What Was It Called in Art Movement When They Were Using the Fear of God in Their Work

Pejorative term used by the Nazi Party for modern art

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

Degenerate Fine art besides was the title of an exhibition, held past 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 Federal republic of germany and Austria.

While modern styles of art were prohibited, the Nazis promoted paintings and sculptures that were traditional in fashion 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 also censored.^[ane]

Theories of degeneracy [edit]

Das Magdeburger Ehrenmal (the Magdeburg cairn), past Ernst Barlach was declared to be degenerate fine art due to the "deformity" and emaciation of the figures—corresponding to Nordau's theorized connection betwixt "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.^[2] Nordau drew upon the writings of the criminologist Cesare Lombroso, whose The Criminal Man, published in 1876, attempted to evidence that there were "born criminals" whose atavistic personality traits could be detected by scientifically measuring aberrant physical characteristics. Nordau adult from this premise a critique of modernistic art, explained as the work of those so corrupted and enfeebled by mod life that they take lost the self-control needed to produce coherent works. He attacked Aestheticism in English literature and described the mysticism of the Symbolist move in French literature equally a production of mental pathology. Explaining the painterliness of Impressionism as the sign of a diseased visual cortex, he decried modern degeneracy while praising traditional German culture. Despite the fact that Nordau was Jewish and a key figure in the Zionist movement (Lombroso was also Jewish), his theory of creative degeneracy would exist seized upon past German Nazis during the Weimar Democracy as a rallying point for their antisemitic and racist demand for Aryan purity in art.

Belief in a Germanic spirit—defined equally mystical, rural, moral, begetting ancient wisdom, and noble in the face of a tragic destiny—existed long earlier the ascension of the Nazis; the composer Richard Wagner historic such ideas in his writings.^{[three] [4]} Beginning before Earth War I, the well-known German architect and painter Paul Schultze-Naumburg'due south influential writings, which invoked racial theories in condemning modern fine art and architecture, supplied much of the ground for Adolf Hitler's belief that classical Greece and the Middle Ages were the true sources of Aryan fine art.^[5] Schultze-Naumburg subsequently wrote such books as 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 merely racially pure artists could produce a healthy art which upheld timeless ethics of classical beauty, while racially mixed modern artists produced matted artworks and monstrous depictions of the human form. By reproducing examples of modern art next to photographs of people with deformities and diseases, he graphically reinforced the thought of modernism as a sickness.^[6] 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 Party'due south leading ideological spokesman.^[7]

Reactions confronting modernism in Majestic and Weimar Federal republic of germany [edit]

The early 20th century was a period 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, every bit elsewhere, did not intendance for the new art, which many resented as elitist, morally doubtable, and also often incomprehensible.^[8] Wilhelm 2, who took an active involvement in regulating fine art in Frg, criticized Impressionism as "gutter painting" ( Gossenmalerei )^[9] and forbade Käthe Kollwitz from beingness 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 firm of representatives passed a resolution "against degeneracy in art".^[ix]

Under the Weimar government of the 1920s, Germany emerged as a leading center 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 as Robert Wiene's The Chiffonier of Dr. Caligari (1920) and F. Due west. Murnau's Nosferatu (1922) brought Expressionism to cinema.

The Nazis viewed the culture of the Weimar period with disgust. Their response stemmed partly from a bourgeois artful taste and partly from their decision to utilise civilization as a propaganda tool.^[11] On both counts, a painting such equally Otto Dix'southward State of war Cripples (1920) was anathema to them. It unsparingly depicts four badly disfigured veterans of the Outset Globe War, then a familiar sight on Berlin's streets, rendered in caricatured style. (In 1937, it would be 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 German heroes of the Bully State of war".^[13])

Art historian Henry Grosshans says that Hitler "saw Greek and Roman fine art equally uncontaminated by Jewish influences. Modern art was [seen as] an human activity of aesthetic violence by the Jews against the German spirit. Such was true to Hitler even though merely Liebermann, Meidner, Freundlich, and Marc Chagall, among those who made significant contributions to the German modernist movement, were Jewish. Only Hitler ... took upon himself the responsibleness of deciding who, in matters of civilization, idea and acted similar a Jew."^[14] The supposedly "Jewish" nature of all fine art that was indecipherable, distorted, or that represented "depraved" subject matter was explained through the concept of degeneracy, which held that distorted and corrupted fine 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 culture, thus consolidating public back up for both campaigns.^[xv]

Nazi purge [edit]

In 1930 Wilhelm Frick, a Nazi, became Minister for Culture and Educational activity in the state of Thuringia.^[xvi] By his order, seventy 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 modernistic art.^[ix]

