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This book provides a social and cultural history of Jewish art in Nazi Germany, with a focus on the Jewish artists, art critics, and audiences in Nazi Bavaria. From the time of its conceptualization in the autumn of 1933 until its final curtain call in November 1938, the Jewish Cultural League in Bavaria sustained three departments: music, visual arts, and adult education. The Bavarian example steps outside the highly professional cultural milieu of Jewish Berlin, and instead looks at relatively unknown efforts of Bavarian Jewish artists as they used art to define what it now meant, to them, to be Jewish under Nazism. Insightful and engaging, this book is ideal for advanced undergraduate students, graduate students, and scholars interested in social and cultural histories of Jews in Germany.
The Arts in Nazi Germany by Jonathan Huener,Francis R. Nicosia Pdf
"Culture and the arts played a central role in the ideology and propaganda of National Socialism from the early years of the movement until the last months of the Third Reich in 1945 ... This volume's essays explore these and other aspects of the arts and cultural life under National Socialism ..."--Cover.
The Cult of Art in Nazi Germany by Eric Michaud,Janet Lloyd Pdf
The Cult of Art in Nazi Germany presents a new interpretation of National Socialism, arguing that art in the Third Reich was not simply an instrument of the regime, but actually became a source of the racist politics upon which its ideology was founded. Through the myth of the "Aryan race," a race pronounced superior because it alone creates culture, Nazism asserted art as the sole raison d'être of a regime defined by Hitler as the "dictatorship of genius." Michaud shows the important link between the religious nature of Nazi art and the political movement, revealing that in Nazi Germany art was considered to be less a witness of history than a force capable of producing future, the actor capable of accelerating the coming of a reality immanent to art itself.
This book explores the image and identity of émigré painters, sculptors and graphic artists from Nazi Germany in Britain between 1933 and 1945. It focuses on a neglected field of Exile Studies, that of exiled artists in Britain. Methodologies used in this study have been developed by Exile Studies and History of Art, but also by Postcolonialism, scholars of which usually apply their ideas to the Afro-Asian emigration of the second part of the twentieth century. Thus this study represents methodologically a new way of looking at the emigration from Nazi Germany. Identity and Image is divided into five chapters: After an introductory Chapter One (historiography of the topic, methodology of the study, structure of the book), Chapter Two establishes socio-political patterns of emigration and provides an historical framework for Chapters Three and Four, which concentrate on the image and identity of the refugee artist, the former based on written sources and the latter on visual material. In detail, Chapter Three analyses the British image of the refugee artists and their works on the one hand and the émigrés' self-representations on the other, the latter exemplified by refugee organisations (the Free German League of Culture/Freier Deutscher Kulturbund, the Austrian Centre, the Anglo-Sudeten Club and the Czech Institute) and institutions founded by émigré artists (Jack Bilbo's Modern Art Gallery and Arthur Segal's Painting School). Chapter Four examines the works produced in internment and those exhibited and produced for the refugee organisations discussed in Chapter Three. Chapter Five discusses the results of this study in the light of three postcolonial concepts: diaspora communities, the notion of home and the gendered identity of the refugee. The appendix lists all painters, sculptors and graphic artists from Nazi Germany in Britain with biographical details. Apart from visual and written sources discussed for the first time, there are two major results of the study: First, although the artists were united as refugees, this unity did not lead to a unity in art - "refugee art" is a construction put forward by the British press and the refugee organisations, particularly the Free German League of Culture. Second, contrary to claims that modern art was international and formed a universal unity that "transgressed" nationality, neither the West/Europe nor modernism form unities; instead, in the 1930s and 1940s, cultures in Europe constructed conceptions of other European cultures on the basis of nation-state identities.
