The Degenerate Art Show

Total Page:16

File Type:pdf, Size:1020Kb

The Degenerate Art Show IRONDALE ENSEMBLE PROJECTNEWSNEWS Spring 1988 Special “Nazi” Edition Volume 1 No. 3 The Degenerate Art Show (A History of Art Censorship in Nazi Germany) By John Silvers Many modern artists, such as Dix and fessors, as well as approximately thirty Soul" reveal these presentations as pri- As early as the year 1920, thirteen Beckmann, (both of whom served in museum directors, and replace them with marily political. They were not intended to years before his coming to power in Ger- World War I) were anti-war and members from the Combat League. And exhibit the works of art for their own sake; many, Adolf Hitler had already pinpointed expressed that sentiment in their work. in doing so, he placed local decision-mak- the "subversiveness" of the art was to be avant-garde art as a major threat to the Abstract art of this nature encouraged a ing directly in the hands of his supporters. seen as an indication of the degeneration success of his newly formed National high level of viewer interpretation and it Now that they were largely in of German culture under the "decadence" Socialist German Labor Party (NSDAP or was not conducive to Hitler's political control of the country's museums, the of the former government, the Weimar Nazi Party). Hitler himself was an aspiring agenda to allow the public to be intellec- Combat League saw to it that the modern Republic. This provocation of the public's painter, who as a tually disassoci- art departments were shut down and their indignation was designed to bring about young man had ated from the collections locked up in storage. It was at the celebration of Hitler as the hero of a failed to gain NSDAP. With this this point that the first exhibitions aimed at revolutionary new government contribut- acceptance into in mind, Hitler defaming avant-garde art and its defend- ing to his political stabilization. the Academy of branded this kind ers were organized. As it would be in the By 1936, Hitler and Reich Minister for Visual Arts in of art as case of the famous "Entartete Kunst" Public Enlightenment and Propaganda Vienna, when his obscene, a viola- (Degenerate Art) exhibition of 1937, these Joseph Goebbels had achieved almost work was tion of religious early local shows displayed works of total control over German cultural affairs. deemed unsatis- feelings, an modern art in a crooked, cramped, and The fields of literature, press, broadcast- factory. Enam- appeal to class unflattering style. They were often hung ing, theater, music, film, and the visual ored of the struggle, an upside down or without frames, to give an arts were all tightly monitored by the romantic realism encouragement appearance of crudeness. The galleries Reich Chamber of Culture under of works painted of military sabo- were poorly lit. Anti-Semitic, anti-Commu- Goebbels. Only members of the Cham- prior to the tage, and a nist, and anti-intellectual slogans were ber were permitted to practice these in 1860's, Hitler resemblance to commonly scrawled on walls as com- professions. A test of racial ancestry and harbored a the artistic efforts mentary on the art and the artists. Exhibi- political reliability was administered to strong hatred for of the mentally tion titles such as "Images of Cultural Bol- applicants to the Chamber, making it emerging art handicapped. shevism," "Chambers of Horror of Art," possible to exclude unwanted artists and forms such as The intent of the and "Art that Did Not Issue From Our Continued on page 4 expressionism, accusations was cubism, surreal- to create in the ism, and viewer a predis- dadaism. His Poster for original "Degenerate Art" Show position against harsh opinions of modern art were likely the art work. fueled by a desire to obtain revenge for One of the most significant early devel- the squelching of his own artistic dreams. opments in the successful propagation of In an early speech to the Nazi party, Hitler Hitler's ideology was the founding of the proclaimed, "We demand the legal fight Combat League for German Culture in against a tendency in art and literature the late 1920's. Although not officially which exerts a subversive influence on sanctioned by the NSDAP, the League the life of our people." was a repository of racist and national- Why was modern art such a threat to conservative associations. Its members Nazi Germany? Expressionists made it carried out openly aggressive agitation on clear that their art would not be con- a local level throughout Germany. When strained by social norms or the bounds of Hitler was named Chancellor of Germany realism. The works of popular modern in 1933, he immediately changed certain German artists like Otto Dix and Max laws governing civil service. This move Beckmann exposed the inner pyscholog- allowed him to dismiss from office ical/emotional