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DEGENERATE ART DEGENERATE ART MODERN on ATTACK the 1937 GERMANY NAZI in Peters Olaf by Edited and Price, Renée by Foreword Lauder, S

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DEGENERATE ART DEGENERATE ART MODERN on ATTACK the 1937 GERMANY NAZI in Peters Olaf by Edited and Price, Renée by Foreword Lauder, S 5367-NG-DegenerateArt_jacket2 16.01.14 16:28 Seite 1 DEGENERATE ART THE ATTACK ON MODERN ART IN NAZI GERMANY 1937 GERMANY NAZI IN ART MODERN ON ATTACK THE DEGENERATE ART THE ATTACK ON MODERN ART IN NAZI GERMANY 1937 DEGENERATE ART THE ATTACK ON MODERN ART IN NAZI GERMANY 1937 Edited by Olaf Peters With preface by Ronald S. Lauder, foreword by Renée Price, and essays by Bernhard Fulda, Ruth Heftrig, Mario-Andreas von Lüttichau, Karsten Müller, Olaf Peters, Jonathan Petropoulos, Ernst Ploil, Ines Schlenker, Aya Soika, and Karl Stamm This catalogue accompanies a major exhibition at the Neue Galerie devoted to the subject of the Nazi war on modern art. It is the first major U.S. museum exhibition devoted to this topic since the 1991 presentation at the Los Angeles County Museum of Art. The Neue Galerie exhibition is organized by Dr. Olaf Peters, Professor of Art History at Martin-Luther-Universität Halle-Wittenberg. The term “degenerate” was adopted by the National Socialist regime as part of its campaign against modern art. Many works branded as such by the Nazis were seized from museums and private collections. Following the showing of these works in a three- year traveling exhibition that criss-crossed Germany and Austria, most were sold, lost, or presumed destroyed. In this light, the recent discovery in Munich of the Gurlitt trove of such artwork has attracted considerable attention. Highlights of the show include a number of works shown in Munich in the summer of 1937, such as Max Beckmann’s Cattle in a Barn (1933); George Grosz’s Portrait of the Writer Max Hermann-Neisse (1925); and Ernst Ludwig Kirchner’s Winter Landscape in Moonlight (1919). One room of the exhibition contrasts so-called “Degenerate Art” with officially sanctioned art of the period, including works shown at the 1937 “Great German Art Exhibition” in Munich, such as Adolf Ziegler’s triptych The Four Elements (1937), owned by Adolf Hitler. FRONT COVER: Oskar Kokoschka, Poster with Self-Portrait for Der Sturm magazine, 1910, colored lithograph. Neue Galerie New York, Gift of Leonard A. Lauder. The publication provides a complete historical overview of the © 2014 Fondation Oskar Kokoschka/Artists Rights Society (ARS), period and examines not only the genesis of the “Degenerate Art” New York/ProLitteris, Zürich PRESTEL show but also the rise of the topic “degenerate.” Additional essays BACK COVER: Installation view of the “Degenerate Art” exhibition, Berlin 1938. examine the National Socialist policy on art, the treatment of Photograph: ©Scherl, Süddentsche Zeitung Collection/The Bridgeman Art Library “Degenerate Art” in film, and the impact of this campaign in post- war Germany and the world at large. The exhibition is on view at the Neue Galerie New York from March PRESTEL 13 to June 30, 2014. MUNICH • LONDON • NEW YORK 5367-NG-DegenerateArt_Titel.indd 1 23.01.14 10:28 5367-NG-DegenerateArt_001-087.qxp 22.01.14 13:24 Seite 1 DEGENERATE ART 