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Social History, Popular Culture, and Politics in Germany Geoff Eley, Series Editor

Series Editorial Board Kathleen Canning, University of Michigan David F. Crew, University of Texas, Austin Atina Grossmann, The Cooper Union Alf Lüdtke, Max-Planck-Institut für Geschichte, Göttingen, Germany Andrei S. Markovits, University of Michigan

Modern German Art for Thirties Paris, , and London: Resistance and Acquiescence in a Democratic Public Sphere, Keith Holz The War against Catholicism: Liberalism and the Anti-Catholic Imagination in Nineteenth-Century Germany, Michael B. Gross German Pop Culture: How “American” Is It? edited by Agnes C. Mueller Character Is Destiny: The Autobiography of Alice Salomon, edited by Andrew Lees Other Germans: Germans and the Politics of Race, Gender, and Memory in the Third Reich, Tina M. Campt State of Virginity: Gender, Religion, and Politics in an Early Modern Catholic State, Ulrike Strasser Worldly Provincialism: German Anthropology in the Age of Empire, H. Glenn Penny and Matti Bunzl, editors Ethnic Drag: Performing Race, Nation, Sexuality in West Germany, Katrin Sieg Projecting History: German Nonfiction Cinema, 1967–2000, Nora M. Alter Cities, Sin, and Social Reform in Imperial Germany, Andrew Lees The Challenge of Modernity: German Social and Cultural Studies, 1890–1960, Adelheid von Saldern Exclusionary Violence: Antisemitic Riots in Modern German History, Christhard Hoffman, Werner Bergmann, and Helmut Walser Smith, editors Languages of Labor and Gender: Female Factory Work in Germany, 1850–1914, Kathleen Canning That Was the Wild East: Film Culture, Unification and the “New” Germany, Leonie Naughton Anna Seghers: The Mythic Dimension, Helen Fehervary Staging Philanthropy: Patriotic Women and the National Imagination in Dynastic Germany, 1813–1916, Jean H. Quataert Truth to Tell: German Women’s Autobiographies and Turn-of-the-Century Culture, Katharina Gerstenberger The “Goldhagen Effect”: History, Memory, —Facing the German Past, Geoff Eley, editor Shifting Memories: The Nazi Past in the New Germany, Klaus Neumann Saxony in German History: Culture, Society, and Politics, 1830–1933, James Retallack, editor Little Tools of Knowledge: Historical Essays on Academic and Bureaucratic Practices, Peter Becker and William Clark, editors Public Spheres, Public Mores, and Democracy: Hamburg and Stockholm, 1870–1914, Madeleine Hurd Making Security Social: Disability, Insurance, and the Birth of the Social Entitlement State in Germany, Greg Eghigian Holz_Ftmat.qxd 9/16/2004 1:49 PM Page b

Social History, Popular Culture, and Politics in Germany Geoff Eley, Series Editor (Continued)

The German Problem Transformed: Institutions, Politics, and Foreign Policy, 1945–1995, Thomas Banchoff Building the East German Myth: Historical Mythology and Youth in the German Democratic Republic, 1945–1989, Alan L. Nothnagle Mobility and Modernity: Migration in Germany 1820–1989, Steve Hochstadt Triumph of the Fatherland: German Unification and the Marginalization of Women, Brigitte Young Framed Visions: Popular Culture, Americanization, and the Contemporary German and Austrian Imagination, Gerd Gemünden The Imperialist Imagination: German Colonialism and Its Legacy, Sara Friedrichsmeyer, Sara Lennox, and Susanne Zantop, editors Catholicism, Political Culture, and the Countryside: A Social History of the in South Germany, Oded Heilbronner A User’s Guide to German Cultural Studies, Scott Denham, Irene Kacandes, and Jonathan Petropoulos, editors A Greener Vision of Home: Cultural Politics and Environmental Reform in the German Heimatschutz Movement, 1904–1918, William H. Rollins West Germany under Construction: Politics, Society, and Culture in Germany in the Adenauer Era, Robert G. Moeller, editor How German Is She? Postwar West German Reconstruction and the Consuming Woman, Erica Carter Feminine Frequencies: Gender, German Radio, and the Public Sphere, 1923–1945, Kate Lacey Exclusive Revolutionaries: Liberal Politics, Social Experience, and National Identity in the Austrian Empire, 1848–1914, Pieter M. Judson Jews, Germans, Memory: Reconstruction of Jewish Life in Germany, Y. Michal Bodemann, editor Paradoxes of Peace: German Peace Movements since 1945, Alice Holmes Cooper Society, Culture, and the State in Germany, 1870–1930, Geoff Eley, editor Technological Democracy: Bureaucracy and Citizenry in the German Energy Debate, Carol J. Hager The Origins of the Authoritarian Welfare State in Prussia: Conservatives, Bureaucracy, and the Social Question, 1815–70, Hermann Beck The People Speak! Anti-Semitism and Emancipation in Nineteenth-Century Bavaria, James F. Harris From Bundesrepublik to Deutschland: German Politics after Unification, Michael G. Huelshoff, Andrei S. Markovits, and Simon Reich, editors The Stigma of Names: Antisemitism in German Daily Life, 1812–1933, Dietz Bering Reshaping the German Right: Radical and Political Change after Bismarck, Geoff Eley Holz_Ftmat.qxd 9/16/2004 1:49 PM Page i