lives of their subjects. unwanted university and academy pro- Charlie Chaplin in "The Great Dictator" Irondale Ensemble Project, P.O. Box 1314; Old Chelsea Station, New York, NY 10011 Non Profit www.irondale.org Organization U.S. Postage Paid New York, NY 5443 by the Irondale Ensemble Project With original music by Walter Thompson Performed live by the Walter Thompson Orchestra Theater for the New City 155 First Avenue (Between 9th and 10th Street) April 22 -May 23 Call for Reservations: (212) 633-1292 Wednesday - Saturdays, 8pm, Tickets: $15.00, $10.00 for students/seniors/Passports to Off Broadway, TDF accepted Cabaret:The Reconstructing Framing Device "Entartete Kunst": the By Jim Niesen originators and take on the more seri- LA Exhibition The dilemma: How to convey the ous and more satirically aggressive By Michael Goodfriend reconstruction of several rooms of the complexity of the historical events tone of its German creators. On February 1991, an exhibition original Entarte Kunst show," said Ms. which make up the story of the In the years following the end of the entitled "Degenerate Art": The Fate of Barron, "ours was an exhibition in which Entartete Kunst exhibition while avoid- First World War, Berlin emerged as the Avant-Garde in Nazi Germany there was no margin for substitution in ing the trap of well-meant but earnest Germany's first truly cosmopolitan opened at the Los Angeles County the roster of requested works. Much of kitchen sink naturalism (which is want city. Permissiveness pervaded the Museum of Art. The exhibition was a the art we sought required exceptions to to sink into the realm of love story -- city. Berlin embraced all comers. meticulous reconstruction of the infa- long-standing loan restrictions." In the witness the recent film Titanic where 120 daily newspapers were pub- mous art exhibition Entartete Kunst end, the reconstruction required the the obvious tale of young passion lished here. Theaters sprang up over (Degenerate Art) staged by the Nazis in cooperation of over 100 lenders from obscures a much more interesting film night. Cabarets mushroomed. The July of 1937. In the catalogue that around the world. In some cases, entire lurking beneath the story: an examina- cabarets thrived on the lax censorship accompanied the exhibition, organizer exhibitions of modern, pre-WWII art tion of classism and relative human and featured erotic Stephanie Barron, scheduled in other cities were delayed value in the early days of the twentieth entertainment. curator of Twentieth so as not to jeopardize loans planned for century) or emerge as a form of "histo- American-based Century Art at the LACMA show. ry from above"-events seen only from jazz was incorporat- LACMA wrote, As the exhibition developed, it the perspective of the "great men" ed into this Kabarett "From the outset it expanded beyond a reconstruction of whose names are most commonly con- culture that gave was clear that to the original show to include documenta- nected with and who are often held to rise to a group of reconstruct as much tion of Nazi censorship of other art be solely responsible for the historical serious left wing as possible of the forms. Researchers uncovered volumes events . artists who used the original Entartete of information regarding the Nazis' sup- The solution: To play the events as small stage to Kunst exhibition of pression of film, music, and literature. if they are being re-enacted by a expose and satirize 650 works of art, let The exhibition was expanded to include troupe of 1930's German Cabaret per- the conditions of alone to place Ger- these materials. Designers of great formers as a contemporary agitprop German society. man events of more repute were involved in the development newspaper, using the skills of their It is important to than fifty years ago of the show. Distinguished architect trade to pass on what they know. This note how much the in perspective for Frank Gehry designed the installation, allows the company to avoid the heroic cabaret influenced American audi- LACMA designer Jim Drobba conceived or great man syndrome in the narrative Brecht and through ences, would be a and executed the graphics, and expert and to tell the story from the point of him twentieth cen- formidable under- modelmaker Eric Marable reconstructed view of ordinary people, with the tury theater. As taking." a scaled down version of the original famous figures of the time appearing early as 1924 Conceiving, exhibition hall. on stage never as in the round repre- Brecht spoke of an organizing, and Funding for the show came from a sentations, but only as caricatured "epic smoke the- mounting the exhibi- wide range of sources. The Federal cabaret-theater portraits. ater," a place where tion took five years Republic of Germany took great interest Some background on the cabaret people might come of sustained effort.
