Artists for the Reich: Culture and Race from Weimar to Nazi by Joan L. Clinefelter

By Joan L. Clinefelter

Whereas we frequently take into consideration proficient artists fleeing the clutches of the Nazi regime--forced out or sickened by way of the strictures positioned upon them--we hardly ever reflect on these artists who willingly stayed at the back of. this can be the 1st accomplished remedy of the German paintings Society, a bunch of artists, authors and right-wing activists who actively embraced Nazism. Theses artists have commonly been brushed aside as a lunatic fringe, however the writer argues that they have been in reality instrumental in struggling with modernist paintings in security of what they considered as the German cultural culture. Drawing on formerly overlooked archival fabric, Clinefelter unearths cultural continuities that reach from the Wilhelmine Empire during the Weimar Republic into the 3rd Reich and elucidates how theses artists promoted Nazi tradition "from below."

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Extra info for Artists for the Reich: Culture and Race from Weimar to Nazi Germany

Example text

Every unsuccessful artist bitterly resented his or her competitors who exploited the boom, the public who purchased tasteless works, and, increasingly, the republic who let this happen. A deep sense of betrayal encompassed both cultural left and cultural right and drove a wedge between the two. 10 The corollary to this was the belief that the avant-garde was opportunistically exploiting the market. 11 All very exciting, but hardly satisfying to the German soul. 12 Modernists countered that the traditionalists profited more than they did.

Every unsuccessful artist bitterly resented his or her competitors who exploited the boom, the public who purchased tasteless works, and, increasingly, the republic who let this happen. A deep sense of betrayal encompassed both cultural left and cultural right and drove a wedge between the two. 10 The corollary to this was the belief that the avant-garde was opportunistically exploiting the market. 11 All very exciting, but hardly satisfying to the German soul. 12 Modernists countered that the traditionalists profited more than they did.

Society members’ ties with völkisch journals and organizations played an important role in disseminating Correspondence articles. Correspondence material appeared in the newsletter of the Nazi cultural organization, the Combat League for German Culture. The Society joined the Combat League as a corporate member in early 1929,53 and many leading Society members, including Walther Gasch, Hans Adolf Bühler and August Gebhard, were also Combat League activists. Through his position on the board of the Karlsruhe Combat League chapter, Bühler established a close friendship with Otto Wacker, editor of the local Nazi newspaper Der Führer.

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