Kunstschutz (art protection) is the German term for the principle of preserving cultural heritage and artworks during armed conflict, especially during the First World War and Second World War, with the stated aim of protecting the enemy's art and returning after the end of hostilities. It is associated with the image of the "art officer" (Kunstoffizier) or "art expert" (Kunstsachverständiger). It was seen as looting or spoliation by countries such as USA, UK, Russia, Belgium, France and Italy.
The Allies instituted a Monuments, Fine Arts, and Archives program tasked with identifying, locating, securing, storing, and returning stolen art after the war.
The Germans' lack of respect for the international Hague Conventions on land warfare created in 1899 and 1907, which had included the protection of cultural property, led to international shock at the burning of Leuven library in Belgium and the bombardment of Reims Cathedral in France, both in 1914 (Louvain library would be re-formed and rebuilt in the 1920s but destroyed again in the 1940 Battle of France). To counter these protests, counterbalance the destruction, redeem itself in the eyes of international agencies and regain its image as the land of culture par excellence, German propaganda created the principle of Kunstschutz. This principle allowed Germany to experiment with new formulas for saving and developing cultural heritage and originated many, often fertile initiatives. Clemen, professor of art history at the University of Bonn and inspector of monuments in the Rhineland, was one of the principle's first instigators. A German soldier 'saved' cultural objects in Saint-Quentin, Aisne, though these were only returned in 1998, whilst a painting similarly removed from Douai museum only returned in 2000 after being discovered at a sale in Switzerland. The museum at Metz has put on an exhibition on the activities of its former German curator, the archaeologist Johann Baptist Keune, in protecting the artistic heritage of the Moselle during the conflict.