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

Hitler's rise to ability 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 by Political party members.^[21] In September 1933, the Reichskulturkammer (Reich Civilisation Chamber) 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 Culture Bedroom, representing the private arts (music, motion-picture show, literature, architecture, and the visual arts) were created; these were membership groups consisting of "racially pure" artists supportive of the Party, or willing to be compliant. Goebbels fabricated information technology 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] Past 1935 the Reich Culture Chamber had 100,000 members.^[22]

Equally dictator, Hitler gave his personal 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 business organisation with regulation of the arts.^[23] In the example of Germany, the model was to exist classical Greek and Roman art, regarded by Hitler as an fine art whose exterior course embodied an inner racial platonic.^[24]

However, during 1933–1934 there 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, "We National Socialists are not unmodern; we are the carrier of a new modernity, non only in politics and in social matters, but also in fine art and intellectual matters."^[25] All the same, a faction led by Alfred Rosenberg despised the Expressionists, and the event was a biting ideological dispute, which was settled only in September 1934, when Hitler declared that there would exist no place for modernist experimentation in the Reich.^[26] This edict left many artists initially uncertain every bit to their condition. The piece of work of the Expressionist painter Emil Nolde, a committed member of the Nazi party, continued to be debated fifty-fifty 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 any hope that their piece of work would be tolerated by the authorities.^[28]

Although books by Franz Kafka could no longer exist bought by 1939, works by ideologically doubtable authors such as Hermann Hesse and Hans Fallada were widely read.^[29] Mass culture was less stringently regulated than high civilisation, possibly because the regime feared the consequences of too heavy-handed interference in pop entertainment.^[xxx] Thus, until the outbreak of the state of war, most Hollywood films could be screened, including It Happened I Night, San Francisco, and Gone with the Wind. While operation 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 continued 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 fine art is degenerate fine art, and forbids him to paint.

By 1937, the concept of degeneracy was firmly entrenched in Nazi policy. On June 30 of that yr Goebbels put Adolf Ziegler, the head of Reichskammer der Bildenden Künste (Reich Chamber of Visual Fine art), in charge of a six-man commission authorized to confiscate from museums and art collections throughout the Reich, whatsoever remaining art deemed mod, degenerate, or subversive. These works were then to be presented to the public in an showroom intended to incite further revulsion against the "perverse Jewish spirit" penetrating High 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, as well 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 language museums, premiered in Munich on July 19, 1937, and remained on view until November 30, before traveling to 11 other cities in Federal republic of germany and Austria.

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

The first iii rooms were grouped thematically. The first room independent works considered demeaning of faith; the second featured works by Jewish artists in detail; 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 German language womanhood
• The ideal—cretin and whore
• Deliberate demolition of national defence force
• German language farmers—a Yiddish view
• The Jewish longing for the wilderness reveals itself—in Germany the Negro becomes the racial platonic of a degenerate art
• Madness becomes method
• Nature as seen by sick minds
• Even museum bigwigs called this the "art of the German people"^[34]

Speeches of Nazi party leaders contrasted with artist manifestos from diverse art movements, such equally Dada and Surrealism. Adjacent to many paintings were labels indicating how much money a museum spent to acquire the artwork. In the example of paintings acquired during the post-war Weimar hyperinflation of the early on 1920s, when the cost of a kilogram loaf of bread reached 233 billion German 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, frequently identified as Jewish-Bolshevist, although only 6 of the 112 artists included in the exhibition were in fact Jewish.^[36]

The exhibition program independent photographs of modern artworks accompanied by defamatory text.^[37] The embrace featured the exhibition championship—with the word "Kunst" , meaning 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 language fine art collections; inventory lists indicate that the artworks seized in this second round, combined with those gathered prior to the exhibition, amounted to sixteen,558 works.^{[38] [39]}

Coinciding with the Entartete Kunst exhibition, the Große Deutsche Kunstausstellung (Not bad German fine art exhibition) fabricated its premiere amid much pageantry. This exhibition, held at the deluxe Haus der deutschen Kunst (House of German language Art), displayed the work of officially canonical artists such as Arno Breker and Adolf Wissel. At the terminate of four months Entartete Kunst had attracted over 2 one thousand thousand visitors, nearly three and a half times the number that visited the nearby Große Deutsche Kunstausstellung.^[xl]

Fate of the artists and their work [edit]

Avant-garde 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 24-hour interval of the Entartete Kunst showroom.^[41] Max Ernst emigrated to America with the help 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 condition every bit 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 non provoke the regime.^[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 past the Gestapo in order to ensure that they were not violating the ban on producing artwork; Nolde secretly carried on painting, but using just watercolors (so equally not to be betrayed by the telltale aroma of oil paint).^[43] Although officially no artists were put to decease because of their work, those of Jewish descent who did non escape from Federal republic of germany in time were sent to concentration camps.^[44] Others were murdered in the Activeness T4 (see, for instance, Elfriede Lohse-Wächtler).

