Degenerate Art_ The Fate of the Avant-Gard - Stephanie Barron

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The

Fate

of the Avant- Garde in

Nazi Germany

'Degenerate Art" The

Fate of the Avant-Garde in Nazi

Germany

'..'..'••''..' .••-'. 4

No

sooner had

Germany

the Nazis seized control of

in 1933

than they launched their relentless attacks on the avant-garde

and

their desecration of modernist art.

By the

fall

of 1937 they

had stripped 16,000 avant-garde

works from the nation's museums and sent 650 to Munich a massive exhibition,

Etttartete

Among

called this work)

Kunst (degenerate

art, as

for

they

the artists thus castigated were

Max Beckmann, Marc

towering figures of the art world:

Otto Dix, George Grosz, Wassily Kandinsky Paul Oskar Kokoschka, Wilhelm Lehmbruck, and founders

Chagall, Klee,

of

German

Expressionism: Ernst

Ludwig Kirchner, Franz

Marc, Emil Nolde, and Karl Schmidt- Rottluff Provocative installation techniques

were employed, some even reminis-

cent of famous avant-garde shows of the past. Visitors

jammed

the galleries Nearly

are estimated to have seen Entarkte

tour of

Germany and

By means

3 million

Kumt during

its

viewers four-year

Austria

of photographic documentation, archival

records, motion-picture footage, the recollections of visitors,

and published accounts,

been reconstructed Angeles County

infamous exhibition has

this

(to the extent

Museum

still

possible)

by the Los

of Art. In this book, prepared in

conjunction with the exhibition, Stephanie Barron, curator of twentieth-century art at the

museum, has assembled more

than 150 surviving masterworks from the original show Barron's illuminating introductory essay establishes the cultural

context for the brutal attack avant-garde

von

In their

Liittichau,

waged by

the Nazis against the

essays Peter Guenther, Mario-Andreas

and Christoph Zuschlag discuss the prepara-

tion, installation,

and

travel of the 1937

show George Mosse

analyzes the National Socialist conception of beauty in

art.

Annegret Janda reveals aspects of the little-known resistance to the Nazis'

campaign by museum

officials in Berlin,

while

Andreas Hiineke and Barron document events surrounding the seizure and subsequent sale of artworks. Michael

many

of the

most valuable

Meyer and William Moritz examine the

National Socialist attitudes toward music and film These vivid, exhaustively

a parallel with

researched essays cannot help but suggest

our own times,

in

which

artistic

freedom

is

under attack by ideologues

Generously

illustrated with

many photos never

before

published, this volume also contains biographical information

on each

artist

pertinent to the Nazi persecution of the avant-

garde, a register of (continued on backjlap)

names and

institutions,

an illustrated

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The

Fate of the

Avant-Cardc

in

Nazi Germany

l

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//

The

" ,,

ho* ,wl

'

Degenerate Art

Fate of the

Avant-Garde

Stephanie Barron

in

//

Nazi Germany

with contributions

by Peter Cueutber

Andreas Hiineke Annegret Janda

Mario-Andreas von

Liitticbau

Michael Meyer William Moritz George L. Mosse Christopb Zuscblag

LOS ANGELES

COUNTY MUSEUM

OF ART

HARRY N ABRAMS,

INC:

PUBLISHERS,

NEW YORK

(

upublished by the Los Angeles County

Museum

of

5905 Wilshire Boulevard, Los Angeles, California

Art,

N

90036, and Harry

Abrams,

New

York, 100 Fifth Avenue,

Copyright

©

New

York 1001!

Associates, Los Angeles

No

Art All rights reserved

of

New

Publishers,

,

York,

by Museum

1991

County Museum

Inc

part of

book may be reproduced without

the contents of this

the written permission of the publisher

This book was published

in

conjunction with the

exhibition "Dtgmaalt Art" The Rite of

the

Aoant-Gardl

in

Nazi Germany, which was organized by the Los Angeles

County Museum

Art and funded

of

from the National Endowment the National

Endowment

in part

for the

for the Arts

by grants

Humanities and received addi-

It

from the Federal Republic of Germany

tional assistance

and an indemnity from the Federal Council on the Arts and the Humanities Lufthansa

German

Airlines

provided major support for the transportation of the exhibition

Exnifiilion itinerary

Museum

Los Angeles County February I7-May

The Art

of Art

1991

12

Chicago

Institute of

June 22-September

1991

8,

essay by Mario-Andreas von Luttichau and the wall

The texts

for Enlartrlt Kunst

and exhibition brochure

were

translated by David Britt

The

Huneke, Annegret

George L Mosse, and

landa,

essays

by Andreas

Christoph Zuschlag were translated by Stewart

Spencer Edited by Susan Caroselli

Designed by Jim Drobka Production assistance by Jeffrey Cohen and Eileen Delson

Typeset

in

Weiss by Andresen Typographies, Tucson,

Arizona, and

City Bold by

in

Mondo

Typo, Inc

Culver

,

City California Printed by Typecraft, Inc

Pasadena, California

,

Bound by Roswell Bookbinding, Phoenix, Arizona Cover View

Title

Room

of a section of the south wall of

the exhibition

Kunst,

EttUtrlttr

Room

page Section of the north wall of

Room

Right View of

Hoffmann's Adam

3,

mi

5

the sculptures are Eugen

Eva

Karel Niestraths Dir

3 in

Munich, 1937

(Adam and

Huni)rii)r

Eve), at

left,

and

iThe starving

Library o/ Con^rrss Gil.ilo York WorU-Telearam, September

im LanaVsmusrum //annotvr itt7

thank Markus Kc-rsting

on the purchases

ol

ol

I

have

lor details

Contemporary

30,

1939

Gak

Museum fcdkwang

1987

'exh cat, Hannover

these notes,

in

'

II

Hans Gopfert

to

much background

Museum

I

provid

of the Staatliche

on the collecting and exhibitions there

articles in the journals

Ibid,

Hinz, Arl

22

Rave, Kunsljiltlalur, 54

23

Die Tagebucber non loseph Goebbels

G K

Saur, 1987), pt

Jer (,rarnu',irt

in the

and Iht

information

II

oj ibe

Third Reich, 163

I,

vol

Samllicfce Fradmenle.

ed Like Irohlich

Munich

166

3,

Adolf Hitler, speech at the opening of the Haus der Deutschen Kunst, Munich, 18,

1937, cited

and translated

in

Jonathan Petropoulos, "Art as

and Material Control of Art" (Ph

D

Lehmann Haupt, The Nazi

in the archives of the

712a, 12 71937,

Nr

1983, cited in

'KunstslaJl" Muncfcen |«J7

1987), I

am

Arl unjer a Dictatorship,

Politics

diss,

loseph Goebbels, decree sent to

preserved

27

thl

museums mei

made elsewhere

the Stadtlsche-

Gcorg Swarzenski and

21

tel,

related to

flics

Buderer, "Fnlarlele Kunsl." 8

ed, Die

tht

Di Manfred Fath

museum

1983

all

Elite's

Quest

76-77

for the Political

Harvard University 1990) major museums, lune

30,

1937, a

copy

is

Bayensche Staatsgemaldesammlungen, Munich, Akt Mario- Andreas von Luttichau, "Deutsche Kunst

und Entartete Kunst' Die Munchner Ausstellungen

Scholarly Press, 1976), 281-332

M

had been used by the seventeenth-century

i

Pietro Bellori in an attack

Current Non-

(London

Critical Essays

oj Insanity /or Practitioners

York W.lliam Wood, 1893), and Richard Jewish Ptoplt (Baltimore Johns

ol

larmheim

grateful to

ed., Dofannailr zur Gtscbicbtt i\

20

25

am

.

Kunst fur Alle also provided

26

1968))

George Bernard Shaw "The Sanity

I

addition to the acknowledgments

like to

1920s and 1910s

July

Nordaus book see George L Mosse's

particularly helpful analysis of

duction to the 1968 English edition Fertig.

In

24

to

nationalism in art

For

Paul Vogl

Essen

Kunstsammlung Dresden

Hirmcr, 1990', 27

labrbunderts (Berlin

198

permission to examine

lor

Museum Folkwang 1983), Halle Andreas HGneke Kmiki" 1937 m Halle 'Halle Staalliche Galene Montzhurg

Landcsmuseum Hannover

ing data

Munich

Mannheim

Hannover Bescblagnabmt-Aktion

would

3

1928 his Durrr

'Fnlarlele

may

lotlmann, ed

45-40

issued posthumously, these

9

In Sofie

exchanges with Berlin

art

Aklion

Kunst" BtsxUagnabnu-AkUontn in da

Documentation no

i

recent publication On the special situation in other

mi-tits (Essen

der Bai

in

>i

1

see the following

19

I

8

1

Useful

.i

S'ojir

I

Reclam, 1988), Berthold Hinz, Arl

Leipzig

1931

Press,

7

at

(exh s.n

Iniarittt

Kunst

rate" art action

M,

Die Sammlum)

Vhult.'

arl.i

(

Jes 20

Random House 1979 24 4 lellmut Lehmann Haupt,

German

degt

wholesale

a

ms

supplement

1983, literary

13

and her husbands

.ind

h 20 1939 and suggested that only the frames see

in the tire

unj Fmanurl Form Finr Dolcumrnlatu'H

in

such

j'*i?

Kunsthalle Mannheim,

ol the

1930s she challenged the Nazis contention that approximately live thou-

in the late

sand works were burned on

3d ed

ManiiFnm

Stadtlsche Kunsthalle

Rrsi

Bussmann

A Look

Art'

event

and Klessmann, "Barlach

113-24

Al^rmnnr ZrituH4 December

FraHfc/tirlrr

lohns rcsentk published account

3

Hans-JUrgen Buderei

in

Hamburg

leorg

Painting and Satlpturt toos

Century

London Royal Academy of Arts 1985 barei

(

In Fact

"Degenerate

sec Bussmann,

ol .in

Cmw Art

tins

liihalur n> Drilten Rricl

t

khardt Klcssman have questioned whethei there was

destruction

and

(Reinbek Rowohll

fsozulismns

K'unsinalle .ill

reported b) Paul Ortwin Rave

1

IpolilikJe Nat

K

H"i

1963

1937," in Peter-

Nalionalsozialismus und

Entartete

Klaus Schuster

Kunst

Munich

Pres-

92 indebted to Christoph Zuschlag

Fnlarlele Kunsl to

my

attention

who

first

brought Pistauer and

his role in

Figure

Arno

18

Breker, Bmitscbaft (Readiness), 1937, bronze,

formerly at the Zeppelmfeld, Nuremberg

t

.

<

I

)

k

I

.

I

MDSSI

I

Beauty without Sensuality The Exhibition

The

bv the controversy

National Socialist standards lor art

were based upon the idealized

and

figures

it

the neoclassical themes that were Adolf

unity and order

it

as racially pure,

Germanic race This was the

in 1937, for

exempli-

a certain

with their "enemies" and what was

was

which

in

must support The men and

women

Nazi painting and sculpture thus embodied the proper morality

and sexual behavior Beauty without sensuality was demanded artists

and sculptors,

a

beauty that had to

For

it

was the strength and appeal

not invent anything

new

as their

of National Socialism that

in its effort at self-representation

The

Enl.irtflc

Kunst exhibition was staged in 1937 as a

did

it

reflected

life in

the

all

as the

culture

was

The

The

The concept of condemned if it a fashion

That

respectability has lasted, after

all,

modern

is

life itself

a

in

The

the nine-

certain disorientation, a

which people had to cope By the

nature, as the landscape

trains'

concerns were reflected

windows

lust so,

performed

in a

societies art

a

wild

the invention of the tele-

life in

a

new

velocity of

an earlier age Such

heightened quest tor order

in the

face

of instability

taming the chaos that seemed always to threaten society,

"different

whether

even today

continuum

had destroyed

passions

is

transgresses the normative morality in too shocking EnLirtete Kunst exists in a

travel

dance before the

"

toward themselves and toward

The enemies

of respectability

Such accusations were scarcely

of the French Revolution, but

exhibition must not be seen simply as Nazi propaganda, tor all

art as the expression of

it

was

said,

all

it

that

could not

control themselves they were creatures of instinct, with unbridled

destruction of respectability and

plaved upon basic moral attitudes that inform

too easily

society in search of such values

teenth and twentieth centuries produced

was

life

manipulated by the lews,

the destruction of society and the nation were linked

it

was

at issue

in a

all

in the EnUulete

to threaten the coherence of

reflected peoples attitudes

guide to the exhibition and the inscriptions on the gallery

walls stated repeatedly

was printed

accelerated pace of industrial and technological change

values,

the moral values people held dear

"Bolshevist'' culture,

Nuremberg

sake strays

Respectability ensured security order, and the maintenance of

society from

marriage, the family chastity and a steady, harmonious

The modern age seemed

as

1

Weimar's onslaught upon

Weimar

to the

Weimar Republic 1919-33) were displayed

German

What was

own

time that menaced the unhurried pace of

Painting and sculpture that supposedly

concrete evidence that the Nazis had saved

its

phone, the motorcar, and the cinema introduced

but

foil

itself

mid-nineteenth century there were already complaints that railroad

own

simply appropriated long-standing popular tradition and taste

Grosse Deutsche Kunstausstcllunc)

for

"simultaneity of experience" with

of

reflect the generally

accepted moral standards that the Nazis championed

Kunst exhibition guide

supposedly unchanging values

everyone should aspire Respectability was to inform personal and art

new

seeks the

into the realm of folly" a remark that

it

the exhibition

at stake, for

Hitler pointed out at the 1934 Nazi party rally in

who

the rel-

coped

an iceberg, and that iceberg has not yet melted

like the tip of

that "anyone

to the acceptance of such art

we must examine

the forces of respectability

dominated the

standard of beauty that might serve to cement

which true

how

upon

are to understand the true

Kuiisl exhibition,

Eittitrtclc

order to see

art exhibition)

which the paintings and sculptures

we

It

German

the unity of the nation by projecting a moral standard to

public morality

in

what

of

thus the destruction of the immutable values

significance ot the

evant history

were often selected by Hitler himself

There was deeper purpose

—

danger to society because

a

a revolt against respectability as a principle of

which society supposedly rested

an art that could easily

women

symbolized, namely

official art that

annual Grossr Deutsche Kunstaussttllung (Great

symbolized

over Robert Mapplcthorpes homocrotic

Beauty with sensuality presented

neoclassical art defining

Munich, beginning

IW)

nineteenth-century popular taste and upon

be understood and whose depictions of men and

in

in

photographs, which wete thought to offend against public decency

sentimental landscapes that had informed

Hitlers favorites National Socialism annexed neoromantic and

fied the

Eiiliuidc Kunsi

demonstrated

it

was Englishmen

ing that the French

at the

ganda seeking by means

was made

be found before the age

common

time of the Napoleonic wars claim-

were sending dancers to England to undermine

the islanders' morality or whether

enemy every kind

to

from then on they became

of

it

was

First

words and pictures

World War propato

impute to the

ot so-called sexual perversion, respectability

a political issue

from the very beginning

Figure 19

Urban scene from

the film Dir Tunml 'The

During the course of the nineteenth century an increasingly

behavior, "normal" and "abnormal" sexuality all,

Degeneration was, in

was drawn between "normal" and "immoral"

clear distinction

using categories of health and sickness,

It

was doctors, above

who threw

their weight

behind society's constantly threatened moral norms, lending them legitimacy and thus denning the stereotypes of abnormality

Those with itself

were

all

whom

society treated as outsiders were

Jews, homosexuals, and habitual criminals

ill,

designated a serious

illness

— one

that unleashed the passions

as the chief threat to

which emphasized steadiness and of illness in general

—

It

exhaustion, contortions, and grimaces

The

Enlarlete

Kimsl exhibition was built

process that would inevitably lead to destruction

haunted society from the Jin

di

begun already because

and other countries Those

refused to conform to the moral

The modern

Max Nordau

physician

much and

literature

Expressionists,

in his

book

modern

was seen

modernity The outsiders were always city-dwellers

as a (fig

product of 19),

further

proof that they scorned the tranquillity of eternal values for them,

time never stood dists,

for

still

One

of the

Johann von Leers, expressed

many

control over

it

in this

still

with

lust

hearts and minds in order to drive

For

all its

we

tried to gain

them insane

exaggeration and racial hatred, this

indebted to the nineteenth-century notion of respecits

emphasis on controlling the passions and on the

consequences of losing that control There that

way no doubt speaking

was here that the "Jewish conspiracy"

German

with frenzy and

tability

it

others in doing so the city was the refuge of immorality

and crime, and

view was

most despicable Nazi propagan-

is

toward sexuality cannot be separated from the general history of respectability

accurate observation and painted instead dis-

lost the faculty of

and stunted growth

In Hitler's

view the

own nervous

artists in the

deformities

1937 exhibition

symbolized degeneracy "And what do you create?" the exhibition guide quotes Hitler as asking "Misshapen cripples and cretins,

women who all

that

can arouse only revulsion

molds and

background

sets

its

as the expression of

stamp on the present age

Against a

"

of attempts to define the boundaries of bourgeois

morality, Hitler's

pronouncement

resurrects the nineteenth-

and

early twentieth-century iconography of the outsider as described

by physicians such

as

Nordau Moreover,

it

had the effect of advanc-

ing a certain concept of beauty as a readily understood symbol of society's values

The

a continuity here

constantly encounter the National Socialists' attitude

application to

its

were incapable of reproducing nature because they

torted and irregular forms mirroring their itself

as well

whether Impressionists or

artists,

of horrors

nervousness

they themselves

Entartung (Degenera-

to popularize the term in art

had

at closely

as

were doomed to destruction they might destroy society

tion) of 1892 did

upon

of the falling birth rates in France

who

such views of the outsider, using modern art to construct a "chamber

Looked

What

aide onward was the fear that not

were labeled "degenerate," and

dictates of society

Sharing the iconography

nervousness was thought to symbolize the opposite of normative standards of beauty

excess Degenerates could be identified by their bodily deformities,

to have

mainstream bourgeois morality

restraint

the "normal" because of

shattered nerves, inherited abnormalities, or behavioral or sexual

only humans but nations as well could degenerate, a process thought

— by

the famous French neurologist Jean-Martin Charcot in the 1880s

was now seen

who had departed from

condition of those

start of a

be physically unbalanced Nervousness had been

said to

term used

sense, a medical

red eyes, feebleness, and exhaustion Such conditions signaled the

credited

those characteristics that ran counter to society's image of

The mentally all

now

modern

its

during the second half of the nineteenth century to identify the

ideal of

beauty played

morality, extending far

a

dominant

beyond the realm

role as a

of art

symbol of

beauty helped to

maintain control over the passions Friedrich Schiller, for example, in his series of letters

(On

Uber

die aesthetiscbe

Erziehung

des

Menschen

the aesthetic education of mankind) of 1795 wrote that beauty

ennobled the otherwise merely instinctive sexual bj virtue ol

its

eternal values Hut what

penetrated to the vei y heai

it

likcJ to have ol

How

ol sot iety

I

became

neoclassical art beauty

morals

s

in

neoromantii

In

society

ol the

c

beauty were

"I

.m be inferred from the ways

nineteenth century

Protestantism that took upon lability

which

in

whereas by the end

ol the

sodomy which was made

was

it

the

tin-

religion, especially

the task oi promoting respei

itsell

century that role had been

assigned to the people themselves

jin dt sirclf

01

itsell

concept was presented long before National Socialism At beginning

it

question

I"his

the sell portrait ol so< iety the view

deeply respectability and us concept

embedded

transcending

act,

"beauty"?

is

The

toward

stricter attitude

a criminal offense in

many

countries

in

Europe, appealed no longer to religious but to supposed

popular sentiment

he clear and unambiguous distinction between

1

the socially normal and the so-called deviant

now supported and education

— had been

internalized

Goebbels knew he was risking very

on the grounds

art criticism

—

a distinction that

was

medically and iconographically as well as by religion

Propagandaminister loseph

(

little

when,

he banned

in 1936,

that the general public should

make up

own mind, that vear more paintings offered at the annual exhibition of German art were sold than at almost all earlier exhibitions The achievement of beauty without sensuality presented a its

)

special challenge in the representation of the ideal male, who,

inspired

by Greek models, was often represented

The

20)

the rediscovery of classical sculpture

Greek male statuary GfscbioW ia 1774,

nude

in the

(fig

evolution of bourgeois morality was contemporaneous with

made

Kutist

as the

iffs

this art

paradigm

.1

of

Winckelmann, describing

I

beauty for

time

all

in his

Allertlmms (History of the art of antiquity) of

acceptable to the middle classes by raising nudity

and turning

to an abstract plane

it

beauty was perceived as somehow

Such

into a stylistic principle sexless, a conviction

shared by

others at a later date, aided by the belief that the almost transparent

whiteness of these figures raised them above the personal and sensual

At roughly the same time Winckelmann wrote

his

Figure 20

famous

SfirrrlMdrr

book, johann Wolfgang von Goethe wrote, "Apollo Helvedere,

do you show yourself of our all

own

to us in

all

your

nudity,

making

us

why

ashamed

nakedness v Male symbolism could not be stripped of '

phvsicalitv, the beauty of the

muscular and harmonious bodies

Greek youths

—

lay in their

—

lithe

and supple,

nakedness

It

was

precisely the corporeality of the sculpture that expressed strength

and harmony order and dynamism, ities

of both burgher

and nation

(fig

in

other words, the ideal qual-

21)

For the Nazis such

men

symbolized the true German upon whose commitment the Third Reich depended

From the moment when bourgeois morality was lished, the ideals of

male and female beauty differed

circumstance that largely determined the a national

to bring

symbol The male was regarded

about

a timeless order

first

political role of

as

and cure an

estab-

radically, a

women

as

dynamic, promising

ailing world,

Fnedrich

monument of Munich

Spear-bearer), copy of the to the (alien oi the First

DorypMm by

Polyclitus (c

World War, bronze, formerly

450—420 BC at

the University

Theodor on

Vischer, the nineteenth century's foremost

aesthetics, assigned to

German

writer

beauty and manliness the task of prevent-

Women, by contrast, were turned into passive figures Queen Luise of Prussia (1776-1810), who was as the "Prussian Madonna " While the male was often

ing chaos

such as Cermania or stylized

depicted nude, the

woman was

almost always fully clothed,

at least

symbol And

yet, for

to the extent that she functioned as a national all

their differences, public representations of

one important point

The nakedness

common

in

men and women had

they transcended sensuality

and latently threatening effect

In this

context

lost its

unsettling

not without

it is

nudism was banned immediately

significance that

on so many

of the male stereotype displayed

Nazi buildings and monuments, however, never

after the Nazis

On

came

to

much

the same level was a warning issued by the Reichsministerium

power

(it

was

said to

deaden women's natural shame)

des Innern (Reich ministry of the interior)

in 1935 to the effect

that

nude bathing by people

first

step toward the violation of Paragraph

homosexual Reich drew

be

same sex could be seen

as the

which punished

175,

acts

attempt to strip nakedness of

In its

sentation

of the

Arno

Breker's

nude male sculptures

demand, and statues

in official

sensuality the Third

its

sharp distinction between private

a

decorated public spaces But

of

and public repre18)

continued to

seminude men and women

was an

it

life

(fig

still

smooth, almost

abstract,

transparent nakedness and a frozen posture achieved by recourse to

Winckelmann's purified concept

The Nazis encouraged of nudity arose

once more Hans Suren

(German gymnastics) editions during the

nude body

of

of beauty

physical training, and here the problem

its

of 1938, a

book

in his

that

Gymnastik

Third Reich, exemplified the

sensuous appeal

cated nearly complete nudity

tier

Deulschm

went through several effort to divest the

in this particular setting

in the pursuit of

He

Ma.

advo-

t

sport or while roaming

though the countryside, but the male body had to be carefully prepared before

be

hairless,

symbol

of

it

could be offered to public scrutiny the skin had to

The body had become an

smooth, and bronzed

Aryan beauty

as

it

was

in

abstract

Leni Riefenstahl's film of the

Figure 21

Richard Scheibe, figure from an unidentirk-d

1936

Olympic Games Sensuality was transcended by an alignment

with Greek form figures that could be worshipped but neither desired nor loved

And

the Nazi view of

women' Goebbels

should be strong, healthy and good to look he put

it,

in

insisted that girls

at,

which meant

that, as

contrast to the male, the muscles of their arms and legs

should not be visible (The importance of iconography can be judged

by the extent could

to

which the Nazis described physical

this ideal of

woman,

womankind be reconciled with

for the latter did

the female athlete's

indeed exist

The

But

how

to that of the male

Without emphasizing the obvious feminine contours,

sensuality

)

simple answer was that

body was often approximated

principle, identical to that of the

detail

the naked sports-

male youth

in

it

was

thus, in

nakedness without

location

unknown

'

Wink- on spoils i

.(

m

Coebbels launched

other, the

their history

his

.macks

Hund Deutscher Madel

was liberating the mass

mi. in girls

time

the one hand,

on the

girls''

young

ol

girls foi

from some home and family

I

I

n

ag

the

restraints,

I

lirst

an act

of emancipation achieved

through sports and country walks The

National Socialist view

women was

Perhaps the reason

ol

lot this

is

clearly not free ol

that National Socialism

consciously male society that often behaved

women Male homosexuality

toward

in<

ongruity

was based on

contradictory

in a

a

way

was ruthlessly

lor example,

persecuted, but the same was not true of lesbianism, which was

ignored

punishable crime

a

.is

women 22)

—

by Hitlers tavontc

how

in

else

can

Adolf Ziegler

the Grosse Deutsche Kunstausstellung? Zieglers fleshy

and often full-bosomed nudes, who side

artist,

paintings that hung not only in the Fiihrer's private apart-

ments but also

hung

the private sphere-

In

could be completely naked and sensual, for

interpret the paintings

(fig

the main concern was, once again,

from public representation

to separate private

we

women

the depiction of

In

by

left

side with typical chaste

nothing to the imagination,

German maidens

with blond

Public representation was political representation, however,

plaits

and here the aim was to integrate the masses into the Third Reich with the aid of stereotypes that would treat the beautiful as tion of the eternal

and immutable, revealing

and removed from

all

The

ideal of

it

as

materialism and sensuality

manly beauty must be seen

in

contrast to the

weak, exhausted, unmuscular figure of the outsider

dynamic

of the male stereotype symbolized the

and of the nation

Figure 22

Adult Zicglcr Akl

as well, outsider figures,

ally old

We

century

German drama,

find

a reflec-

something pure

by

contrast,

very few young lews represented for

The

youthfulness

of bourgeois society

in

were gener-

nineteenth

example they were almost without

exception old and lonely I

Nude

i,

1939, oil

on canvas, 86

Bayerischc Staatsgcmaldesammlungen,

x 145

Munich (on

cm l¥h (

x 57'A in

),

Society expressed

deposit)

ideals of

its

morality

beauty while proiecting

in

terms of generally accepted

fears

its

and ideas

of ugliness

onto

the very groups the National Socialists were eventually determined to exterminate Jews, homosexuals, habitual criminals, and the tally

disturbed Even before the Nazis' electoral victory

Alfred Rosenberg, the Nazi ideologist, had written the

Weimar

Republic, Der Sumpf (The

apparently been stabilized Yet with

procuration

the

has been defeated

it

in his

book about

swamp) "Democracy has

its

pederasty lesbianism, and

along the line

all

The open homosexuality of Ernst Rohm, the powerful chief of SA (Sturmabteilung, storm troops and other SA leaders was I,

indicative of the ambivalent attitude

on the

some members

part of

ment This

is

as long as

toward bourgeois respectability

of the early National Socialist

true of Hitler himself,

attack by declaring that the latter's

Rohm and

homosexuals,

it

SA was by

had

in 1934,

other leaders of the

in fact little to

move-

who defended Rohm against private life was his own affair

he used some discretion When,

the murder of

the

men-

in 1930,

do with

then threatening Hitler's

Hitler ordered

SA who were known

their sexual inclinations

own power and

destroying

with the regular army Be that as

his relationship

tunity

was seized

as the

defenders of respectability

it

to underline the role of the party

Mock

may

were held

trials

in

which

power on January

diately after Hitler took

February 23

and prostitution drastically curbed such

evangelical morality league) it

1933

As early

It is

welcomed

no wonder that organizations

of

its

for the

it

only Albert Speer's mother

who

kind

come

voted

end But

to an

The Nazi

a

that

had existed

of appeal,

it

in

itself as a

when

the trenches Even

never lost the character of a

subgroups

as the

of the party

such

a

long tradition

SA

broadened

it

Mannerbund,

a

its

or the SS (Schutzstaffel,

some

The

raise

threat to respectability was

who more

clearly than

were

also

that might pose a

its

social

behind the organization of

and sexual norms

tability

and

)

leader of the SS,

underlying fears (These same Entarteti Kunst,

was an attempt to demonstrate the consequences

which

All this

that

encouraged him

to

modern

own

SS,

which often represented

idealized seminude male

If

itself

it

was because of

was

a state

ruled as a Mcinnerstaat" [state of

men]

It

is

his fear that the

artists

no individual

possi-

outsiders,

desire for their deaths, presented

as

Charcot who described

for

that

Charcot, anyone

for a

who was

ill

determined Himmler's offensive

also the wish to protect respectability

the indispensable background to the Entartele Kunst a

survey of

concept of beauty Works by

latter's

as

all

on bour-

that represented an assault

all

were treated not

value, only a

evidence of individual creativity

symbolic status This, of course, made a

who

of those artists

was the reaction

It

vaunted their individuality above

of a society that felt itself to

all

be under

a

constant threat, a society moreover, that was bonded together by respectability and the security that

which beauty was the

bols, of

issue of the

on the very brink

War

And ple

order

first

chaos

of

In this

while the

five

New

times as

when

society believed

itself

pace of change and the

art

more peo-

devoted to

According to the Manchester Guardian

visitors to Entartete Kunst

each day

had been 396,000

visi-

to 120,000 at the Crosse Deutsche KunstaussteUuntj

week What but

it is

The Nazis

played any part

Had

the explanation'

is

It is

a question

unlikely that an interest in

— become

modern

themselves encouraged people to

the latent temptation to act unconventionally

temptation almost encouraged by the Reich's antibourgeois

rhetoric

sym-

of anxiety

many

difficult to answer,

the exhibition a

an age

as a result of the

York Times reported that there

within the space of a

art

in

its

and nervousness the negative,

context the concept of "degenerate art" merely

approved German

opposed

tors, as

is

radiated Morality and

yet foreign newspapers reported in 1937 that far

there were

that

it

positive

visited EnlarMe Kunst than the parallel exhibition

had

officially

one

Germans have been

was no longer

was designed to be out of the ordinary

Great

based upon the comradeship of men and

that indeed "for centuries, yea, millennia, the

was

added to the general sense

could easily turn into the other At the same time he affirmed that the Third Reich

it

magnify the

symbolically as an

them

was racism

It

for respec-

he emphasized the contrast between

homosexuality and manliness,

The

the

mistake, and

but as representative of something undesirable, they were accorded

homoerotic and homosexual potentialities of the Mannerbund, including his

of killing

was indecent and ugly

were an

of the rejection of

Himmler's obsessional regard

his fear of all sensuality

own

no matter what the price

else

else articulated the sexual policies of

the Third Reich and thus revealed fears

all

Heinnch Himmler, the

anyone

moment thought

mockery

of the leadership

driving force behind the purge of

as a

old days of the Teutonic

Jews as particularly subject to nervous diseases had never

geois morality through the

the danger of homoeroticism or even homosexuality a possibility that frightened

—

to the Holocaust

exhibition

guard) were proud of being male organizations that excluded

"unmanly" men But such conscious male bonding seemed to

in

drew on the imagery

from the sexual norm were not only

must be stressed that doctors such

It

base

league of

Germany Important

in

good

that this kind of extinction

against outsiders, but

continuation of the male camaraderie

men, an institution that had

elite

way

could be cured

party sought to build upon wartime experiences

presenting

the

In

"

they were also racial enemies

the

threat to respectability remained

first

1937

regarded

swamps "This was no punishment, but simply

ble For him, deviants

Nazis because their youngsters marching though the streets

the "nervous nineteenth century" had finally

the

in

He

here as the goal of the struggle for purity and respectability points

of Berlin looked so neat') Hitler himself boasted that with his advent

by

drowned

November

strictly prohibited

stage further and

a

in

Bad Tolz

Bad Tolz audience, homosexuals were

told his

Himmler lamented

that supported the Nazis in their self-styled role as the saviors of

bourgeois morality (Was

Himmler

tribes,

in

extinction of abnormal life" Nature rectified her

Hitler's seizure of power,

was by no means the only organization

— otherwise

of the "natural" and "unnatural

as

banned

apparently brought an end to the moral chaos of the postwar

period, and this

now went

remedy), but he

Deutsch-Evangelische Sittlichkeitsbewegung (German

as the

since

30,

so-called pornographic literature had been

all

self-destruction as a

poisoned both body and mind (he

a sickness that

even suggested prostitution

foundations for such developments had been laid imme-

The

speech delivered to the SS leadership

homosexuality as

propaganda

a central role in National Socialist

now threatened with

homosexuality as Himmler made clear

result of

a

Catholic priests were accused of homosexuality and the family

was given

But that state was

the oppor-

and the regime

acute once more"

1

visit

Respectability and

regime and

ol the

in

that

.ill

implied remained an essential par)

it

the exhibition guide

had threatened society's conformist prim the

century were blamed

last

mgs on

was

(

drew an that

I

he text

madmen

disfigured by

summed up

guide

tradition that

between respectability

lion

— and abnormality

a

all

respectable people could

'degenerate

art

resist

and accept

individuality

embodied by

What

a "slice of eternity" into their lives

was sensuality

sacrificed in the process

extent

the chaos ol the age

passion,

and to

great

a

as a critique oi

bourgeois morality and,

ending attempt to distinguish between

this

norm and what was seen

"

merely

"abnormal

as

form

a

finally of the never-

morality viewed as the

Hut

most people respectability was and

that for

still

analysis exist

than an actual breach

be additional proof

ram

in the

in

we must never forget much more than

is

of behavior or an ideal of beauty, for

even tor the vast majority,

it

offers

many perhaps

cogent proof of the cohesiveness

of society, a cohesiveness necessary for

systems of government,

all

more

out .in

modem

extension ol what

is

in the principle of respectability

We

always reimposed

episodes

continued etlort

like that of the in the

toward the

tolerant e

permi I

h( re

may

periods ot sexual

ol this in the lact that alter

e the limits are

repeated today

only say thai the

in

tb.it

ts

are seeing this

Mapplethorpe exhibition

United States to

i

ontiol

iti.