5367-NG-DegenerateArt_001-087.qxp 22.01.14 13:24 Seite 2 5367-NG-DegenerateArt_001-087.qxp 22.01.14 13:24 Seite 3 DEGENERATE ART THE ATTACK ON MODERN ART IN NAZI GERMANY, 1937 Edited by Olaf Peters Preface by Ronald S. Lauder, foreword by Renée Price With contributions by Mario-Andreas von Lüttichau Ernst Ploil Karsten Müller Ines Schlenker Bernhard Fulda Olaf Peters Aya Soika Ruth Heftrig Jonathan Petropoulos Karl Stamm PRESTEL MUNICH • LONDON • NEW YORK 5367-NG-DegenerateArt_001-087.qxp 22.01.14 13:24 Seite 4 This catalogue has been published in conjunction with the exhibition DEGENERATE ART: THE ATTACK ON MODERN ART IN NAZI GERMANY, 1937 Neue Galerie New York March 13 – June 30, 2014 Curator © 2014 Neue Galerie New York; Library of Congress Control Number: 2013957076 Olaf Peters Prestel Verlag, Munich • London • New York; Library of Congress Control Number is available; Exhibition design and authors British Library Cataloguing-in-Publication Data: Richard Pandiscio, a catalogue record for this book is available William Loccisano / Pandiscio Co. Prestel Verlag, Munich from the British Library; Deutsche Nationalbibliothek A member of Verlagsgruppe holds a record of this publication in the Deutsche Director of publications Random House GmbH Nationalbibliografie; detailed bibliographical data Scott Gutterman can be found under: http://www.dnb.de Prestel Verlag Managing editor Neumarkter Strasse 28 ISBN 978-3-7913-5367-8 Janis Staggs 81673 Munich Tel. +49 (0)89 4136-0 Editorial assistance Fax +49 (0)89 4136-2335 Liesbet van Leemput www.prestel.de Book design Prestel Publishing Ltd. Richard Pandiscio, 14-17 Wells Street Verlagsgruppe Random House FSC® N001967 William Loccisano / Pandiscio Co. London W1T 3PD The FSC®-certified paper Galaxi Supermatt Tel. +44 (0)20 7323-5004 was supplied by Papier-Union, Ehingen. Translation Fax. +44 (0)20 7323-0271 Steven Lindberg Transportation assistance provided by Prestel Publishing Project coordination 900 Broadway, Suite 603 Anja Besserer New York, NY 10003 Tel. +1 (212) 995-2720 FRONTISPIECE: Cover of the exhibition brochure Production Fax +1 (212) 995-2733 “Degenerate Art,” Munich 1937. Photograph: Andrea Cobré www.prestel.com Hulya Kolabas, New York Origination Prestel books are available PAGE 6: Adolf Hitler examining confiscated Royal Media, Munich worldwide. Please contact your German masterpieces in the collection depot nearest bookseller or one of the for the "Degenerate Art" exhibition, Köpenicker Printing and binding above addresses for information Strasse 24, Berlin, January 13, 1938. Kösel GmbH & Co. KG, Krugzell concerning your local distributor. Photograph: Heinrich Hoffmann 5367-NG-DegenerateArt_001-087.qxp 22.01.14 13:24 Seite 5 ACKNOWLEDGEMENTS Selini Andres, Mannheim Max Hollein, Frankfurt am Main Christian Ring, Seebüll Richard Armstrong, New York Diana Howard, New York Jerry Rivera, New York Art Installation Design, New York Elizabeth Hudson, Dallas Sabine Röder, Krefeld Graham Beal, Detroit Paul Huvenne, Antwerp Cora Rosevear, New York Carola Bell, Cincinnati Cynthia Iavarone, New York Sefa Saglam, New York Sylvain Bellenger, Chicago Inge Jaehner, Osnabrück Miranda Sarjeant, New York Brent Benjamin, St. Louis Ryan Jensen, New York Karin Schick, Hamburg Anja Besserer, Munich Adrienne Lynn Jeske, Chicago Ines Schlenker, London Aaron