Modern German Art for Thirties Paris, Prague, and London Holz_Ftmat.qxd 9/16/2004 1:49 PM Page ii

MODERN Holz_Ftmat.qxd 9/16/2004 1:49 PM Page iii

GERMAN ART for Thirties Paris, Prague, and London

RESISTANCE AND ACQUIESCENCE IN A DEMOCRATIC PUBLIC SPHERE

Keith Holz

the university of michigan press ann arbor Holz_Ftmat.qxd 9/16/2004 1:49 PM Page iv

Copyright © by the University of Michigan 2004 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2007 2006 2005 2004 4321

No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher.

A CIP catalog record for this book is available from the British Library.

Library of Congress Cataloging-in-Publication Data Holz, Keith. Modern German art for thirties Paris, Prague, and London : resistance and acquiescence in a democratic public sphere / Keith Holz. p. cm. — (Social history, popular culture, and politics in Germany) Includes bibliographical references and index. ISBN 0-472-11370-4 (cloth : alk. paper) 1. Art, German—Europe—20th century. 2. Art—Political aspects—Europe. 3. Expatriate artists—Europe. 4. Artists—Germany. 5. Dissenters, Artistic—Germany. 6. Freedom and art—Europe. 7. National socialism and art. 8. Germany—Politics and government—1933–1945. I. Title. II. Series.

N72.P6H65 2004 704'.086'914094—dc22 2004009446

Figures 3.1, 3.2, 3.3, 5.20, 5.21, 5.22, 5.23, 5.24, 5.25, 6.3, 6.9, 6.10, 6.11, 6.12, 6.13, 7.2, 7.3, 7.4, 7.5, 7.6, and 7.7 © The Josef Breitenbach Trust, New York.

Every effort has been made to trace the ownership of all copyrighted material in this book and to obtain permission for its use. Holz_Ftmat.qxd 9/16/2004 1:49 PM Page v

Acknowledgments

The research, writing, and editing of this book for publication have led me many places and brought me into contact with many special people. Each has enriched not only this book in some way but my life as well. The conception of this project would have been unthinkable without the instruc- tion and guidance I received as a graduate student from O. K. Werckmeister in the Department of Art History at Northwestern University. His uncom- promising focus upon the history of German art from 1898 to 1945 and his interest in a political history of art based in institutions, together with his practice of ideology critique, all have their imprint upon this study. Also at Northwestern, Professors Nancy Troy, Rainer Rumold, and Sandra Hind- man along with fellow art history students Laurie Milner, Kevin Murphy, Paul Jaskot, and Barbara McCloskey offered friendship, encouragement, and advice at crucial stages of this project. Friends and colleagues met along the way include Gabriella Šimková and Martin Sk¹iván, who each provided friendship and hospitality in Prague apart from the drudgeries of dormitory life during the ‹nal months of Hašek’s Czecho-Slovak Socialist Republic. Sk¹iván deserves credit for the Czech-to-English translations found in this book and for plenty of additional linguistic assistance he offered as I navigated the and lands Holz_Ftmat.qxd 9/16/2004 1:49 PM Page vi