Recommended publications
  • Degenerate Art – 80 Years: Repercussions in Brazil (São Paulo, 25-27 Apr 18)
    Degenerate Art – 80 Years: Repercussions in Brazil (São Paulo, 25-27 Apr 18) São Paulo, Museu de Arte Contemporânea, Apr 25–27, 2018 Deadline: Mar 9, 2018 Erika Zerwes In 1937 the German government, led by Adolf Hitler, opened a large exhibition of modern art with about 650 works confiscated from the country's leading public museums entitled Degenerate Art (Entartete Kunst). Marc Chagall, Otto Dix, Max Ernst, George Grosz, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, Piet Mondrian and Lasar Segall were among the 112 artists who had works selected for the show. Conceived to be easily assimilated by the general public, the exhibition pre- sented a highly negative and biased interpretation of modern art. The Degenerate Art show had a rather large impact in Brazil. There have been persecutions to modern artists accused of degeneration, as well as expressions of support and commitment in the struggle against totalitarian regimes. An example of this second case was the exhibition Arte condenada pelo III Reich (Art condemned by the Third Reich), held at the Askanasy Gallery (Rio de Janeiro, 1945). The event sought to get support from the local public against Nazi-fascism and to make modern art stand as a synonym of freedom of expression. In the 80th anniversary of the Degenerate Art exhibition, the University of São Paulo’s Museum of Contemporary Art, in partnership with the Lasar Segall Museum, holds the International Seminar “Degenerate Art – 80 Years: Repercussions in Brazil”. The objective is to reflect on the repercus- sions of the exhibition Degenerate Art (Entartete Kunst) in Brazil and on the persecution of mod- ern art in the country in the first half of the 20th century.
    [Show full text]
  • Final Report Provenance Research
    Provenance Research on the Baumgart-Möller Donation Final Report Project management Dr. Thorsten Sadowsky, Director Annick Haldemann, Registrar [email protected] Project handling and report Julia Sophie Syperreck MA, Research Assistant [email protected] 31 August 2018 Kirchner Museum Davos Provenance Research on the Baumgart-Möller Donation 2 Contents 3 I. Work report 4 a. The situation and state of research at the beginning of the project 5 b. Work performed by the project staff and project schedule 6 c. Methodical approach and manner of publication of the findings 7 d. Object statistics 9 e. List of the historical agents (individuals and institutions) relevant to the project 10 f. Documentation of the findings for third parties 11 II. Summary 12 a. Evaluation of the findings 12 b. Unresolved issues and need for further research 13 III. Appendix: List of works Kirchner Museum Davos I. Work report Provenance Research on the Baumgart-Möller Donation 4 a. The situation and state of research at the beginning of the project At the beginning of the project an assessment was made which groups of works within the collection are more likely to be linked to the “liquidation” of private and public collections during the Nazi dictatorship in Germany in the years from 1933 to 1945. It was found that there is only very patchy provenance information for the forty-two artworks donated in 2000 to the Kirchner Museum Davos by “Rosemarie and Konrad Baumgart-Möller in memory of Ferdinand Möller, Berlin.” Since “Möller” is one of the red-flag names in provenance research, the investigation of this part of the collection was given priority.
    [Show full text]
  • Franz Marc Animals Fine Art Pages
    Playing Weasels Painted by: Franz Marc When: 1909 Style: Expressionism Interesting Fact: Franz Marc was a German painter and printmaker that lived from 1880 to 1916. He studied in Munich and in France. Franz Marc Fine Art Pages by EnrichmentStudies.com Siberian Sheepdogs Painted by: Franz Marc When: 1910 Materials and Technique: oil on canvas Style: Post-Impressionism Interesting Fact: While serving in the German military in World War I, Marc painted tarp covers in various artistic styles, ranging “from Manet to Kandinsky” in hopes of hiding artillery. Franz Marc Fine Art Pages by EnrichmentStudies.com Blue Horse I Painted by: Franz Marc When: 1911 Materials and Technique: oil on canvas Style: Expressionism Franz Marc Fine Art Pages by EnrichmentStudies.com Deer in the Snow Painted by: Franz Marc When: 1911 Materials and Technique: oil on canvas Style: Expressionism Franz Marc Fine Art Pages by EnrichmentStudies.com Donkey Frieze Painted by: Franz Marc When: 1911 Materials and Technique: oil on canvas Style: Expressionism Interesting Fact: Most of Marc’s work portrays animals in a very stark way, using bold colors. His style caught the attention of the art world. Franz Marc Fine Art Pages by EnrichmentStudies.com Monkey Frieze Painted by: Franz Marc When: 1911 Materials and Technique: oil on canvas Interesting Fact: A “frieze” is a wide horizontal painting or other decoration, often displayed on a wall near the ceiling. Franz Marc Fine Art Pages by EnrichmentStudies.com Resting Cows Painted by: Franz Marc When: 1911 Materials and Technique: oil on canvas Style: Expressionism Franz Marc Fine Art Pages by EnrichmentStudies.com The Yellow Cow Painted by: Franz Marc When: 1911 Materials and Technique: oil on canvas Style: Expressionism Interesting Fact: The style of Expressionism was a modern form of art that began in the early 1900s.
