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When Britain Saved the West: The Story of 1940 by Robin Prior (review)

postwar era. He ably demonstrates how prosecutorial failures, selective memory, and outright lies combined to restore their reputations at least partially and in some cases wholesale. Petropoulos is careful to not blame the artists for their ability to survive yet again. Cold war politics in particular required the restoration of modernism as a style allied with solely democratic values. The myth that modernism had been anti-fascist served a useful political function that simultaneously served the artists well. Throughout the work, Petropoulos considers far more than just these ten artists. He shows how modernists as different as Max Beckmann, Otto Dix, and Pablo Picasso found ways to continue working under the Nazis. He sketches out networks of friends and patrons to illustrate how they used their positions to assist, protect, and even damage each other. Petropoulos seeks not to condemn but to understand and unravel the complex motives that informed artists’ decisions to work with the Nazis. He treats his case studies as complex humans who made choices based on a mix of practicality, illusion, and their readings of the events in which they found themselves. With this work, Petropoulos cements his reputation as the leading scholar of Nazi culture, one who has restored nuance and shades of grey to a topic typically rendered in only black and white.