titled "Ausgegrenzt und Ausgeraubt – Der Kunsthändler Max Stern" (Ostracized and Robbed – The Art Dealer Max Stern), was controversially cancelled by the city's municipal authorities and the Stadtmuseum Hofaue. This decision sparked international outrage and accusations of attempting to suppress a difficult aspect of the city's history, with some critics even suggesting underlying antisemitic sentiments or a reluctance to confront restitution claims.
The cancellation drew condemnation from art historians, museum directors, and Jewish organizations worldwide. While the official reasons cited were related to unresolved legal issues concerning restitution claims against German institutions, many viewed it as a failure to properly acknowledge and address the city's Nazi past and its impact on figures like Stern. The exhibition was later shown in modified forms in other cities, including Montreal, Haifa, and Augsburg, but the Düsseldorf incident highlighted the ongoing sensitivities and complexities surrounding Holocaust-era art restitution.
Despite such controversies, Max Stern's contributions to the art world are undeniable. He was a man of profound knowledge, unwavering resilience, and remarkable business acumen. He successfully navigated the treacherous currents of the 20th-century art market, first in Europe and then in North America. His Dominion Gallery was a beacon of artistic excellence, enriching Canada's cultural fabric immeasurably.
His life story serves as a powerful case study of the devastating impact of Nazi persecution on individuals and cultural heritage. The ongoing efforts of the Max Stern Art Restitution Project ensure that his legacy extends beyond his achievements as a dealer and philanthropist. It underscores the moral imperative to seek justice for the victims of Nazi looting and to preserve the memory of those whose lives and livelihoods were shattered. Max Stern's name is now synonymous not only with a passion for art but also with the enduring fight for historical truth and restitution. His influence continues to be felt in museums, galleries, and academic institutions, a testament to a life dedicated to art against formidable odds.
