What Was One Type of Art That Was Censored in Nazi Germany?

Pejorative term used by the Nazi Party for modern art

Degenerate art (German: Entartete Kunst ) was a term adopted in the 1920s by the Nazi Party in Frg to describe modern art. During the dictatorship of Adolf Hitler, German modernist art, including many works of internationally renowned artists, was removed from state-owned museums and banned in Nazi Germany on the grounds that such art was an "insult to German feeling", united nations-German language, Freemasonic, Jewish, or Communist in nature. Those identified as degenerate artists were subjected to sanctions that included being dismissed from pedagogy positions, existence forbidden to showroom or to sell their art, and in some cases being forbidden to produce art.^[one]

Degenerate Art also was the championship 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 after traveled to several other cities in Frg and Austria.

While modern styles of art were prohibited, the Nazis promoted paintings and sculptures that were traditional in manner and that exalted the "blood 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 likewise censored.^[ii]

Theories of degeneracy [edit]

Das Magdeburger Ehrenmal (the Magdeburg cenotaph), by Ernst Barlach was declared to be degenerate fine art due to the "deformity" and emaciation of the figures—corresponding to Nordau'south theorized connexion between "mental and concrete degeneration".

The term Entartung (or "degeneracy") had gained currency in Germany by the tardily 19th century when the critic and writer Max Nordau devised the theory presented in his 1892 book Entartung.^[3] Nordau drew upon the writings of the criminologist Cesare Lombroso, whose The Criminal Man, published in 1876, attempted to testify that there were "built-in criminals" whose atavistic personality traits could be detected by scientifically measuring abnormal concrete characteristics. Nordau developed from this premise a critique of modern art, explained as the piece of work of those so corrupted and enfeebled by modern life that they accept 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 production of mental pathology. Explaining the painterliness of Impressionism every bit the sign of a diseased visual cortex, he decried mod degeneracy while praising traditional German civilisation. Despite the fact that Nordau was Jewish and a key figure in the Zionist movement (Lombroso was also Jewish), his theory of artistic degeneracy would be seized upon by German Nazis during the Weimar Republic as a rallying indicate for their antisemitic and racist need for Aryan purity in art.

Belief in a Germanic spirit—defined every bit mystical, rural, moral, bearing ancient wisdom, and noble in the face of a tragic destiny—existed long before the rising of the Nazis; the composer Richard Wagner celebrated such ideas in his writings.^{[4] [v]} Beginning earlier World War I, the well-known German architect and painter Paul Schultze-Naumburg's influential writings, which invoked racial theories in condemning modern art and compages, supplied much of the ground for Adolf Hitler'due south belief that classical Hellenic republic and the Middle Ages were the true sources of Aryan art.^[6] Schultze-Naumburg afterwards wrote such books equally 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 only racially pure artists could produce a healthy fine art which upheld timeless ideals of classical beauty, while racially mixed modern artists produced disordered artworks and monstrous depictions of the human being form. Past reproducing examples of mod art next to photographs of people with deformities and diseases, he graphically reinforced the thought of modernism equally a sickness.^[7] Alfred Rosenberg developed this theory in Der Mythos des xx. Jahrhunderts (Myth of the Twentieth Century), published in 1933, which became a best-seller in Germany and fabricated Rosenberg the Party'south leading ideological spokesman.^[8]

Reactions confronting modernism in Regal and Weimar Germany [edit]

The early 20th century was a period of wrenching changes in the arts. In the visual arts, such innovations equally Fauvism, Cubism, Dada, and Surrealism—post-obit Symbolism and Mail service-Impressionism—were non universally appreciated. The majority of people in Germany, as elsewhere, did not care for the new fine art, which many resented as elitist, morally suspect, and also oftentimes incomprehensible.^[9] Wilhelm II, who took an agile interest in regulating art in Federal republic of germany, criticized Impressionism as "gutter painting" ( Gossenmalerei )^[10] and forbade Käthe Kollwitz from existence awarded a medal for her impress serial A Weavers' Defection when it was displayed in the Berlin Yard Exhibition of the Arts in 1898.^[xi] In 1913, the Prussian house of representatives passed a resolution "against degeneracy in fine art".^[10]

Under the Weimar government of the 1920s, Federal republic of germany emerged equally a leading heart of the avant-garde. It 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 equally Robert Wiene's The Cabinet of Dr. Caligari (1920) and F. W. Murnau'due south Nosferatu (1922) brought Expressionism to movie theater.

