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Chapters from General Works on Nazi Art

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Chapters from General Works on Nazi Art CONSTRUCTUING THE CATEGORY ENTARTETE KUNST: THE DEGENERATE ART EXHIBITION OF 1937 AND POSTMODERN HISTORIOGRAPHY A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy J. Michael McKeon March 2006 This dissertation entitled CONSTRUCTUING THE CATEGORY ENTARTETE KUNST: THE DEGENERATE ART EXHIBITION OF 1937 AND POSTMODERN HISTORIOGRAPHY by J. MICHAEL MCKEON has been approved for the School of Interdisciplinary Arts and the College of Fine Arts by Charles S. Buchanan Assistant Professor of Interdisciplinary Arts Chuck McWeeny Dean, College of Fine Arts Abstract MCKEON, J. MICHAEL, Ph.D., March 2006. Interdisciplinary Arts CONSTRUCTING THE CATEGORY ENTARTETE KUNST: THE DEGENERATE ARTS EXHIBITION OF 1937 AND POSTMODERN HISTORIOGRAPHY (229 pp.) Director of Dissertation: Charles S. Buchanan This study, utilizing Michel Foucault’s theory from which to interpret visual abnormality in art, analyzes the reasons why the Nazis believed visual dysfunction and mental illness were the operative forces behind modern art. In Munich, Germany in 1937 the National Socialist party, fearing that German culture was slowly degenerating into madness, sponsored two art events largely for the purposes of contrast. At the largely monolithic Great German Art Exhibition the Nazis hastened to forward their own aesthetic vision by displaying art works representing human forms in the language of classicism. The Degenerate Art Exhibition (held a day later) showcased early twentieth- century German avant-garde paintings, which, the Nazis claimed, were the products of abnormal vision and mental illness. The importance of visual perception in art is first detected in the period Foucault identifies as the Classical episteme, a period that regards man’s capacity for representation as the primary tool for ordering knowledge about the world. The roots of this way of thinking about representation go back to the fifteenth-century theorist Leonbattista Alberti, who established rules in art for the normal and healthy perception of nature. Such rules, including linear perspective and an emphasis on line, continued to be supported after the advent of what Foucault calls the Modern episteme, which began roughly around the late eighteenth century. The Modern episteme still regarded man’s knowledge of the world as fundamentally representational, but, in addition, saw man’s representational capacities as an object of knowledge. This line of thought contributed to Immanuel Kant’s theory of knowledge, in particular his view on how the subjective awareness of beauty opens up for the subjects solidarity with others in judging beauty, that is, a judgment of taste’s claim to universality. Kant’s aesthetics thus becomes a space where a consensus about the visual perception of art is now possible. This type of aesthetic consensus is shown to imply a rejection of anything perceived as being the product of insanity or visual aberration, such as, for the Nazis, Impressionism, which utilizes heavy impasto and bold striking colors to suggest form. This style, via Post- Impressionists like Vincent Van Gogh and Paul Gauguin, made a profound impact on the early twentieth-century German Expressionist movement. The Nazis eventually marginalized such modern art from German culture by maintaining that its practitioners freely appropriated the formal language of the insane artist in their rejection of bourgeois aesthetic values. The following study is a consideration of the Degenerate Art exhibition of 1937 as a space where a prescribed aesthetic community could convene and attack the modern artist as “other.” Approved: Charles S. Buchanan Assistant Professor of Interdisciplinary Arts Acknowledgments The faculty and staff of the School of Interdisciplinary Arts and Dr. James Petrik, individually and collectively, deserve my deepest thanks for their immeasurable help throughout the dissertation process. This work is dedicated to my wife Shuho. Her daily efforts at managing my life and the many hours she devoted as assistant editor to the dissertation were absolutely essential to its completion. 7 Table of Contents Page Abstract............................................................................................................................... 3 Acknowledgments............................................................................................................... 5 List of Figures..................................................................................................................... 9 Introduction....................................................................................................................... 12 I. Historical Background............................................................................................... 12 II. Topic of Study.......................................................................................................... 15 III. Methodology........................................................................................................... 17 IV. Defining Terms....................................................................................................... 18 V. Historiography ......................................................................................................... 19 VI. Structure of the Dissertation ................................................................................... 21 Part One: Excavating the Limits of the Classical Episteme ............................................. 25 Prologue ........................................................................................................................ 25 I. The Legacy of the Enlightenment ............................................................................. 26 II. Rational Reflection................................................................................................... 27 III. Historical Essentialism versus Archaeology........................................................... 29 IV. Archaeology as Historical Analysis........................................................................ 31 V. The Notion of Episteme ........................................................................................... 34 VI. The Classical Episteme: A Cartesian Example ...................................................... 35 VII. Las Meninas Revisited .......................................................................................... 43 VIII. David Hume and Immanuel Kant: Reaching the Philosophical Limits of the Classical Episteme ........................................................................................................ 50 IX. Structural Shifts and Renaissance Art Theory........................................................ 54 X. Renaissance Art Theory and Las Meninas Re-interpreted....................................... 58 XI. Kant and Renaissance Art Theory .......................................................................... 62 XII. Degenerate Art and Renaissance Art Theory........................................................ 64 XIII. A Brief Summary................................................................................................. 66 XIV. The Emergence of Man........................................................................................ 68 XV. The Transcendental “Turn”................................................................................... 75 XVI. Conclusion ........................................................................................................... 78 Part Two: The Modern Episteme and the Human Sciences ............................................ 80 I. Nineteenth-Century Psychology and Art Criticism................................................... 80 II. Entartete Kunst Aktion and the Concept Degenerate Art ........................................ 83 III. Beyond Conceptual History to Archaeology .......................................................... 85 IV. Setting the Stage ..................................................................................................... 90 V. Psychologizing Human Perception and Aesthetic Consciousness........................... 95 VI. Nineteenth-Century Psychology of Aesthetics....................................................... 97 8 VII. Brief Summary and Conclusion ............................................................................ 99 VII. Kant, Space, and Neoclassical Art ...................................................................... 100 VIII. Kantian Art Theory and Neoclassical Art Standards......................................... 109 IX. The Neoclassical Style and Nazi Tastes in Art..................................................... 113 X. Kant and the Culture of Beauty.............................................................................. 116 XI. Marginalizing Dissent from the Aesthetic Community........................................ 118 XII. Madness and Art: Psychologizing the Aesthetic Community............................. 120 XIII. Discursive Conclusions...................................................................................... 125 XIV. Nazi Art Theory and Impressionism.................................................................. 129 XV. Impressionism ..................................................................................................... 135 XVI. Impressionism and Positivism ..........................................................................
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