during my extended visits to Prague in 1988–90. (Translations from German and French are my own unless otherwise noted.) Zden¬k and Marcella Hojda welcomed me at the archives of the Národní Galeri, Agnes Cloister, and Vojt¬ch Lahoda provided a forum for my ideas before a group of art histori- ans at Prague’s Institute for the Theory and History of Art at a moment in early 1990 when ’s future seemed up for grabs. Returning from that most eastern of Western cities to the West’s most western mega- lopolis, fellow fellows Ursula Frohne and Thomas Levin and the scholars at the Getty Center contributed to the supportive environment in the pristine of‹ce towers above Santa Monica. At the Los Angeles County Museum of Art, curators Stephanie Barron and Sabine Eckmann later engaged me in an exhibition project that encouraged me to see my Europe-based account as part of a larger international story. For the opportunity to recast aspects of my account in formats accessible to the big public of this major traveling art exhibition on exile art and for entrusting an international symposium to my planning, my thanks go to Stephanie Barron. I also thank John Czaplicka for the stimulating academic venues he offered me to present my ideas and Jonathan Petropoulos for offering encouragement at crucial moments. For his interest in my work and for the example of his own archivally based schol- arship, I thank Michael Krejsa, archivist for Bildende Kunst at the Akademie der Künste in Berlin. Mechthilde Hahner and Brita Eckert also merit thanks for their hospitality and the access they provided to materials in the German Exile Archive 1933–1945 at the Deutsche Bibliothek in Frankfurt. Leslie Calmes and Amy Rule at the Center for Creative Photography in Tucson provided optimal conditions to study the recently cataloged photographic archives of Josef Breitenbach. For the Breitenbach photographic materials reproduced in this book an incalculable debt is owed to Peter C. Jones, executor of the Josef Breitenbach Trust, not only for his generosity in grant- ing permission to publish them but for having the insight and taking the ini- tiative to rescue these materials from the dustbin of history. Special thanks too go to Wolfgang Schopf, who helped me see the exiled artists in relation to exile writers, publishing, and the theater of Brecht. Funding for the research for this book came from the Fulbright Com- mission of the Federal Republic of Germany, the German Academic Exchange Service (DAAD), the International Research and Exchanges Board (IREX), and the Getty Center for the Study of the History of Art and Humanities. A hefty and timely subvention for the costs associated with reproducing artworks and photographs was provided by Allen Soltow of the Of‹ce of Sponsored Research at the University of Tulsa, with matching funds supplied by the College of Arts and Sciences (Dean Thomas Horne) and the Of‹ce of the Provost (Roger Blais). Soltow deserves special thanks,

vi Acknowledgments Holz_Ftmat.qxd 9/16/2004 1:49 PM Page vii

as his Of‹ce of Sponsored Research also provided several Faculty Summer Grants for successive revision campaigns of this manuscript. I also express my gratitude for the support and friendship of my colleagues and students in the Department of Art and Art History at the University of Tulsa, speci‹cally Stephen Sumner, Chuck Tomlins, Glen Godsey, and Patrick Marcoux, as well as of Vic Udwin in the Department of Languages. My jour- ney has been made a bit richer by the times spent along the way with fellow academic travelers Judy Stubbs, Bob Tharsing, Debbie Frederick, and Eduardo Kac. The manuscript has also bene‹ted from comments and recommendations offered by anonymous readers solicited by the presses that reviewed earlier versions of it. Many thanks to Liz Suhay, who acquired this book for the University of Michigan Press, and to Christopher Collins, who saw it through to completion. For their companionship, their love, and the multitude of ways they have made my life richer, I thank Sabine Eckmann and our son, Raffael. It is to them that this book is dedicated. St. Louis, November 2002

Acknowledgments vii Holz_Ftmat.qxd 9/16/2004 1:49 PM Page ix

Contents

List of Illustrations xi List of Abbreviations xv

Introduction 1

Which German Art and Artists for Paris? 17

Between and the Freedom of Art German Art and Its Institutions in Czechoslovakia 48

The Collective of German Artists (Paris) and the Popular Front Death Twitch of the Historical Avant-Garde? 98

The Limited Attention to Modern German Art in London and the Absence of a Public Exile Culture 127

Exile Artists’ Groups and Local Cultural Institutions

FIVERespond FOUR THREE TWO ONE to Degenerate Art (July 1937–) 148 Holz_Ftmat.qxd 9/16/2004 1:49 PM Page x

