Degenerate Art : The Attack on Modern Art in Nazi Germany, 1937 [Anglais] [Relié] Auteur: Olaf Peters - ISBN:
3791353675 - Langue: Français
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Livre neuf. Catalogue de l'exposition "Degenerate Art" présentée à la Neue Galerie de New-York du 13 mars au 30 juin 2014.La Neue galerie de New-York consacre une passionnante exposition au concept d'art dégéneré, terrifiant exercice de propagande organisé par le régime nazi, destiné à attiser la haine et diaboliser certaines formes d'art associées aux juifs, au modernisme ou au bolchévisme. Cette volonté de purge artistique culmine avec l'exposition Entartete Kunst, à Munich en 1937, qui rassembla quelque 600 oeuvres des plus grands noms de l'art moderne. Le catalogue de l'exposition, qui reproduit avec soin une centaine de peintures et de documents exceptionnels s'accompagne d'essais qui mettent en lumière le contexte et les enjeux de ce sombre épisode de l'histoire qui résonne aujourd'hui encore à travers l'affaire « Gurlitt ».
Degenerate Art The Attack on Modern Art in Nazi Germany 1937 On March 13 2014 Neue Galerie New York will open the exhibition Degenerate Art The Attack on Modern Art in Nazi Germany 1937 This will be the first major U S Degenerate Art The Attack on Modern Art in Nazi Germany Degenerate Art The Attack on Modern Art in Nazi Germany 1937 review What Hitler dismissed as filth
REVUE This is the catalogue accompanying the exhibition of the same name at the Neue Galerie in New York from March to June 2014. Although it necessarily centers on the exhibition of "Entartete Kunst" ("Degenerate Art") mounted in Munich in September of 1937 and features some of the works seen there, the curators have not attempted to reconstruct that Nazi extravaganza, as the Los Angeles County Museum did in 1991. Instead, they have focussed on the broader context of the National Socialist campaign to impose racist criteria on all aspects of cultural production in the areas where it could. The historical range of the ten scholarly essays in the volume is, therefore, appropriately large. It extends from an examination of pseudo-anthropological speculations on the supposed connections between racial characteristics and degenerative diseases entertained by certain late nineteenth-century figures (including Nietzsche) to the post-war "rehabilitation" of artists the Nazis had branded generally and indiscriminately as "Jewish" and the intricate ethical/legal questions raised by the restitution of confiscated works. Between these historical parameters are discussions of the concurrent and competing exhibition of "Great German Art" (i.e., officially approved works) in Hitler's new "House of German Art" just a couple of blocks away from the "degenerate" venue; of the conflict between Goebbels, who was a particular fan of Emil Nolde's and wanted to have so-called "Nordic Expressionism" admitted to the approved canon, and the purist ideologue Rosenberg, who viewed all modernism as degenerate. (Rosenberg won when the Fuehrer finally came down on his side, and Goebbels quietly returned to the museum all the Noldes he had appropriated to decorate the walls of his new Berlin residence.) One essay deals with the equivalent circumstances in Austria after the Annexation and another with the use of the "degenerate art" idea on the screen, both in the newsreels of the time and the government's crassly anti-Semitic propaganda films. There are also two specific case studies, one on the situation of Ernst Barlach, which well exemplifies the confusion, vacillation, and fundamental incompetence of those trying to define "degenerate": Barlach either was or was not, depending on which work you were talking about and on whom you asked and when you asked him. And there is a special consideration of Nolde, who was finally forbidden to paint or exhibit, despite his persistent fawning to anyone with a swastika on his sleeve and constant insisting that he was a party member, one of the first to protest the "Jewish art conspiracy" (in which he included his former friend and "Bruecke" colleague Max Pechstein, whom he falsely identified as a Jew) and therefore one of the first to suffer vindictive retribution at their hands.
These essays are all comprehensively informed, meticulously annotated and very much up-to-date (some referring even to the discovery of a trove of confiscated art in a Munich apartment just a few months ago). All but one of them seem to have been written by German scholars-- there is unfortunately no list identifying the contributors--and the translations from the German have been very well done. I found them all uniformly interesting and informative. A couple of things stood out as surprises to me: the extent of the debate about who and what was to be identified as degenerate, until Hitler himself finally made the decision; and the great attention paid in the propaganda pamphlets and broadsides to the amount of money that state museums had paid to acquire the degenerate trash, tax money from the "hard-working German people," while "our artists [read: "Aryan"] were starving." The volume is very well illustrated, with lots of companion pictures supporting the 150 plates that range from full-page reproductions of some of the confiscated works (Dix, Kandinsky, Kokoshka, Kirchner, Klee, Jawlenski, Schmitt-Rotluff, Beckmann, Grosz, et. al.--you name it; it's like a "Who's Who" of modernist art) to photographs of the covers and pictorial sections of some of the books on "race and art" and shots of the exhibition installations in Munich, Leipzig, Berlin, Hamburg, etc. (it was always planned as a traveling exhibition). One of the crowning moments of both exhibition and catalogue is the ironic juxtaposition of Max Beckmann's astonishing triptych "Departure" from 1932-35 with Adolf Ziegler's 1937 triptych "The Elements," a work of such pervasive and profound banality that Der Fuehrer chose it to hang above his fireplace. There is also a photographic reproduction of the official guide to the "Entartete Kunst" exhibition, which is now also available in a German/English bilingual edition (see my review on this website). If I have one negative criticism of this catalogue, it is that it could have been made more informative and useful if it had included translations of some of the poster slogans, installation wall texts, and featured book layouts that are presented. As it is, those who can read German in Fraktur print and have a good magnifying glass will benefit more than others. But that may be quibbling in a book which is otherwise excellently done. The exhibition checklist is particularly valuable for identifying the works in the installation photographs, and the extensive selected bibliography and index of proper names are useful tools for further investigation. Altogether a very informative and excellently produced catalogue and highly recommended.
Par Kenneth Hughes
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