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

A large corporeality of "degenerate 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 Federal republic of germany, it was still possible to purchase and sell artworks of "degenerate artists" in occupied France. The Nazis considered indeed that they should non be concerned by Frenchmen'southward mental health.^[48] As a consequence, many works made 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 ain possession and kept them in safe custody throughout the National Socialist era, saved about 250 works past ostracized artists. The collection survived in South Tyrol from 1943 and was handed over to the Bavarian State Painting Collections in 1964.^[50]

After the collapse of Nazi Germany and the invasion of Berlin by the Red Regular army, some artwork from the showroom was found buried underground. Information technology is unclear how many of these and then reappeared in the Hermitage Museum in Petrograd, where they still remain.

In 2010, as work began to extend an underground 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 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 brandish at the Neues Museum.^{[51] [52] [53]}

Artists in the 1937 Munich evidence [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

Creative movements condemned as degenerate [edit]

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

List [edit]

The Reichsministerium für Volksaufklärung und Propaganda (Reich Ministry of Public Enlightenment and Propaganda) compiled a 479-page, 2-volume typewritten listing 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 re-create of the consummate listing. The document was donated to the V&A's National Art Library by Elfriede Fischer, the widow of the art dealer Heinrich Robert ("Harry") Fischer. Copies were made available to other libraries and inquiry organisations at the time, and much of the information was subsequently 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 2 PDFs, i for each of the original volumes. Both PDFs also include an introduction in English language and High german.^[56] An online version of the inventory was made available on the V&A's 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 too.^[57]

The 5&A's copy of the total inventory is thought to have been compiled in 1941 or 1942, afterwards the sales and disposals were completed.^[58] Two copies of an earlier version of Volume 1 (A–G) also survive in the German Federal Athenaeum in Berlin, and one of these is annotated to prove the fate of individual artworks. Until the V&A obtained the consummate inventory in 1996, all versions of Volume 2 (G–Z) were thought to take been destroyed.^[59] The listings are arranged alphabetically by urban center, museum and artist. Details include artist surname, inventory number, championship and medium, followed by a code indicating the fate of the artwork, then the surname of the heir-apparent or fine art dealer (if whatsoever) and any price paid.^[59] The entries also include abbreviations to indicate whether the piece of work was included in any of the various Entartete Kunst exhibitions (run across Degenerate Art Exhibition) or Der ewige Jude (come across The Eternal Jew (art exhibition)).^[60]

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 caused by the artist Emanuel Fohn, in exchange for other works.^[61]

21st-century reactions [edit]

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

In popular civilization [edit]

A Picasso, a play by Jeffrey Hatcher based loosely on bodily events, is set in Paris 1941 and sees Picasso existence asked to authenticate 3 works for inclusion in an upcoming exhibition of Degenerate art.^{[63] [64]}

In the 1964 film The Train, a German Army colonel attempts to steal hundreds of "degenerate" paintings from Paris before information technology is liberated during Earth War Two.^[65]

Come across also [edit]