Exhibiting Modern German Art in London and Paris From the Anschluß to the Night of Broken Glass (April–November 1938) 195

The End of a Public Exile Culture in Prague and Paris and Its Marginalization in London From the to Internment SEVEN SIX (November 1938–June 1940) 241

Conclusion 274

Notes 285 Bibliography 333 Index 345

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Illustrations

1.1. Max Lingner, press illustration, 1935 37 1.2. John Heart‹eld, “Adolf, the Superman,” 1932 40 1.3. Layout (anonymous) for Fritz Schiff, “The Meaning of Photomontage,” 1936 45 2.1. Photographic report, “Escaped from the IIIrd Reich,” 1935 58 2.2. Photographic report, “Escaped from the IIIrd Reich,” 1935 59 2.3. Bert, Christmas Tree Ornament Hermann—Cutout Sheet, 1934 60 2.4. Curly, The Jewish Danger to the World, 1935 61 2.5. Willi Nowak, Friends, 1913–20 63 2.6. Peter Weiss, Self-Portrait, 1938 64 2.7. [Hugo Steiner-Prag], “The Of‹cina Pragensis and Its Teaching Workshops,” 1935 66 2.8. Richard Fleissner, Landscape with River, 1934 69 2.9. Fred Hartig, The Drunkard, undated 70 2.10. Oskar Kokoschka, The Charles Bridge and Hrad²any, 1935 74 2.11. Oskar Kokoschka, Tomaš Garrigue Masaryk, 1935–36 75 2.12. Installation view, First International Caricature and Humor Exhibition, Association Mánes, 1934 86 2.13. “g,” “Prague International Caricaturists Exhibition,” 1934 88 Holz_Ftmat.qxd 9/16/2004 1:49 PM Page xii

2.14. John Heart‹eld, “On the Intervention of the Third Reich,” 1934 89 2.15. Thomas Theodor Heine, The Bohemian Rabies, 1908, 1934 93 3.1. Josef Breitenbach, Max Ernst and Heinz Lohmar on a terrace, ca. 1936 101 3.2. Josef Breitenbach, The Guns of Mrs. Carrar, 1937 102 3.3. Josef Breitenbach, Heinz and Hilde(gard) Lohmar designing for The Guns of Mrs. Carrar, 1937 103 3.4. Otto Freundlich, Composition, 1935 106 3.5. Hans Kralik, IN SPITE OF ALL OF THAT, 1935, 1936–37 111 3.6. Max Lingner, Coming Home from the Spinning Mill, 1936–37 112 3.7. Heinz Lohmar, My Sister, 1935, 1936–37 113 3.8. Max Ernst, The Bride of the Wind, 1927, 1936–37 114 3.9. Fritz Wolff, Durutti, 1936 121 3.10. Max Lingner, Party invitation of the Collective of German Artists, 1937 122 3.11. Heinz Lohmar, The Jewish Wife, 1938 123 3.12. Heinz Lohmar, The Spy, 1938 124 5.1. Thomas Theodor Heine, “We can’t associate with Papa anymore, he paints degenerately,” 1937 150 5.2. Bert, “How our contemporaries would see and represent the Mona Lisa,” 1937 151 5.3. Ernest Neuschul on Market Square, Ústí nad Labem, [1934–35] 153 5.4. Ernest Neuschul, “On My Pictures from the Soviet Union,” 1936 154 5.5. Ernest Neuschul, Strike [Unemployed Workers], 1933 155 5.6. Cover for Kronprinzenpalast (Berlin), Sudetendeutsche Kunstausstellung 1937, [1937] 157 5.7. Elisabeth Geyer-Plavec, , in Kronprinzenpalast (Berlin), Sudetendeutsche Kunstausstellung 1937, [1937] 158 5.8. Ferdinand Staeger, The Work Soldiers, in Kronprinzenpalast (Berlin), Sudetendeutsche Kunstausstellung 1937, [1937] 159 5.9. Paul Gebauer, Germinating Seed, in Kronprinzenpalast (Berlin), Sudetendeutsche Kunstausstellung 1937, [1937] 160 5.10. John Heart‹eld, “The Seed of Death,” 1937 161 5.11. Anonymous, “Hatred out of Prague,” 1937 162 5.12. Anonymous, “Who hides behind it?” 1937 163 5.13. President Beneš attends Mánes Today, 1937 164 5.14. John Heart‹eld, “The Peace-Loving Predatory Fish,” 1937 165 5.15. Richard Müller, Man in a Fur Hat, 1901 167

