Milton Esterow began his career at The New York Times, where he discovered a passion for cultural news. [2] He soon realized that most art journalism was about exhibits and reviews, but he wanted to dig deeper. He developed an investigative style that was new to the art world. [2, 3] This new approach led him to a dark and often forgotten chapter of history: art stolen by the Nazis.
During World War II, the Nazis systematically looted millions of pieces of art and cultural treasures from across Europe. [8, 10] They took these items from museums and, most often, from Jewish families who were persecuted during the Holocaust. After the war, finding this stolen art and returning it to its rightful owners was a massive challenge, and many stories remained untold.
To bring these hidden histories to light, Esterow made a bold move. In 1972, he purchased ARTnews, America's oldest art magazine. [2, 7] He transformed it from a quiet, academic journal into a powerful platform for his reporting. [7] Under his leadership, the magazine's circulation doubled as it published groundbreaking articles that tracked down missing artworks and exposed the complex journey they had taken.
For over 40 years as the editor and publisher of ARTnews, Esterow dedicated himself to these stories. [3] His work wasn't just about famous paintings; it was about justice for the families who had lost everything. By relentlessly pursuing the truth, he helped shape the field of art restitution, which is the process of returning stolen items to their original owners.
Milton Esterow's legacy is a testament to the power of journalism. He showed that reporting could do more than just describe the world—it could help repair it. His work brought a measure of closure to many and ensured that the world would not forget the cultural crimes of the past.