    [Show full text]
  • 4C the Anti-Modernists
    seum, were some six hundred and fifty the art world of the twenty thousand works that the Nazis eventually confiscated from Ger- man institutions and collections. Many The anti-MOdERNisTs were subsequently burned; others were sold abroad, for hard currency. Wall texts Why the Third Reich targeted artists. noted the prices that public museums had paid for the works with “the taxes of the BY PETER sCHjEldAHl German working people,” and derided the art as mentally and morally diseased or as a “revelation of the Jewish racial soul.” Only a handful of the artists were Jews, but that made scant difference to a regime that could detect Semitic conta- gion anywhere. Some months earlier, Jo- seph Goebbels, the propaganda minister, had announced a ban on art criticism, as “a legacy of the Jewish influence.” “Degenerate Art” was a blockbuster, far outdrawing a show that had opened the day before, a short walk away, in a new edifice, dear to Hitler, called the House of German Art. “The Great German Art Exhibition” had been planned to demonstrate a triumphant new spirit in the nation’s high culture, but the preponderance of academic hackery in the work produced for it came as a rankling disappointment to Hitler, whose taste was blinkered but not blind. By official count, more than two million visitors thronged “Degen- erate Art” during its four-month run in Munich. Little is recorded of what they thought, but the American critic A. I. Philpot remarked, in the Boston Globe, that “there are probably plenty of people—art lovers—in Boston who will side with Hitler in this particular purge.” Germany had no monopoly on ou might not expect much drama the works.
    [Show full text]
  • 1 He Society Or the Four Arts MRS
    CHAIRMEN OF COMMITTEES OFFICE.. PAINTING AND SCULPTURE COL. HAROLD FOWLER 1 he Society or the Four Arts MRS. PAUL MOORE PRESIDENT FOUR ARTS PLAZA LIBRARY MRS. MARION SIMS WYETH MRS. LORENZO E. WOODHOUSE HONORARY PRESIDENT ralm peach, Florida MUSIC MRS. PAULDING FOSDICK MR. JOSEPH F. GUNSTER April U, 1953 LECTURES VICE-PRESIDENT COL. HAROLD FOWLER BOARD OF DIRECTORS DR. DANIEL J. MCCARTHY MOVING PICTURES VICE-PRESIDENT MRS. LERAY BERDEAU MRS. FREDERICK JOHNSON MR. HARVEY LADEW MR. LERAY BERDEAU MRS. D. J. MCCARTHY DRAMA MR. WILLIAM L MCKIM MR. ARTHUR B. CAMPBELL DR. MATTHEW T. MELLON MRS. EDWARD F. HUTTON VICE-PRESIDENT MRS. JOSEPH M. CUDAHY MR. R. LAURENCE PARISH JUNIOR ACTIVITIES MRS. JOSEPH E. DAVIES MR. MICHAEL G. PHIPPS MRS. FREDERICK MORRISH MR. CHARLTON YARNALL MRS. CHARLES S. DAVIS MRS. JOHN S. PILLSBURY VICE-PRESIDENT MRS. HORACE E. DODGE MRS. RALPH K. ROBERTSON JUNIOR MOVIES MRS. WILLIAM T. GRANT MR. ALFRED SLOAN, JR. MRS. CHARLES WILSON MRS. WILLIAM L. MCKIM MR. WILLIAM T. GRANT MRS. HAROLD W. SWEATT MEMBERSHIP SECRETARY MRS. FREDERICK E. GUEST MRS. GEORGE C VANDUSEN MRS. JOSEPH F. GUNSTER MRS. H. MERCER WALKER MR. C. MARKHAM LANGHAM MR. JAMES HOLLINGSWORTH MR. CHANNINO HARE DR. GEORGE A. WATERMAN MRS. JAMES DE PEYSTER TREASURER MRS. HENRY ITTLESON MR. MARION SIMS WYETH VICE-CHAIRMAN HOUSE MRS. ANN POELLER MRS LORENZO E. WOODHOUSE DIRECTOR ACCESSIONS MRS. M. R. PAGE HUFTY HOSPITALTIY MRS. HAROLD FOWLER GROUNDS AND BUILDINGS MR. GEORGE S. ROSS .ARDEN Mr. Francis Henry Taylor, Director [ MRS. FRANK HORTON The Metropolitan Museum of Art New York 28, New York RECEIV1- Dear Mr.