Marcel Proust gave perhaps the reciprocal relationship all

perdu,

welcomed among

a

and

the

way we

this world,

it

is

places

where we would

example, thing

Hitler

The smooth just as

it

the

Kuml

exhibition, even in

London New

Statesman, for

was the best

left-wing journal, wrote that the exhibition

a

Mr

Entarlflr

expect

least

Cuermantes

This seems to

in

me

to find

our midst, now

a different

kind ot morality

forgotten that, like everything else in

the result ot historical evolution

had done so

tar Europe

functioning of a generally accepted morality was

At the same time

social factors

was something

it

people understood, something that impinged on their daily

wholly concrete and comprehensive way exemplification of society's

had

it

aesthetics of politics, of daily

much

ideal of

beauty as the

life,

a social function as well

had involved

control ever since bourgeois morality the works of art but

The

first

senti-

The

degree of social

a

came

that

lives in a

norms was influenced not only by

mentalism and romanticism,

into being

ot the popular literature

was

Not only

tilled

with

passion and love that were supposedly devoid of sensuality For

example, Agnes Cunther's novel Die

runaway

fool,

was

a sentimental love story in

sickness

The

i,

a

Heihcfe

uni

\hr

best-seller during the

her

1913

Nan iThe

Weimar

saint

extreme

and

Republic,

which sensuality was equated with

representational art and the literature of the time

fell

readily into a tradition that the National Socialists merely took to its

is

a revised version of the author's article

"Schonheit ohne Sinnhchkeit

Nationalsoziahsmus und Sexualitat," Znlmituhn/l, special ed

,

1987, 96-1119

also his Nationalism and Sexuality Respectability and Abnormal Sexuality

important for the cohesion of society as the more often cited

economic and

Notr

This

(Madison University

ol

we

see ourselves so essential to

our society that we can scarcely imagine

we have

that

recherche du temps

which we continue

newcomer

ourselves bourgeois morality, once a

with the result that

la

which point they see him

social position

to symbolize the reality ot a situation in

a part of

A

Dreyfusard, defending the cap-

tain against his reactionary accusers, at

much

of

the aristocratic and snobbish

becomes

as a threat to their political

appears so

expression to that

around us Swann the lewish hero

can see is

finest

between conformism and tolerance

not lust tor National Socialism Hence, the favorable response

encountered by the premise of the

tol-

rhythm

content ol publicly funded art

as an exotic plant until he

itselt

he analysis ot "beauty without sensuality" undertaken here can

I

be seen

my

II

needs

individual and sensuality

and

between the healthy and the

social

and between the natural and the unnatural Hv cmbrai inn the

mi k

was

ol die

reasmgh sharp dishni

normality

is

"I

ol

["he paint

they represented Marxist and lewish attacks on

rerman

iik

work

\n.l tod. iv

same

beginning

iples since the

the degeneration of art

display wen- presented as the

sexual excesses that

foi

who

those outsiders

.ill

Wisconsin

I'ress,

|9HH

in

Modern

Sec

Figure 23 Visitors in

Room

3

of Entartctt Kunsl.

Munich, 1937

I'

MR CUEN1

I

Three Days

Three

days

in

Munich

visit

to the Grosse

Deutsckt Kunstaussttllunt) (Great

which had

exhibition),

missed the

and two

days

visits to

during the war and help

ol great

teenager,

Eiil.irlrtc

Untortunately

table impressions

been

the

my

should explain that critic

— what was

if

my

left

unforget-

family were destroyed

of an impressionable

father,

of the experiences of those

no time had elapsed Alfred Giinther, was a news-

called a feuilletonist

and

writers,

who were

—

in

Dresden He had

knew many contemporary

written on art and literature for years and artists

inauguration by three

memories

some

later Yet

three days are as frightfully real as I

art

had

which naturally have been tempered and even augmented

by knowledge acquired

paper

(I

Dresden, they would have

ol

resurrecting the

German

opened

lust

Kunsl exhibition

letters to

bombing

the

in

in

official

Munich, July 1937

1937 as a

in July of

seventeen-year-old a

in

frequent visitors

our

in

home

In

1935

he had been expelled from the Reichsschnfttumskammer (Reich

chamber

which

of literature), the organization to

all

writers were

obliged to belong, and lost his job because his second wife, the

outstanding photographer Genia Jonas, was Jewish I

had grown up exposed to modern

Marc

reproductions of works by Franz

and Vincent van

of 1911, fig 24)

My

flowers)

Gogh

as

happy

times), a sentimental novel

I

—

my room hung [Blue horse

I

I]

(one of the versions of Sun-

Zantcn's glucklicbt

Zat (Van Zanten's

about Gauguin's

life in

the South

certainly not an artistic, historical, or literary masterpiece

had gone to exhibitions with

at

In

Gauguin had been kindled by such

interest in Paul

Launds Bruun's Van

books

Seas

art

{Blaue Pjerd

— more than

read

—

my

father or

my mother and

1

looked

the various art journals and books available

home thought most people lived as did Some credit for my interest in the arts must also go to the Reemtsma cigarette company A coupon in each package could be in

our

I

exchanged works of

I

for quite well-printed color reproductions of

art,

to

of Gothic, Renaissance,

modern

art that

Fauves, Futurists,

lected

important

be pasted beside short introductory texts

and Baroque

had made

me

art

I

also

at least partially

and Expressionists Some

of

in

albums

had an album on conversant with the

my

classmates col-

coupons from the Trommler cigarette company, which gave

away color reproductions

of

all

the uniforms of the

army and Nazi

Figure 24

Franz Marc, Blaul Pfai

(44*

x

33%

in

I,

I

(Blue horse

I]

1911, oil

on canvas,

Stadtische Calcne im Lenbachhaus

112 x

Munich

84 5

cm

organizations

least),

of

1937

In

one stop

—

exchanged Trommler

I

my and my

number

classmates found "art collection"

made my

I

trip

—

my

Reemtsma coupons

for

grew quickly

Deutsche Kunstausslellung

,

modern

Kunst (House of German

in the

art),

and of the opening

There was very

directors, as well as critics art

ought

to

impact

this visit

When

was

to indicate

would

it

con-

a

and

differ

looked forward to an

I

me what

did not occur to

it

it

little

be and how

from that which was so strongly condemned exciting three days, but

of

gallery owners,

art, artists, art dealers,

what true modern German

activities, includ-

which was published

me Much

newspapers, had troubled

demnation of modern

art exhibitions, the Crosse

the newly completed Haus der Deutschen

in

ing a speech by Adolf Hitler This speech,

museum

which Munich was only

a vacation in

excited anticipation Newspapers and radio had given

in

extensive reports of the greatest of

verbatim

(a

interests strange, to say the

an enormous

would have on me Figure 25

I

arrived in

Munich some

of the decorations installed

Parade and pageant, "Zweitausend lahre Deutsche Kultur" {Two thousand ye

for the opening pageant, "Zweitausend lahre Deutsche Kultur"

(Two thousand years

of

German

although the dismantling was

in

were

culture, fig 25),

still

in place,

crowned with the eagle and swastika From the

tive

thirty-five feet high

from flagpoles nearly and pylons were

flagpoles

appearance

as

still

I

A number

standing and gave the city

clearly

very

visitors,

figures

later

I

that

me

The entrance

The

in the

hall

window

of a butcher

was impressive

in size

shop

it

the bust and pictures of Hitler were not unique Basically the decor

schools

I

in theaters,

do remember

body whispered

It

that

a

a

size of the

rooms, their decor, the impres-

most impressed

of the works

number stayed

expected so much

I

in

find

my memory it

large

me because

number

of

(fig

26)

a seventeen-year-old'

undoubtedly because

amusing that

I

remember

few quite small pieces of sculpture, unimportant

appealing to

every-

silence

and the careful placement of the exhibits

sive lighting,

Quite

was impressed by the

in

"

ship, technical

achievement, and

me on

the

thought that they were

me marveled

I

knew

that

1

large,

craftsman-

at the

— what was repeatedly

any of these giants) The recognize by the

I

titles

whom

visitors

praised

radeship), Sieg (Victory)

—

that they were

Yet the over-life-sized works galleries,

fit

to gain in

dimension

Sometimes the impression was

Fritz

knew from

impression that was quite different from what

Klimsch, and illustrations,

a

negative one

made an

had expected

I

I

had always loved

the beautiful Tdnzerm (Dancer) of 1912 by Kolbe, a photograph of

which

I

had hanging

in

my

room, but

the

small

I

these surroundings and

in

(Com-

well into the scale of the large

themselves but

a

Kameradscbajt

meant to be symbols

and even sculptures by Georg Kolbe,

Richard Scheibe, some of whose works

seemed

overheard seemed not to

I

given to the statues

fighter) of 1935 in this exhibition lacked

There was

I

famous Greek sculptures

especially well

they counteracted the gigantism and the

works that seemed "bland

found them rather frightening

primarily male, nudes People around

festivals

opera houses, museums, and even

was obviously due to the semiecclesiastical

atmosphere created by the

Which

I

Nazi

all

liked

realism of these figures (although certainly none of us looked like

)

marble, the abundance of red Hags, the laurel trees in large pots,

and special occasions

I

27) and other statues

(fig

however, held no appeal for

considered to be the hallmarks of that art These were simply

into the

but disappointing

repeated on a slightly grander scale that used for

I

galleries,

from books, but they lacked the grandeur and quiet balance

the "Bratwurstelgalene," because the colonnade resembled sausages

hanging side by side

which

Esser, for instance,

by Arno Breker and Josef Thorak

intentionally attempting to imitate

Its

learned that the Bavarians called

Max

unpretentiousness, and there was a bronze figure by

dominated the

contrary

monumentality that

an impression that accompanied

(Much

galleries themselves

a

its

to

fes-

this

meant to be the dominating feature

imposing height and cold symmetry created

dwarfed the

art day),

Hermann Geibel of a young girl playing a recorder, which looked me like an idealized version of an admired girlfriend The huge

of these a

much room behind

suspected that there was not

which was

facade,

Munich, "Tag der Deutschen Kunst" (German

bronze group of wild ducks by

Kunst Viewing the building's long row of columns stretching along the street,

culture),

1937

because of

walked toward the new Haus der Deutschen

I

18,

feet high,

railroad station to

the center of the city 243 flags had flown at intervals of twenty-five feet

German

July

The Pnnzregenten-

progress

had been lined with 160 pylons, each nearly forty

strasse

of

numerous other

idealized males

his Junger Streiler

(Young

grace and resembled

•A*kB.^ I

Figure 27

igUIt 26

Gallery

in the (.ros-r Drulsil

"acquired Cologne 1934" revealed that

se zure of

policies s

Hamburg, 1936

n display Kunsthalle,

i

Nazi

fter the al

frt

commeri

power

proclaimed

had persevered

entire south wall of

by Lovis Corinth, under an

in 1933,

and

in

defiance of

succession of party meetings,

at a

in acquiring

Room

contemporary

art

oadis nouio ooiosciio

6 was reserved for works

luooao

"Decadence

inscription reading,

exploited for literary and commercial purposes" According to

Holzmger, the paintings but

artist's

name was

was erased

originally written alongside the

after the

opening

or, in

one

case, as

can be seen from a photograph, obliterated by the red sticker proclaiming that

it

was "paid

by the

for

taxes of the

German

working people" Beneath Corinth's Walchensee landscapes was a nar-

row

glass case, installed

on July

23,

Tni

ZE

according to Holzmger,

Containing photographs of works by Corinth and Wilhelm

Lehmbruck Lehmbruck's 2401, lent

fig

was placed

by

his

Grossr

widow

Kmende (Large kneeling

woman

;

to the Stadtische Calene, Munich,

room only on July 22 and was removed again reasons that remain unclear The work had been badly damaged in transit "The shards lie on the plinth" lolzinger) The photograph beneath the Grosse Kmende was one week

in this

later (or

1

l.ehmhruck's

ol

sculpture,

Silznidfr

Junglmg (Seated youth,

which had been seized

by the removal of the Crosir Kmende

On

the west wall

was

fig

Mannheim on

in

shipped to Munich on July 29 and set up

in

8,

left

lanlsMengl and the notes

I

on July

21

he painting was

I

(German R)

i.

removed

first

of the

made by Rave

der blaurn

after his visit to

few days of the exhibition

after the

officers' federation) sent a

Deutschcr Offizier*,bund note of protest to the

hskammer der bildenden Kunste

to say that Marc, an officer

who had

m

the

skar

(

mm

Emil Nolde's altarpiece Das

Rottluffs Stlbstbildnif iSclr portrait, hg

establishment of

I

fish;

tempest,

lu-

I

'

women

life ol

(Around the

fiscb

kokoschkas On U'hi.M'mu! Dnri Frauro

Tnmknie (The drunken woman),

/)ir

(Yellow green crescent)

Gijtgriine Sicbtl

May

24 to

(Reich music festival)

" By

This essay was written

ing support

I

coniunction with

my

of Professor

wish to acknowledge

municipal archives

of scores, libretti, photographs, stage designs, and musical

in

Heidelberg under the supervision

I

am

the Federal Republic of

in

dissertation at the University ot

Dr

Anselm

Peter

Riedl,

whose continu-

grateful for the assistance oi the national and

Germany

the

German Democratic

interviewed provided Republic, Austria, and Poland The eyewitnesses whom it with me also wish to thank Dr Andreas Huneke and Dr Mario-Andreas von Luttichau for their support am especially indebted to Cornells Bol, Thomas Haffner, Wolfram T.chlcr C hnstmut I

examples available on headphones the "degenerate tonality" of

composers

as diverse as Berg,

Stravinsky Webern, and Weill was held up to public ridicule Iflf

Musik was organized

in

district leader of the

Thunngian branch

almost certainly behind the idea of combining fnlitrlfle

Kunsl in

of the

NSDAP

He was

fnliirlcte

Musik

combined and expanded form the exhibition

In its

I

Prager Andrea Schmidt, and Wolfgang Schrock Schmidt for their valuable advice and stimulating discussions

Gerhard Marcks,

1

Ernst Bloch, "Gauklerfest unterm Calgen,"

2

Frankfurt Suhrkamp, 1985

l

United

traveled

Chemnitz, where

it

KtiHSt

was one

82-83), and

closed prematurely after only two weeks, 55 as

a result of the onset of the Iflf

(figs

Second World War At

this

time Entar-

of six exhibitions traveling

Wirtschaftspropaganda

council),

fur

cial

On

Institut fur

September

,4

States,

where he was to remain

6,

1939, the president of the

The immediate

problems for the

Institut,

Institut,

issued a general

ban on

closing of the exhibitions caused finan-

which ceased

its

activities until 1941

tied

and Prague, had

until

Kampfbund

ed

earlier and,

settled in the

1948

fur

deutsche Kultur see Hildegard

iRembek Rowohlt.

Remhard

Grantr

Hollmus, Diis

Ami Rosenberg und

and Stephanie Barron's

The

4

details

1981),

Rudigei

in

Table

m

in Stuttgart im

1,

in

are based

t

II

on

my own

in

exh cat

c

27-

research and on the

Bielefeld

—

litrlcftU

Kunslhallc,

Karlsruhe Zur Ausstellung Regierungskunsi

Karkruhe I9O0-I9SO (exh cat, Karlsruhe Staatliche

Driltm Rncfc Anpaaung, Widentand, Verfolavnj

L a

21

102-28, Ulrich Weitz, "Das Bild behndet sich in Schutihatt

Alberg, DfcsrUor/n Kunslszoir I93J-io/|rnilnitoi

198

strait n

Moritz bi drawing

.cgenwan

(

Museum

in

it

to

my

vol

I

Siimtlicbe

August

(221),

I

(Great anti-Bolshevist exhibition Nuremberg 1937,

fig

September 24 and was then shown

to

5

(November

Including Berlin

1937-lanuary

,

of the traveling exhibition Der

lutlt

ru'it/r

The eternal

I

example

lor

5),

August 20

The

Institut

lew,

tig

was

8,

1938-lanuary

1937

dchurg Mas- 22-lunc

shown

material'

November

1

1

1

Works

I4HK

Berlin

Document

Mag

By order

Center, Best

Rnchskammer der bildenden

ZStA, Best 5001-743,

An

entrance charge was instituted

at

am

Purely as a formality the objects included

a total oi

enlightenment"

l

Franz Holmann,

5001-743, BI

Best

Hugo

ZStA, Best 5001-1018,

These comprise an incomplete

museum Dusseldorf list

cat,

of the

BI

June 1938

in

I

1938,

list

of

in

NSD

free

works added to the

No

nber

12,

m

Hamburg

1941

list

of

in the

9,

i

9),

exhibition in

works returned to

(ZStA, Best 5001-1018

29-36)

Museen zu

Na

44

Staatltche

45

Huneke, 'Funktionen der Station En artete Kunst,'" 45—46

46

Paul Westheim,

nicht

mehr

Berlin,

algalene, Archiv

"Em Ruckzieher Co

aul der Ausstellung 'Entartete

Hansen

inth, Marc. Macke,

Lehmbruck, Kollwitz

Kunst," originally published

in the Ptimer

March 27-28, 1938, and reprinted with explanatory notes in Tanja ed Puul Wntbnm Kumlknltk jus J™ Exil Hanau Muller 6. Kiepenhauer, 1985),

Togesza'hlfuj ol

Frank,

i

,

80-83, 274-75 n 81

For Edvard

Munch

see

Remhard Pipers

letter to Ernst Barlach,

July 28, 1937, published in Ernst Piper, NduWsozulisfische Kunslpolitik Ernst ftirUfc

unJ

Jir "Entorlele fCunst"

47

(Frankfurt Suhrkamp, 1987), 198

Inlormation about the Berlin exhibition

written by Felix Hartlaub

in a letter ol

Hartlaub, the director of the Kunsthalle Hiriljuf.

m smim

Wunderlich, 48 23,

and

flnc/oi,

1958),

a

this

also provided

eds Erna Krauss and

G

by

a detailed

28, 1938, to his father,

Mannheim from

report

Gustav F

1923 to 1933, see Felix

F Hartlaub (Tubingen

Rainer

159-60

Bernard Schulze,

confirmed

is

February

who saw

assumption

in

the exhibitions in Berlin and Dusseldorf at the age of

an

article (Frankfurter Alltfrmrinr ZriluiuJ

conversation with the author on October

2,

July

4,

in

86

Novembei

77-80)

also provided in a detailed report

Staatsarchiv

Mr A Mmott

Hamburg

,

135

I

EnUrtrir Alusit Zur Duisehfor/er

(Dusseldorf Kleinhcrne,

volume

1

no

2

I

L/nsrr Willr

I,

1939 'Bundesarchiv Koblenz,

und Propaganda!/ 3 54,

BI

February) back cover, and no una Wtd

was the

official

and was edited by loseph Goebbels

my

95-97) 3

(March)

26,

monthly newsletter I

would

like to

attention to this publication

Press clippings, including reviews, for the exhibition in Halle an der Saale are

preserved

and

document

Hamburg venue

BI

tli-

X4

HI

Deutsche Kultur und Wirtschafts-

1

12/31940/41

September 1938 (ZStA,

5001-743, BI 77-801, and a

1938 (ZStA. Best

1983], 41-47,

5001-743

an

lent to

41

of the Institut fur

Unsrr Willi una Wtg, 1941,

ZStA,

vtrjolgt: Kiiiutdiktahir

had

n

memoirs, A Not-So-Slill

Joseph Goebbels, December

1

of the contents of the exhibition in the Kunst-

works sent back to Berlin from Salzburg

the Reichspropagandamtnislt BI

list

Barbara Lepper, Vtrbotm.

Duisburg Wilhelm-Lehmbruck-Museum,

Best 5001-743, BI 75-761, a

November

3,

in this

55 IReichsministcrium fur Volksaulklarung

each of the

lor instruction

Ii

Bruhl, Chemnitz, lor his generous gift of an entrance '

letter to

29-36

42

Reicb (exh

is

March

Pistauer,

in Tunzmn

)ix's /liljnii

I

whii

August 27 1939

Georg

head

Fischer,

the exhibition were insured lor

Hartmut

letter to

Best its

is

The

Ifnmmrtilirrlr /crtonslrMiflicni

Chemnitz exhibition hg

35)

43

a

in

20,000 retchsmarks, since "the only value they have

Emr

grateful to

subsequent venues, however 41

lot

rnst, in his

I

It!

urope's battle with destiny in

thank Annette Sprengel of Magdeburg for drawing

Kunste,

from Franz Hofmann to Joseph Goebbels, March

36)

Max

ol art,

Man

lerhard

SOOI743,

Best

and the essay by Michael Meyer Uieiuniizer TagAklt,

28 (BA,

56

BI

ZStA

Potsdam

in

of the Reichspropagandaleitung

Munich exhibition were admitted

oi Hitler htmselt, visitors to the

of charge (see the dralt of a letter 1938,

54

55

Kuiislr im

Personalakte Hartmut Pistauer

40

'

ticket for the

R

Franklurt/Berlm/Vienna Ullstem, 1983), 317 n 2

I

53

propaganda,

Briimtoizriluiti?,

and Joseph Wulf, Die rnWmJm

I

York St Martin's/Marck, 1984), 94-96

I

November November 12.

until April 23,

these exhibitions, see the Natiotufsoziiiustrscbe

at

Onltm KnJ' Eim Dahmmlalim 39

Dresden,

(

works added to the exhibition

of

Ausslr/Juiu; ivn 1938,

cities,

also in charge

were also included among the "documentary

of art

1937, Rave, Kumliiikl.ifur, 122,

21.

5,

by

(

See Albrecht Diimling and Peter Girth, eds

52

which was taken

61,

1938, Berlin,

2,

Bremen, February 4-March

1939,

14,

opening August

1938, Vienna,

31,

list

preserved

C arl

l-IV 5227) contains press clippings, including reviews of the exhibition

over from the Rnchspropagandaleitung (venues of the exhibition Munich,

1937-lanuary

The is

party rally in

written by limmy Ernst, son ot

ran from

It

other towns and

in several

19381

9,

works

ol three other

a relief

a contemporary witness,

198

19

volume At the same time the Propaganda

Information about the FJamburg exhibition

Vutschc Kultur und Wirtschattspropaganda,

VCaldemai Stcincckei organized the Gnsst tmlibohcbwistixbt Aussltllmj Nttntbm)

and

f

i

lum

Nuremberg ZStA

at that year's

(New I

a sculpture

i

lay in this

-

held

1938

1437 (251)

I,

the Institut lur

and

tht

Ui./.i.-m

Zr.i i'

I

™ Mm

Frngmmtt, ed Elke Frohlich (Munich

211, see also entries for

I

23

5001-743, BI

I

exhibition, Eurujus SilmKiM-,im/i(

51

Zentrales Staatsarchfv Potsdam iZStAl, Best

DicTagtbikbtrom bstpb GotbbA

K C Saui 1987) pi 2M and September 38 The director ot

Sec Andreas

so

ministenum demanded the return

Kumt

Id

B8)

3c.

37

September

in

attention

der Gegtnurari

came from

Lautcrbach, published in

Angeles

l-os

Kunstsammlung Nordrhnn

(exh cat, Dusseldorf

1937

f>£s

m

rhis information

49

in the 1930s, tl»

Anita Brrfm

Vi Auhrag Imsst

I

United States

in tin-

hingct and William Moritz

isi

I

to Professor

I

34 35

».

Mary

information comes from in unpublished interview with Magdalen

who worked

interview was conducted by

1987)

1989

ZUSCHLAC

Stadtarchive Halle/Saale (321)

Table

I

Exhibitions of "degenerate'' art

preceding the 1937 "Entartete Kunst" exhibition in Munich Note Each primary exhibition the venues to in

its

which

entirety or in

followed by a

is

an altered format

list

of

whether

that exhibition traveled,

The primary

exhibitions are arranged chronologically

Mannheim, Kunsthalle

Works on view comprised

Kulturbohcbtwistiscbc Bildir (Images of cultural

paintings

Bolshevism

{Tiscbgisdhcbajt),

by Adler

sixty-four

April 4-lune

among

1933

5,

including

oils,

{Mutter mid Tocbter), Baumeister

Beckmann

tCbnslus

I

others), Chagall (Dir Prist,

mi

iicEhcbmham,

among

Delaunay Derain, Dix, Ensor, Fuhr, Cleichmann Braul),

(acting assistant consultant!

Mix

21)141 visitors

Hofer, Jawlensky (Sizilumerin), Kanoldt, Kirchner,

Adults only

Kleinschmidt

Crosz

two

Hakmkmizbaimtr. April

Nmc Mamihtmtr

May

3,

10

and

April 5 and

Ztilitng,

May

Nans Mamhrimir

Volksblatt,

Tajtblatt, April

April 16,

5,

(Fr.iHoitrfp/if),

by Schreiner

sculptures,

May

27,

Fr.nmt),

Madtbtn) and

{Sitzaidts

in

of graphic

checklist of the

the archives of the Stadt-

Mannheim

paintings were exhibited unlramed, and the

of the dealers (Cassirer, Flechtheim,

nenbauml and

and Tan-

the purchase prices were noted (a

proven method of National Socialist utilized in these exhibitions

and Schlichter,

and twenty works

preserved

There was

artistic criticism

from now on)

also a Musterkabinett

(model gallery)

with examples of "good" art by Mannheim-based artists,

including Klein, Oertel, Otto, Schindler and

Stohner

1933 art,

Mambdma

Schlemmer

Archipenko (Zirn 9,

{Melancholic),

names

Marc, Munch, Nolde, Pech-

{Stilleben),

24, 1933

13,

Hoerle

Htriminn-Nfissf), Heckel,

stein, Rohlfs,

Selected reviews

The

(Dit

{Metropolis [Blicfe in dit Grosstadl], BiHtlis

is

ische Kunsthalle

others),

Organized by Otto Cebele von Waldstein, "kommissanscher Hilfsreterent"

A

Nolde, Pechstein, and Rohlfs exhibition

including works by Adler, Chagall, Delaunay,

1933

Crosz, Kirchner, Kokoschka,

El Lissitzky

Masereel,

1933

Subsequent mints

Thirty-two works from the Mannheim exhibition

Munich

Mambamtr Galtrieankauje (Mannheim gallery acquisitions) June 25-July

were contrasted to the paintings exhibition marking

Edmund

in a

commemorative

Steppes's sixtieth

birthday

1933

12,

Selected reviews Miincbnrr

Nfiitstr Nflcbricbfnt,

June

28, 1933

Muucben-Augsburgische Abcndzcitmg, June 29, 1933

Volkmhn

Btobachtir, lune 29, 1933

The

(Kun

Erlangen, Orangerie

!

Mannheim chamber

July 23-August

13,

thirty-two paintings from the

contrasted to works of

Marmbamtr Scbreckenskammer

by the mentally

of horrors)

ill,

Munich venue were

unknown provenance produced

drawings by children, and

a repro-

duction of a hiteenth-century Russian icon

1933

Selected reviews

(Government

art 1918-1933)

TuibliU, luly

Organized by Hans Adolf

Biihler, artist

and Kunstakademie

exhibition featured 18

22 and

26, 1933

28, 1933

oil

paintings

by Bizer

Rottluff,

and director of

(Waldkaptllt [Kaptllt [Gerumpil], Haustr

Korbjlecbltr),

Selected reviews

Road 8,

to

m

am

Wasstr]),

(

von Marees tFamlmbild

Asgdrdstrand),

Purrmann

1933 ter (Bildnis Brrtoll Brtcbl),

Karlsruber Tagblalt, April

8,

Karlsruber Ztitutu), April

10,

1933

colors,

and works of graphic

Campendonk,

art

Dix, Feininger,

11),

Gum-

Ernteftld.

