Tanja Bernsau holds a doctorate degree in history of art and has explored the Central Collecting Point Wiesbaden (Germany) and the influence of the Monuments Men on German cultural history after World War II. Her doctoral thesis with the title “Die Besatzer als Kuratoren? Der Central Collecting Point Wiesbaden als Drehscheibe für einen Wiederaufbau der Museumslandschaft nach 1945” (“The occupying forces as curators? The Central Collecting Point Wiesbaden as platform for the reconstruction of the museal landscape after 1945” – only available in German) was published in 2013.
Before that Tanja Bernsau looked into the subject of the role of provenance for the art market and explored a current case on the art market: the auction of Max-Liebermann-paintings from the Karg-Collection at the Auktionshaus Hampel (Munich). She explained how prices in the art markets are formed and what a clarified provenance, free of the suspicion of being looted art, means. The topic “provenance research” and “cultural heritage” are in the focus of her research.
Currently she is teaching provenance research at the art history department of Justus Liebig University Giessen (Germany) and continues her research about the Monuments Men in Wiesbaden. Additionally she is exploring the provenance of the art collection of the Jewish collector Martin Flersheim (Frankfurt, Germany).