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Did Hitler Hate Jews Because His Art Was Rejected

Pejorative term used by the Nazi Party for modern art

Degenerate art (German: Entartete Kunst ) was a term adopted in the 1920s past the Nazi Political party in Germany to describe modern art. During the dictatorship of Adolf Hitler, High german modernist fine art, including many works of internationally renowned artists, was removed from state-endemic museums and banned in Nazi Germany on the grounds that such art was an "insult to German feeling", un-German, Freemasonic, Jewish, or Communist in nature. Those identified as degenerate artists were subjected to sanctions that included being dismissed from teaching positions, existence forbidden to showroom or to sell their art, and in some cases beingness forbidden to produce art.

Degenerate Art also was the title of an exhibition, held by the Nazis in Munich in 1937, consisting of 650 modernist artworks chaotically hung and accompanied by text labels deriding the art. Designed to inflame public opinion against modernism, the exhibition later traveled to several other cities in Federal republic of germany and Austria.

While modern styles of art were prohibited, the Nazis promoted paintings and sculptures that were traditional in manner and that exalted the "claret and soil" values of racial purity, militarism, and obedience. Similar restrictions were placed upon music, which was expected to be tonal and free of whatsoever jazz influences; disapproved music was termed degenerate music. Films and plays were also censored.[1]

Theories of degeneracy [edit]

Das Magdeburger Ehrenmal (the Magdeburg cenotaph), by Ernst Barlach was declared to exist degenerate art due to the "deformity" and emaciation of the figures—respective to Nordau's theorized connectedness between "mental and physical degeneration".

The term Entartung (or "degeneracy") had gained currency in Germany by the late 19th century when the critic and author Max Nordau devised the theory presented in his 1892 book Entartung.[ii] Nordau drew upon the writings of the criminologist Cesare Lombroso, whose The Criminal Man, published in 1876, attempted to bear witness that there were "built-in criminals" whose atavistic personality traits could be detected by scientifically measuring abnormal physical characteristics. Nordau developed from this premise a critique of mod fine art, explained equally the work of those so corrupted and enfeebled by modern life that they have lost the self-control needed to produce coherent works. He attacked Aestheticism in English literature and described the mysticism of the Symbolist movement in French literature equally a product of mental pathology. Explaining the painterliness of Impressionism as the sign of a diseased visual cortex, he decried modern degeneracy while praising traditional High german culture. Despite the fact that Nordau was Jewish and a key figure in the Zionist movement (Lombroso was likewise Jewish), his theory of artistic degeneracy would be seized upon by High german Nazis during the Weimar Republic as a rallying point for their antisemitic and racist demand for Aryan purity in art.

Conventionalities in a Germanic spirit—defined as mystical, rural, moral, bearing ancient wisdom, and noble in the face of a tragic destiny—existed long before the ascent of the Nazis; the composer Richard Wagner celebrated such ideas in his writings.[3] [iv] Beginning before World State of war I, the well-known High german builder and painter Paul Schultze-Naumburg's influential writings, which invoked racial theories in condemning modern fine art and architecture, supplied much of the basis for Adolf Hitler'southward belief that classical Hellenic republic and the Middle Ages were the true sources of Aryan art.[5] Schultze-Naumburg subsequently wrote such books every bit Die Kunst der Deutschen. Ihr Wesen und ihre Werke (The art of the Germans. Its nature and its works) and Kunst und Rasse (Art and Race), the latter published in 1928, in which he argued that just racially pure artists could produce a healthy art which upheld timeless ideals of classical beauty, while racially mixed modern artists produced disordered artworks and monstrous depictions of the human form. By reproducing examples of mod art next to photographs of people with deformities and diseases, he graphically reinforced the idea of modernism every bit a sickness.[half-dozen] Alfred Rosenberg adult this theory in Der Mythos des 20. Jahrhunderts (Myth of the Twentieth Century), published in 1933, which became a best-seller in Germany and made Rosenberg the Political party's leading ideological spokesman.[7]

Reactions against modernism in Imperial and Weimar Germany [edit]

The early on 20th century was a menstruum of wrenching changes in the arts. In the visual arts, such innovations as Fauvism, Cubism, Dada, and Surrealism—following Symbolism and Post-Impressionism—were not universally appreciated. The majority of people in Germany, as elsewhere, did not care for the new art, which many resented every bit elitist, morally suspect, and too often incomprehensible.[viii] Wilhelm 2, who took an agile involvement in regulating art in Frg, criticized Impressionism as "gutter painting" ( Gossenmalerei )[9] and forbade Käthe Kollwitz from being awarded a medal for her print series A Weavers' Revolt when information technology was displayed in the Berlin G Exhibition of the Arts in 1898.[10] In 1913, the Prussian house of representatives passed a resolution "confronting degeneracy in art".[9]

Under the Weimar government of the 1920s, Germany emerged equally a leading heart of the avant-garde. Information technology was the birthplace of Expressionism in painting and sculpture, of the atonal musical compositions of Arnold Schoenberg, and the jazz-influenced work of Paul Hindemith and Kurt Weill. Films such as Robert Wiene's The Cabinet of Dr. Caligari (1920) and F. W. Murnau's Nosferatu (1922) brought Expressionism to movie theater.