    [Show full text]
  • 2013-2014 Newsletter
    WILLIAMS GRADUATE PROGRAM IN THE HISTORY OF ART OFFERED IN COLLABORATION WITH THE CLARK ART INSTITUTE WILLIAMS GRAD ART THE CLARK 2013–2014 NEWSLETTER LETTER FROM THE DIRECTOR Marc Gotlieb Dear Alumni, Art Department in the field of African Art, and who will be teaching in the graduate program this spring. Greetings from Williamstown. I hope you enjoy our redesigned alumni newsletter, the last and The newsletter includes a special conversation with most significant phase of a visual identity project Michael Ann Holly, Starr Director of Research that includes the launch of a new website and Emeritus at the Clark, and this year’s Robert other communications pieces designed to capture Sterling Clark Visiting Professor. Many thanks to some of the freshness and contemporaneity of the program and its Ashley Lazevnick MA ’12 and Oliver Wunsch setting. By now many of you have had the opportunity to visit the MA ’11 for taking this on! And many thanks, too, new Clark and its spectacular new wing, including renovated galleries to our post-doctoral fellow, Kristen Oehlrich, for and a reflecting pool looking out over Stone Hill. But there is more to putting this splendid newsletter together. Most of come—the Manton Building, which houses the Graduate Program and all, thanks to our alumni for contributing updates the library, will reopen to the public this summer, with a new spacious to the newsletter! reading room, a new works on paper study center and gallery, and facil- With all best wishes, ities that will bring the entire complex fresh new life. If you do visit, please stop by and say hello—Karen, George, Kristen and I would be Marc delighted to see you.
    [Show full text]
  • Revonnah Hannover Die Avantgarde Des 20
    STADER KUNST-BUCH-KABINETT revonnah hannover Die Avantgarde des 20. Jahrhunderts in Hannover 1 STADER KUNST-BUCH-KABINETT Katalog 3 Herbst 2018 Stader Kunst-Buch-Kabinett Antiquariat Michael Schleicher Schützenstrasse 12 21682 Hansestadt STADE Tel +49 (0) 4141 777 257 Email [email protected] Abbildungen Umschlag: Katalog-Nummern 67 und 68; Katalog-Nummer 32. Preise in EURO (€) Please do not hesitate to contact me: english descriptions available upon request. 2 STADER KUNST-BUCH-KABINETT 1 Kestner Gesellschaft e. V. Küppers, P. E. (Vorwort). I. Sonderausstellung Max Liebermann Gemälde Handzeichnungen. 1. Oktober - 5. November [1916]. Hannover, Königstr. 8. Hannover, Druck von Edler & Krische, 1916, ca. 19,8 x 14,5 cm, (16) Seiten, 4 schwarz-weiss Abbildungen, Original-Klammerheftung. Umschlag etwas fleckig, Rückendeckel mit handschriftlichen Zahlenreihen, sonst ein gutes Exemplar. 280,-- Kestnerchronik 1, 29. - Schmied 1 (Abbildung des Umschlages Seite 238). - Literatur: Die Zwanziger Jahre in Hannover, Kunstverein, 1962. - Schmied, Wieland, Wegbereiter zur modernen Kunst, 50 Jahre Kestner Gesellschaft, 1966. - Kestnerchronik, Kestnergesellschaft, Buch 1, 2006. - REVONNAH, Kunst der Avantgarde in Hannover 1912-1933, Sprengel Museum, 2017. 2 Kestner Gesellschaft e. V. Küppers, P. E. (Text). III. Sonderausstellung Willy Jaeckel Gemälde u. Graphik. 17. Dezember 1916 - 17. Januar 1917. Hannover, Königstrasse 8. Zeitgleich mit Walter Alfred Rosam und Ludwig Vierthaler (Verzeichnis auf lose einliegendem Doppelblatt). Verkäufliche Arbeiten mit den gedruckten Preisangaben. Hannover, Druck von Edler & Krische, 1917, ca. 19,7 x 14,4 cm, (16) Seiten, (4) Seiten Einlagefaltblatt als Ergänzung zum Katalog, 4 schwarz-weiss Abbildungen, Original- Klammerheftung (Klammern oxidiert). Im oberen Bereich alter Feuchtigkeitsschaden; die Seiten sind nicht verklebt.