Munch

O

(GrscWacblffrs

Fischer,

Bizer,

R Gross-

T

Schindler, Schmidt-

when

Hubbuch

listed, as

and the

the purchases were

were the names arts

who were

in

made

There was an "Erotisches Kabmett" (gallery

(Tbt

mann, Crosz, Heckel, Hofer, Kirchner, Kogan, Meidner, Nolde, E Scharff,

office

artists'

and teachers dismissed from

of the ministers of education

of erotica) of drawings

by students from the

Kunstakademie

79 drawings, water-

by Beckmann,

as "Rih,"

Purchase prices were

(Slillfbot mil

Amsterdam,

(BlumrnslucH, Schlich-

and Slevogt

Schwtin. Frucbtestillebcn), as well as

1933

in

Stohner, artists from the Karlsruhe

the Kunstakademie, including

Hofer (Shllmtm

Btmau), Kanoldt

Liebermann Gmusrmtrkt

K

group known

Corinth (.WalcbaKaltmdxbaft,

(Rtbbtrg I Rtbyartli),

mibilum),

Adults only

Dtr Fuhrcr. April

22 and

Bildmi Cbarlottt Btrmd-Cormth), Erbsloh (Garlm), Fuhr

April 8-30, 1933

the Kunsthalle

Neueste Nacdricbtoi, July

ErUmga

The

Karlsruhe, Kunsthalle Reqitrumlskunst (9(8-1933

Erlmga

Also exhibited were a art

— mostly second-rate

list

and photographs of

old master and nineteenth-

century paintings that had been kept

in

storage

had been sold by previous museum directors funds for the purchase of

modern

art

—

that

to raise

Nun mberg

StSdttschc

mma

I

May

April 17

Irganlzed b)

<

aleric

».

hambt

I

IQOOO

in luded palm

vt.ii.iih.il

Bimstengel Bo

Boxer]

and

artist

;:

rto

Kamps Neumann

H..L-

Do

Schreinei Slevogi Acbl III"

Miindmn

v

Pun fuse

Blatl

NftwknjKi

snd

Vpril H

Nfrutsb Nacfericfefm

Vpril

kine

he exhibition

I

KiWn

ditnicbtautwnmrSttkkam

it

voi

Kin I"k

(

bmlus

Mttr),

luded

is

and

2*

1933

:i

K'«/.

Stuttgart

Kronprinzenpalats

NootBtbenjtb Novi mbei

KmhsI

l

Dirnsh

Art

spirit

:i

lune 10—c

i«i

iraphischc

(

Sammlun

Do

lor

Krit,)

and Segall

example

ol the

Adults only

Expressionist journals

Mauri Schlemmei

Nolde Frown am

Schmidt

Rottlufl

(/« Ate/irr),

by various

h

hmidi Rottlufl

[Kopj

m

wm

nmrrrii

Profit mit sebuxtrzet

approximately

21

and Schrcyer and drawings and m Feininger .in.!

otht

Turn

in

Irrpiow

Kandinsl

i

Purchase prices were

listed

artists

by Beckmann, Dix

Crosz

relixmuller,

i

lunge Kunst series, the pamphlet Am

Uhe

Aktion, Der Sturm

photographs, and newspaper

war

alle Kiinsller,

posters,

I,

and loans from

cuttings,

the Weltsknegsbucherei (World

13,

i'i

''

Hri/^r

by Dix, Grosz, and Meidner from books

ol

curatoi

NS-Kuner, June

i.

Do

Heckel.1

Meidner, Schwitters, and others, reproductions

paintings

Organized by Count Klaus von Haudissin senior

Selected reviews

J

I

DrrfcrdHb /mh# BiMnis Lyond

sculptures; 120 prints

.ilc

Cro

including the portfolios im Schatten and AbrtcbnunQ

i

folit'

1933

Ann«

including Bcckmann, Dix (from

exhibition included one painting [Kleinschmidt's

(from

service "' subversion)

in the

The

si.

K'ul>

IV. listen

K',jlkl.n-i

Ducfl im NorJ-Gi/n, graphic art

ie

Zcrsozun^

drr

Hrrfcsl

Al.imtrr bfi Krrze

small

*

der Wurttembergist hen Staatsgalei

I'm

und

Arnold

[triptych]),

Wish

SflfrstfriMmJ mrt ptJtmizIfii

BrtbiNKM Ambtrkopj

1933

Ffmmdfl

lUWr

St&bttbildnh

I

W

paintings by

i

rVbimztmmn

W Rudolph

(LhuJscIm/i

May 13 May

ImcblMt

listed

Heckel

i

i«

Irx

Selected reviews

Cbrmnitzti Tadcszrituna

Rbslei

Rottlufl

and Winklci

Jrm fmstti

Kokoschka

1933

Organized by Wilhelm Rudigei acting direct

Cbcmitiiza

Purrmann

SchmkJl

HUncftcnj

were

I

r

EQ

Art thai did not issue from oui soul

M,n

pri( es

'

I.

1933

Museum

hemnitz Stadtisches

rCmul

H

i

1933

18

April is snd 19

Zriliuuj

In

i

Pascin

Wferrl Einstein

visitors

Selected n

l-Coi Inth

•

lobrowsky FeltxmUlli

I

rossmann Heckroti

-

din

at ting

i

Dh

,

mil Stahl

I

Ik

I

horron

ol

i

1933

MS

among

library),

1933

other lenders SdfauVscfer Mcrfcur

lune

14.

1933

WtirUmbtrgiicba Staahanzdgcr, lune 22, 1933

Sur»srijMr»I

i

Bielefeld, Stadtisches

Museum, Ceschichtliche

Abteilung

I

This exhibition was gart, the

NoivmberQml Kunst im Diemte

November

spirit

Art

subversion)

in the service of 18,

Not open

members

to minors or to

1933

officials

WfctfflliscJw Neuestt

Nacbr ichtm, August

WestjaUche Zeitung, August

Dessau, two display windows in the offices of the

(

NSDAP

and

18

and

22, 1933

22, 1933

The exhibition featured works by Bauhaus artists owned by the municipal authorities and including feininger,

Organized by W.lhetm F Loeper,

18

Kandinsky Klee, Muche, and Schiemmt

Purchase prices were

district

listed

leader

Selected reviews Anhalter Anzeujer, July

1933

II

i

background

information!

Ulm

Stadtisches

On

Museum, Moderne Calene

and Kupferstichkabinett Zehn labn

Ten years

Wmer

view were paintings and graphic works by

Delacroix

August 4-c September

8,

(oil

sketch for Dante and

Faistauer (Gardone

Kunstpolitik

of arts policy in

Ulm)

Hofer

1933

(Grn/rr S«),

di sopra),

Grosz,

(Kartevspieler, Trunkenei,

Laurencin

Virgil),

Kokoschka Liebermann,

(Portrait oj a Girl),

Meunier, Munch, Nolde (Johannes

Dix,

(Marsfillrs), Haller,

Jawlensky,

der Taujtr),

Pellegrini

Selected reviews Picasso, Renoir, Serusier (Breton Farmhouse), Sisley [Seim

Ulmfr Slurm, August

1933

3,

Landscape),

Ulmer Tadblatt, August 9

port of the exhibition

i

i

letter

and

from

17 1933

a

reader

Vlaminck (The Oisr

at Autvrs),

and others

i

Purchase prices and names of dealers (Abels, Flechtheim, Goldschmidt, Thannhauser) were listed

Also included was of Emil

Weimar

a portrait

Schwammberger, mayor Republic,

who had

of

by Gustav Essig

Ulm

during the

protected and supported

the museum's Jewish director, Julius Baum, in his

purchases of modern art

Z U

s

(

HI tC

in Stutt-

in Bielefeld

Scbuluttjfs-

and was open only

to teachers, doctors, clergymen, judges,

Selected reviews

Anbaltiscbt Tatfeszatung

shown

exhibition was described as a

ausstellung (educational exhibition)

of the

general public

July 1933

reduced version of that

but were replaced by work by Archipenko

The

August 20-c September

a

works that had been loaned to Stuttgart bv

the Weltsknegsbucherei were not

der Zersetzuntj

and

NSDAP

Dresden, courtyard of the Neues Rathaus Etttartiti

September 23-October

artist

and director of

the kunstakademie, Willy Waldapfel. artist and councilman, and Walter Casch, of

exhibition included 42

Campendonk

commissioner

official art

and Skade,

Madcbm

Mannlicbes

{

Feinmger Drr KircrK

.ion

I

Crosz

hmdscbaft),

in

Minors admitted only

as

members

of

guided tours

dinsky Kirchner Selected reviews

Kokoschka Drr I

Dmdntr Nachncbtm, September September

Hliulrirrtrr Biobachler,

23,

December

22, 1933

Tscbum

1933 16,

Klee (Urn dm

iStrassrnsznit),

HriJoil,

Lange

Fiscfc),

(Slilirbrn mil roltr F\gur,

Scferrtars),

bild,

Madcben

scbajl,

m

Vfirlsstufcr

um Millmiacbl), Schmidt-Rottlutt

{Fraumbildms),

Otto Schubert

ters (MrrzfciH,

Rmgbdd), Segall (Dit

Subso/iifiil

mi

{Freud

(Latidxbafi mil utttergeboiaei

Kretzschmar (Drr Tod da

Diinrux),

Lange, Ludecke, Modersohn-Becker, Nolde,

Purchase prices were

O

Schubert, Segall, Vol I.

The

listed

Staatliches Filmarchiv in Potsdam-

Babelsberg has

in its collection

about ten minutes of

footage of this exhibition

hid), Schwit-

ra.ii/m

Wandtm),

i

A

Museum

Hagen, Stadtisches

Kumt

Rudolph (Rynilami-

Garten), Pechstein,

Tillfl

Rudolph, Schmidt-Rottluff,

Collande, Mueller iBadmde), Nolde {Frautnkopj, Garten-

1933, 1713-15, 1742

43 watercolors and 112

and others

Kiifzrn/rnW), Luthy {Madonna), Mitschke-

ilV

I,

by Dix

Sonne, Drr Slretcbbolzbamller), Felixmuller, Crosz,

RmilWt,

Kan-

mil Apjtl, Traum),

and Vol

of graphic art

Eva,

Ludecke, Marcks, Maskos

Heckel, Hofer, Hoffmann, Jacob, Kokoschka (Mix

Crundig, Hebert

(AtSmlrurrr),

liWrr), Hofer, Jacob (Knab,

works

by Hoffmann {Adam und

10 sculptures

mil blauem Haar),

IMulIrr und Kind),

Clmtroda), Felixmuller (Bildms

Olio Ruble, ScbSHhiit, Silbslbildms), Criebel (Madcben

(SrlbsAiUms), Heckel (S.tzoiJrr Mann], Heckrott

Dresden

Drtsdner Anztiger,

by among

paintings

oil

{Badendt}, Cassel

BiUim), Dix iKritpkrUppil, Drr Scbulzengrabrn),

1933

18,

Organized by Richard Muller,

The

others,

Kunst (Degenerate art)

II,

selection of works from the

Dresden

fCiwsl

Eiil.irlrlr

exhibition was contrasted to earlier German, Dutch,

(Art of two worlds!

zu'rirr Welten

Opened February

Flemish, and Italian artists, including Graff,

1934

Chodo-

wiecki, Rembrandt, and Rubens, and to acceptable

14,520 visitors

examples of twentieth-century

German

art

Selected reviews Haaentr Zoluni), February 10 and Wtstfaliscbt

Laniazatmg

—

Roll Erdi, February

VoWtszalmg, February

Ufelifrulscbr

1934

12,

and

13

14,

12,

1934

1934

A

Nuremberg, Stadtische Calene Entartete Kunst

Degenerate

|

Organized bv Emil

September 7-21,

of the 1935

such

1935

from the Dresden

shown

NSDAP

in

Entartete Kunst

Nuremberg on

rally, to

it

as Dix's fiildms der Tanztrin

the occasion

works

were added

local

Amta

already

Berber,

held up to ridicule in the 1933 Scbreckenskammer exhibi-

12,706 visitors

#U>cedinun#mifraec

Nuremberg (see above) The Stadtische Galene also organized an

tion in

-bolfdieanfttfrii«i

4ucMcglfWin£

selection of works

exhibition was

art)

Stahl, director

Selected reviews

Franker

Kunrr,

September

1935

7,

Semitic exhibition, Drr

.-

Numberger Zeitung, September 7-8, 1935 Volktscber Beobadler,

September

10,

Judensf>iegel

(The mirror

anti-

of the

Jews), to coincide with this Entartete Kunst exhibition

1935

Ottytui otmlO-tfilf -20 Ulir/lftnUiHspt ei's O.IOmitll

The

Dortmund, Haus der Kunst Figure 84

Poster for EnUutete Kunst, Dortmund, 1935

Entartete Kunst

(Degenerate

November l-December

8,

Organized by the

Dortmund and

1

the local

city of

exhibition contained forty-eight

sculptures,

art)

1935

art,

the leaders of

NSDAP

which were compared

tions of

oil

paintings, six

and forty watercolors and works of graphic to paintings

and reproduc-

works by Caspar David Friedrich, Kobell,

Leibl {Dorjpotitiker, Frauen

Thoma, and

Adults only

{Ruderer),

21,668 visitors

a Merzgedicht

m

der Kirche),

von Marees

others, a portrait of Hitler,

Selected reviews

Dortmund

November November 12, 1935

Dorlmunder Zeitung, Tremoma,

WestjaWbe Landeszettung— Rote

12

and

Erde,

27,

(see note 17)

1935

November

12

and

26, 1935

Regensburg, Kunst- und Cewerbeverein Entartete Kunst

(Degenerate

identical to that in D>

art)

January 12-26, 1936

Organized by the Kunst- und Gewerbeverem Regensburg Selected reviews Bayenscbe Ostmark, January 16 and 18-19, 1936

Munich, Alte Polizeidirektion, Weisser Saal £nlortmund exhibition

lune 20 Nit.

Selected reviews

DarmUlila Wochmscbau, no

DamsUdta

am

Frankfurt

hitjtklr kirns!

September

lune

24,

and

TadMatt, lune 21

On

Main, Volksbildungsheim '

I

>'

><

ii'

,ltc

I

.ii

<

view were the works from the Dortmund exhibi-

tion

I

1-30, 1936

1

Organized bv Krah durch Freude and the

Thoma

1-4

1936,

2,

1936

23,

1

and contrasting examples of "German"

A

Buhler,

art

by

Thoma, Scholderer and others

Ian

I

lesellschafl

Selected reviews

August

Nalimalblatt,

Frankfurter Volkshklt,

Breslau

Won

Schlcsisches

Liu

Museum

de

Th

lom-fm

Intellectual

i

17,

Crosz (Drr

(Srltsiporfrat),

Molzahn

Waldaimert),

1933

Organized by Wolf Marx, acting director

1936 10-11

36,

by Adler [Mamm/BitM

(,™trlurm)

Meidner

1918-1933)

Opened December

1936

9,

9,

bibition included fourteen oil pain

ing works

Kunsi Jrr Gtntaricbtung

1936

Wocbenvbau, 1936, no

Frankfurter

bildenden Kunste

30,

September

September

Frankfurter Zrttuna,

neue

l)i*

Oskar Moll

i

Bin

It

and

5

16,

/llustritTlf

Zritun?, 1934,

no

2-3

2,

]),

Fischer

Halle an der Saale, SdirtckrmlwmirK'r

November 27

Museum Montzburg

(Chamber

1935-c July

two works

ir

The Ha

of horrors)

since

1937

25,

mn

Organized by Hermann Schiebel, acting director

it

Brunei, Knysiriiji/irli, Feminger,

Crosz iDa

omething

xhibitii

was not

donntrn

of an exception,

temporary exhibition but

a

Oskar

sir

own modern

collection, including sculptures

and

oil

perma-

a

nent installation of the gallery's

art

paintings by

Kokoschka, Marc, and Nolde and

Feininger, Ktrchner,

Selected reviews M/ttddnlscrX

watercolors by Kandinsky

November

iViilioiMlzritun.j,

27,

1935

The

general public was admitted upon payment

of a special fee, beginning

were

Dessau, Anhaltischc Cemaldegalene

(Degenerate

September 19-October

Over

5,000 visitors

3,

1937

by October

they

Montzburg

1937 445

To commemorate

the tenth anniversary of

in

the

its

visi-

book

founding

Cemaldegalene mounted two exhi-

Neuerverbungm

au\ funf Jabrbumlertm

1937

25,

1936,

in a visitors'

names and addresses

bitions I.

18,

Calerie

tors entered their

the Anhaltische

art

names

in the Staatliche

Between that date and July

Halle)

Entartete Kunst

on October

also required to enter their

book (preserved

I

drr

Arrrulfmbm Gemaldegalene

Recent acquisitions from

five

centuries by the Anhaltische Cemaldegalene) and

Selected reviews Entartttt

Anhallrr Anzciger,

September

20,

October

Kunst For the

DnitHrir Allilmeine Znluna,

21,

Zeituna

in July of 1933 (see

above) were put on view again and supplemented by

September

September

22, 1937

and engravings by Bauhaus

art

22, 1937 ists

Kolkisclirr Brofiacrjrrr,

the works of the Bauhaus

had been exhibited

1937 portfolios of drawings

Ffiinlt/urifr

latter,

2-3, 1937 artists that

Drr MiltfUnilscrK, September

September

25,

and paintings by Crosz, lawlensky and Schmidt-

1937 Rottluff

Purchase prices were

listed

ZUSC HLAC

and

a

prose

Hciligt

com

Oskar Moll

Pechstein, Schlemmer, Schmidt-Rottluff

others,

and sixty watercolors, drawings, and

lftriloi(frs Piiiirl,

Klee iDir

Reading,.

PropbrliM, StnJsrfinsw/.iMrrmj,

graphic works by Campendonk, Dix iErmnerung an Spitgelsalt

Woman

Fntiltr

1933

\Tanzerm

I

mil

brass by Margarete Moll \Madcbmkopj, WeibWbt Fufir

December

Irom the

Vmcbitdnt Vorgauge), Hoetger Kandinsky Klrinr Wfllre portfolio), Kirchncr,

mneren Lett), Lcger

and Schlemmer

[Drei Frauen), three sculptures, including

ScMniscrw

Jurck

Mueller (£sd

(ZwAlingc),

Kind), Pechstein {Ebtpaar auj Palm),

Selected reviews Scfclrsrscbr Zeilung,

ludlinger

I

MmscM, Kokoschka,

lLirf>n(>u

Main, the Folkwang

am

would have ensued Only Wuppertal's

Viktor Dirksen, expressed gratitude for

works was 7530 reichsmarks,

/ennui

Rctltti's lists

archives (see note 79]

the Nationalgalene

Oehme ZA/NGA,

museums was asked about

of the art, since endless discussions

1949

.erhard Strauss, director of the

92 i

from various exchange contracts one Menzel, three

art

drawings by loseph Anton Koch, one Dreber and one 24,

iMnller in

oi

Amtz

defeated

ZA/NGA,

correspondence

of the

Wuppertal)

in

in

C

three parts

Frankfurt

in

Essen and the Stadtische Bildergalene

in

some

942/40, 970/41, and photocopies of

9,

are in the Arntz archives (see note 79), box

ItiK

oi the

establishment of a state commission for

Staats-

exchange contracts are preserved

by the Kulturabteilung dct Sowjetischen

l94o"

B

department

Strauss, eds, Ftstgabe an Carl Hcftt zum 70

Hans

(exh cat, Berlin Nationalgalene, 1989), 16-19, and Kurt Martin and Wolf-Dieter

^cmaldesammlungen, 1965) Copies

in

the

and

"Dubiose

on Fohn see Annegret landa, "Werke von

1984

hv

field

(

Aljnd Fkcbtbam Sammler. Kumthandfo.

Kunstmuseum

Koch im Tausch gcgen

his article,

tobei

Volksbildung

fur

drew up an inventory

in

oi

activities in the

12

volume and

in this

Deutsche Verwaltung

the

h

(

ultural

I

Irum the Zentralcs Staatsarchiv Potsdam, Best 50011015,

Ferdinand Mbila (

625

10

See also Huneke's essay

DusseldorJ

Berlin

loseph Anton

500

Hans von Flotow

ZA/NGA,

24,

Handler openeren im Dunst der Macht

exh

1939, for

J,

sold to

with excerpts and compilations by Andreas

Albert Peters and Stephan von Wiese eds Urffjfr

k tober

(

WWJfcni.

rurthei inquiries arc in

((

man administration lor education in the Soviet occupied zom the Ami fur Rutkluhrung von Kunstgutern tepartmeni lot tin

700 rcichsmarks, Rohllss

Ana Spec

ZA NGA

in

is

1017, -1018, -1019)

sold to Buchholz

this subject

1826 19

I

manuscript on

on

sold to Buchholz

1939

Author!; ation dated

Militaradministrarion

foi

already sold to Buchholz in 1937 for

SmmerMumen and Hoben und

S

700 rcichsmarks on

X u

Feininger*s Stgtiboott

sold to Buchholz for

(.ifr

K9

reundc dcr

I

sold to Buchhol

Gbosts

Lutroid Bovlqj Fmil sold to Buchholz (or

Bordeau>

ej

W/

ClodemUimn

Hfcs*

marks and Nolde

1939

2

Tablt unto

Gris's Bottfc

Braqucs

retchsmarks

a set lor Ibsen's

and

at

the

Dr Freimann planned an exhibition of works German museums that had been found in Boehmer's Rostock,

and then taken to Rostock, but she was prevented from proceeding with the

exhibition and dismissed (see Reutti documentation in the Arntz archives [see note

another exhibition planned toward the end of the 1950s

79],

box

21),

was

also

banned

in

Rostock

Figure 106

Confiscated works of "degenerate" art stored in Schloss Niederschonhausen, 1937, identifiable

work

is

by Dix, Hoter, Lehmbruck, and Rohlfs

Berlii

ANURIAS HUNEKI

On theTrail of Missing Masterpieces Modern Art from German

Forty

years after the

bition

opened

in

world that may be described as 'German

exhi-

Enliirtclf Kuttst

Munich

1937 Robert

in

think of the art of the

Scholz, one of the most important and

National Socialist

influential art critics of the

regime wrote Tliere if

it

can be no doubt that

this

It

demonstration was indefensible as >i

kokoschka Maikc Marc and

Inlv s

1941, Curlitt, letter

23,

il

canvas

«J

>m

4u

>

17

italoguc raisonne' Bercnd

Calene

M

i

Paul

Geier,

I

Geiei on loan t" the

t

incinnati,

confiscated

(

indnnati Art

Fischer

I

Ian

ird

Oil on canvas, 74 11

amhndge

in

in

(,clb

98

x

169

Munich Kunsthalle

(Two

blue and yellow

tats,

em (29%

x

!8'A in

Ruhmeshalle, Barmen, 1427 confiscated

Mam

|

in 1937,

Kunsi (16133)

1937 ischer

lot

SI 6,300, not sold

lot 89, est

Returned

wnd

)

I

Museum

liiiu

1912 (3I'A x 41V. in

Extciritir

the Busch Reisingei

C

Katzt,

1912

In

131

Folkwaruj Essen confiscated

I.. i

Stelnmeyci Lucerne 1939

cm

SI

8,400, sold lor

SF 4,100

Basel

Fitjurt ill

Mannheim

to the Kunsthalle

88, esl

Kunstmuseum

1940 by the Rcichspropaganda

B,i,W< Madeira (Girls bathing) Oil on canvas, 100 x 140

cm (39%

Catalogue raisonne Lankheit

x

55%

in

)

121

Werner Duecher, Dusseldorf, Stadrische Kunstsammlungen Dusseldorf, confiscated

in

1937

Fischer lot 91, est SF 4,200, sold for SF 3,300

VSgd (Birds)

Emil Buhrle, Zurich, Marlborough-Gerson Gallery

1914

Franz Marc Ebtr und Situ

Boar and sow

cm

(43% x 39%

in

)

Catalogue raisonne Lankheit 226

>

Maria Mart, Reid, Staatliche Gemaldegalenc, Dresden,

Sold as Wiukchwthu (Wild boars)

confiscated in 1937

1913

Oil on canvas, 73 x 56 5

cm

(28 'A x 22% in

Fischer lot 90, est

)

Ray

Catalogue raisonne Lankheit 202 Stadtisches

Museum

Montzburgl.

fur

Kunst und Kunstgewerbe

Fischer

lot 86. est

Hem Corny

SF

6,300, not sold

and Brandenburg,

Roden Berlm, Calerie Aenne Richartz-Museum, Cologne, Fleischerhauer 1954,

2M

Berlin, Galerie

Museum

Gerd

Abels, Cologne, Wallraf-

gilt of

W Berdeau,

Autohaus

Ludwig, Cologne

SF

New

5,000, sold for

SF 2,500

York, Collection Hasselblad,

Goteborg, 1961, Stadtische Galerie im Lenbachhaus,

Munich, 1983

Halle, 1924, confiscated in 1937,

En !,i r Mr KumsI (16141)

Fi^urr

London, Norton Simon Foundation, Los Angeles

Oil on canvas, 110 x 100 (

«^ *?5

Ewald Matare Liegende

Kub (Cow lying down)

Wood, 22 x 50 cm (8% x 19%

Ewald Matare in.)

Catalogue raisonne Schilling 27 Nationalgalene, Berlin, before 1928, confiscated Fischer lot

SF 400, sold

81, est

for

Hermann Rupf, Bern, by written Bern, Hermann and Margit Rupf

in

1937

SF 480

Kunstmuseum

bid,

Collection

Wmdkuh (Wind cow) (Cow standing) 31 8 cm (7% x \Th in

Sold as Stebatdt Kuh Bronze, 187 x

)

Catalogue raisonne Schilling 15a Nationalgalerie, Berlin, confiscated in 1937

Fischer

lot 82, est

SF 400, sold

for

SF 230

New

Curt Valentin, Buchholz Gallery

Mu

York,

Ludwig, Cologne

Gerhard Marcks Jostfund Maria (Joseph

Wood,

104 x 40 x 30

and Mary)

cm

3

(41 x 15 A x

11'/.

in

)

Staatliche Skulpturensammlung, Dresden,

confiscated in 1937 Fischer lot 84, est

SF

1,000, sold for

Curt Valentin, Buchholz Gallery

Wolfgang

Ketterer,

SF 510

New

York,

Calene

Munich, Galerie Nierendorf, Berln

Heinz vom Scheldt, Leverkusen

mm Henri Matisse btgaiJt (Reclining

woman)

1907

Henri Matisse

Fired clay, 34 x 47

Museum

Fischer lot 95, est

Theodor

cm

(13% x

18'/:

in

)

Folkwang, Essen, confiscated

Wolfer,

SF

2,100, sold for

Malmd

in

SF

1937

Baiters with a Turtle

Sold as 1,020

Dm

Frauen

(Thn

1908

Oil on canvas, 1791 x 2203

cm

(70 'A x 86V.

Karl Ernst Osthaus, Hagen, 1908,

Museum

in

)

Folkwang,

Essen, 1921, confiscated in 1937

He

i

Maris

Fischer

Saint Louis Art

1907 Oil on canvas, 73 x 59

Museum

cm

(28V. x

23%

Folkwang, Essen, confiscated

Fischer lot 96, est

Max

lot 93, est

SF

Mueller, Ascona,

SF

4,200, sold for

SF

9,100

Pierre Matisse for Joseph Pulitzer, Jr, Saint Louis,

Fliaslmdscbajt (River scene)

10,500, sold for

Kunstmuseum

in

)

in

1937

SF

5,100

Basel

Pulitzer, Jr,

Museum,

1964

gift of

Mr

The

and Mrs Joseph

1

Itnri M.it

SHlUfn

Still life

Oil on canvas, 93 x 81

cm !6% x

31

Robert von Hirsch. 1917, StSdtische

Rschei

Ray

in I

lalerii

SdbstbiUnis

I

confiscated in 1937

1917,

lot

M

est

W Berdeau.

New

for si

sunn

York, Calerie Beyeler,

BmHlrififeitrJ

Amedeu Modigliam

nude with amber chair DjmmMiiMis

1906 Oil on canvas, 60 x 50

B;

und Stadnsche Calcr

Stadelsches Kunstinstitut Frankfurt,

(//.i/lulti mil

(Self-portrait [Half-length

SF 4,200, sold

cm (23%

x 19

>

1967

Fischer

lot 97, est

Kunstmuseum

SF

1,200, sold for

(Portrait ut

Oil on canvas, 47

in

KestncrMuseum, Hannover, confiscated

in

1937

I

JO

x

,i

woman

cm

18!

'

\

in

II '.

Netter, Cans, Bernheim-Jeune, Paris,

Riccardo Cualino, Pans, Nationatgalerie,

SF 2,300

lierlin,

confiscated in 1937

Basel

Fischer

lot 98, est

SF

6,300, sold for SI

Lorenz Lehr, Switzerland,

December

Christie's,

6,600

London, auction

1984, lot 21, private collection

3,

Otto Mueller Zu'fi

c

MiiAhmithr (Two nude

girls)

1919

Tempera on canvas, 874

x

706 cm

(34 V. x 277. in

SF

DiimmMtiim

c

in 1937, Enterfrtr KuhsI (159951 lot 101, est

Otto Mueller

Frautn (Thi

1922

Tempera on canvas, Calerie

850, not sold

Enlarlrlr

Dr

Josef Haubrich, Cologne. 1942, Wallraf

Richartz-Museum, Cologne, 1946,

Museum

Fitfurr

309

gift of

1

195 x 88 5

Dr Coldschmidt, Dr

cm

147 x 347.

Dr Haubrich,

Ludwig, Cologne, 1976

Fischer

in

in

SF 600, sold

Saint Louis Art

Museum,

London, auction April

Museum,

Berlin,

)

1917

confiscated Fischer

for

SF 310

30,

1958, Christie's,

1989, lot 24,

Brucke

1989

Figure 306

BARRON

in

cm

1

37 'A x 26'.

in

1937

lot 99, est

Hildebrand

Kumt 115972) lot 100, est

Pierre Matisse for loseph Pulitzer, Jr, Saint Louis,

The

Portrait of a lady)

Wallraf-Richartz-Museum, Cologne,

Wallerstein, Berlin, 1927,

Kaiser-Wilhelm-Museum, Krefeld, confiscated

Sold for $50 to Hildebrand Curlitt, Hamburg,

<

Oil on canvas, 96 x 68

)

Nationalgalerie, Berlin, 1936 (on deposit), confiscated

Fischer

Otto Mueller Dra

SF 600, not sold

Curlitt,

Hamburg, present locatu

Em.l Nolde

Tanzmdi Kinder

Emil Nolde

(Kindcrreigen)

(Dancing children [Children

in a ring]

Emil Nolde

Kubmtlkn (Milk cows)

1909

Roir Abaidsannc (Brandling)

1913

cm

Oil on canvas, 74 x 88

129'/. x

347.