The Nazis viewed the civilisation of the Weimar flow with cloy. Their response stemmed partly from a conservative aesthetic taste and partly from their conclusion to utilize culture as a propaganda tool.[11] On both counts, a painting such as Otto Dix's War Cripples (1920) was anathema to them. Information technology unsparingly depicts iv badly disfigured veterans of the Starting time World War, then a familiar sight on Berlin'southward streets, rendered in caricatured style. (In 1937, it would exist displayed in the Degenerate Fine art exhibition next to a label accusing Dix—himself a volunteer in World War I[12]—of "an insult to the High german heroes of the Swell State of war".[13])

Fine art historian Henry Grosshans says that Hitler "saw Greek and Roman art as uncontaminated by Jewish influences. Mod art was [seen as] an act of aesthetic violence by the Jews against the German spirit. Such was true to Hitler even though only Liebermann, Meidner, Freundlich, and Marc Chagall, amidst those who made pregnant contributions to the German modernist movement, were Jewish. Only Hitler ... took upon himself the responsibility of deciding who, in matters of culture, thought and acted like a Jew."[14] The supposedly "Jewish" nature of all art that was indecipherable, distorted, or that represented "depraved" bailiwick thing was explained through the concept of degeneracy, which held that distorted and corrupted art was a symptom of an junior race. By propagating the theory of degeneracy, the Nazis combined their antisemitism with their drive to control the culture, thus consolidating public support for both campaigns.[15]

Nazi purge [edit]

In 1930 Wilhelm Frick, a Nazi, became Minister for Culture and Education in the state of Thuringia.[sixteen] By his order, 70 mostly Expressionist paintings were removed from the permanent exhibition of the Weimar Schlossmuseum in 1930, and the director of the König Albert Museum in Zwickau, Hildebrand Gurlitt, was dismissed for displaying modern art.[9]

Albert Gleizes, 1912, Landschaft bei Paris, Paysage près de Paris, Paysage de Courbevoie, missing from Hannover since 1937[17] [18]

Hitler'southward rise to power on January 31, 1933, was quickly followed by actions intended to cleanse the civilisation of degeneracy: volume burnings were organized, artists and musicians were dismissed from teaching positions, and curators who had shown a partiality for mod art were replaced by Party members.[21] In September 1933, the Reichskulturkammer (Reich Culture Sleeping room) was established, with Joseph Goebbels, Hitler's Reichsminister für Volksaufklärung und Propaganda (Reich Minister for Public Enlightenment and Propaganda) in charge. Sub-chambers within the Civilisation Chamber, representing the individual arts (music, picture, literature, compages, and the visual arts) were created; these were membership groups consisting of "racially pure" artists supportive of the Party, or willing to exist compliant. Goebbels fabricated it clear: "In future just those who are members of a chamber are allowed to be productive in our cultural life. Membership is open only to those who fulfill the entrance condition. In this way all unwanted and damaging elements accept been excluded."[22] By 1935 the Reich Civilisation Chamber had 100,000 members.[22]

As dictator, Hitler gave his personal taste in art the force of law to a degree never before seen. Merely in Stalin'southward Soviet Union, where Socialist Realism was the mandatory manner, had a modern state shown such concern with regulation of the arts.[23] In the case of Federal republic of germany, the model was to exist classical Greek and Roman fine art, regarded by Hitler equally an art whose exterior grade embodied an inner racial ideal.[24]

However, during 1933–1934 at that place was some defoliation within the Party on the question of Expressionism. Goebbels and some others believed that the forceful works of such artists every bit Emil Nolde, Ernst Barlach and Erich Heckel exemplified the Nordic spirit; every bit Goebbels explained, "We National Socialists are not unmodern; we are the carrier of a new modernity, not only in politics and in social matters, but also in art and intellectual matters."[25] However, a faction led by Alfred Rosenberg despised the Expressionists, and the result was a bitter ideological dispute, which was settled only in September 1934, when Hitler declared that at that place would be no identify for modernist experimentation in the Reich.[26] This edict left many artists initially uncertain as to their condition. The piece of work of the Expressionist painter Emil Nolde, a committed member of the Nazi party, continued to be debated even after he was ordered to terminate artistic activity in 1936.[27] For many modernist artists, such as Max Beckmann, Ernst Ludwig Kirchner, and Oskar Schlemmer, information technology was non until June 1937 that they surrendered whatsoever hope that their piece of work would exist tolerated by the authorities.[28]

