The article explores the connections between works of art and their Jewish owners who, during the Nazi rule, were stripped of their collections and cultural treasures. It is established that Vienna served as a testing ground for the systematic plunder and expropriation of property belonging to the Jewish population forced to emigrate. The article delves into the methods of confiscation and persecution of the Jews of Vienna, unveiling the characteristics of the Vienna model of expropriation during the Nazi domination. The real stories of the Jewish family Bloch-Bauer, owners and heirs of Gustav Klimt's paintings, particularly "Portrait of Adele Bloch-Bauer I" ("Golden Adele"), and other Jewish families whose possessions were looted, are analyzed. The article explores the significance of these cultural values for Austria and Austrians and traces the subsequent fate of these renowned masterpieces. It investigates why and under what circumstances this valuable painting survived the reign of Nazism and anti-Semitism in Austria, escaping confiscation and being displayed in the Belvedere Gallery. The circumstances that led the "Portrait of Adele Bloch-Bauer I" to end up beyond Austria's borders during World War II are also analyzed. The article examines the challenges associated with the search and restitution of private and public collections looted by the Nazi invaders in the Republic of Austria. Illustrative examples of looted paintings during the Nazi regime are provided, and the characteristic ways in which these artworks were returned to their rightful owners or restituted in their country of origin are outlined. Stories of already returned objects are revealed. The article emphasizes that art canvases represent a national treasure, posing important questions and highlighting the relevance of the agenda while underscoring the need for the restitution of looted artworks. The enactment of a new Austrian law on the restitution of art objects in 1998 is highlighted as a significant event, enabling institutions and researchers to meticulously trace the origins of paintings. The new owners were obligated to return works of art that had been looted and resold by the Nazis. Based on the analysis of the issues under study, the article argues for the necessity of scientific support for the processes of searching and restitution of cultural property confiscated from Jews during the Nazi regime. It emphasizes the importance of continuing a thorough search for valuables confiscated from Jews in private collections, museums, and other institutions, as well as disseminating relevant information among international specialists and the general public.