The Nazis viewed the culture of the Weimar flow with disgust. Their response stemmed partly from a conservative aesthetic sense of taste and partly from their decision to apply civilization as a propaganda tool.^[12] On both counts, a painting such as Otto Dix's War Cripples (1920) was anathema to them. Information technology unsparingly depicts four desperately disfigured veterans of the First Globe War, then a familiar sight on Berlin's streets, rendered in caricatured manner. (In 1937, it would be displayed in the Degenerate Art exhibition next to a label accusing Dix—himself a volunteer in Globe War I^[13]—of "an insult to the German heroes of the Smashing War".^[xiv])

Art historian Henry Grosshans says that Hitler "saw Greek and Roman art equally uncontaminated past Jewish influences. Modern fine art was [seen equally] an act of artful violence by the Jews against the German spirit. Such was true to Hitler fifty-fifty though just Liebermann, Meidner, Freundlich, and Marc Chagall, among those who made meaning contributions to the German language modernist motility, were Jewish. But Hitler ... took upon himself the responsibility of deciding who, in matters of culture, thought and acted like a Jew."^[fifteen] The supposedly "Jewish" nature of all art that was indecipherable, distorted, or that represented "depraved" bailiwick matter was explained through the concept of degeneracy, which held that distorted and corrupted art was a symptom of an inferior race. By propagating the theory of degeneracy, the Nazis combined their antisemitism with their drive to control the civilisation, thus consolidating public support for both campaigns.^[16]

Nazi purge [edit]

In 1930 Wilhelm Frick, a Nazi, became Minister for Culture and Education in the state of Thuringia.^[17] 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 mod fine art.^[ten]

Albert Gleizes, 1912, Landschaft bei Paris, Paysage près de Paris, Paysage de Courbevoie, missing from Hannover since 1937^{[1] [xviii]}

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

As dictator, Hitler gave his personal sense of taste in art the force of law to a degree never before seen. Only in Stalin's Soviet Union, where Socialist Realism was the mandatory style, had a modernistic country shown such concern with regulation of the arts.^[23] In the case of Frg, the model was to be classical Greek and Roman fine art, regarded past Hitler as an art whose outside grade embodied an inner racial ideal.^[24]

Nonetheless, during 1933–1934 in that location was some defoliation within the Political party on the question of Expressionism. Goebbels and some others believed that the forceful works of such artists as Emil Nolde, Ernst Barlach and Erich Heckel exemplified the Nordic spirit; as Goebbels explained, "Nosotros National Socialists are not unmodern; nosotros are the carrier of a new modernity, non only in politics and in social matters, but also in fine 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 there would be no place for modernist experimentation in the Reich.^[26] This edict left many artists initially uncertain as to their status. The work of the Expressionist painter Emil Nolde, a committed member of the Nazi party, connected to be debated even subsequently he was ordered to cease artistic activity in 1936.^[27] For many modernist artists, such equally Max Beckmann, Ernst Ludwig Kirchner, and Oskar Schlemmer, it was not until June 1937 that they surrendered any promise that their work would be tolerated past the authorities.^[28]

Although books past Franz Kafka could no longer be bought by 1939, works by ideologically doubtable authors such equally Hermann Hesse and Hans Fallada were widely read.^[29] Mass civilisation was less stringently regulated than high culture, perchance because the authorities feared the consequences of likewise heavy-handed interference in pop entertainment.^[30] Thus, until the outbreak of the war, most Hollywood films could be screened, including It Happened Ane 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 pop, and leading British and American jazz bands continued to perform in major cities until the war; thereafter, dance 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 pigment.