Although books by Franz Kafka could no longer be bought past 1939, works by ideologically suspect authors such as Hermann Hesse and Hans Fallada were widely read.[29] Mass culture was less stringently regulated than high culture, possibly because the authorities feared the consequences of too heavy-handed interference in pop entertainment.[thirty] Thus, until the outbreak of the war, about Hollywood films could be screened, including It Happened 1 Night, San Francisco, and Gone with the Wind. While performance of atonal music was banned, the prohibition of jazz was less strictly enforced. Benny Goodman and Django Reinhardt were popular, and leading British and American jazz bands connected to perform in major cities until the war; thereafter, trip the light fantastic bands officially played "swing" rather than the banned jazz.[31]

Entartete Kunst exhibit [edit]

Entartete Kunst poster, Berlin, 1938

Letter to Emil Nolde in 1941 from Adolf Ziegler, who declares that Nolde's art is degenerate art, and forbids him to paint.

By 1937, the concept of degeneracy was firmly entrenched in Nazi policy. On June thirty of that year Goebbels put Adolf Ziegler, the head of Reichskammer der Bildenden Künste (Reich Chamber of Visual Fine art), in charge of a six-human commission authorized to confiscate from museums and art collections throughout the Reich, whatever remaining art deemed modernistic, degenerate, or subversive. These works were so to be presented to the public in an showroom intended to incite farther revulsion against the "perverse Jewish spirit" penetrating German culture.[32]

Over 5000 works were seized, including 1052 by Nolde, 759 by Heckel, 639 by Ernst Ludwig Kirchner and 508 by Max Beckmann, too as smaller numbers of works by such artists as Alexander Archipenko, Marc Chagall, James Ensor, Albert Gleizes, Henri Matisse, Jean Metzinger, Pablo Picasso, and Vincent van Gogh.[33] The Entartete Kunst showroom, featuring over 650 paintings, sculptures, prints, and books from the collections of 32 German museums, premiered in Munich on July 19, 1937, and remained on view until November xxx, before traveling to 11 other cities in Germany and Austria.

The exhibit was held on the second floor of a building formerly occupied by the Institute of Archaeology. Viewers had to reach the exhibit by means of a narrow staircase. The beginning sculpture was an oversized, theatrical portrait of Jesus, which purposely intimidated viewers as they literally bumped into it in order to enter. The rooms were made of temporary partitions and deliberately cluttered and overfilled. Pictures were crowded together, sometimes unframed, normally hung by cord.

The first iii rooms were grouped thematically. The beginning room contained works considered demeaning of religion; the second featured works by Jewish artists in particular; the third contained works deemed insulting to the women, soldiers and farmers of Germany. The balance of the showroom had no particular theme.

There were slogans painted on the walls. For example:

  • Insolent mockery of the Divine under Centrist rule
  • Revelation of the Jewish racial soul
  • An insult to German womanhood
  • The platonic—cretin and whore
  • Deliberate demolition of national defense
  • German language farmers—a Yiddish view
  • The Jewish longing for the wilderness reveals itself—in Deutschland the Negro becomes the racial ideal of a degenerate art
  • Madness becomes method
  • Nature as seen by ill minds
  • Even museum bigwigs called this the "art of the High german people"[34]

Speeches of Nazi party leaders contrasted with artist manifestos from various fine art movements, such as Dada and Surrealism. Adjacent to many paintings were labels indicating how much money a museum spent to larn the artwork. In the case of paintings caused during the post-war Weimar hyperinflation of the early 1920s, when the cost of a kilogram loaf of bread reached 233 billion German language marks,[35] the prices of the paintings were of course greatly exaggerated. The exhibit was designed to promote the idea that modernism was a conspiracy by people who hated German decency, oft identified as Jewish-Bolshevist, although only 6 of the 112 artists included in the exhibition were in fact Jewish.[36]

The exhibition program contained photographs of mod artworks accompanied by defamatory text.[37] The cover featured the exhibition title—with the give-and-take "Kunst" , meaning art, in scare quotes—superimposed on an paradigm of Otto Freundlich's sculpture Der Neue Mensch .

