Cleveland's Own Monuments Man: Sherman Lee
The story of the brave men and women who worked to rescue Europe’s greatest art treasures during World War II has been brought to the silver screen in The Monuments Men. But did you know that monuments men also served in Japan? When the war ended and the allied occupation of Japan began, civilian monuments men were charged with protecting and preserving Japanese cultural heritage. Although systematic looting had not occurred in Japan as had in Europe by the Nazis, when fighting ended, art treasures needed protecting from occupying forces. A systematic inventory of cultural property was also needed to ensure its protection during this unstable time. Several of Europe’s monuments men including George L. Stout, the man upon whom George Clooney’s character is based, Thomas C. Howe, and Laurence Sickman advised on the setup and staffing for an arts and monuments section in Japan.
Howard Hollis and Sherman Lee (from the Cleveland Museum of Art Archives)
Although recently discharged from the service and reunited with his young family, Sherman Lee, then Curator of Far Eastern Art at the Detroit Institute of Art, volunteered to join his colleague and mentor Howard Hollis, Curator of Far Eastern Art at the Cleveland Museum of Art, in this important work. Although no longer in uniform, Lee was given the assimilated rank of major with the official title Adviser on Collections, Department of Arts and Monuments, Civil Information and Education Section, General Headquarters, Supreme Commander, Allied Powers, Tokyo. He served from 1946-1948 achieving the rank of Officer in Charge. By his own admission, when he began he knew very little about Japanese art, as he recounted later:
“For one relatively inexperienced and ill-informed about Japanese art, the opportunity to officially see and study in favorable conditions the registered objects of Japan was unparalleled, before or since.”
Lee and Hollis were responsible not only for the protection of registered cultural property in both private and public hands, but for Japanese national parks and temples as well. The allied powers considered using works of art as reparations, a policy strongly discouraged by Sherman Lee.
Memorandum to Allied Command (from the Cleveland Museum of Art Archives)
His responsibilities also included encouraging the democratization of Japanese museums through exhibitions and the sharing of knowledge (which had rarely been done before the war), and supporting the work of living artists through extant living-artist societies. Lee traveled throughout the country, inspecting every museum and cultural site, and in the process became acquainted with not only every major public and private collection and temple, but with all of the important government officials, art dealers and scholars, as well. He made regular reports to allied general headquarters and reported monthly to the Japanese Ministry of Education, advocating for the necessary funding and support for arts and monuments activities.
The education Sherman Lee received as a monuments man in Japan, and the friendships he forged with scholars, dealers, interpreters, and government officials, made it possible for him later to build the finest Asian collection in the world at the Cleveland Museum of Art. This collection is now on view in the new west wing.
This Week at CMA: Dana Schutz: Eating Atom Bombs, In Conversation: Dana Schutz & Nell Painter, Brett Weston: Photographs1 day 22 hours ago
This Week at CMA: FINAL WEEK: #CMAJazzAge, Exhibition Opening: Graphic Discontent, Performance: Davide Mariano1 week 2 days ago
2 weeks 22 hours ago
2 weeks 5 days ago
This Week at CMA: Jazz Age Extended Hours, Art Stories, Angkor and Beyond: Banteay Chhmar and the Monuments of Jayavarman VII3 weeks 1 day ago