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This first comprehensive analysis of the Third Reich's efforts to confiscate, loot, censor and influence art begins with a brief history of the looting of artworks in Western history. The artistic backgrounds of Adolf Hitler and Hermann Goring are examined, along with the various Nazi art looting organizations, and Nazi endeavors to both censor and manipulate the arts for propaganda purposes. Long-held beliefs about the Nazi destruction of "degenerate art" are examined, drawing on recently developed university databases, new translations of original documents and recently discovered information. Theft and destruction of artworks by the Allies and looting by Soviet trophy brigades are also documented.
Book Synopsis Art and the Nazis, 1933-1945 by : Arthur J. McLaughlin, Jr.
Download or read book Art and the Nazis, 1933-1945 written by Arthur J. McLaughlin, Jr. and published by McFarland. This book was released on 2021-12-30 with total page 229 pages. Available in PDF, EPUB and Kindle. Book excerpt: This first comprehensive analysis of the Third Reich's efforts to confiscate, loot, censor and influence art begins with a brief history of the looting of artworks in Western history. The artistic backgrounds of Adolf Hitler and Hermann Goring are examined, along with the various Nazi art looting organizations, and Nazi endeavors to both censor and manipulate the arts for propaganda purposes. Long-held beliefs about the Nazi destruction of "degenerate art" are examined, drawing on recently developed university databases, new translations of original documents and recently discovered information. Theft and destruction of artworks by the Allies and looting by Soviet trophy brigades are also documented.
This first comprehensive analysis of the Third Reich's efforts to confiscate, loot, censor and influence art begins with a brief history of the looting of artworks in Western history. The artistic backgrounds of Adolf Hitler and Hermann Goring are examined, along with the various Nazi art looting organizations, and Nazi endeavors to both censor and manipulate the arts for propaganda purposes. Long-held beliefs about the Nazi destruction of "degenerate art" are examined, drawing on recently developed university databases, new translations of original documents and recently discovered information. Theft and destruction of artworks by the Allies and looting by Soviet trophy brigades are also documented.
Book Synopsis Art and the Nazis, 1933-1945 by : Arthur J. McLaughlin, Jr.
Download or read book Art and the Nazis, 1933-1945 written by Arthur J. McLaughlin, Jr. and published by McFarland. This book was released on 2022-01-07 with total page 229 pages. Available in PDF, EPUB and Kindle. Book excerpt: This first comprehensive analysis of the Third Reich's efforts to confiscate, loot, censor and influence art begins with a brief history of the looting of artworks in Western history. The artistic backgrounds of Adolf Hitler and Hermann Goring are examined, along with the various Nazi art looting organizations, and Nazi endeavors to both censor and manipulate the arts for propaganda purposes. Long-held beliefs about the Nazi destruction of "degenerate art" are examined, drawing on recently developed university databases, new translations of original documents and recently discovered information. Theft and destruction of artworks by the Allies and looting by Soviet trophy brigades are also documented.
Book Synopsis Music and Nazism by : Michael H. Kater
Download or read book Music and Nazism written by Michael H. Kater and published by Laaber : Laaber. This book was released on 2003 with total page 338 pages. Available in PDF, EPUB and Kindle. Book excerpt:
'It's like being in a dream', commented Joseph Goebbels when he visited Nazi-occupied Paris in the summer of 1940. Dream and reality did indeed intermingle in the culture of the Third Reich, racialist fantasies and spectacular propaganda set-pieces contributing to this atmosphere alongside more benign cultural offerings such as performances of classical music or popular film comedies. A cultural palette that catered to the tastes of the majority helped encourage acceptance of the regime. The Third Reich was therefore eager to associate itself with comfortable middle-brow conventionality, while at the same time exploiting the latest trends that modern mass culture had to offer. And it was precisely because the culture of the Nazi period accommodated such a range of different needs and aspirations that it was so successfully able to legitimize war, imperial domination, and destruction. Moritz F�llmer turns the spotlight on this fundamental aspect of the Third Reich's successful cultural appeal in this ground-breaking new study, investigating what 'culture' meant for people in the years between 1933 and 1945: for convinced National Socialists at one end of the spectrum, via the legions of the apparently 'unpolitical', right through to anti-fascist activists, Jewish people, and other victims of the regime at the other end of the spectrum. Relating the everyday experience of people living under Nazism, he is able to give us a privileged insight into the question of why so many Germans enthusiastically embraced the regime and identified so closely with it.