Past 1937, the concept of degeneracy was firmly entrenched in Nazi policy. On June 30 of that year Goebbels put Adolf Ziegler, the caput of Reichskammer der Bildenden Künste (Reich Sleeping room of Visual Art), in charge of a six-human commission authorized to confiscate from museums and art collections throughout the Reich, any remaining art deemed modern, degenerate, or subversive. These works were then to be presented to the public in an exhibit intended to incite further revulsion against the "perverse Jewish spirit" penetrating German culture.^[32]

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

The exhibit was held on the second floor of a building formerly occupied past the Institute of Archaeology. Viewers had to achieve the exhibit by means of a narrow staircase. The first sculpture was an oversized, theatrical portrait of Jesus, which purposely intimidated viewers as they literally bumped into information technology in social club to enter. The rooms were made of temporary partitions and deliberately chaotic and overfilled. Pictures were crowded together, sometimes unframed, unremarkably hung past cord.

The start three rooms were grouped thematically. The first 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 rest of the exhibit 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 High german womanhood
• The platonic—cretin and whore
• Deliberate demolition of national defence force
• German farmers—a Yiddish view
• The Jewish longing for the wilderness reveals itself—in Frg the Negro becomes the racial ideal of a degenerate art
• Madness becomes method
• Nature as seen by sick minds
• Even museum bigwigs chosen this the "art of the German people"^[34]

Speeches of Nazi party leaders contrasted with artist manifestos from various art movements, such equally Dada and Surrealism. Side by side to many paintings were labels indicating how much coin a museum spent to acquire the artwork. In the example of paintings acquired during the post-state of war Weimar hyperinflation of the early 1920s, when the cost of a kilogram loaf of bread reached 233 billion German marks,^[35] the prices of the paintings were of grade profoundly exaggerated. The exhibit was designed to promote the idea that modernism was a conspiracy by people who hated German decency, frequently identified every bit Jewish-Bolshevist, although only half-dozen of the 112 artists included in the exhibition were in fact Jewish.^[36]

The exhibition plan independent photographs of modern artworks accompanied by defamatory text.^[37] The cover featured the exhibition championship—with the word "Kunst" , pregnant fine art, in scare quotes—superimposed on an image of Otto Freundlich's sculpture Der Neue Mensch .

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

Congruent with the Entartete Kunst exhibition, the Große Deutsche Kunstausstellung (Great German fine art exhibition) fabricated its premiere amid much pageantry. This exhibition, held at the deluxe Haus der deutschen Kunst (House of German Fine art), displayed the work of officially approved artists such equally Arno Breker and Adolf Wissel. At the finish of four months Entartete Kunst had attracted over two million visitors, near three and a one-half times the number that visited the nearby Große Deutsche Kunstausstellung.^[40]

Fate of the artists and their piece of work [edit]

Advanced German artists were now branded both enemies of the state and a threat to German culture. Many went into exile. Max Beckmann fled to Amsterdam on the opening twenty-four hours 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 because of his status as a degenerate artist. 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 paint unpeopled landscapes in a meticulous style that would not provoke the government.^[42] The Reichskulturkammer forbade artists such as 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 (so every bit not to exist betrayed by the telltale scent of oil pigment).^[43] Although officially no artists were put to death because of their work, those of Jewish descent who did not escape from Germany in time were sent to concentration camps.^[44] Others were murdered in the Activeness T4 (see, for instance, Elfriede Lohse-Wächtler).