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5.16. Oskar Pafka’s Jurisprudentia in an interior, before autumn 1937 168 5.17. Cover to Degenerate Art exhibition guide, 1937 172 5.18. Illustrated report, “Five Years Hitler Regime,” [1938] 182 5.19. Illustrated report, “Five Years Hitler Regime,” [1938] 183 5.20. The Religious Persecutions from Five Years Hitler , 1938 184 5.21. Racism from Five Years Hitler Dictatorship, 1938 185 5.22. The Book Burnings from Five Years Hitler Dictatorship, 1938 186 5.23. The Hunted Authors and The Press in the IIIrd Reich from Five Years Hitler Dictatorship, 1938 187 5.24. In the Concentration Camps and To the Martyrs fallen under the Hatchet from Five Years Hitler Dictatorship, 1938 188 5.25. Detail of In the Concentration Camps from Five Years Hitler Dictatorship, 1938 189 5.26. “A Worker in the IIIrd Reich in 1932 and in 1937,” in Cinq Ans De Dictature Hitlerienne, 1938 190 5.27. Heinz Kiwitz, They Burn the Books, in Cinq Ans De Dictature Hitlerienne, 1938 191 5.28. Heinz Kiwitz, 1937 . . . The Destruction of Guernica, in Cinq Ans De Dictature Hitlerienne, 1938 192 6.1. Adolf Ziegler, The Four Elements, 1937 201 6.2. Samson Fritz Shames with Jewish Fate, 1933–34 202 6.3. Installation view of Free German Art, with Kokoschka’s slashed Portrait of Robert Freund, 1938 204 6.4. Kokoschka’s Portrait of Robert Freund held by Irmgard Burchard, 1938 205 6.5. Installation view of Twentieth Century German Art, New Burlington Galleries, 1938 211 6.6. Installation view of Twentieth Century German Art, New Burlington Galleries, 1938 212 6.7. AIA ›yer distributed at New Burlington Galleries exhibition Twentieth Century German Art, 1938 215 6.8. Johannes Wüsten, Hussites, 1938 224 6.9. Installation view of Free German Art, 1938 230 6.10. Installation view of Free German Art, 1938 231 6.11. Installation view of Free German Art, 1938 232 6.12. Installation view of Free German Art with Nazi art, 1938 233 6.13. Installation view of Free German Art with Hitler’s Germany— A Prison, 1938 234 6.14. Oskar Kokoschka, Portrait of Robert Freund, newspaper clipping, 1938 238

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7.1. “The tragedy of this Sudeten woman,” 1938 245 7.2. Montaged photographs of German landscapes and “Germany and Her Structure,” from Germany of Yesterday— Germany of Tomorrow, 1938–39 247 7.3. Mutual Assistance between Germany and America, from Germany of Yesterday—Germany of Tomorrow, 1938–39 249 7.4. German Racism = Warmongery, from Germany of Yesterday— Germany of Tomorrow, 1938–39 250 7.5. The Nazi State Exterminates the Jews, from Germany of Yesterday—Germany of Tomorrow, 1938–39 250 7.6. Films “Verboten” Allowed, from Germany of Yesterday— Germany of Tomorrow, 1938–39 252 7.7. “Pure Race” Art “Degenerate Art,” from Germany of Yesterday—Germany of Tomorrow, 1938–39 253 7.8. Eugen Spiro, Thomas Mann at the Lecture Podium, 1938 257 7.9. Bert, The Art Has Aligned Itself According to the Spirit of the SS and SA, 1939 257 7.10. Eugen Spiro, Portrait of Danton, 1939 258 7.11. Henri Hague, untitled (14 July street celebration), 1939 258 7.12. Heinz Lohmar, untitled, 1939 259 7.13. Heinz Lohmar, untitled (“Between the Stools”), 1940 262 7.14. Oskar Kokoschka, The Red Egg, 1940–41 271