Book Synopsis Culture in the Third Reich by : Moritz Föllmer
Download or read book Culture in the Third Reich written by Moritz Föllmer and published by Oxford University Press, USA. This book was released on 2020-05-25 with total page 331 pages. Available in PDF, EPUB and Kindle. Book excerpt: 'It's like being in a dream', commented Joseph Goebbels when he visited Nazi-occupied Paris in the summer of 1940. Dream and reality did indeed intermingle in the culture of the Third Reich, racialist fantasies and spectacular propaganda set-pieces contributing to this atmosphere alongside more benign cultural offerings such as performances of classical music or popular film comedies. A cultural palette that catered to the tastes of the majority helped encourage acceptance of the regime. The Third Reich was therefore eager to associate itself with comfortable middle-brow conventionality, while at the same time exploiting the latest trends that modern mass culture had to offer. And it was precisely because the culture of the Nazi period accommodated such a range of different needs and aspirations that it was so successfully able to legitimize war, imperial domination, and destruction. Moritz F�llmer turns the spotlight on this fundamental aspect of the Third Reich's successful cultural appeal in this ground-breaking new study, investigating what 'culture' meant for people in the years between 1933 and 1945: for convinced National Socialists at one end of the spectrum, via the legions of the apparently 'unpolitical', right through to anti-fascist activists, Jewish people, and other victims of the regime at the other end of the spectrum. Relating the everyday experience of people living under Nazism, he is able to give us a privileged insight into the question of why so many Germans enthusiastically embraced the regime and identified so closely with it.
This volume explores the work of one of the greatest painters of the Netherlands: Hugo van der Goes. Hugo van der Goes (c.1440-1482) was the most important Flemish artist of the second half of the fifteenth century. His innovative pictorial compositions are characterized by monumental figures and realistic narrative moments. Van der Goes's works were admired by his contemporaries and were copied countless times until well into the seventeenth century, and they paved the way for the development of Flemish painting during the following centuries. This volume is published to accompany an exhibition of van der Goes's work at the Gemäldegalerie in Berlin and pays tribute to the character and importance of his surviving works. In this book, his great altarpieces are juxtaposed with more intimate panels, drawings, and miniatures as well as works from his immediate circle. Lavishly illustrated and rich in expert commentary, it presents a comprehensive overview of the creative oeuvre of a magnificent artist.
Book Synopsis Hugo Van Der Goes by : Stefan Kemperdick
Download or read book Hugo Van Der Goes written by Stefan Kemperdick and published by . This book was released on 2022-06-05 with total page 304 pages. Available in PDF, EPUB and Kindle. Book excerpt: This volume explores the work of one of the greatest painters of the Netherlands: Hugo van der Goes. Hugo van der Goes (c.1440-1482) was the most important Flemish artist of the second half of the fifteenth century. His innovative pictorial compositions are characterized by monumental figures and realistic narrative moments. Van der Goes's works were admired by his contemporaries and were copied countless times until well into the seventeenth century, and they paved the way for the development of Flemish painting during the following centuries. This volume is published to accompany an exhibition of van der Goes's work at the Gemäldegalerie in Berlin and pays tribute to the character and importance of his surviving works. In this book, his great altarpieces are juxtaposed with more intimate panels, drawings, and miniatures as well as works from his immediate circle. Lavishly illustrated and rich in expert commentary, it presents a comprehensive overview of the creative oeuvre of a magnificent artist.
"Culture and the arts played a central role in the ideology and propaganda of National Socialism from the early years of the movement until the last months of the Third Reich in 1945 ... This volume's essays explore these and other aspects of the arts and cultural life under National Socialism ..."--Cover.
Book Synopsis The Arts in Nazi Germany by : Jonathan Huener
Download or read book The Arts in Nazi Germany written by Jonathan Huener and published by Berghahn Books. This book was released on 2007-09 with total page 235 pages. Available in PDF, EPUB and Kindle. Book excerpt: "Culture and the arts played a central role in the ideology and propaganda of National Socialism from the early years of the movement until the last months of the Third Reich in 1945 ... This volume's essays explore these and other aspects of the arts and cultural life under National Socialism ..."--Cover.
After 1933, as the brutal terror regime took hold, most of the two-thirds of Germans who had never voted for the Nazis - some 20 million people - tried to keep their heads down and protect their families. They moved to the country, or pretended to support the regime to avoid being denounced by neighbours, and tried to work out what was really happening in the Reich, surrounded as they were by Nazi propaganda and fake news. They lived in constant fear. Yet many ordinary Germans found the courage to resist. Catrine Clay argues that it was a much greater number than was ever formally recorded. Her ground-breaking book focuses on six very different characters. They are not seen in isolation but as part of their families. Each experiences the momentous events of Nazi history as they unfold in their own small lives - Good Germans all.