Oil on canvas, 86 x 100

Catalogue raisonne Urban 314

Landesmuseum, Oldenburg,

1,317 to

(337b x 39V«

Oil on canvas, 87 x 102

in.)

in 1937, Entarittt Kunsl

Erhard Arnstad, Zuri Fischer lot 108, est

1928, confiscated

(16098)

SF

cm

(3414 x 40'/. in

)

Catalogue raisonne Urban 557

Kaiser-Wilhelm-Museum, Krefeld,

Fischer lot 103, est SF 3,000, not sold

Sold for SF

cm

Catalogue raisonne Urban 583

1925, confisc

(Red sunset [Breakers])

1913

in

Rudolf Ibach, Barmen, 1921, Stadtische

Kunstsammlungen Dusseldorf,

4,200, sold for

SF 2,000

1935,

confiscated in 193:

Fischer lot 106, est SF 6,300, not sold

Richard Doetsche-Benzinger, Basel, Kaiser

Private collection, Galerie Crosshenning, Dusseldorf,

Wilhelm Museum,

private collection, Switzerland

Mr

Krefeld, gift of

Doetsche-Benzinger, 1949

Figurt 338

Emil Nolde lilumenijtirten

Emil Nolde

X

(Flo

r

garden X)

1926

and the adulteress)

1926

Oil on canvas, 72 5 x 88

<

Catalogue raisonne Urba Kunsthalle zu Kiel, 1929, Enlarltlr

n

(287i x 347. in

)

1025 ,

onfiscated in 1937,

Kunst (16186)

Fischer lot

us

105, est

SF

4,200, sold for

SF 2,100

Belgique, Brussels

Scnncnhlttmcn

Wind (Sunflowers

in

the wind)

1926

Oil on canvas, 86 x 106

cm (33%

x 40'A in

cm

Oil on canva

74 x 89

Catalogue raisonne Urban 1038

Catalogue

ra

>nne

Nationalgalerie, Berlin, 1929, confiscated in 1937,

Staatliche

&

laldegalene, Dresden, confiscated

Enlartrlr Kunst

Musees Royaux des Beaux-Arts de Fi^urt

Emil Nolde

Ojrislus und dit Sutidtrin (Christ

(15934)

Fischer lot 104, est

SF

(29'A x 35 in

)

Urban 1030

1937, Enlarlrlc Kunsl (16130) 3,800, sold for

Prof Fehr, Bern, private collection

Fi>rt 342

)

SF

1,800

Fischer lot 102, est SF 4,200, sold for SF 3,500 Private collection, Switzerland

i

(mil Nolde

lit^mm < ill

C

n't

um J

Red and yelkm begonias)

,idl<

on canvas

W

cm 29K Urban ion?

100

v

atalogue raisonnl

Stadtisches Fischer

Museum

lot 107, est

Erfurt

\

l

>'- in

confiscated in 1937

SF 4.20Q sold

Hans Lutgens Swicseriand

<

fot SI

1

'

private collection,

Switzerland

lules

Sitznia

Maicbm (Seated

frukiutt

Oil on canvas, 73 x 60

cm (28^

Breakfasti

cm

Oil on canvas, 82 x 65

110, est

lot

SF

Museum

Koninklijk

2,100, sold for

SF

1,700

voor Schone Kunsten, Antwerp

Musee des

Pechstein I

Morning hour)

Oil on canvas, 70 x 80 Stadtisches Fischer lot

Sold

in

Pechstein

GUidiolm (Gladiolas)

1917

Oil on canvas, 65 x 50

cm (25%

Kaiser- Friednch- Museum,

x 19V.

Magdeburg,

III

est

Present location

Oil on canvas, 118 x

SF 600, not sold

unknown

90 cm

x 35V, in

(46'/i

)

i

Nationalgalene, Berlin, confiscated in 1937 Fischer lot

confiscated in 1937 Fischer lot

Pechstein

(The smoker)

112,

est

Dr

Ehret, Lucerne.

sale

May

SF

1,700, sold for

Wolfgang

SF 820

Ketterer,

1988, private collection,

Muni

Pans

BARRON

Museum, 113,

est

SF

October 1939

unknown

Max

,,,

Beaux-Arts, Liege

Mor^rmlunifr

Drrfcuucfcrr

x 25V-

Fischer lot 109, est SF 1,200, sold for SF 2,400

Max

Max

32'',

i

Kunsthalle Hremen, confiscated in 1937

1937

Fischer

I

t923

x 23'A in

Staatliche Ccmaldegalerie, Dresden, confiscated in

Pascin

girl)

1908

cm

(27V, x

3

1

in

Leipzig, confiscated

in

1,200, not sold

for £10. present locati

1937

.^t^^.

Pablo Picasso Familimbili (Lt Jijntm sur Ihrbt it

\a fam.llt SolrrJ

(Family portrait [Soler family luncheon on the grass]) 1903

Oil on canvas, 150 x 200

cm

(59 x

78%

in

)

Catalogue raisonne Zervos 204

Wallraf-RichartzMuseum, Cologne, confiscated in 1937

Pablo Picasso

Absmtbtrmkerm (la buvaat assoapit)

Absinthe drinker [The dozing drinker])

I

1902

Oil on canvas, 80 x 62

cm

(31

'h

x

24%

in

)

Catalogue raisonne Zervos 120 Dalport,

Hamburger

Fischer lot

116,

est

Kunsthalle, confiscated in 1937

SF

Sold (or SF 42,000 to

73,500, not sold

Othmar Huber,

Clarus, 1942,

Foundation Huber, on loan to the Kunstmuseum Bern

SF

Fischer lot

1

Musee des

Beaux-Arts, Liege

14,

est

63,000, sold for

SF 36,000

i

Karl Schmidt RottluH landscape)

Hnbsllaxdtcbaft (Auti

1910 l

)il

.in

canvas, 87 x 95

cm MX I

Stadtische Kunstsammlung,

C

\

!7%

Karl Schmidt Rottlull

hemnita SrlfiiifiiMnn mil /:injl,n

confiscated in 1937 FiSChet lot I

121,

est

SoldasftUm: R

SI 400, not sold

k.4iii-

lit

Present location lui^i

m

S..UI ,h

Ascoim sif.i,.

I

,„

f

an \

in

,,n.j

(Portrait of

unknown

I

Self-portrait with

monocle

Set

R| Sell po

1910

Vscona

84x76 5 cm

Oil on canvas,

Street in Astoria'

Ludwig and Rosy Fischer Frankturt Stadtisches i

Ml

on canvas, 75 x 60

Catalogue raisonne'

cm

29'

K 23

Museum

in

Ffcchei

lot

ii" est

Sold for $25 to Ferdinand Moller Berlin

SF 1,700 not sold

Millci

I

Figure

i

Stadtisches

cm

(25'A x 31

'

'/i

in

)

Museum, Wuppertal-Elberleld.

hscated in 1937 Fischer lot

Theodor

Kisr

i

Lupins

in vase)

Oil on canvas, 73 x 65

cm

(28*

»

25%

in

Staatliche Gemaldegalerie, Dresden,

confiscated in 1937 Fischer

lot 122, est

SF

400, sold for

SF 310

Prof Fehr Bern, Calerie Ferdinand Moller, Cologne. 1956, private collection, Switzerland

125, est

Woller,

rdeVIa

WaUmtj Woodland path

River landscape)

Oil on canvas, 64 x 80

Mollcr-Garny 1961

171

Ma Flussumilscbafj

m

rau

..amy Cologne, Staatliche Musecn

gift ot Frail

Lupmcn

I

Preussischer Kulturbesitz, Nattonalgalerie, Berlin,

I

Karl Schmidt Rottluff

16052

Fischer lot 123, est SF 400, not sold

Dr Hans Peters, Bad Hon™ Museum, lagen 1950

Karl Ernst Osthaus

Kunsl und Kunstgewerbe (Moritzburg),

Halle, 1924, confiscated in 1937, Enljrlrlr Kunsl

\fagt ~42

Natkmalgalerie Berlin confiscated in 1937

Sold lor $150 to

tur

Oil on canvas,

60

x

73

cm 23% x 28%

in

Wallral-Richartz-Museum, Cologne, confiscated in 1937

SF

1,700,

Malmd

sold for SF 850

Fischer Beltie

lot

124, est

Thommen,

SF

850, sold for

SF 560

Basel, present location

unknown

Figure 133

The

vilification of jazz in the exhibition Enlartrlr

Diisseldorf,

1938

Mmik, Kunstpalast Ehrenhof,

Mil

A

I

I

A

I

M

I

V

k

I

Musical Facade for the Third Reich

The

Third Reich was

March i

21,

festively inaugurated

on

1933— "Der Tag von Potsdam"

Potsdam Day) Ludwig Neubeck's choral

work Deutscbland composed sion,

was heard on

lor the occa-

and the

national radio,

celebrated conductor Wilhelm lurtwangler was asked by Adoll

iThe mastersingers

Dl> Alrislcrsmi/rr von Niimbert)

of

Nuremberg),

at

German) movement, important

of

one

To Wagner

artistic representative

work

—

the creator of the

of art" that reintegrated

ritualistic expression), the

romantic

acknowledged by Hitler

contributed to the solemnity

rooted

in folk

and native

sion of the national

—

music, indeed,

tradition in order to

community

it

all

the arts

nationalist, the pre-

eminent subject of Nazi musicology and the maior fluence

logue Alfred Rosenberg, spoke at the Staatsoper, where an

pure

which Richard Wagner had been the most

the Berlin Staatsoper that evening In

served These sentiments National Socialism custom-

arily associated with the volkisch (national, in the sense of

into

German musicians everywhere Hamburg the Reich's chief ideo-

it

idealistic features of

Gnamtkunstioerk (the "total

"German" opera,

Hitler personally to perform Richard Wagner's

and the sociopolitical order

tradition,

accorded with the

intellectual in-

all art,

be

had

to

be

genuine expres-

a

would thus help

revitalize

enthusiastic supporter of the Nazis, general music director Karl

Bohm, conducted mystery

Wagnerian opera

Lohengrin, the magnificent

had impressed Hitler

as a

that

youth and with whose hero he shared the

composer Hans

and identitv

of origin

Music and race Music's redemptive qualities were promoted most vociferously by the

whose

Pfitzner,

disintegration of tonality

Music and In

politics: Collaboration

exchange

new government, which

avowed commitment

Indeed,

many

in

turn justified

and

to cultural renewal

full

economic

of the disastrous

unemployment

situation

for musicians at

—

helped

itself

by

its

and the incredibly high for singers

financial

as

complemented the

reported on June

16,

1933)

'

and

their

identified with the cultural policies of the

They

German) and

believed that the

held to be alienated from

its

tradition

and

official

modern

for

Many

largesse

music,

which they

and the public Traditionalists

reiected the critical art of the former era

—

the caustic texts of Bertolt

Brecht, the "decadent-degenerate" sounds of Kurt Weill, the "high-

Arnold Schoenberg, and

instead an art that confirmed and elevated

"primitive" jazz

German

inspiration

his attack

(all

and lews) were

terms by the Nazis with

in racialist

claimed as char-

on subversive atonality and

little

violence to

the original

new regime and the promnew state shared their dis-

approval of the condition and direction of

art" atonality of

harmony melody and

acteristically

In

— upholding

nature, native

1932 the schoolteacher and Untersturmfuhrer (SS deputy

commander) Richard Eichenauer established the racialist

Gollaboration was not due exclusively to opportunism

ised regeneration

of traditional

reformulated

need

to an active anti-

itself,

international conspiracy His radical conservative defense

jazz (identified with Bolshevism, Americanism,

security and recognition

beneficiaries of a "business as usual" attitude

many and anticipated an important arguwhen he attributed this "musical

of the National Socialists,

rate

Nazi totalitarianism

musicians' authoritarian habits

ment

and

voice teachers at 43 5 percent (compared to 28 percent general

unemployment,

clearly accorded with less stridently articulated conservative

ideas Pfitzner spoke for

German

not surprising in view

46 percent and

—

alarmist reaction in the 1920s to the

dissonance, twelve-tone theory, and alien

chaos," a symbol of threats to civilization

employment

musicians looked to the regime to increase

support of the arts and to create more jobs

of

at state functions in

tor official patronage, the musical establishment

legitimize the its

jazz

accordance with the tradition of performing

—

musicology with

his

book Musik und

basis of a

Riissf

new

(Music and race),

wherein he associated "degenerate" modern music with the Jews,

who were

"following a law of their race

reveal fixed, racially defined

German

"

Music was assumed to

characteristics and their Jewish

opposites Eichenauer deplored the excessive Jewish presence on

German concert

stages, at the

concert agencies,

in

the press and

educational institutions, from the academies to the Preussisches

Ministenum

fiir

Wissenschaft, Kunst, und Volksbildung (Prussian

ministry of science,

berg was

in

art,

and popular education), where Leo Kesten-

charge of music

independent of actual lews

Yet, ultimately

as a

"the lew"

played a role

manipulated demonic principle

in a

The musical "revolution" Upon the Nazi assumption

power

of

in early 1933 the

deutsche Kultur (Combat league for

fur

had been founded

German

Kampfbund

culture),

which

1928 by Rosenberg, applied the conservative

in

under Hinkel's leadership and

"olkisch-racialist principles

"revolution in the streets

Members

"

initiated a

and very active music

of a large

chapter including orchestras, choral groups, and other ensembles,

prominent musicians such

as violinist

Gustav Havemann, composer

Paul Graener, music journalist Fritz Stege, Strobel, leading educators,

and public

Wagner

officials

scholar

joined the

Otto

SA

(Sturm-

abteilung, storm troops) in disrupting concerts of "enemies,"

issued militant manifestos, pressured institutions into coordination (Qeichschaltung) with the

new

political order,

and purged musical

own

personnel and the concert repertoire, while promoting their careers

The word was

would be favored

out that party members would be hired

first,

and would have their compositions

for promotion,

performed and aired on the radio While hundreds of defamed Figure 134

Hans Hinkel

(center) a! a lectu

:

by Joseph Goebbels, November

musicians, including conductors Carl Ebert, Fritz Busch, 15,

KJemperer, Bruno Walter, and

Hermann Scherchen, were chased

from German stages and out of the country others ambitious Herbert von Karajan, for example

secured places

all

"degenerate" aspects of the music of Jews and Jewish-

influenced Aryans alike, regardless of their particular musical orientation

In fact,

Jews were too small

a

among

93,857 career musicians

—

a

tion

2

Weimar

percentage of 2 04,

Ironically these Jewish musicians

cal, late

at

Republic, before Jewish emigra-

romantic, and folkloristic This

is

own

art as largely classi-

revealed

in

most important

in 1933

the programs

Third Reich,

state

sioner for education and Obersturmfuhrer (SS chief

Hans Hinkel gists in

(fig

134)

his analysis of the

purges

in

Jews

commander)

in

an alien culture

by

that

in justification of

the

in

new

cultural orga-

and compositions

cultural realm

title

Nazi

was equally impressive

for

its

apparent unity state

The "spontaneous and the Kampfbund

revolution" of the local party units, the SA,

deutsche Kultur was

fur

in fact

manipulated to

serve the totalitarian ambitions of the regime Hitler's parallel "legal"

many people

in

the civil service and the

undermined the Constitution

to a

greater degree than street action, even though these measures were

commis-

based on presidential emergency powers defined

concentrating on "the Jew

music," using Wagner's well-known essay

musicians

aware of the resurgent might of the German state and army the

cultural professions, actually

Nonetheless, music journalists and musicolo-

joined Nazi cultural policymakers

German

More and more

nizations that carried out the purges, and contributed thousands

measures, comforting to

under the supervision of one of the

arts organizers in the

young and

support, and vitality

of the segregated Judischer Kulturbund (Jewish cultural league),

which was established

peted for vacant jobs, assumed positions

and audiences actually shared

their persecutors' traditional views of their

musical order

the

with Nazi texts dedicated to Hitler While the world was becoming

which music historian Fred Prieberg allows to have been doubled the most during the late

new

—

joined the party and

of solidarity proclamations, performances, articles,

minority to explain music's

alleged crisis the professional census of June 1933 listed 1,915 religious Jews

in the

—

demonstrated nationalist sentiment, denounced colleagues, com-

society of anti-Semitic assumptions, a mythical abstraction associ-

ated with

Otto

1935

for

Weimar Constitution Two days

in Article

after the ceremonial

the Ermachtigungsgesetz (Enabling law) of

March

48 of the

"Potsdam Day"

23, 1933,

abol-

ished the Reichstag (Parliament) and established the dictatorship of the

new

"national" government, thus binding those

acquiesced to and even endorsed each step

power

thrust toward dictatorial

tag its

was

Henceforth, the

shell of a Reichs-

ridiculed as the world's best-paid choral society because

members continued

a year to listen to a al/es

3

who had

in this terrorist-legalistic

to

draw

salaries for

meeting once or twice

speech by Hitler and to sing DtutscMand

and the Horst-Wessel

Nazi martyr sung on

all

Lied,

an

SA song commemorating an

festive occasions

iiber

early

he government meanwhile, pursued

I

itarian policies

The Gesetz

April, 1933 t ti

ms

1 1

organized an

It

'ml ess

ii

ma

ami Semitic and

total-

zur Wiederherstellung des Berufsbeamten-

seivu e restoration act) of April

civil

I

its

boyi "it ol lewish stores foi

official

denial ol jobs to "non-Aryans,"

with

7,

its

Communists and others "who cannot

be trusted to support the national state without reservation

foi

malized the bloodletting within musical ranks This crucial law reassured the beneficiaries of Nazi patronage and revealed to anxious victims the true nature of the regime Bureaucrats issued question naires to

members

Preussische

In

Schoenberg and

I

wave

tem and an acknowledged leader impossible to

ol dismissal

make

of

of the arts, in

ranz Schreker were notified of

Schoenberg, the formulator

their dismissals

it

a

the music department of the prestigious

Akademie der Kunste (Prussian academy

Berlin professors

found

and

ol public institutions,

notices soon followed

of the twelve-tone sys-

contemporary musical thought,

Germany A s

a living in

giant to his

admirers, a lew and "destroyer of tonality" to the Nazis I

iguxe

A .is

1

'

I3S

fig

,

iS

display in the exhibition Entartett

koktm hka saw him

AlusiA-

denigrating "the lew Arnold Schonberg-

"

Schoenberg represented music's

the

crisis,

embodiment

anathemas within the realm of serious music identified as "the aesthetics of musical

— what

impotence

""

landscape of

German

all

Pfitzner

had in

a

many

community and

the

serious gap

music, the Nazis viewed his expulsion as

a precondition for musical reconstruction along volkisch lines situation, as in

the

Although

eyes of later historians Schoenberg' s departure created in the

of

In this

others, the promise of a revitalized national

culture

was formulated

legally

and implemented

organizationally while contradictions were rationalized and excessive ruthlessness dismissed as necessary and temporary In

of the

months

the early

need

of the

Third Reich Hitler never

to secure popular legitimacy

by broadening

lost sight

the base of

support for his minority regime Music contributed significantly by

propagating the in

romantic-Dolfeiscfc

component

of National Socialism

thousands of awe-inspiring Hitler hymns, cantatas, oratorios, and

other patriotic choral works, in addition to traditional and newly

composed

folk

songs and military and

were sung by children i

Hitler youth,

fig

136),

at

political fighting

songs These

school and on hikes, the Hitler lugend

student organizations, the SA, the army

popular choral societies such as the Deutscher Sangerbund (German choral association), Kraft durch Freude (Strength through joy) the recreational organization of the gigantic Deutsche Arbeitsfront Figure 136

(German

A

festivals,

Hitler lugend songtest, Berlin, August 1935

labor front)

tional occasion in

The promise

of volkisch idealism

"the singing nation," especially

effective a

— and every other conceivable group

party congresses, and on every possible

means

official

was indeed realized

among German youth

of indoctrination that

at their

and recrea-

—

most

a

would intoxicate and inculcate

sense of belonging, identity and mission

7

Yet this expression of

manipulated popular culture was also promoted to inspire the composers of serious music rediscover

its

German

"high culture" was meant to

roots in native tradition and song

Goebbels and the enlistment All

government

ministries

of the arts

new

projection of popular enthusiasm for the

was exercised by the

the endeavor

Propaganda (Reich minister

for national

ganda) Joseph Goebbels

March

In

had announced the creation of

[RKK]),

installed

enlightenment and propa-

Hindenburg

of 1933 President

purpose of disseminating among the people the

for the

mechanism,

Volksaufklarung und

Propagandaministerium (Ministry of

a

government and the

ideas of the tional

order, but leadership in

fiir

The

national revolution

organiza-

Reichskulturkammer (Reich chamber of culture

a

by

a

law of September 22, included chambers of

literature, journalism, radio, theater, music, film,

and

implementing ordinance designated Goebbels president of the

and instructed him to appoint individual chamber presidents

were to report to him Membership

who were engaged

in

RKK

who

in this representational (but also

controlling and censoring) agency was fessionals

An

visual arts

made compulsory

for

all

pro-

the production and dissemination of

became

effective instruments of

propaganda Newspaper editors

a

films

duty The

film industry

produced eleven hundred feature

Tendenzjilme [literally, "films

illustrated but did not

more than

half

with

purpose,"

a

mention National Socialism]), while

were simply entertainment, which assumed an

increasingly important role in Goebbels

propaganda Composers such fame, creator of

films

to tune in as a

propaganda (supplemented by many documentaries, news-

and so-called

which

Pittr

jokingly called Goeb-

during the Third Reich, only one-sixth of which were devoted

to overt reels,

(Goebbels snouts)

growing audience was

— — and encouragement

secured by the production of cheap radios

patriotic

Radio program-

at official press briefings

ming was managed by Nazi personnel, and

bclsscbnauzai

as

s

a

order of musical creativity and

A

opera

Max

many

The

developments

latest

all

press, especially the Volhscber Beobacbter,

to

be the

an

official bulletin of

official

organ of the the

German music

in

music were also reported

in

"Lili

Marlene"

popular opera, Der scbwarze

RKK

in the

party

which Goebbels selected

and, toward the

end

of the year,

Reichsmusikkammer (Reich chamber of

The party also founded new music journals, such as (German musical culture), which was committed

music [RMK])

Deutsche Musikkultur

to the uo/fa'scfc-Nazi position in music

the personnel

lists

of the

Music

journalism), finalized in 1936, the year in political press

critics

were included

which

a

weekly

cultural-

conference was added to the daily briefings

at the

Propagandaministerium

Zeiischrift fur Mustkwissenschaft

traditional format

first in

however, and

in

under the editorship of the renowned musi-

No

cologist Alfred Einstein

issue

January 1934 the

was published issue that

in the fall of 1933,

appeared concentrated

introduction on the impact of politics on scholarship

in its

"The

Deutsche Musikgesellschaft [German musical association] understood the

call for national

replaced Einstein,

who

unity and solidarity"

Max

Schneider had

emigrated to the United States Henceforth,

musicologists would contribute their prestige to the support of Nazi

musical policy by helping to define standards of acceptable native

"Aryan" [arkigene) and "alien" in cultural

and

racial

(artfremde)

terms

or "degenerate" (ottartek)

They rewrote

the musical past in

accordance with these new categories to evaluate German musicians as heroes, possible precursors

and prophets, while the words, deeds,

and musical achievements of Bach, Beethoven, Handel,

Schiitz,

firmation of Nazi ideals and thus distorted to help project the

revolution

was

solved,

also evident in music journals in early

and reconstituted Those journals that had already sympa-

thized with the

"German viewpoint," such

ideological basis of a

as the Zeilschnft fur

(Journal of music), expressed confidence in the

Musik

new order and

repre-

At ber

15,

his

new music

for the

1933,

Goebbels had attempted to capture the new

(steel

its

hard as

problems German steel

art of the next

its

time,

decades

and romantic, sentimental and

it

has to con-

will

be heroic,

factual, natural with

with

romanticism), which journalists and scholars turned into a pos-

genuine "German" music The gap

"degenerate" and "Jewish-dominated" music was to be

wants to shape

spirit

the catchy and frequently cited expression "stahlerne Romantik"

The respectable Die Musik (Music) identified with "the new Germany" in its edition of June 1933, in which Goebbels himself "If art

con-

Third Reich

tulate for

G/f/cfcscfcaltMH^

in

speech inaugurating the Reichskulturkammer on Novem-

sented government policies Apolitical journals gradually suffered

addressed the reader

The

(Journal of musicology) continued at

and newsreels including catchy

The Nazi

in

Reichspressekammer (Reich chamber of

Schumann, and especially Bruckner and Wagner were cited

tunes and marching songs

new

subsequent ones,

personnel changes taking place

(Black Peter), which premiered in 1936, contributed music for hit

not

will

it

and

prospective national or "people's"

a

bulletin section in this issue, as in

listed the

1933 Milos and other progressive publications were purged, dis-

front

or

defined "native" and "racially alien" music, and theorized about a

music

refined understanding of

Norbert Schultze of

many other songs and

—

Bullerian, Paul Graener,

Professional musicological journals were also transformed

Largely nationalized, the press, radio networks, and film indus-

received daily instruction

be binding and demanding

will

Trapp agreed, they attacked the proponents of the avant-garde,

public information and artistic expression

try

it

be" The Nazi composers Hans

in the

producer and manipulator

brilliant

and sounds, Reichsminister

of images, ideas,

propaganda)

great pathos, and

and party agencies collaborated

new

expression of National Socialist realism

left

A

by the purges

of

by

this

people's opera

was

filled

sought to replace the purged symbols of "cultural Bolshevism" Alban Berg's Wo2Zeck, Ernst Krenek's Jcrnny

and

Weill's Die Dreijfroschenoper

spiell

auf (Johnny strikes up),

(The threepenny opera) Thousands

of choral works with patriotic texts were submitted to the

many

party- and state-sponsored competitions, festivals, and traditional

performance

halls

by the

six

thousand composer members of the

Reichsmusikkammer, including George Blumensaat,

Hans

gence a

ol a

I

aesai Bresgen,

Gerhard Maase Helmut Majewski, Heinrich Sputa

Friedrich lung

and Richard

(

Hansheinrich Dransmann, lohannes Ciinthei

Bullerian

r ii

name

tn

iik

musical genius

.1

few

lopes wen- high for

I

who might convey

new form Some thought most promising

tin-

enter-

the spirit of the time in

the talent of the voting

Gottfried Mullet; whose "Deutsches Heldenrequiem" (Requiem a

German

foi

hero), dedicated "into the hands ot the Rihrer" in 193

I

excited even distinguished critics Others looked to young compos-

Werner

ers of opera, especially

enchanted hddle)

of 1935

libretto, as well as

its

F.gk,

whose

was well received

harmony

traditional

(The

Ihc Ztiubtrgagt lot its lolk

— he spoke

tunes and of "steel dia-

tonic" in an obvious reference to Goebbels's "steel romanticism"

was

spite of an orchestral score that

—

suspect, to Nazi critics, lor

in

its

dissonances

Centralized music: The Reichsmusikkammer

Music was integrated

into the

and ideologically and

it

new order

prospered, albeit

legally organizationally

manipulated form the

in

Reichsmusikkammer represented musicians, but

also controlled

it

them Gradually however, Nazi leadership was supplanted by Nazihed members

Gontinulty was provided by

of the profession

distinguished leaders

— Richard

Germany's greatest

Strauss,

its

living

composer, was president, and Furtwangler, the most authoritative

German

personality in a

music, was deputy president

(fig

137)

governing council, and the more than 150 absorbed professional

associations,

through which individuals joined and were screened

questionnaire until 1936

RMK

that point the

when

began

the

membership

to function as a virtual ministry that

began to represent musicians abroad foreign service

A

network of

in

even

concert with the manipulated

offices at the local level

community with over 5,000

representatives in each

via

was closed At

list

and

of 1,140

inhabitants

ensured compliance with national policy and economic stability for the

Wilhelm Furtwangler

more than 170,000

fited

Figure 137 lelt

Rcichskulturkammer. Berlin.

and Richard Strauss

November

15,

1933

at

the opening of the

for

from generous

music

members

professional

state

at all levels of

and party

German

society,

ability of specialist positions in the

(as of 1939),

subsidies, an

many

who

bene-

expanding market

and the increasing

avail-

party offices and ensembles

such as the Nationalsozialistes Reichssymphonieorchester (National Socialist Reich

Franz

in their

Erich Kloss, which performed

brown tuxedos designed by

managed most

symphony orchestra [NSRSO]) under

Adam and

to incorporate the popular

significantly the gigantic

at

the batons of

home and abroad

Hitler himself Goebbels also

amateur choral associations,

Deutscher Sangerbund of nearly

800,000 members, whose patriotic tradition invited Nazi manipulation

and made

machinery

of

it

too important to be

left

out of the formal

propaganda

Music was thus centrally controlled, and conservative tionalists

who had

tradi-

looked forward to the reconstruction of an

authoritarian administration of culture, dedicated to the interests of professional musicians and

viilkiscb

principles,

were reassured by the

Reichsmusikkammer Yet the

institutionalized revolution violated the

sense of security, comfort, and certainty, the

principles of

official

leadership invited arbitrariness and competition Denunciations, terror,

Coebbels's hands threatened

and

power struggles continued

pressure to conform, dismissals, and

to intimidate a captive profession

The

concentration of power

Alarmed by the purges and

rival leaders

standards, Furtwangler, the custodian of the

wrote an

tradition,

article

on April

standards and integrity including

Germany

a voice in

threats to musical

honored symphonic

1933, in

7,

its

defense of musical

Jewish component

and Reinhardt, and the

Walter, Klemperer,

Strauss

the

8

RMK

also forced to resign as

Gestapo intercepted

ish librettist

defamed com-

Furtwangler's resig-

in

positions and his temporary withdrawal from

all official

was

like

the future" Again, in late 1934, he challenged

in

poser Paul Hindemith, an action that resulted

public appearances

"Men

must be able to have

like,

the state directly by demonstrating on behalf of the

nation from

in

institutions, traditional authorities,

a

compromising

Stefan Zweig, to

whom

president in 1935 after

letter to his

he excused

long-time Jew-

his collaboration

Figure 138

Furtwangler takes

among

a

bow

by the

after a concert

Berlin Philharmonic

row are Hermann Goring, Adolf

the notables in the front

on May

Hitler,

3,

1935,

and Joseph

Goebbels

with the Nazis as "miming" the role of president, the letter only

aggravating an already strained relationship with the authorities

Even

his successor, the

thetic to

notices based tion act

conductor Peter Raabe

Nazi policy and

—

on the "Aryan" paragraph

ran into difficulties

programming

when he

more sympa-

of the civil service restora-

resisted interference in the

German music

association) in

Personnel

lists,

trust his

own

appointees

at

the

compositions, and programs had to be submit-

ted for approval through a music office at his ministry run by the ex-

conductor Heinz Drewes,

who became

increasingly important as his

special music advisor In addition to Coebbels's violation of centralization

and delegated authority

and ministers vied

to influence

Goring and Rudolf Hess, but

the musical establishment under Coebbels's direction and patronage

proved more useful

promote an image

which he presided

Goebbels apparently did not

RMK

far

of the music festival of the venerable Allgemeiner

deutscher Musikverein (General 1936, over

—

willing, unlike Strauss, to sign dismissal

own realm, other Nazi leaders German music Not only Hermann in his

Robert Ley and edu-

also labor leader

cation minister Bernhard Rust joined Hitler and Goebbels in issuing

was most seriously

instructions to musicians Coebbels's authority

in

1936 as an instrument of policy designed to

of cultural vitality

government had realized than the

SA

for

its

that

and standards

planned war)

