Editing Degenerate art (section)

==Nazi purge==
Once in control of the government, the Nazis moved to suppress modern art styles and to promote art with national and racial themes.<ref name="MichaudLloyd2004">{{cite book|last1=Michaud|first1=Eric|last2=Lloyd|first2=Janet|title=The Cult of Art in Nazi Germany|url=https://archive.org/details/cultofartinnazig0000mich|url-access=registration|year=2004|publisher=Stanford University Press|location=Stanford|isbn=978-0-8047-4327-3}}</ref> Various Weimar-era art personalities, including Renner, Huelsenbeck, and the Bauhaus designers, were marginalized.

In 1930 [[Wilhelm Frick]], a Nazi, became Minister for Culture and Education in the state of Thuringia.<ref>{{Cite book|title=Adolf Hitler : a psychological interpretation of his views on architecture, art, and music|last=Zalampas |first=Sherree Owens, 1937–|date=1990|publisher=Bowling Green University Popular Press|isbn=0879724870|location=Bowling Green, Ohio|oclc=22438356}}, p. 54</ref> By his order, 70 mostly Expressionist paintings were removed from the permanent exhibition of the Weimar [[Schloss Weimar|Schlossmuseum]] in 1930, and the director of the König Albert Museum in Zwickau, [[Hildebrand Gurlitt]], was dismissed for displaying modern art.<ref name="Kühnel_GAO"/>

[[File:Albert Gleizes, 1912, Landschaft bei Paris, Paysage près de paris, Paysage de Courbevoie, oil on canvas, 72.8 x 87.1 cm, missing from Hannover since 1937.jpg|thumb|230px|[[Albert Gleizes]], 1912, ''Landschaft bei Paris, Paysage près de Paris, Paysage de Courbevoie'', missing from Hannover since 1937<ref name="VAM">{{cite web |url=http://www.vam.ac.uk/content/articles/e/entartete-kunst/ |title=Entartete Kunst (Degenerate Art), complete inventory of over 16,000 artworks confiscated by the Nazi regime from public institutions in Germany, 1937–1938, Reichsministerium für Volksaufklärung und Propaganda. Victoria and Albert Museum, Albert Gleizes, ''Landschaft bei Paris'', n. 7030, Volume 2, p. 57 (includes the Entartete Kunst inventory) |publisher=Vam.ac.uk |date=30 June 1939 |access-date=14 August 2014}}</ref><ref>[http://www.lostart.de/EN/Verlust/405193 Albert Gleizes, ''Paysage près de Paris'' (''Paysage de Courbevoie, Landschaft bei Paris''), oil on canvas, 72.8 × 87.1 cm. Lost Art Internet Database], Stiftung Deutsches Zentrum Kulturgutverluste.</ref>]]

[[File:Jean Metzinger, 1913, Le Canot, En Canot, Femme au Canot et a l'Ombrelle, Im Boot, approximate dimensions 150 x 116.5 cm.jpg|thumb|[[Jean Metzinger]], 1913, ''[[En Canot|En Canot (Im Boot)]]'', oil on canvas, 146 x 114 cm, confiscated by the Nazis {{circa}}1936 and displayed at the [[Degenerate Art Exhibition]] in Munich. The painting has been missing ever since.<ref>{{cite web|title=Jean Metzinger, Im Boot (En Canot), Degenerate Art Database (Beschlagnahme Inventar, Entartete Kunst) |trans-title=Jean Metzinger, Im Boot (In Canoe), Degenerate Art Database (confiscation inventory, degenerate art) |url=http://emuseum.campus.fu-berlin.de/eMuseumPlus?service=RedirectService&sp=Scollection&sp=SfieldValue&sp=0&sp=0&sp=3&sp=SdetailList&sp=0&sp=Sdetail&sp=0&sp=F|access-date=9 November 2013|publisher=Emuseum.campus.fu-berlin.de}}</ref><ref>{{cite web|title=Degenerate Art Database (Beschlagnahme Inventar, Entartete Kunst) |trans-title=Degenerate Art Database (confiscation inventory, degenerate art) |url=http://emuseum.campus.fu-berlin.de/eMuseumPlus?service=direct/1/ResultListView/result.t1.collection_list.$TspTitleLink.link&sp=10&sp=Scollection&sp=SfieldValue&sp=0&sp=0&sp=3&sp=SdetailList&sp=0&sp=Sdetail&sp=0&sp=F&sp=T&sp=0|access-date=9 November 2013|publisher=Emuseum.campus.fu-berlin.de}}</ref>|left]]Hitler's rise to power on 30 January 1933, was quickly followed by the censorship of modern art: [[Nazi book burnings|book burnings]] were organized, artists and musicians were dismissed from teaching positions, and curators who had shown a partiality for modern art were replaced by Party members.<ref>Adam 1992, p. 52.</ref> On April 1, 1933, Reich Propaganda Minister Joseph Goebbels publicly attacked in Volksparole the most important dealer of modern art, Alfred Flechtheim, who, like many dealers and collectors of "degenerate art", was Jewish.<ref>{{Cite web |title=Haunting MoMA: The Forgotten Story of ‘Degenerate’ Dealer Alfred Flechtheim |url=https://www.lootedart.com/news.php?r=QNVN6Q521801 |access-date=2024-11-26 |website=www.lootedart.com}}</ref> In September 1933, the {{lang|de|[[Reichskulturkammer]]}} (Reich Culture Chamber) was established, with [[Joseph Goebbels]], Hitler's {{lang|de|Reichsminister für Volksaufklärung und Propaganda}} (Reich Minister for Public Enlightenment and Propaganda) in charge. Sub-chambers within the Culture Chamber, representing the individual arts (music, film, literature, architecture, and the visual arts) were created; these were membership groups consisting of "racially pure" artists supportive of the Party, or willing to be compliant. Goebbels made it clear: "In future only those who are members of a chamber are allowed to be productive in our cultural life. Membership is open only to those who fulfill the entrance condition. In this way all unwanted and damaging elements have been excluded."<ref name="Adam 1992, p. 53">Adam 1992, p. 53.</ref> By 1935 the Reich Culture Chamber had 100,000 members.<ref name="Adam 1992, p. 53" />