Book Synopsis The Good Germans by : Catrine Clay
Download or read book The Good Germans written by Catrine Clay and published by Weidenfeld & Nicolson. This book was released on 2020-09-03 with total page 445 pages. Available in PDF, EPUB and Kindle. Book excerpt: After 1933, as the brutal terror regime took hold, most of the two-thirds of Germans who had never voted for the Nazis - some 20 million people - tried to keep their heads down and protect their families. They moved to the country, or pretended to support the regime to avoid being denounced by neighbours, and tried to work out what was really happening in the Reich, surrounded as they were by Nazi propaganda and fake news. They lived in constant fear. Yet many ordinary Germans found the courage to resist. Catrine Clay argues that it was a much greater number than was ever formally recorded. Her ground-breaking book focuses on six very different characters. They are not seen in isolation but as part of their families. Each experiences the momentous events of Nazi history as they unfold in their own small lives - Good Germans all.
In this authoritative study, one of the first to appear in English, Erik Levi explores the ambiguous relationship between music and politics during one of the darkest periods of recent cultural history. Utilising material drawn from contemporary documents, journals and newspapers, he traces the evolution of reactionary musical attitudes which were exploited by the Nazis in the final years of the Weimar Republic, chronicles the mechanisms that were established after 1933 to regiment musical life throughout Germany and the occupied territories, and examines the degree to which the climate of xenophobia, racism and anti-modernism affected the dissemination of music either in the opera house and concert hall, or on the radio and in the media.
Book Synopsis Music in the Third Reich by : Erik Levi
Download or read book Music in the Third Reich written by Erik Levi and published by Springer. This book was released on 1996-04-15 with total page 316 pages. Available in PDF, EPUB and Kindle. Book excerpt: In this authoritative study, one of the first to appear in English, Erik Levi explores the ambiguous relationship between music and politics during one of the darkest periods of recent cultural history. Utilising material drawn from contemporary documents, journals and newspapers, he traces the evolution of reactionary musical attitudes which were exploited by the Nazis in the final years of the Weimar Republic, chronicles the mechanisms that were established after 1933 to regiment musical life throughout Germany and the occupied territories, and examines the degree to which the climate of xenophobia, racism and anti-modernism affected the dissemination of music either in the opera house and concert hall, or on the radio and in the media.
Nearly fifty years after the collapse of Adolf Hitler's Third Reich, the officially sanctioned art of his National Socialist regime remains largely unknown. Since 1945, few people have seen these controversial works: many were destroyed in World War Two bombings; most of what survived is hidden away, accessible only to scholars. In Art of the Third Reich, Peter Adam--who grew up in Berlin in the Hitler era--has gone back to Germany after years in England as a BBC documentary-film producer and made an extensive study of the art of the National Socialists. Adam explores its complex ramifications, which led to a traditional German style linked to nature, family, and the homeland and to the suppression of modern art--associated by the Reich with large cities, internationalism, and decadence. Painting, sculpture, architecture, film, and all the other art disciplines were compelled to serve as vehicles for the transmission of National Socialist ideology, intended to forge the people's collective mind in the Nazi mold. Hitler's belief that architecture was the most forceful manifestation of absolute political power lay at the heart of his grandiose schemes for redesigning Munich, Berlin, Nuremberg, and more than a score of other German cities. Hitler also virtually created a new art--the art of manipulating mass emotions, which he skillfully used at Nazi Party rallies and in mass sports events, such as the notorious Olympic Games in Berlin in 1936. How this art form was enacted against a backdrop of colossal architecture makes a fascinating and important leitmotif in this study. The research for this engrossing book took Adam to hidden repositories in both the United States and Germany. Fromoften tattered books and magazines of the period, he has gleaned many of the 321 illustrations covering the broad spectrum of National Socialist art, which scholars are now beginning to recognize as an essential source of information about the perplexing Third Reich.
Book Synopsis Art of the 3rd Reich by : Peter Adam
Download or read book Art of the 3rd Reich written by Peter Adam and published by Harry N. Abrams. This book was released on 1995-09-01 with total page 332 pages. Available in PDF, EPUB and Kindle. Book excerpt: Nearly fifty years after the collapse of Adolf Hitler's Third Reich, the officially sanctioned art of his National Socialist regime remains largely unknown. Since 1945, few people have seen these controversial works: many were destroyed in World War Two bombings; most of what survived is hidden away, accessible only to scholars. In Art of the Third Reich, Peter Adam--who grew up in Berlin in the Hitler era--has gone back to Germany after years in England as a BBC documentary-film producer and made an extensive study of the art of the National Socialists. Adam explores its complex ramifications, which led to a traditional German style linked to nature, family, and the homeland and to the suppression of modern art--associated by the Reich with large cities, internationalism, and decadence. Painting, sculpture, architecture, film, and all the other art disciplines were compelled to serve as vehicles for the transmission of National Socialist ideology, intended to forge the people's collective mind in the Nazi mold. Hitler's belief that architecture was the most forceful manifestation of absolute political power lay at the heart of his grandiose schemes for redesigning Munich, Berlin, Nuremberg, and more than a score of other German cities. Hitler also virtually created a new art--the art of manipulating mass emotions, which he skillfully used at Nazi Party rallies and in mass sports events, such as the notorious Olympic Games in Berlin in 1936. How this art form was enacted against a backdrop of colossal architecture makes a fascinating and important leitmotif in this study. The research for this engrossing book took Adam to hidden repositories in both the United States and Germany. Fromoften tattered books and magazines of the period, he has gleaned many of the 321 illustrations covering the broad spectrum of National Socialist art, which scholars are now beginning to recognize as an essential source of information about the perplexing Third Reich.