A few weeks later on the opening of the exhibition, Goebbels ordered a 2d and more thorough scouring of German art collections; inventory lists bespeak that the artworks seized in this second round, combined with those gathered prior to the exhibition, amounted to 16,558 works.[38] [39]

Coinciding with the Entartete Kunst exhibition, the Große Deutsche Kunstausstellung (Cracking German fine art exhibition) made its premiere amidst much pageantry. This exhibition, held at the palatial Haus der deutschen Kunst (House of German Fine art), displayed the work of officially canonical artists such as Arno Breker and Adolf Wissel. At the end of four months Entartete Kunst had attracted over two 1000000 visitors, nearly iii and a half times the number that visited the nearby Große Deutsche Kunstausstellung.[40]

Fate of the artists and their work [edit]

Avant-garde German artists were now branded both enemies of the state and a threat to High german civilization. Many went into exile. Max Beckmann fled to Amsterdam on the opening twenty-four hour period of the Entartete Kunst showroom.[41] Max Ernst emigrated to America with the assistance of Peggy Guggenheim. Ernst Ludwig Kirchner committed suicide in Switzerland in 1938. Paul Klee spent his years in exile in Switzerland, yet was unable to obtain Swiss citizenship considering of his status as a degenerate creative person. A leading German dealer, Alfred Flechtheim, died penniless in exile in London in 1937.

Other artists remained in internal exile. Otto Dix retreated to the countryside to pigment unpeopled landscapes in a meticulous style that would not provoke the authorities.[42] The Reichskulturkammer forbade artists such equally Edgar Ende and Emil Nolde from purchasing painting materials. Those who remained in Germany were forbidden to work at universities and were subject to surprise raids by the Gestapo in order to ensure that they were not violating the ban on producing artwork; Nolde secretly carried on painting, but using only watercolors (and so every bit not to be betrayed past the telltale scent of oil paint).[43] Although officially no artists were put to decease because of their work, those of Jewish descent who did not escape from Frg in time were sent to concentration camps.[44] Others were murdered in the Action T4 (see, for example, Elfriede Lohse-Wächtler).

Later the exhibit, paintings were sorted out for auction and sold in Switzerland at auction; some pieces were acquired by museums, others by private collectors. Nazi officials took many for their private apply: for instance, Hermann Göring took 14 valuable pieces, including a Van Gogh and a Cézanne. In March 1939, the Berlin Fire Brigade burned near 4000 paintings, drawings and prints that had apparently piddling value on the international market. This was an act of unprecedented vandalism, although the Nazis were well used to book burnings on a big scale.[45] [46]

A large amount of "degenerate art" by Picasso, Dalí, Ernst, Klee, Léger and Miró was destroyed in a bonfire on the night of July 27, 1942, in the gardens of the Galerie nationale du Jeu de Paume in Paris.[47] Whereas it was forbidden to export "degenerate fine art" to Deutschland, it was still possible to purchase and sell artworks of "degenerate artists" in occupied French republic. The Nazis considered indeed that they should not be concerned by Frenchmen'southward mental health.[48] Equally a consequence, many works fabricated past these artists were sold at the chief French auction firm during the occupation.[49]

The couple Sophie and Emanuel Fohn, who exchanged the works for harmless works of fine art from their own possession and kept them in safe custody throughout the National Socialist era, saved about 250 works by ostracized artists. The collection survived in South Tyrol from 1943 and was handed over to the Bavarian State Painting Collections in 1964.[l]

Afterwards the collapse of Nazi Germany and the invasion of Berlin past the Cherry Army, some artwork from the showroom was found buried underground. It is unclear how many of these then reappeared in the Hermitage Museum in Leningrad, where they however remain.

In 2010, as work began to extend an secret line from Alexanderplatz through the celebrated city centre to the Brandenburg Gate, a number of sculptures from the degenerate art exhibition were unearthed in the cellar of a private house shut to the "Rote Rathaus". These included, for example, the bronze cubist-style statue of a female person dancer by the creative person Marg Moll, and are at present on display at the Neues Museum.[51] [52] [53]

Artists in the 1937 Munich show [edit]

