| Description |
1 online resource : color illustrations |
| Physical Medium |
polychrome |
| Description |
text file |
| Contents |
Intro; Contents; Acknowledgments; Preface; CHAPTER 1 War Art/Art War: Controlling the Legacy of Nazi Modernism; The German Wartime Art Project; The 1951 Repatriation of the German War Art Collection; The 1986 Repatriation of the German War Art Collection; The German War Art Collection in Washington, D.C.; Modernism and Wehrmacht Patronage; CHAPTER 2 Eugenic Art: Hitler's Utopian Modernism; Easel Painting; On the Mechanical Reproduction of Art in the Third Reich; The Munich Exhibitions; Resurgent Völkisch Art; The Blue Knight; CHAPTER 3 Nazi Modernism and the Mobilization of Christian Artists. |
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Christianity and the Origins of National Socialist IdeologyWar, Apocalypse, and Nationalist Christianity; Mobilization; National Socialist Neo-Paganism; Christianity, National Socialism, and Modernity; Munich and the Mobilization of Christian Artists; Key Figures: Oskar Martin-Amorbach, Richard Heymann, and Hans Spiegel; CHAPTER 4 Baldur von Schirach and "Degenerate" Artin the Service of Nazi Culture; Vienna; The Nazi Culture War; Artistic Context; Alternate Nazi Canons; CHAPTER 5 Radioactive Artand the Rehabilitation of Nazi Artists; Canonical Art and the Case of Arno Breker; Radioactive Art. |
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CollaborationThe Cases of Emil Nolde and Christian Schad; Denazification; Rehabilitation; Degenerate Artists; Bibliography; I. Interviews; II. Archives and Museum Depots; III. Late Weimar and Nazi-Era Exhibition Catalogues; IV. Quoted Sources; V. Background Sources; Figures; Index. |
| Summary |
From the early years of the Weimar Republic until the collapse of Hitler's regime, demonizing modernist art as a symptom of the corruption of German culture was a standard trope in National Socialist propaganda. But how consistent and thorough was Nazi censorship of modernist artists' Maertz's pioneering research unearths the persistence of recognizable modernist styles in painting and sculpture produced under the patronage of the Nazi Party and German government institutions, even after the infamous 1937 purge of 'degenerate art' from state-funded museums. In the first chapter on Hitler's advocacy for 'eugenic' figurative representation embodying Nazi nostalgia for lost Aryan racial perfection and the aspiration for the future perfection of the German Volk, and in the second chapter on the appropriation of Christian iconography in constructing symbols of a Nazi racial utopia, Maertz conclusively proves that the Nazi attack on modernism was inconsistent. In further chapters, demonstrating Baldur von Schirach's heretical patronage of modernist art as the supreme Nazi Party authority in Vienna and the German military's unlikely function as an incubator of modernist art, Maertz reveals that the sponsorship of modernist artists continued until the collapse of the regime. Also based on previously unexamined evidence, including 10,000 works of art confiscated by the U.S. Army, Maertz's final chapter reconstructs the anarchic denazification and rehabilitation of German artists during the Allied occupation, which had unforeseen consequences for the postwar art world. |
| Local Note |
eBooks on EBSCOhost EBSCO eBook Subscription Academic Collection - North America |
| Subject |
National socialism and art.
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National socialism and art. |
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Art -- Political aspects -- Germany.
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Art -- Political aspects. |
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Germany. |
| Genre/Form |
Electronic books.
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| ISBN |
9783838272818 (electronic book) |
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3838272811 (electronic book) |
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9783838212814 |
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3838212819 |
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