After the exhibit, paintings were sorted out for auction and sold in Switzerland at sale; some pieces were acquired by museums, others past private collectors. Nazi officials took many for their private employ: for example, Hermann Göring took 14 valuable pieces, including a Van Gogh and a Cézanne. In March 1939, the Berlin Fire Brigade burned nigh 4000 paintings, drawings and prints that had plainly little value on the international market. This was an act of unprecedented vandalism, although the Nazis were well used to volume burnings on a large calibration.^{[45] [46]}

A large amount of "degenerate fine art" by Picasso, Dalí, Ernst, Klee, Léger and Miró was destroyed in a blaze 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 art" to Germany, it was still possible to buy and sell artworks of "degenerate artists" in occupied France. The Nazis considered indeed that they should not exist concerned past Frenchmen's mental wellness.^[48] Equally a event, many works fabricated by these artists were sold at the main French auction house during the occupation.^[49]

The couple Sophie and Emanuel Fohn, who exchanged the works for harmless works of 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]

Afterward the collapse of Nazi Deutschland and the invasion of Berlin by the Red Army, some artwork from the showroom was found cached hush-hush. It is unclear how many of these so reappeared in the Hermitage Museum in St. petersburg, where they still remain.

In 2010, every bit work began to extend an hugger-mugger line from Alexanderplatz through the celebrated city eye to the Brandenburg Gate, a number of sculptures from the degenerate art exhibition were unearthed in the cellar of a private house close to the "Rote Rathaus". These included, for example, the bronze cubist-style statue of a female dancer by the artist Marg Moll, and are now on display at the Neues Museum.^{[51] [52] [53]}

Artists in the 1937 Munich bear witness [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 every bit degenerate [edit]

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

Listing [edit]

The Reichsministerium für Volksaufklärung und Propaganda (Reich Ministry building of Public Enlightenment and Propaganda) compiled a 479-folio, 2-book 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 merely known surviving copy of the consummate list. The document was donated to the Five&A'due south National Art Library by Elfriede Fischer, the widow of the fine art dealer Heinrich Robert ("Harry") Fischer. Copies were made available to other libraries and enquiry organisations at the time, and much of the data was after incorporated into a database maintained past the Freie Universität Berlin.^{[54] [55]}

A digital reproduction of the entire inventory was published on the Victoria and Albert Museum's website in January 2014. The Five&A's publication consists of ii PDFs, ane for each of the original volumes. Both PDFs also include an introduction in English and German.^[56] An online version of the inventory was made available on the 5&A's website in November 2019, with additional features. The new edition uses IIIF folio-turning software and incorporates an interactive index arranged by city and museum. The earlier PDF edition remains available too.^[57]

The V&A's copy of the total inventory is thought to have been compiled in 1941 or 1942, afterward the sales and disposals were completed.^[58] Two copies of an before version of Volume ane (A–G) also survive in the High german Federal Archives in Berlin, and one of these is annotated to show the fate of private artworks. Until the V&A obtained the complete inventory in 1996, all versions of Volume 2 (G–Z) were thought to have been destroyed.^[59] The listings are arranged alphabetically by city, museum and artist. Details include creative person surname, inventory number, title and medium, followed past a code indicating the fate of the artwork, then the surname of the heir-apparent or art dealer (if any) and whatsoever cost paid.^[59] The entries as well include abbreviations to indicate whether the work was included in any of the various Entartete Kunst exhibitions (run into Degenerate Art Exhibition) or Der ewige Jude (see The Eternal Jew (art exhibition)).^[sixty]

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

21st-century reactions [edit]

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

In popular civilization [edit]

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

In the 1964 motion picture The Railroad train, a High german Army colonel attempts to steal hundreds of "degenerate" paintings from Paris before information technology is liberated during World War 2.^[65]

See also [edit]

• Gurlitt Collection
• Karl Buchholz (art dealer)
• Fine art of the Third Reich
• Depression culture
• Nazi plunder

References [edit]

Notes [edit]