  • Jankel Adler
  • Hans Baluschek
  • Ernst Barlach
  • Rudolf Bauer
  • Philipp Bauknecht
  • Otto Baum [de]
  • Willi Baumeister
  • Herbert Bayer
  • Max Beckmann
  • Rudolf Belling
  • Paul Bindel
  • Theodor Brün [de]
  • Max Burchartz
  • Fritz Burger-Mühlfeld [de]
  • Paul Camenisch
  • Heinrich Campendonk
  • Karl Caspar
  • Maria Caspar-Filser
  • Pol Cassel
  • Marc Chagall
  • Lovis Corinth
  • Heinrich Maria Davringhausen
  • Walter Dexel
  • Johannes Diesner
  • Otto Dix
  • Pranas Domšaitis
  • Hans Christoph Drexel
  • Johannes Driesch
  • Heinrich Eberhard
  • Max Ernst
  • Hans Feibusch
  • Lyonel Feininger
  • Conrad Felixmüller
  • Otto Freundlich
  • Xaver Fuhr [de]
  • Ludwig Gies
  • Werner Gilles
  • Otto Gleichmann
  • Rudolf Großmann
  • George Grosz
  • Hans Grundig
  • Rudolf Haizmann
  • Raoul Hausmann
  • Guido Hebert [cs]
  • Erich Heckel
  • Wilhelm Heckrott [de]
  • Jacoba van Heemskerck
  • Hans Siebert von Heister [no]
  • Oswald Herzog [de]
  • Werner Heuser
  • Heinrich Hoerle
  • Karl Hofer
  • Eugen Hoffmann
  • Johannes Itten
  • Alexej von Jawlensky
  • Eric Johansson [de]
  • Hans Jürgen Kallmann
  • Wassily Kandinsky
  • Hanns Katz
  • Ernst Ludwig Kirchner
  • Paul Klee
  • Cesar Klein
  • Paul Kleinschmidt
  • Oskar Kokoschka
  • Otto Lange
  • Wilhelm Lehmbruck
  • Elfriede Lohse-Wächtler
  • El Lissitzky
  • Oskar Lüthy
  • Franz Marc
  • Gerhard Marcks
  • Ewald Mataré
  • Ludwig Meidner
  • Jean Metzinger
  • Constantin von Mitschke-Collande [de]
  • László Moholy-Nagy
  • Marg Moll
  • Oskar Moll
  • Johannes Molzahn
  • Piet Mondrian
  • Georg Muche
  • Otto Mueller
  • Magda Nachman Acharya
  • Erich Nagel
  • Heinrich Nauen
  • Ernst Wilhelm Nay
  • Karel Niestrath [de]
  • Emil Nolde
  • Otto Pankok
  • Max Pechstein
  • Max Peiffer Watenphul
  • Hans Purrmann
  • Max Rauh [no]
  • Hans Richter
  • Emy Roeder
  • Christian Rohlfs
  • Edwin Scharff
  • Oskar Schlemmer
  • Rudolf Schlichter
  • Karl Schmidt-Rottluff
  • Werner Scholz [de]
  • Lothar Schreyer
  • Otto Schubert
  • Kurt Schwitters
  • Lasar Segall
  • Fritz Skade [de]
  • Heinrich Stegemann
  • Fritz Stuckenberg
  • Paul Thalheimer
  • Johannes Tietz [no]
  • Arnold Topp [de]
  • Friedrich Vordemberge-Gildewart
  • Karl Völker
  • Christoph Voll
  • William Wauer
  • Gert Heinrich Wollheim

Artistic movements condemned equally degenerate [edit]

  • Bauhaus
  • Cubism
  • Dada
  • Expressionism
  • Fauvism
  • Impressionism
  • Post-Impressionism
  • New Objectivity
  • Surrealism

Listing [edit]

The Reichsministerium für Volksaufklärung und Propaganda (Reich Ministry of Public Enlightenment and Propaganda) compiled a 479-page, ii-volume typewritten list of the works confiscated as "degenerate" from Germany's public institutions in 1937–38. In 1996 the Victoria and Albert Museum in London acquired the only known surviving copy of the complete listing. The certificate was donated to the Five&A'due south National Art Library by Elfriede Fischer, the widow of the art dealer Heinrich Robert ("Harry") Fischer. Copies were fabricated available to other libraries and research organisations at the time, and much of the information was after incorporated into a database maintained past the Freie Universität Berlin.[54] [55]

A digital reproduction of the unabridged inventory was published on the Victoria and Albert Museum's website in January 2014. The V&A's publication consists of two PDFs, one for each of the original volumes. Both PDFs likewise include an introduction in English and German.[56] An online version of the inventory was made available on the Five&A'south website in November 2019, with additional features. The new edition uses IIIF page-turning software and incorporates an interactive index arranged by city and museum. The earlier PDF edition remains available as well.[57]

The V&A'south copy of the full inventory is idea to take been compiled in 1941 or 1942, after the sales and disposals were completed.[58] Two copies of an earlier version of Volume i (A–G) also survive in the German language Federal Archives in Berlin, and one of these is annotated to evidence the fate of individual artworks. Until the Five&A obtained the complete inventory in 1996, all versions of Book 2 (Yard–Z) were idea to have been destroyed.[59] The listings are arranged alphabetically by urban center, museum and artist. Details include artist surname, inventory number, title and medium, followed by a code indicating the fate of the artwork, then the surname of the buyer or art dealer (if any) and any price paid.[59] The entries also include abbreviations to indicate whether the work was included in any of the diverse Entartete Kunst exhibitions (see Degenerate Art Exhibition) or Der ewige Jude (encounter The Eternal Jew (fine art exhibition)).[60]