This book explores the image and identity of émigré painters, sculptors and graphic artists from Nazi Germany in Britain between 1933 and 1945. It focuses on a neglected field of Exile Studies, that of exiled artists in Britain. Methodologies used in this study have been developed by Exile Studies and History of Art, but also by Postcolonialism, scholars of which usually apply their ideas to the Afro-Asian emigration of the second part of the twentieth century. Thus this study represents methodologically a new way of looking at the emigration from Nazi Germany. Identity and Image is divided into five chapters: After an introductory Chapter One (historiography of the topic, methodology of the study, structure of the book), Chapter Two establishes socio-political patterns of emigration and provides an historical framework for Chapters Three and Four, which concentrate on the image and identity of the refugee artist, the former based on written sources and the latter on visual material. In detail, Chapter Three analyses the British image of the refugee artists and their works on the one hand and the émigrés' self-representations on the other, the latter exemplified by refugee organisations (the Free German League of Culture/Freier Deutscher Kulturbund, the Austrian Centre, the Anglo-Sudeten Club and the Czech Institute) and institutions founded by émigré artists (Jack Bilbo's Modern Art Gallery and Arthur Segal's Painting School). Chapter Four examines the works produced in internment and those exhibited and produced for the refugee organisations discussed in Chapter Three. Chapter Five discusses the results of this study in the light of three postcolonial concepts: diaspora communities, the notion of home and the gendered identity of the refugee. The appendix lists all painters, sculptors and graphic artists from Nazi Germany in Britain with biographical details. Apart from visual and written sources discussed for the first time, there are two major results of the study: First, although the artists were united as refugees, this unity did not lead to a unity in art - "refugee art" is a construction put forward by the British press and the refugee organisations, particularly the Free German League of Culture. Second, contrary to claims that modern art was international and formed a universal unity that "transgressed" nationality, neither the West/Europe nor modernism form unities; instead, in the 1930s and 1940s, cultures in Europe constructed conceptions of other European cultures on the basis of nation-state identities.
Book Synopsis Identity and Image by : Jutta Vinzent
Download or read book Identity and Image written by Jutta Vinzent and published by VDG Weimar - Verlag und Datenbank für Geisteswissenschaften. This book was released on 2006-06-22 with total page 403 pages. Available in PDF, EPUB and Kindle. Book excerpt: This book explores the image and identity of émigré painters, sculptors and graphic artists from Nazi Germany in Britain between 1933 and 1945. It focuses on a neglected field of Exile Studies, that of exiled artists in Britain. Methodologies used in this study have been developed by Exile Studies and History of Art, but also by Postcolonialism, scholars of which usually apply their ideas to the Afro-Asian emigration of the second part of the twentieth century. Thus this study represents methodologically a new way of looking at the emigration from Nazi Germany. Identity and Image is divided into five chapters: After an introductory Chapter One (historiography of the topic, methodology of the study, structure of the book), Chapter Two establishes socio-political patterns of emigration and provides an historical framework for Chapters Three and Four, which concentrate on the image and identity of the refugee artist, the former based on written sources and the latter on visual material. In detail, Chapter Three analyses the British image of the refugee artists and their works on the one hand and the émigrés' self-representations on the other, the latter exemplified by refugee organisations (the Free German League of Culture/Freier Deutscher Kulturbund, the Austrian Centre, the Anglo-Sudeten Club and the Czech Institute) and institutions founded by émigré artists (Jack Bilbo's Modern Art Gallery and Arthur Segal's Painting School). Chapter Four examines the works produced in internment and those exhibited and produced for the refugee organisations discussed in Chapter Three. Chapter Five discusses the results of this study in the light of three postcolonial concepts: diaspora communities, the notion of home and the gendered identity of the refugee. The appendix lists all painters, sculptors and graphic artists from Nazi Germany in Britain with biographical details. Apart from visual and written sources discussed for the first time, there are two major results of the study: First, although the artists were united as refugees, this unity did not lead to a unity in art - "refugee art" is a construction put forward by the British press and the refugee organisations, particularly the Free German League of Culture. Second, contrary to claims that modern art was international and formed a universal unity that "transgressed" nationality, neither the West/Europe nor modernism form unities; instead, in the 1930s and 1940s, cultures in Europe constructed conceptions of other European cultures on the basis of nation-state identities.
