From the early years of the Weimar Republic till the collapse of Hitler’s regime, demonizing modernist artwork as a symptom of the corruption of German tradition was a typical trope in Nationwide Socialist propaganda. However how constant and thorough was Nazi censorship of modernist artists? Maertz’s pioneering analysis reveals the persistence of recognizable modernist kinds in portray and sculpture produced below the patronage of the Nazi Occasion and German authorities establishments, even after the notorious 1937 purge of “degenerate artwork” from state-funded museums. Within the first chapter on Hitler’s advocacy for “eugenic” figurative illustration embodying Nazi nostalgia for misplaced Aryan racial perfection and the aspiration for the longer term perfection of the German Volk, and within the second chapter on the appropriation of Christian iconography in establishing symbols of a Nazi racial utopia, Maertz conclusively proves that the Nazi assault on modernism was inconsistent. In additional chapters, demonstrating Baldur von Schirach’s heretical patronage of modernist artwork because the supreme Nazi Occasion authority in Vienna and the German navy’s unlikely operate as an incubator of modernist artwork, Maertz reveals that the sponsorship of modernist artists continued till the collapse of the regime. Additionally primarily based on beforehand unexamined proof, together with 10,000 artworks confiscated by the U.S. Military, Maertz’s closing chapter reconstructs the anarchic denazification and rehabilitation of German artists in the course of the Allied occupation, which had unexpected penalties for the postwar artwork world.
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