Degenerate art, the attack on modern art in Nazi Germany, 1937, [exhibition, New York, Neue Galerie, March 13-June 30, 2014]

Prestel. Munich

2014

1 vol. (320 p.) ; ill. en noir et en coul., front., portr., plans, jaquette ill. en coul.

29 cm

anglais

Exposition, New York, N.Y., Neue Galerie, 2014

978-3-7913-5367-8

The term "degenerate" was adopted by the National Socialist regime as part of its campaign against modern art. Many works branded as such by the Nazis were seized from museums and private collections. Following the showing on these works in a three-year traveling exhibition that criss-crossed Germany and Austria, most were sold, lost, or presumed destroyed. In this light, the recent discovery in Munich of the Gurlitt trove of such artwork has attracted considerable attention. The film "The Monuments Men", directed by George Clooney and due to open in February 2014, suggests the level of popular interest in the subject. Highlights of the show include a number of works shown in Munich in the summer of 1937, such as Max Beckmann's "Cattle in a Barn" (1933); George Grosz's "Portrait of Max Hermann-Neisse" (1925); Erich Heckel's "Barbershop" (1913); Ernst Ludwig Kirchner's "Winter Landscape in Moonlight" (1919), "The Brücke-Artists" (1926/27); Paul Klee's "The Angler" (1921), "The Twittering Machine" (1922), and "Ghost Chamber with the Tall Door" (1925); Oskar Kokoschka's "The Duchess of Montesquiou-Fezensac" (1910); Ewald Mataré's "Lurking Cat" (1928); Karel Niestrath's "Hungry Girl" (1925); Emil Nolde's "Still-Life with Wooden Figure" (1911), "Red-Haired Girl" (1919), and "Milk Cows" (1913); Christian Rohlf's "The Towers of Soest" (ca. 1916) and "Acrobats" (ca. 1916); Karl Schmidt-Rottluff's "Pharisees" (1912); and Lasar Segall's "The Eternal Wanderers" (1919), among others.
The publication provides a complete historical overview of the period and examines not only the genesis of the "Degenerate Art" show but also the rise of the topic "degenerate." Additional essays examine the National Socialist policy on art, the treatment of "Degenerate Art" in film, and the impact of this campaign in post-war Germany, and the world at large, as the claims of restitution arose. (site Neue Galerie)

Preface/Ronald S. Lauder --- Foreword/Renée Price --- Introduction/Olaf Peters --- FROM NORDAU TO HITLER : "Degeneration" and Anti-Modernism between the Fin-de-Siècle and the National Socialist takeover of power/Olaf Peters --- "CRAZY AT ANY PRICE" : The pathologizing of Modernism in the Run-up to the "Entartete Kunst" exhibition in Munich in 1937/Mario-Andreas von Lüttichau --- PLATES I. --- DEFINING NATIONAL SOCIALIST ART : The first "Grosse Deutsche Kunstausstellung" in 1937/Ines Schlenker --- GENESIS, CONCEPTION, AND CONSEQUENCES : The "Entartete Kunst exhibition in Munich in 1937/Olaf Peters --- THE "ENTARTETE KUNST" EXHIBITIONS IN AUSTRIA/Ernst Ploil --- PLATES II. --- "VIOLENT VOMITING OVER ME" : Ernst Barlach and National Socialist cultural policy/Karsten Müller --- EMIL NOLDE AND THE NATIONAL SOCIALIST DICTATORSHIP/Bernhard Fulda and Aya Soika --- "DEGENERATED ART" ON THE SCREEN/Karl Stamm --- PLATES III. --- NARROWED MODERNISM : On the rehabilitation of "Degenerated Art" in Postwar Germany/Ruth Heftrig --- FROM LUCERNE TO WASHINGTON, DC : "Degenerated Art" and the question of restitution/Jonathan Petropoulos..

Ressources documentaires

Musée national Picasso-Paris