1. ^ ^{a b} "Entartete Kunst (Degenerate Fine art), complete inventory of over 16,000 artworks confiscated by the Nazi regime from public institutions in Germany, 1937–1938, Reichsministerium für Volksaufklärung und Propaganda. Victoria and Albert Museum, Albert Gleizes, Landschaft bei Paris, n. 7030, Volume 2, p. 57 (includes the Entartete Kunst inventory)". Vam.ac.uk. 1939-06-30. Retrieved 2014-08-14 .
2. ^ "The Drove | Entartete Kunst". MoMA. Retrieved 2010-08-12 .
3. ^ Barron 1991, p. 26.
4. ^ Adam 1992, pp. 23–24.
5. ^ Newman, Ernest, and Richard Wagner (1899). A Study of Wagner. London: Dobell. pp. 272–275. OCLC 253374235.
6. ^ Adam 1992, pp. 29–32.
7. ^ Grosshans 1983, p. ix. Grosshans calls Schultze-Naumburg "[u]ndoubtedly the most of import" of the era'due south German critics of modernism.
8. ^ Adam 1992, p. 33.
9. ^ Adam 1992, p. 29.
10. ^ ^{a b c} Kühnel, Anita (2003). "Entartete Kunst". Grove Art Online.
11. ^ 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.
12. ^ Adam 1992, p. 110.
13. ^ Norbert Wolf, Uta Grosenick (2004), Expressionism, Taschen, p. 34. ISBN three-8228-2126-8.
14. ^ Barron 1991, p. 54.
15. ^ Grosshans 1983, p. 86.
16. ^ Barron 1991, p. 83.
17. ^ Zalampas, Sherree Owens, 1937- (1990). Adolf Hitler : a psychological interpretation of his views on architecture, art, and music. Bowling Green, Ohio: Bowling Greenish Academy Popular Printing. ISBN0879724870. OCLC 22438356. {{cite book}}: CS1 maint: multiple names: authors list (link), p. 54
18. ^ Albert Gleizes, Paysage près de Paris (Paysage de Courbevoie, Landschaft bei Paris), oil on canvas, 72.8 × 87.one cm. Lost Fine art Net Database, Stiftung Deutsches Zentrum Kulturgutverluste.
19. ^ "Jean Metzinger, Im Boot (En Canot), Degenerate Art Database (Beschlagnahme Inventar, Entartete Kunst)". Emuseum.campus.fu-berlin.de. Retrieved 2013-eleven-09 .
20. ^ "Degenerate Fine art Database (Beschlagnahme Inventar, Entartete Kunst)". Emuseum.campus.fu-berlin.de. Retrieved 2013-11-09 .
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 High german Dream: Regional Loyalties and National Identity in High german Culture, 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, Nov 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 Fine 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.air conditioning.uk. 1939-06-thirty. Retrieved 2014-08-14 .
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. 1937-07-19. Retrieved 2010-08-12 .
47. ^ Hellman, Mallory, Let's Get Paris, p. 84.
48. ^ Bertrand Dorléac, Laurence (1993). Fifty'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. forty–1.
51. ^ Hickley, Catherine (1946-09-27). "'Degenerate' Fine art Unearthed From Berlin Bomb Rubble". Bloomberg. Retrieved 2010-11-10 .
52. ^ Black, Rosemary (November 9, 2010). "Rescued pre-WWII 'degenerate art' on display in the Neues Museum in Berlin". Nydailynews.com. Retrieved 2010-11-10 .
53. ^ Charles Hawley (Nov 8, 2010). "Nazi Degenerate Fine art Rediscovered in Berlin". Der Spiegel.
54. ^ "5&A Entartete Kunst webpage". Vam.ac.uk. 1939-06-thirty. Retrieved 2014-08-fourteen .
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. 2.
60. ^ Victoria and Albert Museum 2014, vol. 1, p. 7.
61. ^ Victoria and Albert Museum 2014, vol. ane and 2.
62. ^ Neil Levi, "The Uses of Nazi 'Degenerate Art'", The Chronicle of Higher Education (November. 12, 2013).
63. ^ Isherwood, C. (April 20, 2005). "Portrait of the Artist equally a Master of the One-Liner". The New York Times . Retrieved June 22, 2013.
64. ^ Blake, J. (October three, 2012). "Ve haff vays of being unintentionally funny". Sydney Morning Herald . Retrieved June 22, 2013.
65. ^ "Train, The (1965) – (Movie Clip) Degenerate Art". Archived from the original on Feb xv, 2015. Retrieved February 15, 2015.

