Breit began his work for the Reich by valuating art taken from dispossessed Jews. He made no judgments on where the art came from; few in Germany did that sort of thing once the deportations started. The plight of the Jews was not his concern. Breit busied himself arranging collections and shows, selecting which pieces would be put on public display and which would hang in the private galleries of Goebbels, Speer, Himmler, Goring, Hitler. For this service, the Führer had awarded him the War Merit Cross with swords that hung on the left breast of his tunic. Breit had chosen this Monet for this museum.
He finished his sandwich and began his apple. He was wary not to crunch through the skin and pulp. Breit made no noise.
He never did, and he knew this. As a child, he’d abandoned his wish to be an artist, letting it loose without a pin drop in his heart. As a student, he’d kept his nose in books while Germany rebuilt itself from the debacles of World War I. Again, as a young professor, he stuck to his classrooms and towers at Heidelberg, avoiding the street clashes between the roving brown shirts of the National Socialists and the red sashes of the Communists. When the war started, Abram Breit took up his duty in the dungeons of Jew basements, in echoing great galleries, peering through magnifying glasses at canvases and into tomes of art history. A few years and five million men marched past him, history fell out of the sky, horror rolled past in trucks and tram cars, Germany tore itself to pieces across the globe, and Breit stood silent.
No more.
He chewed the apple thoughtfully, mulling the pulp on his tongue. He stood and walked around the bench to face the other direction, away from the vivid Monet. Sitting, he set his eyes to the Picasso and the Braque he’d chosen for display in this room.
The war had cost Breit his love of the Impressionists. Those painters had become bourgeois, coveted by the well-to-do, sold for large sums, even during their lifetimes. Their groundbreaking work - softening the image, the destruction of age-old realism - had fallen headlong into the mainstream. Monet, Manet, Renoir, Seurat - these weren’t the names of painters any longer so much as they were investments, portfolios for the Jews and others to hedge their bets during the war, hide their money in something other than currency no different than gems or gold bars. Breit cared only for one Impressionist now, the crazy Dutchman van Gogh, who never while alive sold one painting. Van Gogh, of all the Impressionist masters, was untouched, left alone with that madness that had become his vision. Breit preferred the Cubists, the artists who had moved away from the emotion and decorative symbolism of Impressionism. The Cubists -
Picasso and Braque among them, who were put on their path first by the prophetic work of Cezanne - reconstructed the form on the canvas out of its base geometric elements, the spheres, cones, cylinders, and boxes of every object. These were egalitarian ideals, to break man’s world into simple patterns, into every man’s vision, mad or genius or gifted or not, even Abram Breit’s.
The Impressionists looked at their world and made it pretty, captured like butterflies pinned to a mat. But not Picasso. Not Braque. Not like the abstract Russian Kandinsky. These men shattered the world in their hands and gave it back made only of building blocks, with room for the individual and imagination; they invited the viewer onto the canvas and asked him to build a new world out of these raw parts. Abram Breit had fallen in love with the Cubists.
He remained a silent man. There was nothing he could do about his nature. But he could do with his life what the Cubists had done with the image, break his nature into its basic elements and take a clean look. So Breit did this, slowly, with the small brush strokes he never could muster with his hands, but could with his mind. In the mirror, in his tailored SS
uniform, he began to see what he was made of. He shuddered to find so much reluctance and cowardice. Abram Breit faced the fact that he’d turned into a man he’d never wanted to become; he was not an artist, not a teacher anymore, not an individual at all. He wore SS black, the absence of all color.
Abram Breit had become so silent a man that he was gone. His cowardice had erased him.
Breit was aroused for more truth. Yes, he’d been a coward. And what had been the canvas for his cowardice? He looked outside his window, into battered Berlin, across Europe, to the Balkans, into Russia. There he saw Germany’s fear and vanity. Undisguised, plain as paint and framed in flame, Breit grasped Hitler’s madness and genius - genius is madness, in a way -
the driving forces behind the war, a global conflict made by Breit’s country and people; but Hitler’s madness was not like van Gogh’s. The Führer had grown openly corrupted by power, by the saluting hordes and goose-stepping world risen around him. Hitler had men on all sides who were devious for their own gains. Germany was in the wrong hands. That, like a sphere, a cone, a circle, a square, was an elemental truth. No man was so silent he could turn away from this.
First, Breit requested a transfer from the art archives to military intelligence. Most of his cataloging work was concluded; the flow of confiscated art had slowed as Germany became judenfrei. Leibstandarte granted his request. In late 1942, Breit trained for three months in Munich.
Then he was assigned back to Berlin, as divisional liaison to Hitler’s staff.
The Führer himself made the request, delighted with the artwork Colonel Abram Breit had selected for his chalets and castles.
Abram Breit became a spy.
This was not so hard to do. There were many ears in Germany listening for betrayal, some to punish the betrayers, some to welcome and encourage. Breit let slip a comment or two here and there, words that he could have easily explained away as too much schnapps or a simple misunderstanding. He traveled to East Prussia, around Germany, to conquered France, a loyal and efficient junior member of the general staff.
It was in Switzerland he was approached.
All he knew was that he would be working for something called the Lucy network. These were German patriots, he was told, like him, men and women who were the real guardians of Germany’s precious future. They would do everything they could to stop the Nazi war machine. Whatever secrets Breit could funnel into Lucy would be channeled to Hitler’s most powerful enemy, Soviet Russia.
Breit was unfazed at the destination for his treasons. What he wanted most was what the Cubists demanded: a change, a new world, a new Germany, a renewed Breit. The Russians could give him all that.
He finished the apple. He slipped the core into the paper sack, making less rustle than the woman still sketching the blue Monet. Breit set the bag on the bench beside him. He cupped his chin in his hand and rested his eyes on the Picasso. The painting was one of the artist’s early Cubist treatments, Bread and Fruit Dish on a Table. In this work, Picasso had brushed away all depth perception. The table and its bowl and loaves all seemed to be on a single plane; the backdrop of a curtain and a wall came forward, impinging on the objects they ought to exist behind and apart from. There is no difference, Picasso painted, between the object and its surroundings. Everything is one. Everything is connected. Art can change minds. And because it can, it must.