The main dealers mentioned are Bernhard A. Böhmer (or Boehmer), Karl Buchholz, Hildebrand Gurlitt, and Ferdinand Möller. The manuscript as well contains entries for many artworks acquired by the artist Emanuel Fohn, in exchange for other works.[61]

21st-century reactions [edit]

Neil Levi, writing in The Chronicle of Higher Instruction, suggested that the branding of fine art as "degenerate" was but partly an aesthetic aim of the Nazis. Another was the confiscation of valuable artwork, a deliberate ways to enrich the regime.[62]

In pop culture [edit]

A Picasso, a play by Jeffrey Hatcher based loosely on actual events, is set in Paris 1941 and sees Picasso being asked to authenticate iii works for inclusion in an upcoming exhibition of Degenerate art.[63] [64]

In the 1964 moving-picture show The Train, a German Army colonel attempts to steal hundreds of "degenerate" paintings from Paris earlier it is liberated during World War II.[65]

See besides [edit]

  • Gurlitt Collection
  • Karl Buchholz (art dealer)
  • Art of the 3rd Reich
  • Depression culture
  • Nazi plunder

References [edit]

Notes [edit]

  1. ^ "The Collection | Entartete Kunst". MoMA. Retrieved 2010-08-12 .
  2. ^ Barron 1991, p. 26.
  3. ^ Adam 1992, pp. 23–24.
  4. ^ Newman, Ernest, and Richard Wagner (1899). A Study of Wagner. London: Dobell. pp. 272–275. OCLC 253374235.
  5. ^ Adam 1992, pp. 29–32.
  6. ^ Grosshans 1983, p. ix. Grosshans calls Schultze-Naumburg "[u]ndoubtedly the virtually important" of the era's High german critics of modernism.
  7. ^ Adam 1992, p. 33.
  8. ^ Adam 1992, p. 29.
  9. ^ a b c Kühnel, Anita (2003). "Entartete Kunst". Grove Art Online.
  10. ^ Goldstein, Robert Justin, and Andrew Nedd (2015). Political Censorship of the Visual Arts in Nineteenth-Century Europe: Arresting Images. Basingstoke, Hampshire: Palgrave Macmillan. p. 159. ISBN 9780230248700.
  11. ^ Adam 1992, p. 110.
  12. ^ Norbert Wolf, Uta Grosenick (2004), Expressionism, Taschen, p. 34. ISBN 3-8228-2126-eight.
  13. ^ Barron 1991, p. 54.
  14. ^ Grosshans 1983, p. 86.
  15. ^ Barron 1991, p. 83.
  16. ^ Zalampas, Sherree Owens, 1937- (1990). Adolf Hitler : a psychological interpretation of his views on compages, fine art, and music. Bowling Greenish, Ohio: Bowling Green University Popular Press. ISBN0879724870. OCLC 22438356. , p. 54
  17. ^ "Entartete Kunst (Degenerate Art), complete inventory of over xvi,000 artworks confiscated past the Nazi regime from public institutions in Federal republic of germany, 1937–1938, Reichsministerium für Volksaufklärung und Propaganda. Victoria and Albert Museum, Albert Gleizes, Landschaft bei Paris, due north. 7030, Volume ii, p. 57 (includes the Entartete Kunst inventory)". Vam.air-conditioning.uk. 1939-06-xxx. Retrieved 2014-08-14 .
  18. ^ Albert Gleizes, Paysage près de Paris (Paysage de Courbevoie, Landschaft bei Paris), oil on canvas, 72.8 × 87.1 cm. Lost Art Net Database, Stiftung Deutsches Zentrum Kulturgutverluste.
  19. ^ "Jean Metzinger, Im Kick (En Canot), Degenerate Art Database (Beschlagnahme Inventar, Entartete Kunst)" [Jean Metzinger, Im Boot (In Canoe), Degenerate Art Database (confiscation inventory, degenerate art)]. Emuseum.campus.fu-berlin.de. Retrieved 2013-11-09 .
  20. ^ "Degenerate Art Database (Beschlagnahme Inventar, Entartete Kunst)" [Degenerate Art Database (confiscation inventory, degenerate art)]. Emuseum.campus.fu-berlin.de. Retrieved 2013-xi-09 .
  21. ^ Adam 1992, p. 52.