Author : Richard A. Etlin Publisher : University of Chicago Press Page : 406 pages File Size : 45,7 Mb Release : 2002-10-15 Category : Art ISBN : 9780226220871
Art, Culture, and Media Under the Third Reich by Richard A. Etlin Pdf
Art, Culture, and Media Under the Third Reich explores the ways in which the Nazis used art and media to portray their country as the champion of Kultur and civilization. Rather than focusing strictly on the role of the arts in state-supported propaganda, this volume contributes to Holocaust studies by revealing how multiple domains of cultural activity served to conceptually dehumanize Jews and other groups. Contributors address nearly every facet of the arts and mass media under the Third Reich—efforts to define degenerate music and art; the promotion of race hatred through film and public assemblies; views of the racially ideal garden and landscape; race as portrayed in popular literature; the reception of art and culture abroad; the treatment of exiled artists; and issues of territory, conquest, and appeasement. Familiar subjects such as the Munich Accord, Nuremberg Party Rally Grounds, and Lebensraum (Living Space) are considered from a new perspective. Anyone studying the history of Nazi Germany or the role of the arts in nationalist projects will benefit from this book. Contributors: Ruth Ben-Ghiat David Culbert Albrecht Dümling Richard A. Etlin Karen A. Fiss Keith Holz Kathleen James-Chakraborty Paul B. Jaskot Karen Koehler Mary-Elizabeth O'Brien Jonathan Petropoulos Robert Jan van Pelt Joachim Wolschke-Bulmahn and Gert Gröning
Author : Alan E. Steinweis Publisher : Univ of North Carolina Press Page : 244 pages File Size : 44,6 Mb Release : 2017-11-01 Category : History ISBN : 9780807864791
Art, Ideology, and Economics in Nazi Germany by Alan E. Steinweis Pdf
From 1933 to 1945, the Reich Chamber of Culture exercised a profound influence over hundreds of thousands of German artists and entertainers. Alan Steinweis focuses on the fields of music, theater, and the visual arts in this first major study of Nazi cultural administration, examining a complex pattern of interaction among leading Nazi figures, German cultural functionaries, ordinary artists, and consumers of culture. Steinweis gives special attention to Nazi efforts to purge the arts of Jews and other so-called undesirables. Steinweis describes the political, professional, and economic environment in which German artists were compelled to function and explains the structure of decision making, thus showing in whose interest cultural policies were formulated. He discusses such issues as insurance, minimum wage statutes, and certification guidelines, all of which were matters of high priority to the art professions before 1933 as well as after the Nazi seizure of power. By elucidating the economic and professional context of cultural life, Steinweis helps to explain the widespread acquiescence of German artists to artistic censorship and racial 'purification.' His work also sheds new light on the purge of Jews from German cultural life.
Lost Lives, Lost Art by Melissa Müller,Monika Tatzkow Pdf
From 1937 on Jewish collectors were under extraordinary pressure from German official and unofficial sources to surrender their priceless collections. Collectors reluctantly agreed to one-sided sales of masterpieces at ludicrously low prices in exchange for a precious exit permit for themselves or a member of their family. This book traces the dispersal of these collections and follow the fate of the collectors. Inevitably, their collections were confiscated by German officials (Jacques Goudstikker), sold by Nazi party member art dealers (Cassirer) or seized for state collections (Bloch-Bauer). Following the war Allied officials made little effort to retrieve these paintings, concentrating their resources on art removed from museums, churches, and palaces. But the collectior s heirs continued to pursue the return of their patrimony, and over the past twenty years have won a number of key court decisions in Europe and the US leading to the restitution of some of the lost art. For every victory, such as the return to the Bloch-Bauer heirs of their family s confiscated Klimts, are defeats and obstinate stonewalling by museums and collectors, who insist that the art was legally acquired in good faith.
Author : Pamela M. Potter Publisher : Univ of California Press Page : 408 pages File Size : 52,7 Mb Release : 2016-06-28 Category : Art ISBN : 9780520282346
This provocative study asks why we have held on to vivid images of the NazisÕ total control of the visual and performing arts, even though research has shown that many artists and their works thrived under Hitler. To answer this question, Pamela M. Potter investigates how historians since 1945 have written about music, art, architecture, theater, film, and dance in Nazi Germany and how their accounts have been colored by politics of the Cold War, the fall of communism, and the wish to preserve the idea that true art and politics cannot mix. Potter maintains that although the persecution of Jewish artists and other Òenemies of the stateÓ was a high priority for the Third Reich, removing them from German cultural life did not eradicate their artistic legacies. Art of Suppression examines the cultural histories of Nazi Germany to help us understand how the circumstances of exile, the Allied occupation, the Cold War, and the complex meanings of modernism have sustained a distorted and problematic characterization of cultural life during the Third Reich.
'Artists Under Hitler' closely examines cases of artists who failed in their attempts to find accommodation in the Nazi regime as well as others whose desire for official acceptance was realised. They illuminate the complex cultural history of this period and provide haunting portraits of people facing excruciating choices and grave moral questions.
The Faustian Bargain by Jonathan George Petropoulos,Jonathan Petropoulos Pdf
Profiles five key figures in the art world of Nazi Germany who plundered art masterpieces from museums and private collections across Europe at the behest of Adolf Hitler's Third Reich--museum director Ernst Buchner, art critic Robert Scholz, dealer Karl Haberstock, art historian Kajetan Muhlman, and sculptor Arno Breker.
The Art of Jewish Children, Germany, 1936-1941 by Sybil Milton Pdf
125 drawings exhibited by the Dusseldorf Museum in 1988. The collection and accompanying narrative essays tell the story of Julo Levin, artist and teacher, and the survival of the drawings. Finely reproduced color and bandw photos of Levin's work, that of his circle of friends, and, of course, that of the children. A translation from the German (1988, Dusseldorf: Claassen). Annotation copyrighted by Book News, Inc., Portland, OR