Plates

following page 138

1. Herbert Bayer, German section: exhibition of the Society of Decorative Artists, 1930 2. Otto Freundlich, Homage to the People of Color, 1938 3. Exhibition poster, Twentieth Century German Art, New Burlington Galleries, 1938 4. Heinz Lohmar, Encounter in Munich, 1938 5. Anonymous (Lester Beall?), cover of The Freedom Pavilion pamphlet, 1939 6. John Heart‹eld, “Freedom Calling—The Story of the Secret German Radio,” 1939

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Abbreviations

AÉAR Association des Écrivains et Artistes Révolutionnaires Association of Revolutionary Writers and Artists AGGCF American Guild for German Cultural Freedom AIA Artists International Association (London) AIZ Arbeiter-Illustrierte-Zeitung (Berlin-Prag) Workers’-Illustrated-Newspaper (Berlin-Prague) ARBKD Assoziation revolutionärer Bildender or ASSO Künstler Deutschlands Association of Revolutionary Artists of Germany BBC British Broadcasting Corporation BIE Bureau International des Expositions (Paris) International Bureau of Expositions (Paris) BND Bund Neues Deutschland (Paris) League of the New Germany (Paris) Comintern Communist International «SR «eskoslovenská republika Czechoslovak Republic (1918–39) «SSR «zechoslovenská socialistická republika Czechoslovak Socialist Republic (1948–90) Holz_Ftmat.qxd 9/16/2004 1:49 PM Page xvi

DDR Deutsche Demokratische Republik German Democratic Republic DKb Deutsche Künstlerbund (Paris) German Artists’ League (Paris) DKK Deutsche Kulturkartell (Paris) German Cartel for Culture (Paris) FDJ Freie Deutsche Jugend Free German Youth FEAF Fédération Emigrés d’Allemagne en France Federation of Emigrants from Germany in France FGLC Free German League of Culture (London) FKb Freie Künstlerbund 1938 (Paris) Free Artists’ League 1938 (Paris) Seheime Staatspolizei Secret State Police GPK Gesellschaft patriotischer Kunstfreunde Association of Patriotic Friends of Art INFA l’Institut pour l’étude du fascisme The Institute for the Study of IVRS Internationale Vereinigung revolutionärer Schriftsteller International League of Revolutionary Writers KDK Kollektiv deutscher Künstler (Paris) Collective of German Artists (Paris) KPD Kommunistische Partei Deutschlands Communist Party of Germany KS« Komunistická strana «eskoslovenska Communist Party of Czechoslovakia KVB Kunstverein für Böhmen Art Association for Bohemia MARS Modern Architectural Research NSDAP Nationalsozialistische Deutsche Arbeiterpartei National Socialist German Workers Party OKB Oskar-Kokoschka-Bund (Prag) Oskar-Kokoschka-League (Prague) PCF Parti Communiste Français French Communist Party RdbKT Reichsverband deutscher bildenden Künstler in der Tschechoslovakei Imperial Association of German Visual Artists in Czechoslovakia

xvi Abbreviations Holz_Ftmat.qxd 9/16/2004 1:49 PM Page xvii

RKK Reichskulturkammer Reich Chamber of Culture RSD Revolutionäre Sozialisten (Deutschland) Revolutionary Socialists (Germany) RVbK Reichsverband bildender Künstler Deutschlands Imperial Association of Visual Artists of Germany SA “Storm division,” Nazi storm troopers’ organization SAP Sozialistische Arbeiterpartei Socialist Workers Party SdP Sudetendeutsche Partei Sudeten SDS Schutzverband deutscher Schriftsteller (Paris) Defense League of German Writers (Paris) SHF Sudetendeutsche Heimatfront Sudeten German Front of the Homeland SoPaDe Sozialdemokratische Partei Deutschlands Social Democratic Party of Germany (abbreviation used in exile) SPD Sozialdemokratische Partei Deutschlands Social Democratic Party of Germany SS Protection Staff SVU Syndikát Vytvárných Um¬lc± Syndicate for Exhibiting Artists USPD Unabhängige Sozialdemokratische Partei Deutschlands Independent Socialist Party of Germany VBP Vereinigung der Bühnenangehörigen Paris Organization of Theater Members Paris VI Volks-Illustrierte (Prag) People’s-Illustrated (Prague)

Abbreviations xvii Holz_Ftmat.qxd 9/16/2004 1:49 PM Page xix

Modern German Art for Thirties Paris, Prague, and London