Music was enlisted

in the

campaign

to

mounting foreign and emigre

hostility over racist legislation, acts

of brutality aggressive international posturing,

Glticbscbaltmg measures

While

German performers went on German cultural excellence and the

contribute to this cultural facade, eign tours to demonstrate

permit Germans to participate

Olympic

and Coebbels's pragmatism

year,

Kampfbund larger

when

fur

all

set the general tone in the

Germany was turned

into a stage

The

deutsche Kultur had been absorbed by Rosenberg's

and more disciplined Nationalsozialistische Kulturgemeinde

ducted

in

Vienna

in early 1936,

podium

as an "apolitical" artist,

crowd While he made himself

ganda over the implementation of

priority of propa-

volkiscb ideas in

music While the

at the

1936 to

Salzburg Festival

in 1937''

even though he continued to violate

useful

by leading the Berlin

Phil-

harmonic (the preeminent German orchestra under Goebbels's authority,

fig

138),

conducting

at the

Bayreuth Festival (which

and protection), signing

enjoyed

events and satisfy the interests and goals of

tract with Coring's Berliner Staatsoper,

I'dlfascb-Nazi followers,

in

Bohm con-

and Furtwangler and actor Werner

Nationalsozialistische Kulturgemeinde continued to stage musical its

life

which he was attacked by the Rosenberg

jected to Reichskulturkammer regulations Hinkel's shift from

was symptomatic of the

worked out

Austrian musical

Furtwangler had indeed been rehabilitated, he returned to the

ideological standards, for

RKK

in

Krauss were allowed to perform

(National Socialist cultural community), which, in turn, was sub-

Rosenberg to the

for-

regime's generous support of the arts After years of conflict with

the Austrian government, a modus viomdi was

tially over,

and continuing

foreign musicians were invited to

on

to insist

enhance Germany's

international prestige and to counter international boycotts and

challenged by his

enemy Rosenberg, who could always be counted on ideological purity Yet by 1936 the conflict was essen-

(just as the

needed the regular army rather

it

Hitler's personal affection

a

con-

and leading tours abroad,

he withheld

be

participation

hi*,

Mom

on

occasion deemed bv him to

,inv

remaining and performing

in

persecution

ol

1

mally acknowledged with a portrait of the luhrer

a

silver-

was

for-

framed, personally dedicated

and

living

opera composer

opera

Fritdenstag

in

(Day

of

official

Judtis

remained the most performed

Germany during

in

Munich

in

1937

participated at official functions, and continued to

preside over the Standiger Rat fur Internationale

Zusammenarbeit

who probed

a

The

of the arts

great masters

their racial

background

Handel's Old Testament oratorios,

ideal of a people's

he wrote,

opera was

Nazi text was performed on

The

still

promoted, no

German

a

stage dur

musicologist Eugen Schmitz allowed for the

dramatic rendering of the tenor,"

defense

music criticism

In practice,

in the professional journals

ing the Third Reich

the 1935-36 season His

peace) was premiered

— announced on a

Maccabeus was renamed Der FeUherr iThe general'

Nazi opera with

disgrace to lend his

ol ideologists

librettos, as in the case of

where

including musii

might even be construed as

were also protected from zealots

Although the

bounced back from

He

1936,

27,

i

replacement by commentary"

continued unabated

ideological 1936,

its

is,

from the petty attacks

his

gold and ivory conductor's baton with

prestige to the cultural facade

He composed,

25,

that

November

from Coebbels

flattering greeting

Strauss also

and

he value of

Germany outweighed

inconsistency however his birthday on lanuary

—

icism

disturbing to his Nazi detractors were his intercession for

and association with the victims

a

Goebbels's later sensational ban on art

and he refused to perform Nazi music

explicitly political

of

life

"this sort of

Horst Wcssel, "but

as an operatic

hero could easily deteriorate into that

form of nationalistic kitsch denounced by the National Socialist state and forbidden on cultural grounds' n Traditional opera, on the other

der Komponisten (Permanent council for international cooperation

hand, remained popular and a major social event, as before and after

among composers German chapter of

man

i,

a

propaganda vehicle created to replace the

the

defamed

International Society for

the Nazi period Reich dramaturg Rainer Schlosser encouraged Ger-

Contempo-

rary Music

theaters to offer at least

one new work each season, and

164

operas were indeed premiered during the Third Reich, including

works with modernist features By 1935-36

a

younger generation of

Music's resurgence

promising composers such as Werner Egk, Ottmar Gerster, Her-

The regimes need for a cultural facade clearly benefited musicians who had survived the purges and made the necessary adjustments Unemployment dropped from 23,889 in 1933 to 14,547 in 1936 In the

mann

comeback

held of composition the traditional order celebrated a

many composers began

and Rudolf Wagner-Regeny achieved breakthroughs

party press and parts of the public as reminiscent of Hindemith,

Schoenberg, and Igor Stravinsky but operas that were performed

After three years of intimidation, purges, and the imposition of

extramusical standards on composition

Reutter,

with operas that incorporated musical elements denounced by the

and to

also praised

of the fanatics

ism of an explicit Nazi program but rather as the expression of a

would stage the

music more consistent with the tradition of autonomy and

Diisseldorf

The

tions of intrinsic musical tension

influential editor of Die Musik,

friednch Herzog, referred to National Socialism explicitly

imposed but nonetheless expressed

Goebbels himself admitted art but

had to

restrict itself to

in

as a vital force not

new

musical forms

that the state could not

its

assump-

was no substitute

political press

for

conferences

good

Shortly after the

first

later

cultural-

prizes, subventions,

officially

art form,

acknowledged

known

failure in

attempts to foster this unique

its

as Tbwt)-Tbeater (Assembly-theater), "

to have expressed the

1

which was

Nazi revolutionary experience This was

a significant revision of official

policy and a concession to artistic

continued to be supported, but not

volkisch

in

sentiment

The

the place of high art

latter

com-

announcing

commissions, and other support for compositions

festivals

devoted to the masters

international festivals for tions;

Reich

—

tional, i>olfascfc-Nazi,

The major

—

a

Bach, Beethoven,

Wagner and others, city festivals, local and new music and for volkisch choral associa-

festivals of the Nationalsozialistische

and the Hitler lugend

professionalism and competence that could better serve the pro-

pagandists needs of the regime than

in

and special performances There were typical opera performances

Handel, Mozart, Strauss,

it

in

measure of music's resistance

competitions, hosting about seventy major festivals, and offering

and premieres,

later

a

verein, rejected outside interference

no longer encouraged Nazi open-air

and one year

It is

against political pressure that even a Nazi like Raabe, president of

informed the select assembled feuilleton editors that the government festivals,

1936 Allgethe objection

Musik (Degenerate music) exhibition

Entifrtrtf

two years

peted with party leaders and party organizations

1936 the Propagandaministerium

in July of

at the

Weimar over

Typically in 1936 cities and traditional musical societies

promotion Goring and Hinkel

art

was performed

festival in

both the Reichsmusikkammer and the Allgemeiner deutscher Musik-

produce

expressed similar opinions about sentiment, which, however valuable,

Faust

Hans Severus Ziegler and Otto zur Nedden, who

interpret Goebbels's "steel romanticism" not as the crude functional-

its

" Reutter's

meiner deutscher Musikvercin

Kulturgemeinde

season of a tremendous range of tradi-

and even "new" musical offerings

event of the

summer

was, of course, the Olympics,

an occasion to advertise Berlin as an international music center as well

The

RMK

staged an international competition for composers

of music expressive of

committees selected

Olympic and

finalists

from

athletic ideals After national

a paltry nine (out of forty-nine)

German

participating countries, an "international" jury stacked with

musicians of clear Nazi persuasion

—

including major Nazi musical

Schumann,

Fritz Stein,

and Trapp,

of Italy

— awarded gold medals

commissioned

and Francesco Malipiero

for his officially

medals to Kurt

Olympiade

Thomas

for his 'Kantate zur

and to the

1936" (Cantata for the 1936 Olympics)

Lino Liviabella for his "Der Sieger" (The victor), and to the

As

Czech

Jaroslav

in the athletic

tional look, but

of

German

it

Kncka

for his

a

to

fliers)

demonstration

in a

superiority

Musicians contributed heavily to the Olympic pageantry with

and the young Carl Orff,

who was

the beneficiary of other commis-

sions such as that for 5,000 reichsmarks

from the city of Frankfurt

"Aryan" incidental music for Shakespeare's

one

of forty-four efforts during the

stitute for the classic festivities,

music by Strauss

festival

A

Midsummer

Third Reich

Nitjht's

produce

to

new

a

of festivals

research center in

Much contemporary

May

commemoration

of

22 he

Wagner's

music was offered that

year,

Kulturgemeinde and the Hitler Jugend

festivals, traditional,

and inter-

The Allgemeiner deutscher

for

Dream,

Musikverein, which had been

had continued

founded

in 1859

music

at

its

nizers

were forced to remove works of Anton Webern and Walter

by Franz

festivals

Liszt,

Braunsfeld from the program

in

its

orga-

1934 President Raabe had to defend

integrity in 1936, he lost the fight against Gleicbschaltung in

now noted

year, 1937, In

to offer "progressive"

during the Third Reich, even though

1938 the

for the

first

its last

for the presentation of Orff's Carmina Buraita

Reichsmusikkammer took over Reichsmusiktage (Reich

music

pices and the close supervision of

its

function and prepared

festival)

under

its

Goebbels and Drewes

own

aus-

in

collaboration with Kraft durch Freude

a sub-

by the lew Mendelssohn Outside the Olympic

foreign musicians such as the Vienna Boys Choir, the

London Philharmonic, established chamber ensembles, and tional stars

interna-

Fyodor Chaliapin, Marie Costes, Claudio Arrau, and

Alfred Cortot,

among

performed

others,

in Berlin,

which helped to

justify the city's claim to internationalism

The

cultural facade even included

promotion of the

the Jiidischer Kulturbund, neatly segregated from

but manipulated

activities of

German

culture

1936 to impress the world with Nazi ideological

in

consistency as well as generosity Supervisor Hinkel deplored the lack of publicity about the Kulturbund, with nearly 40,000 in Berlin alone,

forty to fifty

audience of about 600,000 that they attend

opera

in Berlin,

Singer,

some

weekly events

He

(fig

139),

members

and an annual

suggested to ten newspaper editors

of these performances,

and conduct interviews with

which included grand its

president,

Dr Kurt

and other leaders To counter foreign attacks on Nazi policy

Hinkel allowed the famous Rose Quartet, a

member

of the Kultur

bund, to appear abroad, and he permitted mention of "exceptional Jews," such as the

composer Leo

Blech, in

German concert

life

Foreigners were assured that segregation fostered each people's

Figure 139

The chorus Berlin,

indigenous talents

The Nazis

invited the world to observe the sepa-

rate but culturally flourishing activity of Jews in

Music pics

festivals

Germany 14

continued to flourish after the year of the Olym-

Here was an opportunity

to display the

full

range of "Aryanized"

music Party leaders sponsored these events, they attended and identified

with "this profoundest expression of the

German music " Their announcements to such an extent that eventually

German

spirit

of competitions proliferated

Goebbels

insisted

on approving

was

at the Nationalsozialistische

its

performances and compositions, including

complement

encompassing the rolfascb-Nazi variety

Italian

bronze medal

"Euch Fliegern" (To you,

win and overwhelm

full

national festivals

competition, the Nazi state sported an interna-

wanted

A

addition to the traditional offerings, Hitler con-

"new" sounds Baden-Baden, Stuttgart, and Wiesbaden hosted

commissioned and well-known "Olympische Festmusik" (Olympic festival music), silver

In

125th birthday

work

to Paul Hoffer for his choral

"Olympischer Schwur" (Olympic oath) and to Egk

in 1938

centrated on the holy of holies at Bayreuth, where on

two sympathetic

as well as

foreigners, Yrjo Kilpinen of Finland

hosted

Ceorg

organizers Craener, Havemann, Heinz Ihlert, Raabe,

any award over 2,000 reichsmarks

of the ludischer Kulturbund,

February

I,

1936

under the direction

of Berthuld Sander,

The Reichsmusiktage May 22-29, 1938 I

musk

Festivals in the Future

opened on May 22

the Rcicbsmusiklagt

in

community'' were punctuated by attacks on symptoms

and the

site ol

conventions

—

by the French occupation authorities

"the

"musical

RMK

tured

Friednch Flonan This inspiring event, labeled

members

NSRSO

as well

.is

German

municipalities), musical offerings

who performed in and industrial plants The

choral groups,

a

by

provided Goebbels with

German

ross section ol

i

theory, but in

music

accordance with

he occasionally evinced

invocations, the formal part of the

a state that

a

volkisch

Nazi

program suggested continuity I

his

was the

cultural fac-

had terrorized the population into submission and

was about to launch

its

war

imperialist

As musicians performed

hegemony over German music and the integrating the full range of German musical

the party

In spite ol

hymns, consecration fanfares, military marches, and

ade tor

formal settings as well as in open festival

did indeed offei

of the creative process

and amateur ensembles and

military and labor units, professional

festival

with the past and Goebbels's pragmatism

under Adam's baton, the Deutscher Gemein-

dctag (Organization ol

forums

music," fea-

Intend and student musical

litler

I

German

bygone-

Goebbels's concessions to the establishment and the understanding

the words of Gauleiter

art," in

llvmpics" and a "military parade of

(

camps, the

German

bastion of

The

beyond works endorsed by Nazi

Ruhr),

the Mationalsozialistische Kulturgemei tide's national

(District leader) Karl a

in the

musical

of a

constructivism," and "experimentation"

age "dissonanci

Diisseldoif the city of another Nazi martyr, Albert Leo Schlageter killed in 1923

German

generally positive reviews ol this "festival ol the

culmination ol Nazi musical politics and the model for music and

Ik

worried

in the limelight of a nation

over a deteriorating international situation, specialist musicologists

convened

Having gradually

to assess the state of their art

platform to demonstrate his

ivory tower to respond to the state's totalitarian

success of his policy of

input,

some

musicologists had

German

begun

German and

demands

left

the

for their

to offer lectures and papers

on

expression with the principles and organization of National Socialism

the

and of balancing the products of the past with achievements of the

musical expressions and, ultimately the application of race theory to

new order His proclamation

at the

Tonhalle on

May

28 was the high

German announced new

point of the festival While he lectured on the nature of music,

whose essence he found

melody, he also

in

national prizes of 10,000 reichsmarks for the violinist

and

The

most promising young

pianist

three symphonic performances of traditional and contemporary

works by the Dusseldorf Stadtische Orchester (City orchestra) under the direction of general music director

Simp/icissimHs

by

Arabella

Juan's last adventure)

Hugo

Don

Strauss,

Juans

Three operas

Balzer Iftztes

by Graener, and the premiere

Abenteuer

(Don

of Simplicius

by Ludwig Maurick The musical highlights consisted

of Pfitzner's cantata Von deutscher Seele

(From the German

soul), per-

festival the profession

of

— works

of Beethoven's appeal to

all

that

were

to

German idenSymphony a distortion

symbolize

case of the Ninth

humanity) The traditional component

from Cologne,

who

spoke on

Walter Vetter

Schubert, and Wagner,

in

addition to

temporary composers, Graener, measure

of the profession's

more music by the older con-

Pfitzner,

and Strauss

— Tod" (Nature — — love

quintet,

certo

Among

the

— approximately twenty-five contributors — Egk stood out with

his well-received cantata for bass

Lieb

was another

resurgence that contemporary music pre-

dominated, especially that of the younger generation latter

It

Theodor

Caslelli

and chamber orchestra, "Natur

death)

Berger's Capriccio,

Heinrich Kaminski's string

and Joseph Marx's piano con-

romam (Roman countryside) contained "objectionable"

modernist elements, while Boris Blacher's work for violin and orchestra occasioned the most controversy, with

ments alluding to

some

press

com-

similarities to that "noisemaker" Stravinsky

a musicologist

German in a

The

otherwise

little

involved

stylistic qualities in music,

newly

Life of past, 3)

Brahms"

"The

— more pointedly "Germanized"

State and Music," led

professor at Heidelberg,

Gerhard

Pietzsch,

by Heinrich

whose

Mozart's

in

in the

Work and

the masters of the Besseler, a well-

session included papers

by

and Rudolf Steglich paying tribute

to National Socialism for attempting to

from the community and

in politics

while others

paper about "Folk Characteristics

Operas" and Rudolf Gerber on "Nation and Race

overcome music's

alienation

to restore music's role in the education of

the nation as in the ideal Platonic state, 4) "Musicological Research,"

under Werner Korte,

included other works of the past by Brahms, Handel, Haydn,

reflected the orientation of his

published book, 2) "German Masters," chaired by Theodor Kroyer

Ernst Bucken,

(in the

foremost

its

)

whose paper

Muller-Blattau,

Symphony, played by the Berlin Philharmonic under the direction of

Hermann Abendroth

to the discussion

of

members gathered on May 26-2H to deliver approximately twenty"German Music," chaired by Josef five papers at five panels

known

and community

was prepared to contribute

what constituted native German music Some

formed bv Balzer and the Dusseldorfers, and Beethoven's Ninth

tity

alien qualities in a variety of

the categories and methodology of musicology By the time of the

I

Reichsmusiktage offered thirty musical programs, including

were performed

folk song,

in

who recommended

a "subjective"

musicology

place of "obiective" scholarship, and 5) the key session, "Music

and Race," chaired by Friedrich Blume,

who

also delivered a careful

new musicological methodology relative determinants Though anxious to remain scholarly, the analysis of the

propagated

Ddlfascb-racialist values

Germanized

to biological

presenters

and methodology, they not only

the masters and their music but in

some cases even

support to Hitler's imperialism with references to concrete events, such as the annexation of Austria,

and to the

lent

political

qualities of

music that transcended the temporary division of the

German people

Figure 140

Gallery view in

opera ionwy

The

Etilarlitt

s/iiflt

Mu

ik,

Dusseldorf, 1938,

at

right

is

"Entartete Musik" exhibition

While the

festival featured the

The

broad spectrum of German music,

the exhibition Entartete Musik (Degenerate music,

the public on

May

fig

opened

140)

to

vilified

during the past

five

years in count-

speeches, a vast literature including authoritative dictionaries

and encyclopedias, and, more recently on

lists

prepared by

visual

component

of this exhibit

was organized under

headings emphasized by familiar ideological slogans,

tional

24 to document the musicians and music that had

already been purged and less

Kreneks

a poster for Ernst

••

and were withdrawn

helmets and uniforms,

in

they were accompanied by two grieving

'

Preussische Akademie, he was forced to

wolflike creature For the cathedral in in

igure ish

Barlach

the largest on the upper floor Ironically a

Swiss

woman attempted

(unsuccessfully to

Rudolf Bauer

buy the sculpture out bition

7

By the time

Nuremberg

of the

Munich

Born (889

exhi-

Lindmwald,

traveled to

Entiirtete Kuttst

Died 1953

After he was informed that he would

no longer be allowed to

became

He

and

ill

died

New

Deal

Jersey

exhibit, Barlach

his health declined rapidly

October

in

Silesia

removed

the bronze had been

1938,

approximately one

year later Permission to place a memorial

plaque on the house where he was born was denied, and his death notices in the news-

papers were limited by the authorities to ten lines of factual material

Korps (The black corps), the periodical pub-

by the

lished

and

8

a lunatic

Slavic,

G

(D

Hilla von

the

unbalanced,

a

York

Alfred Werner, Ernst Barlach (Ne

Decem-

11, 1930,

published

2,

colors,

8,

1987

1933,

published

5

Alfred Rosenberg

li,

no

187,

Deutschland

Wulirstantl

sl

"''

appointed by the National Socialists to take

sion in the press and

[

in

Miincben, 47

Kmslstadi

Zwcite, "Franz Hofmann," 275

7

Braimcnburg

D«

265

1987),

5

later

Hermann Kaspar was

former student

Dial i""s

lofmann und die Stadt

4

Langcnargen

One month

I

leinz Meissnei

Schuster Di<

until his position

toloi

\bei wit gewinnen ihn allmahiich doch,'"

Boden

hts chair at

August 1937 he asked for

In

K.nl

I

M

NalionalsozuUsmu unJ "EnlarttU

Muii.l'oi 1937

Munich

i

ran2

"I

1937," in Peter

lalerie

Kunststail

<

his inclusion in Entartett KuhsI

was not dismissed from

aspar

i

K

wegian embassy Despite

h.

I

ologni

I

r.

cm

torrllolwfcr

(7V, x

I

(Mealtime

in

the trench, Loretto heights) fr

I'rru'iinJrlcr,

Htrbsl mi>. ftifkiumr

Drr Krry, 197 x 29

cm

(77, x

I

IV.

(Wounded

in

)

IV. in

^^S. \

Jw'mti

I

utumn

1416

Hapaumei from

After the war Dix continued his

Kunstakademie (Academy of

studies at the art) in

Dresden While

he joined the

there,

Dresdner Sezession Cruppe 1919 (Dresden secession group 1919) and the Rote

(Red group)

in Berlin,

Cruppe

which comprised

4

pledged to ultraradical

intellectuals

He became

member

a

politics

of the Internationale

Arbeiterhilfe (International workers' aid)

and participated

in 1921

in

the Erste deulsche

general Ger-

allgemeine Kunstausstellung (First

man

art exhibition) in

Moscow

in

ficiently clear

and

"What can

useful

intelligible to

October

work

of 1924 Russian critics found his

insuf-

be socially

an Otto Dix offer against

Figure

l

Dix, So,

,„/„,m„

(Sun

the decay of the bourgeoisie and mass prostitution 1 " less

asked one writer 5 Dix nonethe-

continued to produce socially engaged

was well received by

art that

audience

in

Germany

In

the

autumn

Nierendorf, Dix

moved

des Vcrfalh in

By 1926

to Berlin

in art) in the

commercial success seemed assured The

Akademie

Dresden named him

in

fessor in the

fall

a

pro-

ists

A

1930,

however, the National Social-

mural commissioned for the recently

completed Hygienemuseum (Museum of

Dresden was hacked from the

and the architect,

wall, tific

in

member

director,

out of favor 6

staff all fell

In

courtyard of the Neues

Dix

Krie FisaxntV)

Tijn

auj Bombabn

llurnh.,1-

Fishi

Figure 115

Nan

Fisdwrfcoott

No

m da

Haja

longer allowed to exhibit, no longer

he had often

eligible lor the prizes

for

Nav became dependent on

his paintings

was forbidden

as a

cartographer While there he gained

the

to sell his work, Carl

Work

the support of a French sculptor, Pierre

who

Tcrouanne,

When

the help ol his friends to survive artist

won

Entartete Kunst

in

put his studio, paints, and

canvas

at

Nay's disposal After 1945

moved

to

Hofheim

Nay

Fucherboolc an

Jn

Fishing boats

Taunus region

in the

IliilatmeU

at

the harbi

u

1930

Georg

museum

in

Lubeck, found various "friends of

in that city

art

and resumed

Heise, the former director of the

who were

monthly amount

in

prepared to pay a

exchange

for a

work by

his public career

As postwar

abstraction gained increasing recognition,

Nay's prestige followed in

He

suit

participated

the Venice Uiennale in I94S and

was given

Oil on canvas,

On

that they

the future

Munich,

would receive some time

The

whom

dealer

Cunther Franke

the artist had

met

his first retrospective exhibition in

in

in

in

A

1950

mer

in 1932,

room

of his gallery,

for Nay summer

the back

controversy with Hofer, his

him

Munch on

Nay's

to secure a scholarship

Deutscher Kunstlerbund (League of German the single negative note in an other-

artists),

wise remarkably positive chain of events

of 1937

Having become one

financed journeys throughout Scandinavia

While Nay was

in

Norway

ten of

works were confiscated from German

museums, and two appeared

in

the Enlttrkk

in

the

Germany's leading

Nay was accorded

artists, 5

of

Kassel

prominent place

a

three Documenta exhibitions in

first

in 1955, 1959,

and 1964 and repre-

Germany at the Venice Biennale A new stylistic period, beginning

sented West in

1964

Kunst exhibition, Fiitherboott an da Hajenmole

that year with the dramatic Aucfenbtlda (Eye

(Fishing boats at the harbor pier,

pictures),

was

by

in a

sick

group headed, "Nature

minds

"

Nay bore

fig

as

315)

seen

the distinction

of being the youngest "degenerate" artist

included

in Entartele

Kims!

He

fell

into the

ninth of the categories defined in the exhibition guide,

which

identified

any degree

was marked by

a simplification of

forms and reduction of colors Numerous exhibitions, honors, awards,

and

travel,

including trips to the United States and Japan, distinguished the last four years of

Nay's in

life,

which ended with heart

Cologne

in

1968

failure

(DC)

of abstraction as "sheer insanity"

to Le

Nay was conscripted in 1940 and sent Mans in France to serve the army

Nolo 1

Paul

rev ed

ed

,

On U

nn Rave, Ku e

M

itilihjlm

Schne dc

i

m

Berlin

(Jrilfm Rocd,

Argon,

19871, 56 2

Peter-Klaus Schuster,

Art for

No

One,"

in

Painting ,mJ Sculpture

Royal

Academy

"The

German Art

'Inner Lmi^rat

in ilir

2uth Century

ioos-isw lexh cat, London

of Arts, 1985), 461

cm

(19

inventory no 16112

Private collection

us

FiicrmkrlTtjn an) Bornbolm Fishing village ol Te|n

on Bornholm

1930

cm 21' x J5 by the Museum fur

Oil on canvas, 55 x 89

Acquired

in 1931

.

Kulturgeschichte, Lubeck

Room

Norway during the Nay painted pictures on

to travel to

the trip that he sold in Oslo and thereby

his

prompted

withdraw from the newly revived

to

NS

for-

teacher, regarding the relative merits of

representational and abstract art

him

even during the war

Heise also wrote to Edvard behalf and asked

in

5

Hannover

1

continued to exhibit Nay's work

70

loan to the Nationalgalerie Berlin, from 1931

Room Figure

Nay

51) x

Cl,

NS

inventory no 16189

Private collection, Figure 316

Germany

in

Kunst

und

Karel Niestrath

After completing his studies

Born (896

moved

Niestrath

Bad Sakujlcn

Hagen The

to

1924

in

director

of the Kunstverein (Art association) of the

Died 1971

neighboring community of Bielefeld took

Hagen an interest

one

of the

work, and soon he was

in his

best-known

artists in that area of

Germany Both the municipal museums of Bielefeld and Hagen acquired his works Two of his sculptures, confiscated from Hagen, the wood Blumenlniger (Flower 1933 Karel Niestrath

In

bearer) and the bronze Die Hungntje (The

was thirty-nine

years old, an artist not quite established in

but with eight one-man exhibitions

his held

to his credit

The

National Socialist regime

effectively ruined his career

advancement by means inflicted

named

by

halting his

of the prohibitions

"degenerate"

In his

youth Niestrath had enrolled

in a

primary education, without intending to

become

a

Upon

sculptor

service in the First

from

his return

World War, during

Room

Kunst ter

his

hospital confinement for a severe foot injury

a

After

in Bielefeld

den,

Dres-

art) in

where Otto Dix was the guiding

Under

this influence Niestrath's

beyond

classic

Not only was

spirit

work grew

grace

with

— were

academic formalism to more

collections

Niestrath's

a

with

rampant hunger, disabled veterans, of deprivation, pregnant

name from

At the end of the war Niestrath he was too old to start over

his life

robbed

The postwar

ments of Neue Sachlichkeit

and he was

by the work

(New

also greatly influenced

of Ernst Barlach

and Kathe

Kollwitz and by the art of the Middle Ages

in half

and

years also brought a change

popular art styles

— —

in

especially an inclination

toward abstraction

He

of

felt

which Niestrath did

history had done

him

'

Finally in 1952, Niestrath accepted a

teaching position kunstschule

in

war memorial

in

1971

ele-

objec-

felt

considered

of twelve productive years

in

sculpture at the Werk-

Dortmund He produced

(D G)

Th Museum

Eugen I

a

for the city various portraits,

famous and

obscure His style was a response to

tivity),

He

those he called "innocents", and

portraits of his contemporaries,

also

the public

and some small sculptures before

in

madonnalike poses, representations of simple citizens,

which

in 1937,

consciousness

specific

depiction of postwar Germany,

themes

with children

complete disagreement

in

and buildings

an injustice

women and mothers

Socialist

oversized heads,

removed not only the artworks but

content His sculptures and graphic works

and other victims

—

works by Niestrath were seized from public

not feel a part

its

Niestrath's subject mat-

aesthetic standards Forty-two

official

profane subject matter and social-critical

were typically concerned with four

were on view

floor of Entartete

himself an amputee, his work cut

few semesters he transferred to the

Kunstakademie (Academy of

317),

fig

on the upper

anathema to the National

he decided to attend the Werkkunstschule (School of applied arts)

3

ideologues, his forms

in

artists

wood-sculpting course after completion of his

in

hunched shoulders, columnar bodies lacking

upon him and the others they

as

woman,

starving

Karel

Nrfslr.il/)

Ostwall, 1973), 33

(

his

death

Entil

Nolde

Bom

depth and

ivi

suIisi.iik e "I

nationalism and his

Noldt

hit

the

(

I

his

by

and the savage Nolde ciated by those

in ra< ial

purity were contradicted, however, I

"'

.crmans

lung beliei

s

works wen

who saw them

Nordic

as

expressions ol ecstatic archetypes, but

his

hoi 1956 at

tions aftei the

South Seas

trip "In 1914

he

National Socialist ideologues such as

critic

Sttbiill

wrote

enraged

.in

condemning the rape

in Berlin,

tures

by

letter to the colonial office

'civilized'

powers and

of tribal cul-

the aesthetic worth of tribal art

"

2

He

con-

German museums should collet traces of primal man while it was

cluded that these

A f

native of

Nolde

in

lansen adopted the

own He

as his

and produced

studied drawing part-time

with

age

1906 he joined the group

In

of Expressionists 1

still

known

whom

Die Brucke (The

as

he remained only one

eistcl

Rohmeder believed

sionism reflected the racial chaos

lite t

First

World War

Alois Schardt,

of

degeneration

on the contrary

Socialists to

Nolde was forty -five years old and conse-

Nationalgalene

quently did not serve At the war's end, he

Expressionism

loined the Arbeitsrat fur Kunst (Workers'

an admirer of Nolde, whose paintings he

council for

charter

art),

member

yet

in

of the

in Berlin

in

1920 he became a

saw

North Schleswig

of early medieval

as

tried to explain

terms of the past

work Charged with

yet AbenJmahl (The Last Supper,

Nolde was

Nolde's works a large

was the

Expressionist picture bought

first

German museum,

in Halle, in

sia,

Nolde and

his wife joined a

expedition traveling through Rus-

Siberia, China,

Seas Always

and Japan to the South

a nationalist,

Japan to be "the

ideology espoused by his ing with his

an

1910

In late 1913

scientific

Montzburg

the

Germany

but did not believe that

its

politically naive,

artist,

flat

new

party

in

keep-

conservative beliefs As

He

He

harbored

his private

apartment

in Berlin

a

i

his

suspicion of the city and preferred as sub|ect

tinued strengthening the holdings of the

matter the cyclical rhythms of nature,

Neue

of the East"

mordial myths and legends, and biblical

Nationalgalene, with works from private

people had "the

motifs His South Sea oils stressed the exotic

collections, including paintings

pri-

Abteilung, the

Nolde, Ru»< nJ Eunuch

down,

replacement, Eberhard Hanfstaengl, con-

modern

Figure 320

Ah,

In late 1933,

to step

Nolde judged

Figure 318

Nolde,

he gave

to themselves

and responded affirmatively when asked to

when Schardt was asked

loved luminous colors and

northern landscape

room

lend Joseph Goebbels paintings by Nolde for

however, Nolde was daring and

instinctive

the

own

he found the

He was

analogous to the prophetic ecstasy

a reinstallation of the galleries,

for a

'

called

replace Ludwig Justi as director of the

branch of the National Socialist party

108)

'/I

simpler nature and darker

ol a

was an indication

year His dramatic work was controversial, fig

xpres

1

her view, fascination with the

people

ill

color

In

from Halle by the National

possible

At the onset of the

of his birthplace

his first painting at the

of twenty-nine

bridge

Schleswig, Emil

name

last

I

Germany

on

insisting

Bettina

Nudes and eunuch),

1912

II

(Russian

II),

1914

section of the

by Nolde

4

Figure 322 Hnliift N.nrif

(The

Da

nativity)

Dm

Komgt (The

among

CbnstHS und Judas (The kiss of juda

thr.