Bibliography [edit]

• Adam, Peter (1992). Art of the Tertiary Reich. New York: Harry N. Abrams, Inc. ISBN 0-8109-1912-5
• Barron, Stephanie, ed. (1991). 'Degenerate Fine art': The Fate of the Advanced in Nazi Germany. New York: Harry North. Abrams, Inc. ISBN 0-8109-3653-4
• Bradley, Due west. S. (1986). Emil Nolde and German Expressionism: A prophet in his Ain State. Ann Arbor, Mich: UMI Research Printing. ISBN 0-8357-1700-3
• Evans, R. J. (2004). The Coming of the Third Reich. New York: The Penguin Printing. ISBN 1-59420-004-ane
• Grosshans, Henry (1983). Hitler and the Artists. New York: Holmes & Meyer. ISBN 0-8419-0746-3
• 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 due east nazionalsocialismo. Landesmuseum für Kultur- und Landesgeschichte Schloss Tirol. ISBN978-88-95523-sixteen-3.
• Laqueur, Walter (1996). Fascism: Past, Nowadays, Future. New York: Oxford University Press. ISBN 0-19-509245-7
• Lehmann-Haupt, Hellmut (1973). Art Under a Dictatorship. New York: Oxford University Printing.
• Minnion, John (2nd edition 2005). Hitler'south Listing: An Illustrated Guide to 'Degenerates' . Liverpool: Checkmate Books. ISBN 0-9544499-2-4
• Nordau, Max (1998). Degeneration, introduction by George L. Mosse. New York: Howard Fertig. ISBN 0-8032-8367-9 / (1895) London: William Heinemann
• O'Brien, Jeff (2015). "'The Taste of Sand in the Mouth': 1939 and 'Degenerate' Egyptian Art". Disquisitional Interventions 9, Effect 1: 22–34.
• Oosterlinck, Kim (2009). "The Price of Degenerate Fine art", Working Papers CEB 09-031.RS, ULB—Universite Libre de Bruxelles,
• Petropoulos, Jonathan (2000). The Faustian Bargain: the Art World in Nazi Federal republic of germany. New York, N.Y.: Oxford University Press. ISBN 0-19-512964-4
• Rose, Ballad Washton Long (1995). Documents from the End of the Wilhemine Empire to the Rise of National Socialism. San Francisco: University of California Printing. 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 Country Hermitage: Masterpieces from the Museum'due south Collections. vol. 2 Western European Art. New York: Harry N. Abrams, Inc. ISBN 1-873968-03-5
• 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. (5&A NAL MSL/1996/7)]

External links [edit]

External video
Art in Nazi Federal republic of germany, Smarthistory

• "Degenerate Fine art", article from A Instructor's Guide to the Holocaust
• Nazis Looted Europe's Neat Art
• Victoria and Albert Museum Entartete Kunst, Volume i and 2 Complete inventory of artworks confiscated past the Nazi regime from public institutions in Germany, 1937–1938
• Video clip of the Degenerate art show
• Sensational Find in a Bombed-Out Cellar - slideshow by Der Spiegel
• "Entartete Kunst: Degenerate Art", notes and a supplement to the picture show
• Video on a research project almost Degenerate Art
• The "Degenerate Fine art" Exhibit, 1937
• Collection: "All Artists in the Degenerate Fine art Testify" from the Academy of Michigan Museum of Art

solessooks1996.blogspot.com

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

Share this post