Degenerate Art, The Fate of the Avant-Garde in Nazi Germany.pdf

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&&
Mr
The
in
Fate
of
the
Avant-
Garde
Nazi
Germany
'Degenerate
Art"
The
Fate
of
the
Avant-Garde
in
Nazi
Germany
No
and
sooner
had
the
Nazis
seized
control
of
Germany
in
1933
'..'.-
.'••''..'
.••-'.
4
-.»„
than
they
launched
their
relentless
attacks
on
the
avant-garde
their
desecration
of
modernist
art.
By
the
fall
of
1937
they
had
stripped
16,000
avant-garde
for
works
from
the
nation's
museums
and
sent
650
to
Munich
a
massive
exhibition,
Etttartete
Kunst
(degenerate
art,
as
they
called
this
work)
Among
the
artists
thus
castigated
were
towering
figures
of
the
art
world:
Dix,
Max
Beckmann,
Marc
George
Grosz,
Wassily
Kandinsky
Paul
Chagall,
Otto
Klee,
Oskar
Kokoschka,
Wilhelm
Lehmbruck,
and
founders
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
3
million
its
viewers
four-year
are
estimated
to
have
seen
Entarkte
Kumt
during
tour
of
Germany
and
Austria
By
means
of
photographic
documentation,
archival
records,
motion-picture
footage,
the
recollections
of
visi-
tors,
and
published
accounts,
this
infamous
exhibition
has
still
been
reconstructed
Angeles
County
(to
the
extent
possible)
by
the
Los
Museum
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
Bar-
ron's
illuminating
introductory
essay
establishes
the
cultural
context
for
the
brutal
attack
avant-garde
In
their
waged
by
the
Nazis
against the
essays
Peter
Guenther,
Mario-Andreas
von
Liittichau,
and
Christoph
Zuschlag
discuss
the
prepara-
and
travel
of
the
1937
tion,
installation,
show George Mosse
art.
analyzes
the
National
Socialist
conception
of
beauty
in
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
researched
essays
cannot
help
but
suggest
in
National
Socialist
attitudes
toward
music
and
film
These
vivid,
exhaustively
a
parallel
with
our
own
times,
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

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