Figure 321-29

Nolde,

(Christ

Figure 324

Figure 323 Dit Hrilii/m

zwtiljjabrije Cbrislui

Dm Urn

Cfensli

(The

life

of Christ), 1911-12

the doctors)

arliei in

I

the

summei

work had been included

Nolde

ol 1933

in

s

sponsored by young .hum members

ol the

Nationalsozialistischei Deutsche! Studenten

blind

German

National Socialist league ol

I

students) in Berlin

who were

The

art

debate

in a

German

omliat league lor

culture

The Kamplbunds newspaper

Nolde

latter's

toward Expressionism

in

general

.

in

1917 from Ger-

tion

The

in

great altarpiece Dus Ltben Cbristi of Christ,

fig

on the upper

gallery

them

ol

the Entartctt Kunsl exhibi-

focus of the installation in the

321-29) was the

floor,

first

com-

beside the

mentary, "Insolent mockery of the Divine

On

under Centrist

rule

"

Nolde went

to see the

exhibition with his friend and supporter Friedrich Doehlemann, director of the

Vijl-

which he unexpectedly

pronounced Nolde's seascapes

in

mam

newspaper, the

article in the party's

nscDtr llcobtuhltr

staggering total ol 1,052 ol Nolcks

called

Alfred Rosenberg wrote an

1933,

7,

A

works were confiscated

life

press reports evidenced a similar attitude

luly

as his "cultural irresponsibility

(The

Other

"technical nincompoop'"'

a

111

"activity, professional 01 amateur, in the

member-

rejection ol Nolde's application tor

Munich

a

1936 Nolde was forbidden to engage

were included

.1

debate that had been sparked by the

ship

In

any

man museums, and twenty-seven

with the kampthutid fur deutsche Kultur t

lemmgcr,

exhibition of contemporary art from Berlin

students association

had defended the Expressionists

l.yonel

realm of art" because of what was described

attempting

to illustrate the union ol National Socialism

and modern

Max Beckmann,

Nolde,

and Heckel were withdrawn from

an exhibition

interesting,

Bayerische

hgure 334

Gemeindebank Bavarian com(

Nolde,

munity bank), which had financed the Haus

declared to be negroid, raw, without piety

German museum for officially approved modern German art 8 They found

and inner strength of form

the altarpiece presented as an example of the

and powerful

"strong

"

Others of

works

his

Nationalgalene, however, Rosenberg

in the

Goebbels

'

Because of

earlier tolerance, however,

s

Nolde

der Deutschen Kunst (House of art),

Munich's new

violation of

German

religious attitudes

thought the work of the Expressionists was

Nolde was so confused and distressed

not irreconcilable with the National Socialist

he canceled the celebration of

program Others,

cultural

museum

director

Max

too,

in

Ham-

burg, had spoken up for Nolde's art and

Nordic background Nolde himself, 1934 autobiography Jabrt of struggle),

birthday that he had planned with friends

such as

Sauerlandt

der Ktimpfe

its

in his

(Years

had attacked the paintings of and mulattoes," and

"halfbreeds, bastards,

described the natural superiority of the

Seebull

He

'

accorded him and wrote to Goebbels and education minister Bernhard Rust, demanding that "the defamation against [him]

cease"

He emphasized

Nolde signed

One

a call for loyalty to the

in

"degenerate" Galleries in

SA

that led to the

(Sturmabtei-

storm troop) head Ernst

Rohm and

colleagues But in September 1934,

made

to paint his

when

clear his cultural policy at

artists

staged

London Also

what he called

tures," a cycle of

at the in

in size

from

five to

in 1935,

works by

rice

do

I

He

because he feared the In

sometimes

October

my little confide my grief,

1944 Nolde wrote "only to you, pictures,

paper that

ten inches

odor would compromise him

support of the Expres-

oils

Burlington

1938 he began

dred watercolors on scraps of varied

Goebbels ceased

his

He was

his "unpainted pic-

could not use

Subsequently

"

more than thirteen hun-

the party's annual meeting in Nuremberg,

sionists

1

year later Nolde participated

Hindenburg and the action assassination of powerful

"vig-

demanding

the protest exhibition of works by the

Fiihrer in 1934, after the death of President

Hitler

was

his art

successful in the latter

Heckel, Ludwig Mies van der Rohe, and

lung,

German

his old

background, arguing that

the return of his seized property

Along with Ernst Barlach, Erich

in

protested the treatment

orous, durable, and ardent" and

Nordic peoples

others,

that

his seventieth

4H

Of

Hnl.«/n.

Dn

Kmigi

I

In

three magi

I'm

Figure 331 Figure 330

Nolde,

Hiiltojl

Hof (Hultoft farmhouse), 1932

Nolde, Htrbslmcrr IX (Autumn sea IX), 1910

Figure 333 Figure 332

Nolde, Vorabend (Early evening), 1916

Nolde, Jungc

Pjirclc

(Young

horses), 1916

arliei in

I

summei

the

work had been included

in

1933 Nolde's

ol

sponsored by young .mist members Nationalsozialistischcr

bund iNntional

who were

students] in Berlin

C.erman

art

with the (

Kampfbund

fiir

ship

latter's

nincompoop

a "technical

"•

Other

toward Expressionism

7

1933,

general

Btobachter, in

On

"strong and powerful

Others

interesting,

works

of his

declared to be negroid, raw, without piety

and inner strength of form

"

Enliirlrlr

of

great altarpiece Dus Leben of Christ,

fig

( bristi

321-29) was the

of the installation in the floor,

first

beside the

mockery "

them

Kunst exhibi-

com-

of the Divine

Nolde went

Eriednch Doehlemann, director

newspaper, the Vol-

"

1937 from Ger-

in

to see the

exhibition with his friend and supporter

Nationalgalene, however, Rosenberg

in the

life

under Centrist rule

which he unexpectedly

pronounced Nolde's seascapes

The

(The

the

mentary, "Insolent

Alfred Rosenberg wrote an

article in the party's kisc/itr

in

tion

in

gallery on the upper

press reports evidenced a similar attitude

July

staggering total of 1,052 of Nolde's

works were confiscated

main focus

he Kampfbund's newspaper called

1

Nolde

as his "cultural irresponsibility" 7

were included

membei

rejection ol Nolde's application tot

of the

German

he canceled the celebration of

too,

Ham-

burg, had spoken up for Nolde's art and

Nordic background Nolde himself, 1934 autobiography, Libre of struggle),

der

its

in his

Kampft Years I

had attacked the paintings

"halfbreeds, bastards, and mulattoes,"

of

and

Seebull

accorded him and wrote to Goebbels and education minister Bernhard Rust, demanding that "the defamation against [him]

cease

Fuhrer

in 1934, after

Hindenburg and

a call for loyalty to

the death of President

SA

in

September

Coebbels ceased sionists

his old

German was

his art

his

"vig-

demanding 10

He was

year later Nolde participated

the protest exhibition of works by the

"degenerate" Galleries in

artists

staged

London Also

what he

at

the Burlington

in 1938

he began

called his "unpainted pic-

Figure

Nolde Dislnmi«i

Rohm and 1934,

his

when

clear his cultural policy at

the party's annual meeting in

in

to paint

(Sturmabtei-

storm troop) head Ernst

made

He emphasized

One the

the action that led to the

assassination of powerful

Hitler

"

background, arguing that

Heckel, Ludwig Mies van der Rohe, and

Nolde signed

in

protested the treatment

successful in the latter

Along with Ernst Barlach, Erich

colleagues But

He

'

the return of his seized property

Nordic peoples

others,

that

his seventieth

orous, durable, and ardent" and

described the natural superiority of the

lung,

religious attitudes

birthday that he had planned with friends

such as in

In-

the altarpiece presented as an example of the

Because of

Sauerlandt

I

Munich's new

not irreconcilable with the National Socialist

Max

Kmigt

German museum for officially approved modern German art " They found art),

Nolde was so confused and distressed

director

Dn

der Deutschen Kunst (House of

thought the work of the Expressionists was

program Others,

Nolde, Dir Hn/iDo.

munity bank), which had financed the Haus

violation of

museum

figure 334

Gemeindebank (Bavarian com-

Bayerische

Coebbels's earlier tolerance, however, Nolde

cultural

in

oi amateur, in the

man museums, and twenty seven

culture), a

debate that had been sparked by the

Miinii h

Nolde was forbidden to engage

1936

A

debate

in a

deutsche Kultur

German

oinbat league for

In

any "activity professional

students association

lie

1

had defended the Expressionists

.i

realm of art" because of what was described

attempting

to illustrate' the union ol National Sen lalism

and modern

l.yoncl Iciningci.

were withdrawn In mi

leckel

I

exhibition ol contemporary art from Berlin

ol the

)cutschct Studcntcn

I

Socialist league ot

Nolde Max Bcckmann, and

an exhibition

Nuremberg,

support of the Expres-

Subsequently, in 1935, works by

tures," a cycle of

more than thirteen hun-

dred watercolors on scraps of rice paper that varied

in size

could not use

from oils

five to

ten inches

odor would compromise him

In

do

I

sometimes

October

my little confide my grief

1944 Nolde wrote "only to you, pictures,

He

because he feared the

Discussion

1913

three magi

I'm

my

my contempt"" The

torment,

ended

"when the chains

in 1945,

Nolde described

it

From these

cycle

came more than one hundred

works

in oil

and

1951

large

painted by Nolde between 1945

2

Ironically the National Socialists con-

sidered the "Nordic" Nolde, a

Theda

1

small water-

colors

<

Notes

as

fell,"

member

of

2

most contemptible of

the "degenerate" artists

the

officials

more As

No

one occupied

late as

May

1940 the

Reichssicherheitshauptamt (Reich security headquarters) had discussions about him, 13

to

draw

a trip to Berlin

so as not

attention to himself In 1941 he

removed from the Reichskammer der denden Kiinste (Reich chamber of

was

bil-

visual

Ortwin

Paul

Uwe

rev ed, ed

and Modernity An

and forbidden to work

advised that his membership ssische

in

also

the Preu-

Akademie der Kunste (Prussian

academy

was revoked because

of arts)

work was not

in

his

keeping with the National

Socialist realm of In

He was

thought iGediwkmgut).'*

1946 Nolde was appointed profes-

sor of art

by the government

5

Haftmann,

Baimtii

under Hitler, trans

Schneede

m

(Berlin

marred by

arguments and discussions about

his earlier

Dritttn Reich,

Argon, 1987), 61

,11111

Werner

Ahendmihl (The Last Supper)

1909 Oil on canvas, 86 x 107

cm

(337a x 42V. in

Acquired

in 1913

by the Stadtisches Museum

Room

NS

I,

Statens

inventory no 15944

Museum

for Kunst,

Copenhagen, 1956

Figure (08

Persecuted Dictatorship of Art

Eileen Martin (Cologne

DuMont,

Erne

19

Joseph Wulf, Die

hildenden Kunste im Dr.ttoi Reich

Dokumentatwn (Frankfurt/Berlin/Vienna

1983),

Ullstein,

Acquired

7

Rave, Kunstdiktatur, 78

8

Hans-Joachim Hecker, "Missbrauchtes Mazena-

tentum v in Peter- Klaus Schuster, ed 19i7

(Munich

cm

und

die

Kinder (Christ

among

(26 x 347. in

)

Catalogue raisonne Urban 306

46

AlllltJ'l'll

1909 Oil on canvas, 68 5 x 88 5

iWiIiOIuIhiZuIiSMHS UllJ

Prestel,

1987),

Die "Kunststadl"

KuHSt"

Room

NS

5,

Haftmann, Banned and

10

Henry Crosshans,

Persecuted,

Hillrr

and

Saarland-Museum, Saarbrucken

19

the Artists

(New Oinslus und

York Holmes and Meier, 1983),

109,

die

Crosshans,

Haftmann, Batumi and

idr Artists,

Persecuted,

13

Wulf, Dir hildenden Kunste, 349

14

Ibid

among

the children)

1910

Oil on canvas,

and

11

12

Kinder (Christ

and Rave,

77 Hillrr

by the Kaiser-Friednch-Mu

inventory no 16099

Figure 339

57

9

Kmisliiilrtiitur,

,

"Elllillfflf

1923

in

Magdeburg

82

237

867

x

1064

cm

(34'/» x 417» in

)

Catalogue raisonne Urban 350

Acquired

Room

in 1918

NS

1,

by the Hamburger Kunsthalle

inventory no 15946

The Museum of Modern Art, New Dr R Valentmer, 1955

W

Fi^urf 33«

Figure 336 Cfcristus

fiii

und Kunstgewerbe (Montzburg), Halle

support of the National Socialists (D C.)

Nolde,

)

Catalogue raisonne Urban 316

hngeCkhsen (Young oxen) 1986),

of Schleswig-

Holstein, but his last years were

London Royal

Blatter des deutschen Kampjhundes, cited in

'

arts)

20th Cnilury

in the

cat,

Rave, Kunstdiklalur

M

Kunsl

99

Academy of Arts, 1985), 109 3 Remhard Merker, Dir hildenden Kunste m NatwnalsozuiUsmus (Cologne DuMont, 1983), 80

6

and he canceled

Lloyd, "Primitivism

ill

Elsevier, 1976),

Painting and Sculpture t905-ty85 (exh

in Entartete

The European

Politics

(New York

Expressionist Dilemma," in German Art

4

the party one of the

Work Shapiro, P.imlrrs and

Ananl-Garde and Society

the children), 1910

Mary

of Egypt), 1912

York, gift of

FrirsniKiusri Friejlictx

//

(Frisian

DmfslrMU

houses

Fraunipro/il

II

nsl.nl vlllagi

I

Oil on canvas 6a5 atalogue raisonne

Acquired

Room I'r

>>i

adv

il

i

woman

in

Ns

5

jvate

i

"Hi

I

Bl

5

cm

Urban

25

K

//iirrmsii'd. birr

i

Museum

inventory no

I

lambunj

16088

rton

no

hilutr

atalogue raisonne!

Acquired

in

cm

(30'A x 17V. in

ill

i

Urban 433

(

1924 bv the Staatliche

Oil on canvas 65

v

atalogue raisonne'

Acquired

Room

In 1933

NS

5

85

cm '25%

)

bv the Neue Staalsgalene, Munich

i

1979

unj Ju toruhten JwiaJmKIt

kltutert

The

cm

Urban

514

Museum

Room C2, NS

Room

inventory no 16225

unknown

NS

}.

lis

1911-12

Htilige

Maria von

Oil on canvas,

Drr Tod

(The

life

Kunsi

An Museum

Blooming ton

and Roger Wolcott Memorial

FigUTt Lrr-o. Ckrfsli

iur

inventory no 15967

Indiana University

of Christ)

central panel

220

5 x 193 5

eight panels each 100 x 86

inventory no 16093

Museum Hannover

Sprengel

x 33'A in

Urban 397

Fyurr 330

Dif

i

.

1925 bv tl» Stadtisches

in

Exhibited as Kmtzigung (Crucifixion)

1910

t

canvas, kk

.,.i

und Kunstgewerbc (Montzburgj, Halle

Dai

sea IX)

if in pi. ml

atalogue raisonne

V quired

Kunstsammlungen

lane

(Autumn

I.

Sumg.ul location

HrrKtmrrr IX

I

1912

Oil on canvas, 78 x 45

121* in

UO

1926 by the Altonaei

Nudes and eunuch)

unj EunuJt

Alrlr

in a hat)

1911

Nil)

t

Profile

D.imr mil /lul

Stl

cm 186V. x 76'/. in cm (39V. x 33% in

itt

(The death

I.

A.tyf>ini

am Mary

Maria of

i

Mary

Saint

of

Egypt)

1912

)

cm

Catalogue raisonne Urban 421-23, 477-82

Oil on canvas, 87 x 1005

On

Catalogue raisonne Urban 522

loan to the

NS

Museum

Folkwang, Essen, 1932-37

Room

1,

Nolde

Stiftung, Seebiill, 1939

Egypu

of

Aqyptoi

(34% x

in 1925 by the Museum Room NS inventory no 15945 Museum Folkwang, Essen, 1950

Acquired

inventory no 15941

"*s

1913 (

1

1.1

M

anvu

on

an

100

«

itilogue uisoniK

Acquired

(33 s

Uibin

39

.

In

s<

M

Wllhelm

1938 by the Kibci

in

1

Kreleld

Room 5 NS

Inventor) no 16098 Richer Wllhelm Museum kieleld 1949

kaiser

lot 108

us

hijurt

w

Mulatto

Mulatto* 1913

cimas 773

Oil on t

Acquired

Ns

4

m

JOfc v 18

Uikin 569

by the Stadtisches Museum

in 1924

und Kunstgewerix

Room

73 il"

\

italogue rabonn^

The Busch Retsmger Museum Harvard C jmbndgc G David Thompson Fund, fijurr

kunsi

University,

1954

»"

Sulltbm

Kttan

[

SulUhm

KopJ,

(Woven

(Still lile

Still

hir

Halle

Moritzburcj

Inventory no 16048

™J

Plunk)

and sculpture]

material, head,

i

Mask* und liwmJm Akl

mil

hie with

mask and

reclining nude)

1913

Oil on canvas. 76 5 x 71

cm

(30'/.

x 28 in

I

Catalogue raisonne Urban 541

Acquired

1926 by the

in

Cemalde-Sammlung im

Behnhaus, Lubeck

Figure 344

Room C2, NS

Nolde, Rn/r Sonnmblumm (Sunflowers), 1932

Burned

at

inventory no 16224

Teupitz, 1945

Rasse ff (Russian

(jitrtmbild mil Fitjur

Oil on canvas. 68 x 595

cm

(26'4 x 23V

Acquired

NS

4

Mu

figure

Oil on canvas, 72 5 x 88

cm

(28V. x

34%

in

Acquired

in 1924

by the Stadtisches Museum

Marion and Nathan Smooke

und Kunstgewerbe (Montzburgl, Halle

Room

5,

NS

lur

kunst

1916

Rotfoddri^tt 3

cm

I

28 'h % 39'A in

)

Mixdchm (Red-haired

Madthmkopf Head (

Room

Acquired by exchange

Oil on canvas, 65 x 34 5

in 1935

by the Nationalgalene,

OVistHS und

girl

NS

inventory no 16129

Acquired

New

Room

York,

purchase and exchange with Donald Karshan, 1979

iu

4,

in

NS

1924

cm (25%

x 13% in

I

Room

cm

(287. x

39%

in

)

Catalogue raisonne Urban 725 in 1920

NS

I,

Offenthche Kunstsammlung

Basel,

Kunstmuseum, 1939

I

Christ and the adulteress

cm (33%

x 41% in

)

1929 by the Nationalgalene, Berlin

in

NS

inventory no 15934, Fischer

lot

104

3«

Fi^urr

Ho/

1

Hiiltoft

farmhouse)

1932

IV)

Oil on canvas, 72 5 x

Oil on canvas, 86 x 66

cm (33%

x 26

i

Catalogue raisonne Urban 895

by the Kunsthalle Mannheim

inventory no 16157

Sundenn

Private collection

Hulio/i

1920

Oil on canvas, 73 5 x 100 5

dtr

m

Mustm/K (Masks

i

m

105

Catalogue raisonne Urban 1038

Acquired

by the Provmzialmuseum, Hannover

LaVonne and George Tagge Fi^urr

1916

Fijurr

lot

Belgique, Brussels,

1926

inventory no 16012

Vombend Early evening)

6,

inventory no 16186, Fischer

Oil on canvas, 86 x 106

Catalogue raisonne Urban 836

Berlin

Solomon R Guggenheim Museum,

Room

NS

Gl,

1939

of a girl)

1919

Acquired

in

Fi^urr 126

Catalogue raisonne Urban 727

Fidlirr

34%

Young horses

i

Oil on canvas, 724 x 100

6,

(28'/i x

1929 by the Kunsthalle Kiel

in

Musees Royaux des Beaux-Arts de

inventory no 16123

Private collection

Room

cm

Catalogue raisonne Urban 1025

I

Acquired

Fidurr 320

Jungt PferJt

(

1926

i

Catalogue raisonne Urban 822

inventory no 16011

X Flower garden X)

BlumrMjjrloi

flowers)

Garden scene with

Oil on canvas, 73 x 88

1920 by the Stadtisches

in

I

1918

Catalogue raisonne Urban 621

Room

Hlumm (Woman among

Frau ztimcben

II

1914

Donated

in 1922 to the

Room

NS

3,

Private collection Fiaurr ioo

Nationalgaleru

inventory no 15978

955 cm

Catalogue raisonne Urban

Acquired in 1934 by the

Room

6,

NS

33i

37%

in

Hamburger Kunsthalle

inventory no 16144

Thomas Enrz von Zerssen Figun

(28'/i x

1121

Trust

Reijt

Somiatblumai

(

Sunflowers)

1932

Oil on canvas, 73 5 x 89

cm

(287. x 35 in

)

Catalogue raisonne Urban 1124 Acquired by exchange

by the Natu

in 1935

algale

Berlin

Room The

6,

NS

inventory no 16130

Detroit Institute of Arts,

Robert

H

gift of

Tannahill

Figure 344

FramtkopJ

I

Head

of a

woman) unknown

Watercolor, dimensions

Acquired

Room

in

1920 by the Stadtmusei

NS

Cl,

Location

inventory no 16183

unknown

Scbrijtgtkhrtc (Scribes)

1911

cm

Etching, 26 5 x 30

Location

NS

(10V. x ll'A

unknown

Original location

in Fnf

firol 4irl>

urn brulr

I

Give us

this

day our daily bread

from Das Vatn Unsrr

Figure 356

Und jiihrt

from Das Vain Unsrr

urn nicbl in Krrsucbun^

I

And

lead us not into temptation)

Pechstein,

Und in

Kraft und dit

from Das Vain Unsn

Hmlichknt

I

And

the

power and the glory)

i

In

Mytbus

1930 Alfred Rosenberg, in his Der

myth

20 Jabrbunderts (The

des

Work in

of the

"Entartete Kunst

twentieth century), accused "Jewish pens" BiMim

of anointing artists such as Pechstein as the 7

leaders of the painting of the future

work was nevertheless included

sponsored by young

tion in July of 1933 artists

who were members

sozialistischer

cm

Oil on canvas, 80 x 69

an exhibi-

in

Fran da Kiinslltn (Portrait of the

dtr

artist's

wife)

1911

His

Donated

in

Room

NS

On

3,

27%,

(3I'A x

in

)

1926 to the Nationalgalerie, Berlin

inventory no 16003

commission

to Ruchholz, location

unknown

of the National-

Deutscher Studentenbund

Figure 357 Pechstein, Badcndi

(National Socialist league of

German

IV (Bathers

IV), 1912

Morgen am Hajj (Morning on the lagoon)

stu-

1911

dents) in Berlin, to illustrate the union of

modern

National Socialism and

Oil on canvas, 120 x 120

The

art

exhibition was closed after three days

by Pechstein remained

Minister des Inneren (Minister of the interior)

Wilhelm

and the

Frick, however,

students were expelled

In

the

same year

Pechstein was dismissed from his teaching

moved

post in Berlin, and he

brown mob" Even

in

Pomerania he

felt

pur-

sued by the "brown terriers sniffing about everywhere," and withdrew alone, "like

wounded

a

on Koser

animal," to a small hut

but

in Berlin,

it

was bombed

many

destroying

until 1945,

in 1942,

works

of his

l0

war

Nuremberg, which, he

felt,

unknown

Location

,iu/

Socialist

regime

In

in Tur-

had been

exit visa

be turned over to

1936 he

Oil on canvas, 122 x 94

Acquired

in

Room

did not take into

who

(48 x 37 in

)

Museum

NS

3,

inventory no 15963

Ftgurt 352

German

a

Watercolor, 40 5 x

Location In

1945 Pechstein once again

professor of art at the

friends

and colleagues

(D G)

Akademie

549 cm

(16 x

21%

in.)

Acqutred by the Nationalgalerie, Berlin

tribunal for

Room G2, NS

had been denounced by former

(Reclining female nude)

1918

set free or given lesser sentences

that he

as a lew* In 1937

cm

1929 by the Schlesisches

bildenden Kunst, Breslau

justice "

and he discovered

paint,

on Palau)

Palan (Married couple

1917

Liegendtr iffriWicfctr Akl

was forbidden to

)

account the crimes "that those inhumane people committed against their own, the

by the National

in

Kunstsammlungen, Ludwigshafen

Germans," he advocated that those

key and Mexico but was refused an

47%

Wilhelm Hack Museum und Stadtische

Lake There he recuperated, fishing to eat

Pechstein was invited to teach

x

inventory no 16029

trials at

and trade with

local farmers

cm (47%

Hamburger Kunsthalle

1923 to the

Left panel of the Palau triptych

At war's end he

as a prisoner

returned to Berlin Shaken by the

NS

4,

Ehepaar

August

In

by the Russians and spent the remainder of the

in

Room

his studio

Pomerania There he was captured

also in

in

by the

Berlin because of the "noise caused

Leba

1944 he was ordered to leave for Schippen,

to Leba,

Pomerania, he could no longer work

in

he periodically returned to

at first

Donated

became

inventory no 16309

unknown

a

in Berlin SitzmdVr

u'tifclicferr

Akl (Seated female nude)

1918

he was prohibited from exhibiting, and a total of

326 of

works were confiscated

his

from German museums

When

in

the same

Watercolor, 43 x 338

Note 1

This image was on the cover of An

year he was expelled from the Preussische

described

Akademie, he protested, to no

European Amwl-Gardt

one

of his sons

was

a

member

avail,

of the

that

SA

(Sturmabteilung, storm troop), another had

been enrolled

in the Hitler

lugend (Hitler

youth) movement, and he himself had fought on the Western front during the

4

the United States for

him

solvent

9

The

Hilltr

)

Room

C2,

Location

NS

inventory no 16310

unknown

Elsevier, 1976), 187

and

the Arlisls

(New

Ah

am

Strand

(Nude on the beach)

York

Meier, 1983), 41

jurgen Schilling,

Kaiserslautern 5

Ibid

6

Paul

1987),

in

(167. x 13% in

ftuufatimn (Island girl)

Holmes and

Homer

buyers

(New York

allt Kttnstkr, as

Politics

207

Henry Crosshans,

Carnegie

Pechstein's work, kept

Shapiro, Painters and

Ibid,

Rcicb, rev

who found

Theda

3

of the director of the

Saint Gaudens,

in

2

war Only the help Institute,

cm

Acquired by the Nationalgalerie, Berlin

Max

Pfalzgalerie,

Ortwin

1919 Ptcbste'm

1982),

(exh cat,

II

Rave, Kunsldiklalur

Oil on canvas, dimensions

unknown

Acquired by the Kaiser-Wilhelm-Mu

m Drill™

ed ed

Uwe

M

Schneede

(Berlin

7

Crosshans,

Hitlrr

and

ibt Artists,

53

Room

3,

Location

NS

inventory no 15964

unknown

Argon,

24

Max

76

Stumiiscbr Set

(Stormy

sea)

8

Schilling,

9

Ibid,

75

Oil on canvas, 88 x 62

10

Ibid,

86

Acquired

11

Ibid

Pecbsltin,

1919

Room

5,

Location

in

NS

cm (34%

x

24%

in

)

1928 by the Nationalgalerie, Berlin

inventory no 16126

unknown

der

Max

Peiif er

Watenphul

l.icniK ol

Fiscfa^milK

llmrr t.uliji Bnil

tiNhermcn)

(Give us

1923 t )il

on canvas dimensions unknown

Acquired

Ns

*

from

women

in 1922

Acquired

a

I

Museum German

Room G2 NS

5

k

435

Kruger

raisonne'

in 1929

cm L49

Ditd l«76

(I5K x

(12V. x 17'. in

H

260 Berlin

Los Angeles County

tins print

The Robert Gore

of Art,

Rifkind

C

enter

foi

Expressionist Studies, purchased with funds

Museum

provided by Anna Bing Arnold,

Rind and deaccession funds,

by the Kupferstichkabinett, Dresden

Acquisition

Work

22e

831

BlumrmliiMirn

(And IV

ill

from the portfolio Das

colored woodcut, 42 x 32

Kruger

atalogiu raisonne in l°2 l >

by

tile

cm

(l6'/i

x 127. in

)

H 4U

inventory no 16348

Location unknown,

this print

1921

295 cm

x

fijutt 11-

Museum German

of Art,

this print

Room

On

Los Angeles County

The Robert Gore

Rifkind Center for

Expressionist Studies, purchased with funds

provided by Anna

xhihited as Au-

Museum

Bing Arnold.

