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The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020

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The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-5-2021 The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 Denali Elizabeth Kemper CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/661 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 By Denali Elizabeth Kemper Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2020 Thesis sponsor: January 5, 2021____ Emily Braun_________________________ Date Signature January 5, 2021____ Joachim Pissarro______________________ Date Signature Table of Contents Acronyms i List of Illustrations ii Introduction 1 Chapter 1: Points of Reckoning 14 Chapter 2: The Generational Shift 41 Chapter 3: The Return of the Repressed 63 Chapter 4: The Power of Nazi Images 74 Bibliography 93 Illustrations 101 i Acronyms CCP = Central Collecting Points FRG = Federal Republic of Germany, West Germany GDK = Grosse Deutsche Kunstaustellung (Great German Art Exhibitions) GDR = German Democratic Republic, East Germany HDK = Haus der Deutschen Kunst (House of German Art) MFAA = Monuments, Fine Arts, and Archives Program NSDAP = Nationalsozialistische Deutsche Arbeiterpartei (National Socialist German Worker’s or Nazi Party) SS = Schutzstaffel, a former paramilitary organization in Nazi Germany ii List of Illustrations Figure 1: Anonymous photographer. Nazi eagle being pulled down by Mauthausen survivors, May 6, 1945. National Archives RG 111SC-206399 Figure 2: IEG-Maps, Institute of European History, Mainz / © A. Kunz, 2005 Figure 3: Captain Gordon W. Gilkey in Amsterdam during his assignment as a Monument, Fine Arts and Archives specialist with the Historical Properties Division, Headquarters, United States Forces, European Theater. In John Paul Weber. The German War Artists. Columbia, SC: Cerberus Book, 1979, 36. Figure 4: General Joseph T. McNarney reviewing an exhibition of German war art at the Städel Museum in Frankfurt on 6 December 1946. In John Paul Weber. The German War Artists. Columbia, SC: Cerberus Book, 1979, 40. Figure 5: Ivo Saliger. Urteil des Paris (The Judgment of Paris), 1939. Oil on canvas. 160 x 200 cm. Deutsches Historisches Museum, Berlin, Germany. Figure 6: Julius Paul Junghanns. Ploughing, 1940. Oil on canvas, unknown dimensions. Private Collection. Figure 7: Albert Speer. Runder Platz, 1937. Photograph. Zentralinstitut für Kunstgeschichte, Munich, Germany. Figure 8: Franz Eichhorst. Freskengemälde im Rathaus Schöneberg (Fresco painting in Schöneberg Town Hall), 1939. Photograph. Bundesarchiv. Figure 9: Adolf Wissel. Bäuerin (Peasant woman), 1938. Oil on canvas, unknown dimensions. Property of the German Federal Republic. Figure 10: Adolf Ziegler. Vier Elemente (Four Elements), 1937. Oil on canvas. 171.3 x 110.5 cm. Bayerische Staatsgemäldesammlungen. Figure 11: Unknown artist. Hinter den Feindmachten: der Jude (Alternate English title: Behind the Enemy: The Jew, Poster #46 of the Reich Propaganda Administration), 1941. Poster. United States Holocaust Memorial Museum Collection, Gift of Helmut Eschwege. Figure 12: Arno Breker. Portrait Busts of Peter and Irene Ludwig, 1987. Bronze, 80,50 x 44,00 x 50,00 cm. Ludwig Museum, Budapest, Hungary. Figure 13: Arno Breker. Prometheus, 1939. Marble, unknown dimensions. Unknown location, probably destroyed. Figure 14: Arno Breker. Die Partei (The Party), 1940. Bronze, unknown dimensions. Unknown location, probably destroyed. iii Figure 15: Arno Breker. Portrait bust of Adolf Hitler, unknown date. Bronze, unknown dimensions. Private collection. Figure 16: Albert Speer. The New Reich Chancellery’s Courtyard of Honor, 1939. Photograph. German Federal Archive. Figure 17: Heinrich Hoffman. "Der Führer in Paris". Hitler in Paris, 1940. Photograph. National Archives and Records Service. Office of the National Archives Figure 18: Arno Breker. Portrait bust of Chancellor Konrad Adenauer, unknown date. Bronze, unknown dimensions. Private collection. Figure 19: Ludwig Hohlwein, Rassenpolitischen Amtes der NSDAP. Neues Volke 1938 [New People] for the calendar of the Rassenpolitischen Amtes der N.S.D.A.P. [Racial Policy Office of the Nazi Party,1938. Ink on paper, 43.9 x 29.5 cm. 1938. The Wolfsonian - Florida International University, Miami Beach, Florida, The Mitchell Wolfson, Jr. Collection Figure 20: Unknown artist. XI. Olympiade 1936 Berlin, 1936. Silk, 170.2 x 79.4 cm. The Wolfsonian - Florida International University, Miami Beach, Florida, The Mitchell Wolfson, Jr. Collection Figure 21: Arno Breker. Kameraden (Comrades), 1940. Iron, unknown dimensions. Deutsche Historisches Museum. Figure 22: Bernhard Bleeker. Adolf Hitler, 1937. Bronze, unknown dimensions. Deutsche Historisches Museum. Figure 23: Installation view of Deutsche Geschichte vom Mittelalter bis zum Mauerfall (German History from the Middle Ages to the Fall of the Berlin Wall). Deutsche Historisches Museum. iv Introduction Few artworks in the history of twentieth-century art have elicited such indignant and visceral responses as those produced in Germany under Hitler and the Third Reich (1933– 45). The blatant propaganda and heinous ideology represented by the painting, sculpture, architecture, and visual ephemera of this period have worked against its categorization as art. The Nazi dictates on content and style–a naturalist-realism based on the servile copying of nature or a photograph–demonstrably suppressed modernist and expressionist-oriented creativity. Moreover, for the informed viewer, knowledge of the actual violence, and genocide perpetrated by the regime endows the imagery with an aura of evil that both fascinates and disturbs. Yet, the continued interest in the rise and fall of Nazi Germany rests largely on the belief that the history of the Third Reich has lessons to impart not just to subsequent generations of Germans, but also to the world at large.1 The art produced under National Socialism is crucial to those lessons. The history of its censorship and reception in Germany over the postwar decades–the subject of this thesis–has larger ramifications with regard to the ongoing contextualization and display of politically charged art elsewhere in the world. Images have always had the power to elicit profound emotional responses: from adulation and desire to disgust, fear. In turn, the values we ascribe to cultural objects are largely responsible for their fate.2 Paintings and sculptures deemed beautiful or innovative 1 Eric Michaud, The Cult of Art in Nazi Germany (Stanford, CA: Stanford University Press, 2004). 2 For a comprehensive analysis of the history of cultural relationships to images see, David Freedberg’s, The Power of Images: Studies in the History and Theory of Response (Chicago: University of Chicago Press, 2007). 1 are preserved for subsequent generations and the collective good under the definition of cultural patrimony; those considered inconsequential are neglected; and those that provoke loathing are overlooked, hidden, or destroyed. In his 2007 book The Power of Images, David Freedberg wrote: On some occasions, iconoclasm may seem chiefly to spring from a general concern about the nature and status of images, about their ontology, and about their function (or, indeed, the possibility of function). On other occasions, one might claim, there seems to be less concern about ontology (except, of course, among the artists), as in the French and Russian revolutions. In other words, the motivation seems much more clearly political. The aim is to pull down whatever symbolizes—stands for—the old and usually repressive order, the order which one wishes to replace with a new and better one.3 The fall of the Third Reich marked a period of intense iconoclasm, and the range of emotional responses felt by military officers and later West Germans, as discussed in this text, largely determined the fate of objects and the ensuing debates over their function as patrimony and/or propaganda. In the immediate postwar period, the victorious Allies as well as those who fell victim to National Socialism (or felt guilty for supporting it) aimed to destroy the extant, visual embodiments of the regime’s oppression and terror. Entnazifierung (denazification) laid the framework for ridding Germany of Nazi ideology. The first part of denazification centered on culpability, with the Allies holding Nazi leaders and party members accountable for their actions through tribunals and other legal actions. The second part of denazification focused on purging all elements of Nazism from Germany, including the destruction and removal of all visual signs and symbols of the party, from art and literature to items of ephemera, in order to stop the perpetuation of German militarism and Nazism. National Socialist visual culture promulgated the racist and anti-democratic ideologies that led to Nazi genocide; its dogmatically anti-modernist 3 Ibid., 389–90. 2 style symbolized the totalitarian reach of the dictatorship and its violent repression of creative freedom and civil liberties. The authorities believed, with reason, that the exhibition of such images would
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