  22. ^ a b Adam 1992, p. 53.
  23. ^ Barron 1991, p. 10.
  24. ^ Grosshans 1983, p. 87.
  25. ^ Adam 1992, p. 56.
  26. ^ Grosshans 1983, pp. 73–74.
  27. ^ Boa, Elizabeth, and Rachel Palfreyman (2000). Heimat: a German language Dream: Regional Loyalties and National Identity in German Civilization, 1890–1990. Oxford: Oxford University Press. p. 158. ISBN 0198159226.
  28. ^ Kimmelman, Michael (June 19, 2014). "The Art Hitler Hated". The New York Review of Books 61 (11): 25–26.
  29. ^ Laqueur 1996, p. 74.
  30. ^ Laqueur 1996, p. 73.
  31. ^ Laqueur 1996, pp. 73–75.
  32. ^ Adam 1992, p. 123, quoting Goebbels, November 26, 1937, in Von der Grossmacht zur Weltmacht.
  33. ^ Adam 1992, pp. 121–122.
  34. ^ Barron 1991, p. 46.
  35. ^ Evans 2004, p. 106.
  36. ^ Barron 1991, p. 9.
  37. ^ Barron, Stephanie, Guenther and Peter W., "Degenerate Art": The Fate of the Avant-Garde in Nazi Germany], LACMA, 1991, ISBN 0810936534.
  38. ^ Barron 1991, pp. 47–48.
  39. ^ "Entartete Kunst (Degenerate Fine art), complete inventory of artworks confiscated past the Nazi regime from public institutions in Germany, 1937–1938, Reichsministerium für Volksaufklärung und Propaganda. Victoria and Albert Museum". Vam.ac.uk. 1939-06-30. Retrieved 2014-08-xiv .
  40. ^ Adam 1992, pp. 124–125.
  41. ^ Schulz-Hoffmann and Weiss 1984, p. 461.
  42. ^ Karcher 1988, p. 206.
  43. ^ Bradley 1986, p. 115.
  44. ^ Petropoulos 2000, p. 217.
  45. ^ Grosshans 1983, p. 113.
  46. ^ "Entartete Kunst". Olinda.com. 1937-07-xix. Retrieved 2010-08-12 .
  47. ^ Hellman, Mallory, Allow's Get Paris, p. 84.
  48. ^ Bertrand Dorléac, Laurence (1993). L'art de la défaite, 1940–1944. Paris: Editions du Seuil. p. 482. ISBN 2020121255.
  49. ^ Oosterlinck, Kim (2009). "The Price of Degenerate Art", Working Papers CEB 09-031.RS, ULB – Universite Libre de Bruxelles.
  50. ^ Kraus & Obermair 2019, pp. twoscore–one.
  51. ^ Hickley, Catherine (1946-09-27). "'Degenerate' Art Unearthed From Berlin Bomb Rubble". Bloomberg. Retrieved 2010-11-10 .
  52. ^ Black, Rosemary (Nov ix, 2010). "Rescued pre-WWII 'degenerate art' on display in the Neues Museum in Berlin". Nydailynews.com. Retrieved 2010-11-x .
  53. ^ Charles Hawley (Nov 8, 2010). "Nazi Degenerate Art Rediscovered in Berlin". Der Spiegel.
  54. ^ "V&A Entartete Kunst webpage". Vam.ac.uk. 1939-06-30. Retrieved 2014-08-14 .
  55. ^ "Freie Universität Berlin Database "Entartete Kunst"". Geschkult.fu-berlin.de. 2013-08-28. Retrieved 2014-08-14 .
  56. ^ Entartete Kunst, Victoria and Albert Museum. 2014.
  57. ^ Explore 'Entartete Kunst': The Nazis' inventory of 'degenerate art', Victoria and Albert Museum. 2019.
  58. ^ Victoria and Albert Museum 2014. Introduction by Douglas Dodds & Heike Zech, p. i.
  59. ^ a b Victoria and Albert Museum 2014. Introduction by Douglas Dodds & Heike Zech, p. ii.
  60. ^ Victoria and Albert Museum 2014, vol. 1, p. 7.
  61. ^ Victoria and Albert Museum 2014, vol. one and 2.
  62. ^ Neil Levi, "The Uses of Nazi 'Degenerate Fine art'", The Chronicle of Higher Education (Nov. 12, 2013).
  63. ^ Isherwood, C. (Apr 20, 2005). "Portrait of the Artist as a Main of the 1-Liner". The New York Times . Retrieved June 22, 2013.
  64. ^ Blake, J. (Oct 3, 2012). "Ve haff vays of beingness unintentionally funny". Sydney Morn Herald . Retrieved June 22, 2013.
  65. ^ "Railroad train, The (1965) – (Movie Clip) Degenerate Fine art". Archived from the original on Feb 15, 2015. Retrieved Feb fifteen, 2015.