Acquisition

Fund, and deaccession funds, 831 22h Figure 355

Palm iFrom Palau)

WIN Various dimensions C

atalogue raisonne

Lhd Kruger L 252-64

I

Acquired by the Stadtmuseum Dresden

Rooms

C

I

and C2,

NS

Location unknown (other prints

exist)

Kraft u«d die HerrUcbktU

die

And

Plate

inventory nos 16258 and 16304

the 1

1

power and the glory)

from the portfolio

Dm

1921

cm

(15V, x

Catalogue raisonne Kruger

Umtr (The Lord's Prayer)

Kilrr

Plate

I

I

title

page

i

Acquired

Irom the portfolio D.n

Kilrr L/nsrr

(The Lord's Prayer)

Woodcut, 395 x 295 Dos

Kilrr Unsrr

in

H

11%

in

I

266

1922 by the Kupferstichkabinett, Berlin

Room G2, NS

inventory no 16386

(The Lord's Prayer

Location unknown, this print Los Angeles

1921

Museum German

Woodcut, 395

x 29 5

cm

U5'/i x Ifii in)

Catalogue raisonne Kruger Acquired

Room

in 1922

C2,

NS

H

256 Berlin

inventory no 16388

Location unknown,

this print

of Art,

German

Expressionist Studies, purchased with funds

provided by Anna Bing Arnold,

Rifkind Center for

Museum

Fund, and deaccession funds, 831 22a Fidurr 3S3

The Robert Gore

Acquisition

County

Rifkind Center for

Expressionist Studies, purchased with funds

Museum

Fund, and deaccession funds, 831 22k FiJurr 356

Los Angeles County

Museum

The Robert Core

of Art,

provided by Anna Bing Arnold,

by the Kupferstichkabinett,

in 1935

'

»I93

by the Nationalgalcne,

6,

NS

inventory no 16143

I

H 263

inventory no 16389

Location unknown,

(South seas [Palau])

(15ft x 117. in

by the Kupferstichkabinett, Berlin

in 1922

Room G2, NS

Staatsgalene Stuttgart

Unidcntitied lithographs Irom the portfolio SuJsrr (PaUu)

unknown

Catalogue raisonne Watenphul Pasqualucci

Umrr

Kilrr

Acquired by exchange

Catalogue raisonne Kruger

Acquired

Graphische Sammlung

with flowers)

Berlin

Woodcut, 393

Kupferstichkabinett, Dresden

(Still life

Oil on canvas, dimensions

(The Lord's Prayer)

Room C2, NS

Entartete Kunsl

1932

I'rrswcriuM^

lead us not into temptation)

Plate 8

1912

Acquired

in

Fidurr 35<

inventory no 16317

FWniA/V (Bathers Hand

Italy

Ifli in

inventory no 16387

Un./ fiihn wis unfit

I

Umei

unknown

Location

(

Wr/rrlim/rn

"I

by the Kupferstichkabinett,

ocation unknown,

I

rwo whores

oloi lithograph

Catalogue

cm

Catalogue raisonne Kruger

I90S i

bn

Rome

Room G2, NS ZiwtDinwi

drulr

dail)

the portfolio Das liter

Woodcut, 395 x 295

16007

Acquired

Zu'n Fr,ium (Two

im

./ir/>

day out

1921

ii<

unknown

of hi. Ti

I

inventor) no

5

tins

(The Lords Prayer)

1936 In the Nationalgale

in

on deposit from 1935 confiscation

Room

I'l.m

Acquisition

commission to Boehmer, location unknown

Hans Purrmann

Max Rauh

Hans Richter

Born 1880

Born (888

Speyer

Kwdmtl, Mittelfranken?

Berlm

Died 1966

Death dale unknown

Died 1916

Born (888

Muralto/Ticino,

Basel, Switzerland

Switzerland

Work

in "Entartete

Bodtnstelandschafl

Kunst

(Landscape near

Work

in

Entartete Kunst

Work

in "Entartete

Kunst

"

Emy Roder

Christian Rohlfs

Bom

A

1849

childhood accident resulted

amputation of one

W'urzhurii

(Vinnior/

Ditd t97i

Died 1938

Maim

Hagen

ol Rohlfs s legs

the

in

during

his

recovery he began to draw and paint After the completion of his studies at the

Akademic

the grand

duke

Weimar granted him the use bestowed upon him the title In 1901

Weimar

Sachsen

of

of a Studio

and

of professor

the Belgian architect Henri van de

Velde established a contact for the painter with the millionaire art patron Karl Ernst "( Iinstinn Rohlfs's

Work

in

Entartele Kunsl

Take one meter of canvas, squeeze out the contents of various large tubes of paint

Si

bwmgen

Pregnant

woman

over

i!H'

Acquired Rm

*

stretch,

80S cm t

ierke

in the

and place

in a

frame

"

who was creating an artistic of Hagen by building the

inviting artists to

work there Rohlfs was the

This was the

center

town

Museum Eolkwang and

all

vigorously smear the whole thing

it,

1918

height

Osthaus,

painting instructions

Rohlfs

s

first

to join

early works had been academic

JUS in 1

m H2I hv the Kunsthalle NS inventory no 16249

Karlsruhe

comment placed under Rohlfs's painting andschafi m Grau und Bratm Landscape in

landscapes, under the influence of the paint-

gray and brown)

Impressionism, after seeing works by Vin-

1

Losi 01 destroyed

bition

The

in

the Endirlflf Kunst exhi-

who was

political activity

was one

of the

by the

then Post-Impressionism

freedom

frequently called the oldest

Expressionist but simply

on

his

works

most impressionistic

Claude Monet he adopted

He

modified

of color

around

He

achieved a

1905,

an event usu-

ally tied to his first visit to the city of Soest,

where he met Edvard Munch His

colorists

cultiva-

tion of watercolor techniques greatly

of his times

influenced his painting style

Figure 358 Rohlfs, Somtmunlertjiinti an det Ostsa

a

cent van Gogh, he progressed to Neo- and

Nazis' contempt for Rohlfs was

based not on any artist

ings of

I

i

Sunset on the

Baltie

1926

The outbreak

World War

of the First

distressed the aging Rohlfs, and for

some

time he was unable to work After the war, in 1919,

the seventy-year-old

artist,

newly

married, saw his works receive growing recognition

The Technische Hochschule

Aachen (Aachen

technical college) and the

University of Kiel awarded him honorary

was made an honorary

doctorates, and he citizen of

many

Hagen He subsequently had

exhibitions until his

work was declared

"degenerate" and seventeen paintings and four prints were included in Eniartete Kunsl

After his death

in

1938 the authorities would

not permit the sale of his work, in Switzerland, however, the

Kunsthalle Hern exhibition

Kunstmuseum

mounted

a

Basel

and

commemorative

'(PC)

Noln I

Paul Wjgt, Christian RoM/s Das graphiscbt Wrrk

(Recklinghausen Aurel Bongers, 1960), idem, RoM/s Otuvrt-Katalog

it,

Gmu.Hr, rev

Christian

Ulnch Kocke

(Recklinghausen Aurel Bongers, 1978)

Work Ikt

in 'Entartete

Kunst

Gnon (The gnome)

1912

Watcrcolor

s

Acquired

nm

urxl

in

x

50

(

m 15%

x

16%

R.x.mt.:

MS inventory

in

)

Mus

by the Stadtisches

KuMst^cwrttH- (Moritzburg)

Halle

no 16207

Location unknown

Oct Totatlanz (The dance of death

i

1912

cm

Oil on canvas, 60 x 100

Catalogue raisonne Vogt 520

Acquired

in

1914 bv the Stadtisches

Mu

und Kunst gewerbc (Moiitzburg), Halle

Room

4,

Location

NS

inventory no 16023

unknown

Dor/ (Village)

Exhibited as Hauser (Houses) c

1913

Oil on canvas, 75 x 110

cm

(29'h x 43 % in

Catalogue raisonne Vogt 543

Donated

in 1925 to the Stadtische

Room

NS

5,

Staatliche

Calene, Frankfurt Figure 362

inventory no 16100

Museen

Rohlfs, Abrobaten (Acrobats

Preussischer Kulturbesitz,

Nationalgalene, Berlin, 1950 Fi^urr 360

Haus

m

Soest

(House

in

DfrKriftjCThewar)

Soest)

Exhibited as Biiuemhaus (Farmhouses c

c

Oil on canvas, 73 x

101

cm

(2S% x

39'A in

c

(43% x 29'A

)

Catalogue raisonne Vogt 541

Donated

in 1914 to

5,

NS

Museum

Kir

Kunst

Landesmuseum

fur

6,

NS

Staatliche

Museum

Berlin,

of Soest

in

cm

I

Catalogue raisonne Vogt 567

Folkwang, Essen

inventory no 16139

Museen zu

'The towers

1916

Oil and tempera on canvas, 76 x 1105

(29% x 43%

)

Acquired by the

Room

inventory no 16101

Westfalisches

in

cm

Catalogue raisonne Vogt 555

the Stadtisches

und Kunstgewerbe (Moritzburgi, Halle

Room

Die Turme von Soest

1915

Oil and tempera on canvas, 110 x 75

1913

Museum Folkwang, Room NS inventory no 16096 Museum Folkwang, Essen

Acquired by the

Essen

5,

Nationalgalem

Kunst und

Figure

u

i

Kulturgeschichte, Munster Abrobaien 'Acrobats)

Ftgurr 359

c

1916

Oil on canvas, 110 x 755 Junger

c

Wa\d 'Young

Museum Folkwang, Room 4, NS inventory no 16034 Museum Folkwang, Essen Acquired by the

Catalogue raisonne Vogt 544

Room

C2,

NS

Mu

inventory no 16208

Location unknown

(43 % x 29

Catalogue raisonne Vogt 577

forest

1913

Oil and tempera on canvas. 61 x 80 c

Acquired by the Christian Rohlfs

Elms, wird vom Raben ^rsprrsr 'Elijah

cm

Hagen^

Figure 362

being fed by ravens)

Bias (Elijah) 1921

Es*

Oil on canvas, 102 5 x 80

cm (40%

x 3I'A in

)

Catalogue raisonne Vogt 659

Acquired by the Kunsthalle zu Kiel

Room

I,

NS

inventory no 15939

The Robert Core California

Fi^uk 363

R.fkind Collection, Beverly Hills,

Kapdle

in

DiMsbuhl (Chapel

Dinkelsbuhl)

in

1921

Oil on canvas,

76

101 x

cm

(39'A x 297, in

I

Catalogue raisonne Vogt 649 Acquired

Room

On

6,

1922 by the Nationalgalerie, Berlin

in

NS

inventory no 16140

commission

Topf mil

to

Blumm (Pot

Boehmer, location unknown

of flowers)

1922

Oil on

canvas, 100 x 59

cm (39%

x 23% in

)

Catalogue raisonne Vogt 678

Acquired by the Kaiser-Wilhelm-Museum, Krefeld

Room C2, NS

inventory no 1621

Exchange to Boehmer, location unknown

Sonnenutittrgang an

da

on the

Osfscf (Sunset

Baltic}

Exhibited as Brauncr Mondscblin (Brown moonlight)

1926

Tempera on

paper, 51 x 70

cm

(20V8 x

27'/i in.)

Acquired by the Christian-RohlfsMuseum, Hagen?

Room C2, NS

inventory no 16203

Michael Beck, Calerie Utermann, Dortmund Figurt 358

bmdschaji

Grau und Braun

it,

(Landscape c

in

gray and brown)

1930

Oil on canvas, dimensions

unknown

Acquired by the Chnstian-Rohlfs-Museum, Hagen

Room C2, NS

inventory no 16206

Probably destroyed

Madcbrn

Kind (Girl with child)

mil

1931

Tempera on canvas, 96

5 x

57

cm

(38 x

22'/i

ir

Catalogue raisonne Vogt 748

Acquired by the Stadtisches Museum, Hagen

Room

CI,

NS

inventory no 16171

Private collection

BlumfMsckilr (Flower vase)

Watercolor, dimensions

unknown

Acquired by the Stadtisches Museum, Hagen

Room

G2,

Bought by

NS

inventory no 16182

Curlitt, 1940, location

unknown

Figure 363 Rohlfs, Bias

Halbfgur a«f

Cmn

(Half-length figure in greenl

Medium unknown, dimensions unknown Acquired by the Chnstian-Rohlfs-Museum, Hagen?

Room C2, NS

On

inventory no 16209

commission to

location

unknown

Gurlitt,

bought

1940,

rird

mm Rabm

gcspcisl (Elijah

being fed by

i

Edwin Scharff

Oskar Schlemmer

Born iss

Head

Ko(i

ten

\\

sions

d

4oi

Acquired In the

Room G2 Ns

On

Museum

hrisnan Rohlfs

(

Inventory no

I

lagcn

Ditd 1955 16

!I0

Hamburg

commission to Curlitl bought 1940

location

unknown

Ttsshm Dor/njtusn (Village house

Acquired by the

\s

On

in

I

k ino

dimensions unknown

\\ iten oloi

I,k

Neu-Ulm

unknown

Museum

hristian Rohlfs

t

inventor) no

I

lage

16205

On

commission to Mollei exchanged 1940

.iti.'ii

unknown

Work

in

Pfmfc

Jrr Tr.i.itr

Entartete Kunst

August

drafted

a

7,

Oskar Schlemmer

1433,

manuscript entitled 'Hoffnung

oder Resignation" (Hope or resignation), Fr.iuoi/'iUnK (Portrait ol a lutittt

Fr.iw

l

Young woman

woman

woodcut

41

2 x

cm

274

i

Horses

at

the tn lugh

(16% x 10'A in)

medium unknown, dimensions unknown

Acquired by the Stadtische Kunstsammlungen

in

Acquired

Room ',

I

NS

t,2

title,

Dusseldorl--

l9lo bv the Kupferstichkabii

in

inventory mi 16391

Room

7

Ljocation

NS

inventory no 14244

unknown

in

He

published

days later

fifteen

it

the Deutsche Allifememe Zeilunt] under the

1

Catalogue raisonne Vogt 71

"Appell in Sachen Kunst"

name

the

of art)

I

the same

In

he received notice that

his

Appeal

month

appointment

unknown

.in, mi

to the Vereinigte Staatsschulen fur

BadmU Vaumia

AJtl

Squatting female nude

HotlcrnjVr weiblicba

Ah

(Squatting Female nude

HfcWicfcn

c

Mama

- luted woodcut, 383 x 167

cm

(I5'A

x 6'A in

(Men bathing

1920 Print 1

in

1920 by the Stadtische Kunstsammlungen

Dusseldori

Room 7 NS

Acquired

Location unknown

I

,

,,

,iti,

1930 by the kupterstichkabinett Merlin

in

NS

C2,

inventory no 14414

In

April he had suspected that a

poster

at

the school that

elements" whose classes should be boycotted

would eventually '

Nevertheless,

manuscript Kof>/e

Ruhr

wiitl Lriilr»iscl'tj/l

.Iross

Peace and Passion, large

in a

wbodcui

23,5 \ 32.1

em 9%

x

n\,

,„

Catalogue raisonne Vbgl B9

tion, calling for a

C2.

NS

inventory no 16204

commission to

Curlitt,

bought

search for

would

his

own

those described UmZOuU

Akimirr

Three dancing men

Room

in

G2,

Location

unknown

1920 by the Kupterstichkabinett, Dresden

NS

inventory no 16349

unknown

corresponding mir-

find "their

Schlemmer drew mistaken between

Lithograph, dimensions

He

failed to penetrate

National Socialist cultural ideology, political

Medium unknown, dimensions unknown Acquired bv the Christian Knhlls Museum Hagen" Room C,2, NS inventory no 16202 Location unknown

and

National Socialist propa-

in

which

aims defined and absorbed cultural

ones Schlemmer's concept of the society was an apolitical one

that art existed in a sphere

work

parallels

creative aspirations

in

ganda broadcasts

in

Llnidentitled

a "great national

which the "con-

in

ror image in architecture and fine arts" 2

1940,

unknown

Acquired

his

and formative tendencies of the

structive state"

Acquired bv the Christian-Rohlfs-Museum, Hagen 1

Diti

lead to their being

Schlemmer wrote

tone of confident expecta-

compositional style"

1915

location

denounced him and

his colleagues as "destructive Marxist-Judaic

Two heads)

Zwti

On

had been termi-

30,

nated

fired

Room

Kunst

in Berlin,

inventory no 16390

unkneiwn

hi

Unified state schools for art)

dimensions unknown

Catalogue raisonnc Vogt 67

Room

(

suspended since April ,

Acquired

1913

I

his

vision of a reunification of art, the state, and

the people

Painting

1913

e

,ih

1912/13

I

world events and that

two would destroy the found

believed

removed from

harnessing of the

a

artist's

thought and expression Socialists

artist's role

He

"'

"naivete of

The

this position

National

not only un-

tenable but revolutionary inasmuch as

it

suggested an aesthetic attitude resistant to political

appropriation

Schlemmer's overt reaction to National

was limited to

Socialist cultural politics

writ-

Dessau

workshop Three years

won

competition for

ten protests to high officials during the

designs

1930s Until the opening of the Entartete

of murals in architect

Kunst exhibition in 1937

Schlemmer

rotunda

his

work was mistaken By

Schlemmer's

Schlemmer studied

at the

art) in Breslau in

his

(Academy the

1929 His consequent res-

may have been

5

paigns against

in 1912

only to

have his studies interrupted by the outbreak

World War He immediately

enlisted for military service

and within

responded to the act

November about

a

modern

27,

1930

this cultural

He

art

that

is

is

it

precursor of the In his letter

£»(l22

C.2,

Location

Berlin

NS

inventory no IM71

unknown

l^

(Autumn landscape)

iandsebafl im llnbsl

Pommrrjcbc Ak'm/l.m.KJult

m

[Moonlit landscape

Hrrhst

(

Autumn

Schmidt

Woodcut, 29

cm

Oil on canvas, 76 x 90

(297. x 35

V. in

Room

bildendcn Kunst, Breslau

NS

5,

(

IV.

I

x 15V. in

G

)

I

Ruttliilt,

Guttmann

1

1

lii/Jiu.

Gullnami

i,

Portrait ol

1914

16

Acquired bv the Kunsthalle Mannheim?

by the Schlcsischcs Muse

in 1932

cm

x 39

Catalogue raisonne Schapirc

)

Catalogue raisonne Grohmann p 220 Acquired

Figure 377

l

1909

Pomerania)

1931

Room

pipe)

Sell portrait)

915

Lithograph

i

Crohmami p 2N

by the Nationalgakric

1932

In

NS

S

Brucki

cm W.

101

itilogue raisonne'

Room

/'/ri/r

19

Oil on sanvas. 87 x (

mil

SdbttbiUm

1930

C2,

Location

NS

inventory no 16328

unknown

inventory no 16108

Saarland-Museum, Saarbriicken FtilUff

Z.riirlr,

in

I

Catalogue raisonne Schapire 137 Zu'fi Aklr

(Two nudes)

Watercolor. dimensions

Acquired

Room

On

4.

in

NS

Original location

unknown

inventory no 16054

commission to Boehmcr, bought

location

Room C2, NS

1920 by the Stadtmuseum Dresden

unknown

unknown

inventory no 16339

Location unknown,

this print

Graphische Sammlung

Staatsgalene Stuttgart 1939,

Figure 377

Figure 379 Schmidt-Rottluff, Zitgtla be Darel),

1909

Dam 1

<

Brickyard

at

i,

1914

Schmidt-Rottluff

*HI|||IJ'^jj|jl»lf/lNI«^=<

Dm am

Tiscl)

(Three

at a table)

1914 3

40 cm (19% x

I5

Catalogue raisonne Schapire

51

Woodcut, 50

x

A

in.)

Acquired by the Kupferstichkabinett, Berlin

Room

NS

G2,

inventory no 16372

Location unknown, this print Brucke-Museum, Berlin

Kim

378

Kmcndt Kneeling woman) l

Wnb am O/m (Woman

Exhibited as

at the

oven)

1914

Woodcut, 50

x

393

cm (19%

x 15'A in)

Catalogue raisonne Schapire 132

Acquired by the Schlesisches

Museum

der bildenden

Kunst, Breslau

Room

NS

C2,

Destroyed,

FW«

inventory nos 16343

this print

The Art

Institute of

Chicago,

Dr Rosa Schapire

gift of

380

Kmcntlt Frau (Kneeling

woman)

1914^

Woodcut, 50

x

393

cm (19%

Catalogue raisonne Schapire

x

in

I5'/i

132"

)?

1

Acquired by the Kupferstichkabinett, Dresden

Room G2, NS

inventory no 16383

unknown

Location

Miissigt Htiaroi

(Creek courtesans

Exhibited as Zwtt

Afelf

at leisure)

(Two nudes)

1914

Woodcut, 395 x 50 cm

(

15'/i

x 19%

in

)

Catalogue raisonne Schapire 133 Original location

Room C2, NS

unknown

inventory no 16332

Location unknown, this print Craphische

Sammlung

Staatsgalene Stuttgart Fijurt 381

SilzrnoVr

Ah

(Seated nude)

1914

Lithograph, 26 8 x 184

cm

(lO'/i

x

Tk

in

)

Catalogue raisonne Schapire 86

Acquired by the Kupferstichkabinett, Berlin

Room

C2,

Location

NS

inventory no 16369

unknown

BiUai'i ^.'.,i I

Scbapin

Porn-ail ol K.>s.i Schapire

uhlblted is HftMicBn

Kofi)

lead ol

I

woman)

.1

1915

Woodcut, 3n 1

29

v

cm

atalogue raisonne'

14* x

Kunst

Museum

dei blldenden

Breslni

Room

C2.

Destroyed Fuurr

lltt In

Schapire 183

Vcqulred h\ the Schlesisches

NS

inventory no 16337

Hamburger Kunsthalle

this print

is:

Sl

hmidt

Rottlull, Hrilijw Franrisfats (S

1419

Figure 387

Schmidt nude),

Fun m

SitemJr

(Seated

Silzmon mibUcba Ail

Rottlull

Seated female

1913

Brn/lumfei Em/|

woman

in

mountain landscape)

AUUmu-iJ W«U (Girl and

forest

1915 I

cm

298 x 395

tching,

(11% x

in

\5'fi

)

Krisfus

Catalogue raisonne Schapire 42

Museum

Acquired bv the Schlesisches

from

Kunst Breslau

Room C2, NS

1

Christ)

Mudchmltopj Female head) (

Exhibited as Cnrislus-Kot)/ (Head of Christ)

der blldenden

the portfolio Ntun Hotzsdmittt (Nine woodcuts)

1918

inventory no 16367

x 391

cm

m

(19V, x 15V,

Museum

Acquired by the

BiUms

Room

Mother) itr

Multrr

I

x 31

1

14%

x 12% in

Museum German

)

Catalogue raisonne Schapire 194

Rifkind Center for

The Art

Rilkind Center lor

M 82 288 265

Museum German

(Los Angeles

Chicago,

Institute ol

PwpbtUn (Large prophetess)

Crosst

inventory no 16334

The Robert Core

I,

gift ol

Dr Rosa

ol

Schapire 'Chicago only)

Gang nacb Emmam (Road

to

Emmaus'

Woodcut, 499

G2,

I

m

Portrait of Flechtheim

392 cm

x

(19V. x

15%

in

cm

(11% x

14 in

NS

LWsclw/l (Landscape)

Medium unknown, dimensions unknown

inventory no 16336 this print

Los Angeles County

On

Fnuaiskia

der blldenden

inventory no 16344

Los Angeles County

x

Gl,

NS

inventory no 16252

commission to Moller, exchanged

194),

unknown

Saint Francis)

493

cm (23%

x 19% in

)

in

1920 by the Kunsthalle

Room G2, NS

Mannheim

this print

Granvil and Marcia

Specks Collection Figuri 386

Licbtipaat (Lovers)

Exhibited as btbmdt (Lovers)

1920

Woodcut, 50

x

395 cm (19%

x 15'A in

)

Catalogue raisonne Schapire 264 Acquired by the Schlesisches

Museum

Kunst, Breslau

Room

G2,

Location

NS

inventory no 16342

unknown

Room G2, NS

unknown

inventory nos 16340 and 16341

Location unknown

inventory no 16331

Location unknown,

Two unidentified works Medium unknown, dimensions unknown Original location

Catalogue raisonne Schapire 243

Acquired

this print

1

1919

Museum

ol Art, gift of Kurt Wolff

unknown

Original location

Room

of Art, gift of Kurt Wolff

Woodcut, 60

Kunst, Breslau

Location unknown,

by the Kunsthalle Mannhe

inventory no 16329

)

unknown

1

Catalogue raisonne Schapire 212 Acquired by the Schlesisches

NS

Nine woodcuts) Htilititr

Fljurr IS)

I

in 1921

G2,

location

the portfolio Ntun Hotzsclmitfc

NS

.

Catalogue raisonne Schapire 254

Fitfwrr 385

1918

C2,

Flrcfelfcnm

Acquired

(Three apostles)

Woodcut, 29 x 355

Room

7

inventory no 16330

Location unknown

Location unknown,

Museum

(II x

unknown

Room

Museum

From

Location

1919

Room

Apostil

Room G2, NS

Exhibited as Kopf (Head)

Original location

Figurt 383

Dm

cm

Woodcut, dimensions unknown

Expressionist Studies,

only

Museum

Catalogue raisonne Schapire 289

BiWms

der blldenden

Destroyed, this print Los Angeles County Art

in AWums/ur Sued unJ

donations to the

M 82 288 270

Expressionist Studies,

Kunst Breslau

Room C2, NS

Artists'

I

Schrift, Leipzig]

Acquired by the Kunsthalle, Mannheim 1

Los Angeles County

this print

The Robert Core

LripziiJ

Fi^urr 3d8

Museum

Acquired bv the Schlesisches

of Art,

m

Woodcut, 28 x 20

Lolkwang, Essen

inventory no 16338

Location unknown,

Portrait ol the artists mother)

1916

Woodcut, 372

NS

C2,

the portfolio Kumtlmpntdt

Buch und

1

Catalogue raisonne Schapire 208

Alutirr

From Sc/iri/l

Woodcut, 501

Location unknown

1923

der blldenden

fur

Werner Scholz

Lothar Schreyer

Born (898 Berlin

Death date unkno

Figure 388

After studying law

Work

in "Entartete

D

(J

Schreyer, Fiirbform

1902) and art

(Color form

history at the universities of Heidelberg,

Kunst

medium unknown, dimensions unkni

Acquired

in

1934 by the Wallraf-Richartz-Mu

Cologne

Location

house)

from

in

Hamburg,

1911 to 1918,

he held

a position

where

inventory no unrecorded

all

his duties included

coediting the theater's publication

Nb

Herwarth Walden, the editor

He met

sound

Acquired

Room

6,

Location

(Still life

w.th amaryllis)

medium unknown, dimensions unknt in

NS

1935

by the Nationalgalene,

inventory no 14145

unknown

his theater

of the influential

concepts to the journal

tember 1917 Schreyer became

In

Sep-

vtratitwortlich

Berli.

fur die Redaktion (literally responsible editor) at

Der Sturm and began to take up the

new

form that August

expressionistic lyrical

difficult,

he formed

a

Kampfbuhne Hamburg (1918-21)

He

one)

attempted to mold

form and the

of word, gesture,

movement

into a unity

From

1921 to 1923

and

he was the director

of the theater activities of the Bauhaus in

Weimar and continued his educational role at the art school Der Weg (The way) in and Dresden (1924-27)

Berlin

returned to

Stramm had initiated in the journal Schreyer became the head of the Sturm buhne (Storm-stage), and when the political situation in Berlin in 1918 made producing and performing plays

in

of the words, the

color of the costumes and, often, masks,

Calerte Der Sturm, and began to contribute Sl.lM>m mil Atmrylhi

forms

art

the

and the rhythms

of Der Sturm

unknown

(The storm) and director

Painting,

of

Deutsches Schauspielhaus (German play-

1933 Painting,

6,

Kinderstrrbn

advisor and assistant stage manager at the

Kind (The dead child)

Triptych

Room

'

and Leipzig, Lothar Schreyer became

Berlin,

Me

bubnntwttk

1921

cbitdren),

Das

2 ..us

from the production Dtalb

2

Hamburg

1928 he

In

as chief reader for the

publisher Hanseatische Verlagsanstalt (until 1931

He

)

in 1933

Roman

converted to

Catholicism

and edited the works of the great

Bohme, Paracelsus,

mystics, including Jakob

Meister Eckhart, and Heinnch Suso, and

parallel organization, the

published several books on Christian art

(Combat-stage),

of the past

During the

War

in last

days of the

First

Schreyer's group performed,

among

other plays, Stramm's Sancta Susanna (Saint

Susanna)

in the Kiinstlerhaus in Berlin, the

production was greeted both with applause

protection For his

Nacht (Night), Ktndersterben

own

it

I

For Schreyer's writings see Lothar Schreyer, D.f

Ntui Kuml (Berlin Der Sturm), 1916, idem, D.f bddmde Kunst dei Deulsc/im

Krtu.2iju.nt)

Mann (Man),

(Crucifixion),

Max

and

(Death of children) Schreyer

invented, in collaboration with

and

Olderock, a

score that indicated

Partitur, a

Max

graphic

work

Ennnerunpbuch an Her-

dm

Stumkrtis (Baden-

1954), idem,

Erimermgm on

Baubam (Munich Albert Langen/Ceorg

Muller, 1956), idem, Cor.stl.cor Kunst

m

Theater

B Toth, 1948), Nell

d« 20 Jahrhunderh

der kitbohscben utid prolrstonliscbm Wttl

(Hamburg

Christian Wegner, 1959), idem, Dus Cbr.slusfc.H und du Kunst dn 20 Jabrbundirls (Salzburg Otto Muller, 1960)

Kunsttheone und szemsche Wirklichkeit im expressio-

Schreyer's theories of theater were

(total

fin

KmstUr am

J

See also Ingo Wasserka, "Die Sturm- und Kampfbuhne

388-89)

based on the concept

die

Baden Woldemar Klein, Slum, und

every movement to parallel the spoken word (figs

Walden and idem, Der Sturm aarth Walden und

Verlags-

Ex/>rfss.on.slisc|jfs

(Hamburg

Billert

hieroglyphlike forms

in

(Hamburg Hanseatische

1930 and 1948), idem,

required police Aui meinen Ermnerungen

plays

(P G.)