As dictator, Hitler gave his personal taste in art the force of law to a degree never before seen. Only in [[Joseph Stalin|Stalin's]] [[Soviet Union]], where [[Socialist Realism]] was the mandatory style, had a modern state shown such concern with regulation of the arts.<ref>Barron 1991, p. 10.</ref> In the case of Germany, the model was to be [[Classical Greece|classical Greek]] and [[Ancient Rome|Roman]] art, regarded by Hitler as an art whose exterior form embodied an inner racial ideal.<ref>Grosshans 1983, p. 87.</ref>

Nonetheless, during 1933–1934 there was some confusion within the Party on the question of [[German Expressionism|Expressionism]]. Goebbels and some others believed that the forceful works of such artists as [[Emil Nolde]], [[Ernst Barlach]] and [[Erich Heckel]] exemplified the Nordic spirit; as Goebbels explained, "We National Socialists are not unmodern; we are the carrier of a new modernity, not only in politics and in social matters, but also in art and intellectual matters."<ref>Adam 1992, p. 56.</ref> However, a faction led by [[Alfred Rosenberg]] despised the Expressionists, and the result was a bitter ideological dispute, which was settled only in September 1934, when Hitler declared that there would be no place for modernist experimentation in the Reich.<ref>Grosshans 1983, pp. 73–74.</ref> This edict left many artists initially uncertain as to their status. The work of the Expressionist painter Emil Nolde, a committed member of the Nazi party, continued to be debated even after he was ordered to cease artistic activity in 1936.<ref>Boa, Elizabeth, and Rachel Palfreyman (2000). ''Heimat: a German Dream: Regional Loyalties and National Identity in German Culture, 1890–1990''. Oxford: Oxford University Press. p. 158. {{ISBN|0198159226}}.</ref> For many modernist artists, such as [[Max Beckmann]], [[Ernst Ludwig Kirchner]], and [[Oskar Schlemmer]], it was not until June 1937 that they surrendered any hope that their work would be tolerated by the authorities.<ref>Kimmelman, Michael (19 June 2014). "The Art Hitler Hated". ''The New York Review of Books'' '''61''' (11): 25–26.</ref>

Although books by [[Franz Kafka]] could no longer be bought by 1939, works by ideologically suspect authors such as [[Hermann Hesse]] and [[Hans Fallada]] were widely read.<ref>Laqueur 1996, p. 74.</ref> Mass culture was less stringently regulated than high culture, possibly because the authorities feared the consequences of too heavy-handed interference in popular entertainment.<ref>Laqueur 1996, p. 73.</ref> Thus, until the outbreak of the war, most [[Cinema of the United States|Hollywood]] films could be screened, including ''[[It Happened One Night]]'', ''[[San Francisco (1936 film)|San Francisco]]'', and ''[[Gone with the Wind (film)|Gone with the Wind]]''. While performance of [[atonal]] music was banned, the prohibition of jazz was less strictly enforced. [[Benny Goodman]] and [[Django Reinhardt]] were popular, and leading British and American jazz bands continued to perform in major cities until the war; thereafter, dance bands officially played "swing" rather than the banned jazz.<ref>Laqueur 1996, pp. 73–75.</ref>
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