Betsky, Cincinnati Philipp Kaiser, Cologne Frank Schmidt, Emden Angelika Betz, Munich Oliver Kase, Munich Bernd Schnarr, Berlin Tobia Bezzola, Essen Alexander Klar, Wiesbaden Katja Schneider, Halle/Saale Leon and Debra Black, New York Karen Klein, Berlin Klaus Schrenk, Munich Susanne Brüning, Essen Simone Kober, Munich Sabine Schulze, Hamburg Wolfgang Büche, Halle/Saale Alexander Koch, Berlin Thomas Schwark, Hannover Thomas Campbell, New York Hulya Kolabas, New York Jorge Schwartz, Sao Paulo Greta Casacci, Edinburgh Elizabeth Kujawski, New York Nicole Seeberger, Chur Audrey Clarke, Ft. Belvoir Stephan Kunz, Chur Eduard Sekler, Vienna Brenna Cothran, New York Liesbet van Leemput, New York Peter Selz, Berkeley Stephanie D’Alessandro, Chicago Michael Lesh, New York Michael Slade, New York Hanne Dannenberger, Wiesbaden Bruce Levy, Washington D.C. Athena Smith, New York Veerle De Meester, Antwerp Steven Lindberg, Molkom Michelle Smith, Detroit Douglas Druick, Chicago Jill Lloyd, London Aya Soika, Berlin Patrick Elliott, Edinburgh Bill Loccisano, New York Sarah Sonderkamp, Essen Lisa Escovedo, Pasadena Ulrike Lorenz, Mannheim Nancy Spector, New York Andreas Fahl, Hannover Glenn Lowry, New York Maggie Spicer, New York Kaywin Feldman, Minneapolis Mario-Andreas von Lüttichau, Essen Michael and Judy Steinhardt, New York Susanne Fiedler, Rostock Diane Mallow, Saint Louis Janis Staggs, New York Peter Fischer, Bern Inge Maruyama, Düsseldorf Karl Stamm, Bonn Sarah Forgey, Ft. Belvoir Maria Fernanda Meza, New York Christine Strabue, Halle/Saale Emily Foss, New York Erika Morris, Chicago Steffen Stuth, Rostock Eliza Frecon, New York Tanya Morrison, Minneapolis Elisa Tabaschke, Halle/Saale Matthias Frehner, Bern Karsten Müller, Hamburg Walter Timoshuk, Pasadena Michael Freitag, Halle Manuela Müller, Cologne Carol Togneri, Pasadena Helmut Friedel, Munich Jodi Myers, New York Michael Voss, New York Julia Friedrich, Cologne Vlasta Odell, New York Meike Wenck, Hamburg Bernhard Fulda, Cambridge Thomas Olbricht, Essen Ute Wenzel-Förster, Frankfurt am Main Kerry Gaertner, New York Richard Pandiscio, New York Georg Wiesing-Brandes, Hannover Hubertus Gassner, Hamburg Vanessa Patrick, Ft. Belvoir Daniela Wilmes, Aachen Michael Govan, Los Angeles Olaf Peters, Halle/Saale Beat Wismer, Dusseldorf Christina Graham, New York Jonathan Petropoulos, Claremont Christian Witt-Dörring, Vienna Simon Groom, Edinburgh Sigrid Pfandlbauer, Emden Amy Wright, Los Angeles Scott Gutterman, New York Carina Plath, Hannover Roman Zieglgängsberger, Wiesbaden Ruth Heftrig, Halle/Saale Ernst Ploil, Vienna Tom Zoufaly, New York Edith Heinimann, Bern Annika Pohl-Ozawa, Hamburg Reinhold Heller, Chicago Ellen Price, New York Martin Hentschel, Krefeld Karola Rattner, Munich We also acknowledge those individuals Babette Heusterberg, Berlin Brigitte Reichel, Rostock who prefer to remain anonymous. 5367-NG-DegenerateArt_001-087.qxp 22.01.14 13:24 Seite 6 5367-NG-DegenerateArt_001-087.qxp 22.01.14 13:24 Seite 7 CONTENTS 8 Ronald S. Lauder 176 “VIOLENT VOMITING Preface OVER ME” Ernst Barlach and National Socialist 10 Renée Price Cultural Policy Karsten Müller Foreword 186 EMIL NOLDE AND 12 Olaf Peters THE NATIONAL SOCIALIST Introduction DICTATORSHIP Bernhard Fulda and Aya Soika 16 FROM NORDAU TO
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