'

Nolcs

anstalt,

and with such derision that

and present

World

of the Gesamtkunstwcrk

of art, that

is,

a

combination of

nistischen Theater Lothar Schrevers" (Ph dissertation, University of Vienna, 1965)

D

Otto Schubert

Kurt Schwitters

Born r«87

Work

in

Fvblon,

1

i

Entartete Kunsl

Mi

Form

oloi

J

Deiilh

KirJmlrrr.m

Buln.mu.frk

J. ill

Hannovtr

Dud

Hriimou'i

From the production OMAo/ciiUrm)

from Bauhaus Portfolio

Plate 14

Drcdrn

(948

Kendiil,

England

I

1921 I

olored lithograph, 291

v

itaJogue rafsonrvS

x

mi

171

Wmglcr

Room G2, NS

(

I

oktgne

Collection of the

this print

("enter tor the Graphic Arts, University ol

Mr

California, Los Angeles, gilt of

Crunwald Los Angeles i

Chicago,

Museum

inventory mi 16286;

Location unknown,

Crunwald

ill", x 6'A in

1/14

Acquired by the Wallral RJcharo

gift of

Memorial Lund, Emtl

Eitel

and Mrs Fred

The Art

only]

Mrs Henry

C

Work

Entartete Kunsl

in

Institute of

Fund, and Harold Joachim

Oil on canvas, dn

figurt 188

Acquired

Room

in

Cl,

NS

inventory no 16164

Location unknown

13

from Bauhaus Portfolio

/)r.ilfi

o/cMdrrnl

cm

Colored lithograph, 22 5 x 168 Catalogue raisonne

Wmgkr

I

(87. x

6%

in

)

I

Acquired by the Wallraf RichartzMuseum, Cologne

NS

inventory no 16280?

Location unknown,

this print

Los Angeles County

Museum ol Art, The Robert Core Rilkmd Center for German Expressionist Studies, M 82 28762 (Los Angeles only!. The Art Institute of Chicago, gift of Mrs Henry Eitel

Vrrkuntinjuui;

in 1931 to the Nationalgalcrie, Berlin

Room

G2,

NS

(7V. x 5

7.

in

inventory no 16297

C

(Annunciation)

Oil on canvas, dimensions

I

Acquired

C2,

18 x 14 5

Donated

Destroyed

1921

Room

cm

Collage,

Burmnwrrk "Knimlatm"

(Color form 6 from the production Plate

Kunst

1917

1920 by the Stadtmuseum Dresde

Mutlrr 'Mother! .rus

in Entartete

Truum (Dream)

(Funeral)

RrtrJi^unit

Purchase Fund (Chicago only)

firrd/om 6

Work

Woods, Steuben

Woods, Steuben Memorial Fund, Emil

Fund, and Harold loachim Purchase Fund

Room

in

Gl,

Location

unknown

1920 by the Stadtmuseum Dresden

NS

inventory no 16160?

unknown

MtrzbiU (Merz picture

Mixed media, dimensions unknown Catalogue raisonne Schmalenbach

Acquired

Room

3,

Location

in

NS

[

1920 by the Stadtmuseui inventory no 15974

unknown

kmgbAi (Ring

picture!

1919

Mixed media, dimensions unknown Acquired

(Chicago only)

Room

Figurt 389

I

1919

3,

in 1921

NS

by the Stadtmuseum Dresden

inventory no 15976

Location unknown

Uxrbm Uneven i

1920 13

Donated

in 1931 to the

Room

G2,

Destroyed

Figure 389 Schreyer, Muttrr (Mother! "

fiur.nmu.rrk

'

iWcrsftrirm

Farbfoi

2 x

97 cm (5%

Collage,

NS

x 37. in

)

Nationalgalene, Berlin

inventory no 16296

Lasar Segall

Born (890 Lithuania

Vilini,

Died 1957

Sao Paulo, Brazil

It

was not surprising

that the

selected works for the tion

committee that Kimsi exhibi-

Enliirtfle

would chose paintings by Lasar

Segall,

especially Die ewigen Wanderer (The eternal wanderers,-

fig.

391) and Wilwe (Widow), the

Purim) by

latter labeled Purimfest (Feast of

the exhibition organizers Displayed under the heading, "Revelation of the Jewish racial

moving images, inspired by memories of his childhood, were shown

soul," Segall's his

Figure 390 Segall, Zu'n

with works by Jankel Adler, Marc Chagall,

and Hans Feibusch Segall

left

Vilna at the age of fifteen

and emigrated to

Berlin,

prizes,

and exhibited

Between 1910 and

1911

trip to Brazil,

first

several

Galerie Curlitt

at the

he studied

Dresden Akademie, and

in 1912

where he exhibited

Germany

the First

began and he was interned alien

Released in

1917,

Otto Dix and Conrad 1919

became

a

the

at

he made

Sao Paulo and Campinas Shortly return to

his

in

after his

World War

as an

he joined

enemy his friends

Felixmiiller

founding

jL***.^

where he studied

Akademie (1907-9), won

at the

member

and

in

of the

Dresdner Sezession Gruppe 1919 (Dresden secession group 1919)

He was one

of the

outstanding Expressionists of the second generation His melancholy figures with large heads palette a

and small bodies and

his

muted

were praised by Theodor Daubler

monograph published

in

in

1922 by the Fritz

Curlitt Verlag fur Jiidische Kunst

und Kultur

(Publishers for Jewish art and culture) Segall illustrated Dostoyevski's Krotkay (1921),

Charles Louis Philippe's Bubu (1921),

and David Borgelsohn's Maase

BiM

(1923)

and collaborated with the publishing firm of

Wostock

in Berlin

exhibitions in

He had

Germany

a

number

until 1923,

of

when he

Sdnmsltm (Two

sisters),

1919

Friedrich Skade

emigrated id Brazil Somali became

known

well

Ura

a

and married lennv klabin,

zilian citizen

German

translator ol

Horn (898 a

Work

Kunst

in Entartete

DoWm

literature Oir nnjni Wanderer

(The eternal ware

/

I

)/i

I

(J

,

into Portuguese but he continued to exhi1919

bit bis

work

Germany and from

in

and exhibited

1931 he lived in Paris

From

Calerie Vignon

1928 to at

the

he led

1931 to 1935

(Sao Paulo modern art society), which

(

LI

on canvas

NS

2,

Museu

he-

138 x 184

atalogue raisonmi

i

m

(54*

x 72'/. in

)

Bardi 71

Acquired bv the Stadtmuseum Dresden

Room

Moderna

the Sociedade Pauliste de Arte

(

/JrfsJrti

Uliur

I

inventory no I59S4

Sao

asar Segall,

Paulo, Brazil

191

had cofounded

N'

Aftet

-

shown

longer be

when bis art could no in Germany Segall

number

ol exhibitions in

received

a

York

1950 he completed

In

had begun

ings that he

group

a

Exhibited as Lirfrmir

Limp

— demonstrate

(

the

in 1951,

at the third

oncentration

Room

2,

NS

Lasar Segall

Museum

Art,

New

Acquired

Museu

the

Room

Acquired

Room

Museum

of

Acquired

Room

2,

in 1928

cm (35%

x 27'/» in

)

NS

by the Museum Folkwang, Essen

inventory no 15958

Location unknown

'

(P

G

Zu'fi

Scbmen (Two phantoms)

Exhibited as

(Two

Zu'fi Fit/urnt

figures)

I

1919

Lithograph, dimensions

Nolo 1

Acquired For a bibliography of articles by Lasar Segall in Brazilian lournals

in

see Bibliograju Lasar Stgall

unknown

1920 by the Kupferstichkabmett, Dresden

Room C2, NS

inventory no 16345

Location unknown

(Sao Paulo Associat,ao Museu Lasar Segall, I977i, on Segall and his

work see Theodor Daubler Liuir

ludische Bucherei no 20 (Berlin

Stgall,

Mam

umJ Wcib

Fritz Curlitt, 1920), Print?;

Waldemar George,

Lisdr Sraall

1932), Paul Fierens, Lirsur Srgall Jour, 19381,

Mario de Andrade,

i

I

Pans Le Triangle, Paris

Law

V,/.,//

Sao Paulo Museu de Arte, 1952 and Lis.ir

(exh cat, Milan Stgall

Small

mhiI dtr

i

M

Ministerio da Educacao, 194V), P

Man and

wife)

la

Room

C.2,

NS

inventory no 16362

Location unknown

Bardi, ljs.jt

1959),

Erhard

Dnsdiur Exprrsswmsmus

Callena del Levante, n d

(exh cat, Berlin

Rio de

(

dimensions unknown

Acquired by the Stadtmuseum Dresden

Chroniqucs du Sr«,ill

neiro

Frommhold.

NS

inventory no 16159

),

Lasar

Staatltche kunsthalle. 1990)

Mappi Prints,

mil

srefcs

Blaltirn (Portfolio

with six pages

medium unknown, dimensions unknown

Acquired by the Schlesisches

Museum

Kunst, Breslau

Room

C2,

Destroyed

NS

I

Portrait of a

woman

Oil on canvas, dimensions

Punm)

Exhibited as Purim/n! (Feast of

Madrid, Paris and

to public attention

published

Cl,

unknown

1926 by the Stadtmuseum Dresden

in

Location unknown

Catalogue raisonne Bardi 82

and large

in 1970,

York, the twenty -ninth in

Portrait of a lady

}oo

1920

Diisseldorf brought this Expressionist once

more

lolkwang, Essen

I

Sao Paulo Biennale

Venice Biennale, and

I

Oil on canvas, dimensions

Witm Widow)

and he was guest of

retrospective exhibitions at the

Modern

DammbiUms

in

Fuiucnbtldw,

Sao Paulo

in

39'A x IV

Private collection Fitfurr

Belas Artes in

widow founded

s

l

inventory no 15960

Oil on canvas, 90 x 69

Segall

cm

"Entartete Kunst

one-man exhibition

Museu Nacional de

Rio de Janeiro

honor

a

Work in

lovers)

Catalogue raisonne Bardi 83

the strength of his

He had

recent history

Two

Oil on canvas, 100 x 80

titles-

childhood memories and the impact of

at

I

of paint-

Acquired by the

Pogrom, Ship of Emigrants, and

sisters^

1919

whose

in 1936,

(Two

Ziiyi Scbipcslrrn

New

inventory no 16437

der bildenden

Cl,

in

unknown

1926 by the Stadtmuseum Dresde

NS

inventory no 16166

Location unknown

Paul Thalheimer

Friedrich [Fritz]

Stuckenberg

Born (884

Heilbwnn Died 1948 Schrobctthausai

Painter and graphic artist Fritz Stuckenberg

spent his early years

in

Work

Bremen and OldenFigure 392

burg, briefly studied architecture in Braun-

Stuckenberg,

schweig, and continued his artistic studies

c

in

Ml

Vcrsuchutul des

Hedges Antontus

(Temptation of Saint Anthony)

Leipzig from 1900 to 1903 During the

Oil on canvas, 94 x 76

next two years he studied

Weimar,

in

trav-

Ludwig Hofmann, and then enrolled

Room

manner Very few

in

(Academy

of fine arts)

where he

Paris,

In

1920s survive,

1907 he moved to

lived for five years

There

he was greatly influenced by the emerging Cubist

artists

and exhibited

his

work

at the

in

of his

On

works from the

some having been confiscated

the "degenerate" art action Stuckenberg

contributed a lithograph, Stmsse

mil Hiiusern

392), to the third

(Street with houses,

fig

Bauhaus portfolio of

1921,

Neue

New

europiiische

Salon d Automne (Autumn salon) and the

Grafik Deutsche Kiinstler

Salon des Independents (Independents'

graphics

salon)

which was confiscated from the Schloss-

Stuckenberg returned to Germany 1912, settling in Berlin

the circle around

in

and gravitating to

Herwarth Walden's

Galerie Der Sturm

'

Until 1919 he lived in

German

museum,

an edition of

spent the later years of

artist

confined to a wheelchair and died

his life

1944

artists),

European

Breslau, for inclusion in Ettlarlftf

The

Kunst

(

Bavaria

in

(S

B

in

)

Berlin intermittently also spending time in

Munich, where he became associated with

Heinnch Campendonk and Franz Marc He occasionally participated in exhibitions at

Der Sturm, including

the Galerie

Expressionist™

(German

Deutsche

Notes

Katalod del Stuckenberg-Amstelluni]

1

jur Kunst- und Kultargtschicbte (exh

Landesmuseum The

2

Expressionists) in

1916 Stuckenberg's style

was

allied with

fur Kunst-

Socirlr

versity

A

Press,

1984),

cat,

r'm

landesmmeum

Oldenburg

und Kulturgeschichte,

members

many Berlin artists who were Novembergruppe (Novem-

of the

Work in

643-44

"Entartete Kunsl'

ber group), which he briefly joined His

work was collected by the American

Strasse mil

Katherme

Exhibited as Abstracts Litbo (Abstract litho)

in

Dreier,

German

an exhibition of

New ill

it

Plate 12

art in

c

York

in

In 1919

of

and she included

1920

there that

III

1921

Lithograph, 33 x 21 left

Berlin because

moved to Seeshaupt, where Campendonk was living It was he moved away from a Cubist-

health and

his friend

Hausern (Street with houses)

from Bauhaus Portfolio

2

Stuckenberg

Expressionist style toward a

more

painterly

cm

(13 x

Catalogue raisonne Wingler

8%

in

)

111/12

Acquired by the Schlossmuseum, Breslau?

Room

C2,

NS

inventory no 16423

Destroyed, this print Fiorella Urbmati Gallery Figure

3«

1961)

Anonym and the Drnrr Bequest at Yale Uni(New Haven Yale University

Catalogue Ratsonne

the Cubist-Futurist-Expressionist approach

favored by

cm

(37 x 29 7,

in

)

Acquired by the Stadtische Galerie, Munich

eled through Italy with Emil Nolde and

Munich's Akademie der bildende Kiinste

Kunst

in Entartete

Strt

I,

NS

inventory no 15943

commission to Boehmer,

locatic

Johannes Tietz

Birth

Arnold Topp

dak unknown

Bam

1887

Soat /)r.ii/> ./.lie

unknown !

(ti

land dead

Painter and graphic artist Arnold

Work

in

Entartete Kunst

Double

portrait

Painting

medium unknown, dimensions unknown

Acquired

in

Room

4,

NS

1928 by the

Stadtmuscum Dresden

inventory no 16046

Location unknown

Topp

established an early friendship with the painter

Oi>f(if/hUni>

I960

in

Wilhelm Morgner, who was

also

from Soest Like Morgner he enrolled

at the

Kunstgewerbeschule (School of applied

The two admired

arts)

work

in

Dusseldorf

of

Vincent van Gogh, lean -Francois Millet,

the

and Oovanni Segantini and were part of the emerging Expressionist

group

in

the

Figure 393

early teens

Topp, Abstrtihr KompostttoM (Abstract composition

Topp served first

at

1421

the front during the

World War, and

his

experiences of his

fellow soldiers and the landscape in Serbia

made

a lasting

impression After being

wounded, Topp

settled in Berlin

There he

became associated with Herwarth Walden's group,

Der Sturm (The storm), and

par-

ticipated in exhibitions at the Calerie

Sturm from

1915 to 1919

col-

encountered him

lector Katherine Dreier

and acquired

Berlin in the early 1920s of his

Der

The American a

TV

Socifir

A

Press,

1984),

i

thr

Dmrr

Ikjursl dt Yalt Urn-

New Haven

Yale Univt-rsitv

636-38

works on paper Topp also exhibited '

the famous

Unbtkanntc Architekturcn

(Unknown

architects)

exhibition staged at

B Neumann's gallery

the 1919 Berlin

in Berlin

I

Topp was influenced by

the visionary architects

who

several of

participated in

Work

in

Entartete Kunst

AbsUaht Kompostlion (Abstract composition) Plate 13

from Bauhaus Portfolio

Sturm group Topp contributed an abstract

(New European

Room G2, NS

graphics

German

Kiinstter

Fyurf artists),

an edition of which was confiscated for installation in EnUutete

Kumt

in

1937 (S B

)

in

)

Acquired bv the Wallraf-Richartz-Museum, Cologne

Gallery

Neue turopaischc Grajik Deutsche

cm (II x 8'A Wmgler 111/13

x 21 5

Catalogue raisonne

inventory no 16288^

Location unknown,

print (fig 393) to the Bauhaus portfolio of

III

1921

Woodcut, 278

the latter exhibition, especially Paul Scheer-

bart Like several artists affiliated with the

1921,

Anonymc mJ

Calalogu Ren,

(lar

I

Sntartung ber Runft mel>r

93oruberraufd;en pon ein paar 9Jarr-

fliidjtigc

unb

Runftentattung gef>abt Robert.

baf; biefe

allju futjnen (£rperimenten, bie fid) aucb

ferment'' but a deliberate and calculated onslaught

beiten, SorlKitcn

upon the very essence and

bie nationalfojialiftifcbe Jveoolution totgelaufen batten.

/(

/(

survival of art itself

means to expose the cultural

common

roots of



i

I

I

aud) jcigen,

in

u>eld)cm

2lusmaf5

biefc

mal fpdter to e b c r betcicfenen formalen 93egabung geuuffen-, djaraftcr- ober tnftinttloe genug roaren, ben allgctneinen guben- unb 93olfd>eu>iftcnrummel miti

f

jumadjen.

®

i

e tp

pon ein paar

i

1

1

gerabc bamit aber aucb jeigen, rpie gefdbrlicb cine

jiibifd)en

unb

politifd) einbeutig bolfd;euuftifd)en 2Dort-

..K

niTiIni 1, .iiiiiii iiiiKi rim-, n il nr< Iiln nf n Plntz In tier l.oiu iiinnixi

1.

heitlt

M11-.1

(mi

I'lltU'l

ilir

i^-li

.

II. Illll.

II

mill

alia-

i,, h.

ii

I'lli. III.

II

Im Kampf

Soliiliiriliit

1

2

(lli.r-

In t.t

Itlr

I

Inn

i

I

I

i-

n in

i

.1 mi. wiriand In ,,l»«r li.gnor'

ii.

.miriniilst p

:

;

r.'» nl ill l.inii

ilir Pi mini.

(

to undertake the rcvohitionsn

nohmen; 2.

he

.

i

Ii

niNtellung

nun

rheJewWlelandHenreldi

"

BMV2I

Hanleldc IMO/S1.

1.

George Crosz, Fmhlmgirrvachm

2.

George Grosz,

I

3

George Grosz,

l)tr

4.

Marc Chagall,

5.

Unidentified

i

Spring's awakening), 1922, lithograph

iMriJun.i (Disrobing), 1921,

drawing or lithograph

Hyfoihenitt Olio Schma\hamm (The hypochondriac Otto Schmalhausen), 1921, lithograph

Ihi Prist

(The pinch

o( snuff), 1912, oil

on canvas

Exh,b,l,c-

ArmJmrr

In

IT.

I

l|

|l

individuals to politics

when

work toward Bolshevik anarchy

in cultural

f

u

I

t

u

p

r

indignantly denied any alhliation with Bolshevism in

pldnc

party politics /(

whi

were

i

now

can of

means to prove above

m

any way involved

in

all

does not

this

also

appeared

As

in

the

is

nil

the

efforts

membership

no such assertion

mean

not

lists

made, no

do

to

names

Joes not

this exhibition,

of the Communist refutation

at

some time "

It

— before

is

1

i

bamit aber

1

art

r

t

e

p

i

erft red)t

o

I

i

aud) foldje OTenfdjen

t

i

f

d) e s

23efenntnis

gerpiefen batten.

fid)

beu>eifen,

bap bcute

t

e

i

n

c r

i

men stood on

healthy creativity

It

does

in

shown

— and who have — from now not

fol-

I

i

any such men on the new

murky

state

n

I

d) cb

i

was

aud),

bie Slusftellung

trill:

t

93ebauptuug

bie

t

ben

unter

aufftellen,

9?iad)iperren

ausgeftellten

i

e u>

i

I

bier 53ertretenen

gefonnt"

l)at.

past

i

d)

o

f

bafj

a 11 e

n

I

i

cb

t

mm

u n

t ft i f d> e n 93ebauptung

u>erben.

beftreiten, baf3 ber eine ober

tnandnnal

—

6ignum

als

aufgeftellte

t

nid)t iDtberlegt ju

braud)t alfo aud)

6

©iefe n

perjeid)iiet iraren.

friibcr ober fpdter

—

anbere ber

„aucb anbers

Sbenfotpenig aber burfte biefe 2lu&ftellung bie £at-

ben 3al)ren bes brMfd>e-

facbe perfebrpeigen, baf3 folcbe 92!anner in

new and

and must mean to prevent,

however, the jabbering cliques from that foisting

tp

bie

faciei

upon

the side of subversion

mean to prevent those artists

German blood

e

i

3ugenbefeleieu" fpred)en barf.

febjiefdieb

fid)

prangen, aud) in ben OTitglieberliften ber

or since

however, to gloss over the fact that

such

does not

are of

eit pon

6

follies

o

bcr an biefer Kunftentartuug bamale irgenbtpie bcteiligten OTanner

From

It

jum

the degeneracy of art

turn around and talk about "harmless

youth

"Degenerate Art" exhibition does

are

men

that "our of the

all

menu

fiibrern gelenfte ©ntrpicflung roar,

those same individuals might well have

ipiftifcb-jiibifcben

©cneralangriffes

auf

beutfd;e

bie

Kunft

ber

in

gront bcr 3crfe^ung ftanben.

Sic will

and on

u

cb

i

t

perbinberu,

biejenigen

bafj

©eutfdi-

forward-looking people as "the natural standard-

bearers of an art of the Third Reich

"

bliitigen uuter

ben 2lusgejtellten, u>eld;e ibren

pon ebebem nidjt n g e n unb f a

in

ba$ Sluslanb

um

gefolgt

jiibifeben

finb,

nun

5 rcunr,cl1 e b r

I

i

d>

©ruublage fur ein ncues, gefunbe&

r

t

o

f f

w

a b

I

,

lautcc

Sbarattei- cinct frecben §ecausforbc-

unb nacb bon

S>inge, bie nacb

rung jebes nonnalen, funftintcrefficrten 53efcbauer& annabmen. Group

2

©ruppc The works assembled cerned with

once described

German

in these

sibilities will find,

him more

in

mind

Any person

of normal sen-

however, that these "revelations" put of

mumbo itmbo whatever

religious allegiance, he

his

religious idea

It

mit

r e

a

allerbings

signifi-

[put

of Jewish

Old

I

g

i

i

b

f

in

n 3 n b a

e

bee

1

1

c

9ftan nannte biefe

n befaffeu.

bei

unb empfinbet als

einfttnab

^reffe

jiibifeben

S>er

9teligiofitat".

er angebbrt,

finb fold;c QMlbicerte jufamnicngcfafet, bie

„Offcnbarungen normal empfinbenbe 93knfcb benft biefen „Offenbavungen" eber an einen § c r e n -

(Scbauerftude beutfeber

highly

is

cant that painted and carved mockeries

fid)

9*dumen

biefen

own

can only regard them as

shameless mockery of any

3n

were

horrific objects

in the lewish press as "revelations of

religious feeling"

2.

are those con-

rooms

These

rlligious limits

fie,

ganj

gleieb, tpcld;etn rcligibfen

§ol)n auf

unpcrfdjdmten

j

e b e

53efenntnis

rcligibfe

baf3

Swftcrorbentlid) beacbtenemert ift bie £atfacbe, ft e 11 u n g. gemaltc unb gefd>ni^te 93erbbbnungen jiibifcb-alttefta-

m

n

93 o r

Until National Socialism in

Germany

that,

a so-called

came

art,

which

is

to say

something new almost every year National Socialist

a r

i

f

d; e r

£egenben

nicbt

anjutreffen finb.

nQkte tx~s

jutn Uftadjtantritt

\i$mu$ bat eg

in

bti CRationalfojia»

©eutfd?(anb cine foge«

however, means to have a German art once

Germany and

must and

t

to power, there existed

modern

almost by the nature of the word, there was

again,

e

this, like all

will

be an

the creative values of a people,

eternal art

If

art lacks

value for our people, then even today

it

nannte „moberne" ^unft gegeben, b.b-

alfo, tPie

an eternal

has no

higher value

e^ fdjon t'm IBefen biefeg IBorteg liegf, faff jebeg

3af?r

cine

Da3

anbere.

nationa(fo8iafiffifd?e

Tk Fnfc at

the opening of the

House

of

Cerman

Art

©euffdjlanb aber

Hunji unb rifdjen

fur

fie

unb

biefe foil

IBerfe

(Sntbebrf

toieber

trilf

ernes'

eine

b

e

u

t f

d? e

roirb toie a((e fc^opfc*

23o(feg eine

e to

i

9 e fein.

aber eineg fofdjen @a>ia>itea>erte$

unfer 33off,

bann

if!

fie

aud? beute

ofone

boberen IBert.

© bei bei

e r

g

ii

b r c r

Srbffnung bes §aufe& ber ©eutfeben

ftunft.

$>ie

..Offc mImi rii ii K«k n

M.U.lti

I

nr. ol

<

.1

Mini.

deutscher

fUl

Religiositftt" nl this

kind

hat die den jiidischen

Kunsthiindlern feile Presse einmal sulchen Hexenspuk genannt.

Die Titel lanten: ,,Christus

'(

die

Thr

Sunderin", ,,Tod der Maria aus Agypten" ,,Kreuzabnahme"

und ,,Christus".

Die

,,KUnstler"

heiBen

:

No I'd e,

Morgner und Kurth.

unJ

Siindmn (Christ and the adulteress), 1926,

1.

Emil Nolde,

2.

Wilhelm Morgner, Kreuzabnahmt (Deposition),

3.

Emil Noldc, HtiUgt Maria von Agyplm (Saint

4.

Fritz Kurth, Ginslws, oil

Cfcristus

IhriSI

Mary

und

dit

1912, oil

Mary

oil

on canvas

on canvas

of Egypt), 1912, oil

on canvas

on canvas

E>fc.rNl„.„ BfOifim

and the Adulteress,' "I Egypt," "Depositii

'.irlisls

.iff

"I

)eath

l

h

NiWJf MoHfntr, and Kurlb

Ut

till"

Testament legends are not to Christian legend, in a

be found The figures of

on the other hand,

Group

methods

sense

is

in this

an incitement to

The

idea

by means

is

used to convey an

class struggle in

last

the Bolshevik

and languish

property owner, the

in

last

ft I

u n

e r

i

ft

f

bicfer

in

ben

fur

entattun d> e

21

11

n a

5.

©rapbiten

gejcigteu

Slbteilung

fiub

I

g.

2Wt ben 21usbrucfsmittcln einer

r cb

i

i

t

i

f

d> e

t p o f Sebes citijelne

bier

irirb

e

fcbliiffige

§intergrunb

n

p o

arcbiealsgorbcrung

mental

non-

©ruppe

mu8

3um

ruft

bie

geprebigt.

S?

I

a

f

e

f

n

I

a tn p

S>er febaffenbe SHenfcb

auf.

I

i

i

f

fell

shades of gray and green "Capitalists" and

im e bleiben

lc^tc 93efii$enbe, ber let;te 2Iid>tprplctaricr cb e n>

grauen

ft

d) e

21

n

movement and government must

enlist

33olfd>eu>is-

fo

lange ein

i

ft

i

d; e

f

n

Kepolution

ivirb, bis

as

befeitigt

fcin

u>irb.

{Tye r^*/

nationalfojialijTifcfte 23ctt>egung

©taatefufjrung

barf

aucf?

unb

auf fultu*

the shots in art and cultural policy

rellem (5ebfcf nid?t butben, ba$ 7lid)tet6nntr

Thi Fiihm

Reich Party Congress 1933

ober

unb

ecf,fefn

q\$ ob nicf?f3 cjeroefen rodre,

©toot

(Sebtefe ber

et'njieben,

um

borf

in

ben

auf betn

^unf? unb ^ulfurpolifif abermalg

bat grope 3Borf ju

©

fiibren.

e r g= u b r e r 9?cicbsparteitag 1933.

10

b o

I

9flit

unb griincn Slenbsgeficbtetn ftarren Slrbciter, uub Slrbeiterfinber beni 53efd)auer entgegen. 2Uif

if

call

aucb ber

pen ber erbofften

not permit

under the banner of the new state

nothing had happened, so they can once again all

-

53ilb biefcr

the held of culture, as elsewhere, the National

incompetents and charlatans suddenly to change sides

and

-

un

2irbeiterfrauen

In

b e r

f

burd> eine grob tenbenjiofe

SPcolethmft geftartt ivcrbcu in ber libcrjeugung, bajj er in geiftigen

utter

j

Socialist

bier

Workers, their wives, and their

children stare out at the viewer with /acts of

m

33eu>eifc

incite-

has been swept away by the longed-for

Bolshevik revolution

una

grinfeti

crudely tendentious proletarian

that he will remain a slave

proletarian

The

to convince every productive per-

of a

SMc

exhibition are con-

anarchy Every single image in this

chains until the

misery

©cftdten bet cb t i ft I i cb e n Segenbe bmgegen imtner ncucn Seufelsfrctjjen an.

init

political basis of degenerate art

of artistic anarchy are

to political

group

art,

at us

©ruppe

clusive proof of the

son,

out

3

The graphic works shown

ment

leer

constant succession of devilish masks

Kinist" prtMligl

..

K lasso ilka in

Ai

|>f

t

preii

"Painter,

!

you

a politician'

desire,

Or

else

you overturn

machine

The

in

1.

Hans Grundig, unidentihed work

Conrad

3.

Otto Dix Scfwaiyerr (Pregnant woman), c 1920

4

ChristOph

Felixmuller, Rtwlutiott

Voll

ke

Nacbtlicba BrT^ubatrr^treik (Revol

Via Knaba unJ an

klatrn

Kind (Four boys and

a little

child

I,

at

1919/24,

night

i

1921,

pen and

woodcut

EM'Uon

Hreihu

i

is

like

having

a

you are

rawing

your bedroom

anarchist

Ludwig Rubu

Barricades" ("Action" 1914)

2.

the world,

you remain a private man

Painting for paintings sake

in "Painters Hut Id

"exploiters" of

even

sort imaginable are

shown

ing at the misery of the productive individual

whole range of these "slave drivers"

And

the butcher to the banker

who were

dealers,

who art,

is

sneer-

the

depicted, from

profited considerably

from

this

same

proletarian

work

of these

painters of the class struggle

Group 4 This section too has "art''

a

marked

political tendency

unb „$lu&beuter"

finb alle iibertjaupt

nut oorftellbaren „ftapitaliften" fid) tjbtmenb uber bat (Slenb

bargeftellt, trie fie

be& fdjaffenben 9ttenfd>en t>inn>egfe^en.

yet the Jewish art

not exactly starving even then and

are conspicuously absent from the

ben 8