    [Show full text]
  • The Blue Rider
    THE BLUE RIDER 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 1 222.04.132.04.13 111:091:09 2 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 2 222.04.132.04.13 111:091:09 HELMUT FRIEDEL ANNEGRET HOBERG THE BLUE RIDER IN THE LENBACHHAUS, MUNICH PRESTEL Munich London New York 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 3 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 4 222.04.132.04.13 111:091:09 CONTENTS Preface 7 Helmut Friedel 10 How the Blue Rider Came to the Lenbachhaus Annegret Hoberg 21 The Blue Rider – History and Ideas Plates 75 with commentaries by Annegret Hoberg WASSILY KANDINSKY (1–39) 76 FRANZ MARC (40 – 58) 156 GABRIELE MÜNTER (59–74) 196 AUGUST MACKE (75 – 88) 230 ROBERT DELAUNAY (89 – 90) 260 HEINRICH CAMPENDONK (91–92) 266 ALEXEI JAWLENSKY (93 –106) 272 MARIANNE VON WEREFKIN (107–109) 302 ALBERT BLOCH (110) 310 VLADIMIR BURLIUK (111) 314 ADRIAAN KORTEWEG (112 –113) 318 ALFRED KUBIN (114 –118) 324 PAUL KLEE (119 –132) 336 Bibliography 368 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 5 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 6 222.04.132.04.13 111:091:09 PREFACE 7 The Blue Rider (Der Blaue Reiter), the artists’ group formed by such important fi gures as Wassily Kandinsky, Franz Marc, Gabriele Münter, August Macke, Alexei Jawlensky, and Paul Klee, had a momentous and far-reaching impact on the art of the twentieth century not only in the art city Munich, but internationally as well. Their very particular kind of intensely colorful, expressive paint- ing, using a dense formal idiom that was moving toward abstraction, was based on a unique spiritual approach that opened up completely new possibilities for expression, ranging in style from a height- ened realism to abstraction.
    [Show full text]
  • News Release
    NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 • 737-4215/842-6353 CONTACT: Katie Ziglar Deb Spears (202) 842-6353 ** Press preview: Wednesday, November 15, 1989 EXPRESSIONIST AND OTHER MODERN GERMAN PAINTINGS AT NATIONAL GAT.T.KRY Washington, D.C., September 18, 1989 Thirty-four outstanding German paintings from the Thyssen-Bornemisza Collection begin an American tour at the National Gallery of Art, November 19, 1989 through January 14, 1990. Expressionism and Modern German Painting from the Thyssen- Bornemisza Collection contains important examples by artists whose major paintings are extremely rare in this country. The nineteen artists represented in the show include Ernst Ludwig Kirchner, Wassily Kandinsky, Emil Nolde, Erich Heckel, Otto Dix, Johannes Itten, Franz Marc, and Karl Schmidt-Rottluff. The intense and colorful works in this exhibition are among the modern paintings Baron Hans Heinrich Thyssen-Bornemisza has added, along with old master paintings, to the collection he inherited from his father> Baron Heinrich (1875-1947). Expressionism and Modern German Painting, to be seen at three American museums, is selected from the large collection on view at the Baron's home, Villa Favorita in Lugano, Switzerland, through October 29, 1989. It is the first exhibition devoted entirely to the modern German paintings in the collection. -more- expressionism and modern german painting . page two "Comprehensive groupings of expressionism and modern German paintings are extremely rare in American museums and we are pleased to offer a show of this extraordinary caliber here this fall," said J. Carter Brown, director of the National Gallery. The American show has been selected by Andrew Robison, senior curator at the National Gallery.
