Große Deutsche Kunstausstellung Explained

The Große Deutsche Kunstausstellung (Great German Art Exhibition) was held a total of eight times from 1937 to 1944 in the purpose-built Haus der Deutschen Kunst in Munich. It was representative of art under Nazism.[1]

History

The Great German Art Exhibition, which spanned the first floor, the upper floor and the two-story "Hall of Honour" in the centre of the building, was promoted as the most important cultural event in Nazi Germany. The show was conceived as a sales exhibition; artists could be represented with several works (usually up to ten works), and sometimes non-saleable works, such as loans, were also exhibited. During each exhibition, a "special show" gave a selected artist the opportunity to present himself more comprehensively.

While the organizational and technical part of the exhibition preparation was the responsibility of the "Haus der Deutschen Kunst (Neuer Glaspalast)" as an institution under public law, the overall artistic direction was in the hands of a "Commissioner of the President of the Reichskammer of Fine Arts", appointed by Adolf Hitler, his photographer Heinrich Hoffmann. Hoffmann had replaced Gerdy Troost, who resigned after Hitler vetoed her original selections.[2]

The duration of the exhibitions was fixed from the beginning until 1940; the later exhibitions were announced "until further notice". The exhibitions were open daily - including Sundays and holidays - from 9 am to 6 pm. Works sold during the exhibition could be replaced by others "found to be in good condition when the works were examined." The Haus der Deutschen Kunst was the sole contracting party in the sale. Photographing and copying of exhibited works was initially not permitted during exhibition hours. From 1943, however, this was possible for press purposes with the prior consent of the exhibition management.

The "Great German Art Exhibition" was ceremonially opened on July 18, 1937, together with the "House of German Art" building. In the opening speech, Hitler gave a comprehensive presentation of the Nazi understanding of "German art," which would be the only art permitted in public in the future. In doing so, Hitler outlined, according to Stefan Schweizer, a fundamental, völkisch-racist structure of historical and art historical ideas and interpretations. With his idea that art was a direct expression of the circumstances of the time that shaped it, he identified the art of the Weimar Republic with the political system of the time. The art he valued, on the other hand, he saw as legitimized by politics and at the same time as legitimizing politics. He defined the new German art stylistically as well as ideologically with the words, "'To be German is to be clear.' But that would mean that to be German is to be logical and, above all, true."

In contrast, Hitler defamed "modern art," which was "degenerate," and announced: As an example of the now ostracized art, the "Degenerate Art" exhibition in Munich's Hofgarten began one day later. The "Great German Art Exhibition" showed a total of 12,550 exhibits and was visited by around 600,000 people. Art for 13 million Reichsmarks was sold; Hitler alone bought works for 6.8 million Reichsmarks. International interest remained low.[3]

After 1945, numerous works were no longer shown and were also no longer reproduced. The Zentralinstitut für Kunstgeschichte München - in cooperation with the Haus der Kunst, Munich and the Deutsches Historisches Museum, Berlin - has been making them accessible online since October 2011 to facilitate a social and art historical debate. Parallel to the online project, a complete directory of the artists of the Great German Art Exhibition from 1937 to 1944 was published by Neuhaus Verlag in Berlin.

Exhibitions

Exhibiting artists (selection)

Painting and printmaking

Sculpture

Bibliography

External links

Notes and References

  1. News: Imdahl. Georg. Symposium und Sachbuch: Wie Hitler sich als Kunstmäzen aufführte. de. FAZ.NET. 2021-11-20. 0174-4909.
  2. Book: Spotts . Frederic . Hitler and the Power of Aesthetics . 2002 . Hutchinson . 978-0-09-179394-4 . en.
  3. Web site: 2011-10-24. NS-Ausstellungen im Haus der Kunst: Hitlers Kunstschergen. 2012-10-10. Süddeutsche Zeitung.
  4. Web site: GHDI - Document. 2021-11-20. ghdi.ghi-dc.org.
  5. Book: Emilie von Hallavanya. Selbstbewusstes Selbstbildnis einer modernen Frau. 2014. Münchner Stadtmuseum. 978-3-86497-193-8. 63.
  6. Web site: Sinnende — Die Großen Deutsche Kunstausstellungen 1937–1944/45. 2019-08-13.

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