Bibliography [edit]

  • Adam, Peter (1992). Art of the Third Reich. New York: Harry Northward. Abrams, Inc. ISBN 0-8109-1912-five
  • Barron, Stephanie, ed. (1991). 'Degenerate Art': The Fate of the Avant-Garde in Nazi Germany. New York: Harry Northward. Abrams, Inc. ISBN 0-8109-3653-4
  • Bradley, Westward. S. (1986). Emil Nolde and German Expressionism: A prophet in his Own State. Ann Arbor, Mich: UMI Inquiry Press. ISBN 0-8357-1700-3
  • Evans, R. J. (2004). The Coming of the 3rd Reich. New York: The Penguin Printing. ISBN i-59420-004-i
  • Grosshans, Henry (1983). Hitler and the Artists. New York: Holmes & Meyer. ISBN 0-8419-0746-iii
  • Grosshans, Henry (1993). Hitler and the Artists. New York: Holmes & Meyer. ISBN 0-8109-3653-4
  • Karcher, Eva (1988). Otto Dix 1891–1969: His Life and Works. Cologne: Benedikt Taschen. OCLC 21265198
  • Kraus, Carl; Obermair, Hannes (2019). Mythen der Diktaturen. Kunst in Faschismus und Nationalsozialismus – Miti delle dittature. Arte nel fascismo e nazionalsocialismo. Landesmuseum für Kultur- und Landesgeschichte Schloss Tirol. ISBN978-88-95523-16-3.
  • Laqueur, Walter (1996). Fascism: Past, Present, Time to come. New York: Oxford University Press. ISBN 0-nineteen-509245-seven
  • Lehmann-Haupt, Hellmut (1973). Art Under a Dictatorship. New York: Oxford University Press.
  • Minnion, John (second edition 2005). Hitler'south List: An Illustrated Guide to 'Degenerates' . Liverpool: Checkmate Books. ISBN 0-9544499-2-4
  • Nordau, Max (1998). Degeneration, introduction by George 50. Mosse. New York: Howard Fertig. ISBN 0-8032-8367-nine / (1895) London: William Heinemann
  • O'Brien, Jeff (2015). "'The Taste of Sand in the Mouth': 1939 and 'Degenerate' Egyptian Art". Critical Interventions nine, Issue ane: 22–34.
  • Oosterlinck, Kim (2009). "The Price of Degenerate Art", Working Papers CEB 09-031.RS, ULB—Universite Libre de Bruxelles,
  • Petropoulos, Jonathan (2000). The Faustian Bargain: the Art Globe in Nazi Germany. New York, N.Y.: Oxford Academy Press. ISBN 0-19-512964-four
  • Rose, Carol Washton Long (1995). Documents from the Terminate of the Wilhemine Empire to the Rise of National Socialism. San Francisco: Academy of California Press. ISBN 0-520-20264-3
  • Schulz-Hoffmann, Carla; Weiss, Judith C. (1984). Max Beckmann: Retrospective. Munich: Prestel. ISBN 0-393-01937-3
  • Suslav, Vitaly (1994). The State Hermitage: Masterpieces from the Museum's Collections. vol. 2 Western European Fine art. New York: Harry N. Abrams, Inc. ISBN ane-873968-03-5
  • Victoria and Albert Museum (2014). "Entartete" Kunst: digital reproduction of a typescript inventory prepared by the Reichsministerium für Volksaufklärung und Propaganda, ca. 1941/1942. London: Victoria and Albert Museum. (Five&A NAL MSL/1996/7)]

External links [edit]

External video
video icon Art in Nazi Germany, Smarthistory
  • "Degenerate Fine art", article from A Instructor's Guide to the Holocaust
  • Nazis Looted Europe'south Neat Art
  • Victoria and Albert Museum Entartete Kunst, Book 1 and ii Complete inventory of artworks confiscated by the Nazi regime from public institutions in Germany, 1937–1938
  • Video prune of the Degenerate art show
  • Sensational Find in a Bombed-Out Cellar - slideshow past Der Spiegel
  • "Entartete Kunst: Degenerate Fine art", notes and a supplement to the film
  • Video on a research project almost Degenerate Fine art
  • The "Degenerate Art" Exhibit, 1937
  • Collection: "All Artists in the Degenerate Art Testify" from the University of Michigan Museum of Art

keoghlibleat.blogspot.com

Source: https://en.wikipedia.org/wiki/Degenerate_art