    [Show full text]
  • Modern Art and Politics in Prewar Germany
    Stephanie Barron, “Modern Art and Politics in Prewar Germany,” in Barron (ed.), Degenerate Art: The Fate of the Avant-Garde in Nazi Germany (Los Angeles: Los Angeles County Museum of Art, 1991): 9-23. In 1937 the National Socialists staged the most virulent attack ever mounted against modern art with the opening on July 19 in Munich of the Entartete Kunst (Degenerate art) exhibition, in which were brought together more than 650 important paintings, sculptures, prints, and books that had until a few weeks earlier been in the possession of thirty-two German public museum collections. The works were assembled for the purpose of clarifying for the German public by defamation and derision exactly what type of modern art was unacceptable to the Reich, and thus “un-German.” During the four months Entartete Kunst was on view in Munich it attracted more than two million visitors, over the next three years it traveled throughout Germany and Austria and was seen by nearly one million more On most days twenty thousand visitors passed through the exhibition, which was free of charge; records state that on one SundayAugust 2, 1937-thirty- six thousand people saw it.1 The popularity of Entartete Kunst has never been matched by any other exhibition of modern art. According to newspaper accounts, five times as many people visited Entartete Kunst as saw the Grosse Deutsche Kunstaussiellung (Great German art exhibition), an equally large presentation of Nazi-approved art that had opened on the preceding day to inaugurate Munich's Haus der Deutschen Kunst (House of German art), the first official building erected by the National Socialists.
    [Show full text]
  • Gurlitt: Status Report «Degenerate Art» – Confiscated and Sold
    Press Documentation Gurlitt: Status Report «Degenerate Art» – confiscated and sold November 2, 2017, to March 4, 2018 GURLITT: STATUS REPORT «Degenerate Art» – confiscated and sold November 2, 2017, to March 4, 2018 Table of contents 1. General information ...................................................................... 2 2. The exhibition .............................................................................. 3 3. Chronology of the Gurlitt Art Trove .................................................. 5 4. Short Biographies of the Members of the Advisory Board .................... 7 5. Accompanying volume published for the exhibition ............................ 9 6. Supporting program of the exhibition............................................. 10 Contact Maria-Teresa Cano, Head of Communication and Public Relations, Kunstmuseum Bern – Zentrum Paul Klee [email protected] 1/11 Press Documentation Gurlitt: Status Report «Degenerate Art» – confiscated and sold November 2, 2017, to March 4, 2018 1. General information Duration of the exhibition 02.11.2017 – 04.03.2018 Team of curators Dr. Nina Zimmer, Director Kunstmuseum Bern – Zentrum Paul Klee Dr. Matthias Frehner, Director of Collections Kunstmuseum Bern – Zentrum Paul Klee Dr. Nikola Doll, Head of Provenance Research Kunstmuseum Bern Prof. (em.) Dr. Georg Kreis, Historian, Universität Basel Simultaneously at the Bundeskunsthalle in Bonn Gurlitt: Status Report. Nazi Art Theft and its Consequences November 3, 2017 – March 11, 2018 The patrons of the exhibition are
    [Show full text]
  • < Paul Cézanne >
    Still Life: Plate of Peaches, 1879-80. Oil on canvas, 59.7 x 73.3 cm. Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser 78.2514.4 < PAUL CÉZANNE > Paul Cézanne’s (b. 1839, Aix-en-Provence, France; d. 1906, Aix-en-Provence) complex still lifes are an important part of his quest for empirical truth in painting. Because these THE GREAT U inanimate objects did not move, like human “I will astonish Paris with an apple,” he subjects might, during the painting sessions, once said.3 and they were available any time of day or PAUL CÉZANNE night, they were an ideal subject for a slow- Cézanne set up his still lifes with great care. working, analytical artist like Cézanne. A testimony by an acquaintance describes his Sometimes the fruit or flowers he used method of preparing a still life: “No sooner P HEAVAL would wither and die before the painting was the cloth draped on the table with innate was completed and would need to be taste than Cézanne set out the peaches in replaced by paper flowers and artificial fruit. such a way as to make the complementary colors vibrate, grays next to reds, yellows to His work was motivated by a desire to give blues, leaning, tilting, balancing the fruit at the sculptural weight and volume to everyday angles he wanted, sometimes pushing a one- objects. In Cézanne’s still lifes ambiguities sous or two-sous piece [French coins] under abound. As if by magic, the tablecloth we them. You could see from the care he took see in Still Life: Plate of Peaches is able to how much it delighted his eye.”4 But when levitate several pieces of fruit without any he began to paint, the picture might change visible means of support.
    [Show full text]