• Gurlitt Collection
• Karl Buchholz (fine art dealer)
• Art of the Third 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 most important" of the era's German critics of modernism.
7. ^ Adam 1992, p. 33.
8. ^ Adam 1992, p. 29.
9. ^ ^{a b c} Kühnel, Anita (2003). "Entartete Kunst". Grove Fine 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 three-8228-2126-8.
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 estimation of his views on architecture, fine art, and music. Bowling Dark-green, Ohio: Bowling Green Academy Pop Printing. ISBN0879724870. OCLC 22438356. , p. 54
17. ^ "Entartete Kunst (Degenerate Art), complete inventory of over 16,000 artworks confiscated past 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 ii, p. 57 (includes the Entartete Kunst inventory)". Vam.air-conditioning.uk. 1939-06-thirty. Retrieved 2014-08-14 .
18. ^ Albert Gleizes, Paysage près de Paris (Paysage de Courbevoie, Landschaft bei Paris), oil on canvas, 72.viii × 87.1 cm. Lost Fine art Cyberspace Database, Stiftung Deutsches Zentrum Kulturgutverluste.
19. ^ "Jean Metzinger, Im Boot (En Canot), Degenerate Fine 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 Fine art Database (Beschlagnahme Inventar, Entartete Kunst)" [Degenerate Art Database (confiscation inventory, degenerate fine art)]. Emuseum.campus.fu-berlin.de. Retrieved 2013-eleven-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 Dream: Regional Loyalties and National Identity in German Culture, 1890–1990. Oxford: Oxford Academy 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. ix.
37. ^ Barron, Stephanie, Guenther and Peter W., "Degenerate Fine art": The Fate of the Avant-Garde in Nazi Frg], LACMA, 1991, ISBN 0810936534.
38. ^ Barron 1991, pp. 47–48.
39. ^ "Entartete Kunst (Degenerate Art), consummate inventory of artworks confiscated past the Nazi authorities 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-fourteen .
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'south Go 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 Cost of Degenerate Art", Working Papers CEB 09-031.RS, ULB – Universite Libre de Bruxelles.
50. ^ Kraus & Obermair 2019, pp. 40–i.
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 fine art' on display in the Neues Museum in Berlin". Nydailynews.com. Retrieved 2010-11-10 .
53. ^ Charles Hawley (November eight, 2010). "Nazi Degenerate Art Rediscovered in Berlin". Der Spiegel.
54. ^ "V&A Entartete Kunst webpage". Vam.air conditioning.united kingdom. 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 two.
62. ^ Neil Levi, "The Uses of Nazi 'Degenerate Art'", The Chronicle of College Teaching (Nov. 12, 2013).
63. ^ Isherwood, C. (Apr 20, 2005). "Portrait of the Artist equally a Main of the One-Liner". The New York Times . Retrieved June 22, 2013.
64. ^ Blake, J. (October iii, 2012). "Ve haff vays of beingness unintentionally funny". Sydney Morning Herald . Retrieved June 22, 2013.
65. ^ "Train, The (1965) – (Movie Prune) Degenerate Fine art". Archived from the original on February 15, 2015. Retrieved February fifteen, 2015.

Bibliography [edit]

• Adam, Peter (1992). Art of the Third Reich. New York: Harry N. Abrams, Inc. ISBN 0-8109-1912-5
• Barron, Stephanie, ed. (1991). 'Degenerate Art': The Fate of the Avant-Garde in Nazi Germany. New York: Harry N. Abrams, Inc. ISBN 0-8109-3653-4
• Bradley, W. Southward. (1986). Emil Nolde and German Expressionism: A prophet in his Own Land. Ann Arbor, Mich: UMI Research Press. ISBN 0-8357-1700-3
• Evans, R. J. (2004). The Coming of the Third Reich. New York: The Penguin Press. ISBN 1-59420-004-1
• 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-three.
• Laqueur, Walter (1996). Fascism: Past, Nowadays, Hereafter. New York: Oxford Academy Press. ISBN 0-19-509245-vii
• Lehmann-Haupt, Hellmut (1973). Art Under a Dictatorship. New York: Oxford University Printing.
• Minnion, John (2nd edition 2005). Hitler's List: An Illustrated Guide to 'Degenerates' . Liverpool: Checkmate Books. ISBN 0-9544499-2-iv
• 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 Oral cavity': 1939 and 'Degenerate' Egyptian Art". Critical Interventions ix, Issue ane: 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 Fine art World in Nazi Deutschland. New York, N.Y.: Oxford University Printing. ISBN 0-19-512964-iv
• Rose, Carol Washton Long (1995). Documents from the Finish of the Wilhemine Empire to the Rise of National Socialism. San Francisco: University of California Press. ISBN 0-520-20264-three
• 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. ii Western European Art. New York: Harry North. 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. (V&A NAL MSL/1996/seven)]

External links [edit]

External video
Art in Nazi Frg, Smarthistory

• "Degenerate Art", commodity from A Teacher's Guide to the Holocaust
• Nazis Looted Europe's Great Art
• Victoria and Albert Museum Entartete Kunst, Volume 1 and 2 Complete inventory of artworks confiscated by the Nazi regime from public institutions in Germany, 1937–1938
• Video clip of the Degenerate art show
• Sensational Observe in a Bombed-Out Cellar - slideshow by Der Spiegel
• "Entartete Kunst: Degenerate Art", notes and a supplement to the film
• Video on a research project about Degenerate Art
• The "Degenerate Art" Showroom, 1937
• Collection: "All Artists in the Degenerate Art Bear witness" from the University of Michigan Museum of Art

myersgran1993.blogspot.com

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

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