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625:, to be seen by another million or so people. Many works were later sold off, although interested buyers were scarce and prices dropped drastically with the addition of such a large quantity of works to the art market: Goebbels wrote of them changing hands between U.S. collectors for "ten cents a kilo", although some "foreign exchange ... will go into the pot for war expenses, and after the war will be devoted to the purchase of
308:("Great German Art Exhibition"), which was to showcase art approved by the Nazis. An open invitation to German artists resulted in 15,000 works being submitted to the exhibition jury, which included allies of Goebbels. When the works they selected for the exhibition were shown to Hitler for his approval, he became enraged. Hitler dismissed the jury and appointed his personal photographer
670:, an exhibition bringing together paintings and sculptures from the 1937 exhibition along with films and photos of the original installations, promotional and propaganda materials and some surviving Nazi-approved art from the official exhibition set up to contrast with the modernist and avant-garde works the Nazis considered "degenerate".
324:(showing qualities such as "decadence", "weakness of character","mental disease", and "racial impurity"). This collection would be boosted by subsequent raids on museums, for future exhibitions. The commission focused on works by artists mentioned in avant-garde publications, and was aided by some vehement opponents of modern art, such as
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in Munich. The venue was chosen for its particular qualities (dark, narrow rooms). Many works were displayed without frames and partially covered by derogatory slogans. Photographs of the exhibitions had been made, as well as a catalogue, produced for the Berlin show, which accompanied the exhibition
315:
In a diary entry of 4 June 1937, Goebbels conceived the idea of a separate exhibition of works from the Weimar era, which he called "the era of decay. So the people can see and understand." The art historian Olaf Peters says
Goebbels' motivation in proposing the exhibition was partly to obscure the
185:
was defined as works that "insult German feeling, or destroy or confuse natural form or simply reveal an absence of adequate manual and artistic skill". One million people attended the exhibition in its first six weeks. A U.S. critic commented that "here are probably plenty of people—art lovers—in
443:
The first three rooms were grouped thematically. The first room contained works considered demeaning of religion; the second featured works by Jewish artists in particular; the third contained works deemed insulting to the women, soldiers and farmers of
Germany. The rest of the exhibit had no
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weakness of the works in the Great German Art
Exhibition, and partly to regain Hitler's trust after the dictator's replacement of Goebbel's jurors with Hoffmann, who Goebbels feared as a rival. On 30 June, Hitler signed an order authorising the Degenerate Art Exhibition. Goebbels put
46:
1011:
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, Volume 1 p. 36, Metzinger,
673:
The Museum of Modern Art has now established a digital exhibit that showcases artwork from the
Degenerate Art Exhibition. MoMA highlights a collection of work that were deemed as "degenerate art" and removed from German state-owned museums by the Nazi government.
967:
320:, the head of the Reichskammer der Bildenden Künste (Reich Chamber of Visual Art), in charge of a five-man commission that toured state collections in numerous cities, in two weeks seizing 5,238 works they deemed
416:. A large number of works were not displayed, as the exhibition focused on German works. The exhibition lasted until 30 November 1937, and 2,009,899 visitors attended it, an average of 20,000 people per day.
1376:
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
335:("Great German Art Exhibition") scheduled to open on 18 July 1937. Imitating Hitler, Ziegler delivered a mordant critique of modern art at the opening of the Degenerate Art Exhibition on 19 July 1937.
146:
1125:"Entartete Kunst": das Schicksal der Avantgarde im Nazi-Deutschland : [eine Ausstellung des] Los Angeles County Museum of Art [übernommen vom] Deutschen Historischen Museum
352:
as it travelled. A film of sections of the exhibition had also been produced. The
Degenerate Art Exhibition included 650 paintings, sculptures and prints by 112 artists, primarily German:
32:
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was a conspiracy by people who hated German decency, frequently identified as Jewish-Bolshevist, although only six of the 112 artists included in the exhibition were Jewish.
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in
Switzerland which in November 2017 exhibited a number of them in an exhibition entitled "Gurlitt: Status Report: Degenerate Art – Confiscated and Sold".
233:
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from 19 July to 30 November 1937. The exhibition presented 650 works of art, confiscated from German museums, and was staged in counterpoint to the concurrent
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551:. Next to many paintings were labels indicating how much money a museum spent to acquire the artwork. In the case of paintings acquired during the post-war
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Boston, who will side with Hitler in this particular purge". This view was controversial, however, given the greater political context of the exhibition.
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were organized, artists and musicians were dismissed from teaching positions, and museum curators were replaced by Party members. In
September 1933 the
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despised the
Expressionists, and the result was a bitter ideological dispute which was settled only in September 1934, when Hitler – who denounced
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and its practitioners as "incompetents, cheats and madmen" – declared that there would be no place for modernist experimentation in the Reich.
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Hitler's rise to power on 30 January 1933 was quickly followed by actions intended to cleanse the culture of so-called degeneracy:
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delivered a speech declaring "merciless war" on cultural disintegration, attacking "chatterboxes, dilettantes and art swindlers".
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633:, where 125 degenerate artworks were put on sale. The revenue of the exhibit was of about $ 125,000, much less than expected.
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581:. It is described as mediocre by modern sources, and attracted only about half the numbers of the Degenerate Art one.
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and "racially pure" type of art advocated by the Nazi regime. That exhibition was hosted near Hofgarten, in the
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1237:"Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937 review – What Hitler dismissed as 'filth'"
562:, the prices of the paintings were greatly exaggerated. The exhibit was designed to promote the idea that
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The arbiter of what was unacceptably "modern" was Hitler. Although Goebbels and some others admired the
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968:"Jean Metzinger, Im Boot (En Canot), Degenerate Art Database (Beschlagnahme Inventar, Entartete Kunst)"
51:
Cover of the exhibition program: Degenerate Art Exhibition, 1937. The word "Kunst," meaning art, is in
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1155:"Art Review : Revisiting the Unthinkable : Nazi Germany's 'Degenerate Art' Show at LACMA"
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240:, Degenerate Art Exhibition catalogue, 1937, p. 23. Works from top left to lower right: *
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who had reported them destroyed by bombardments; however, they resurfaced when details of the
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300 of the exhibited works were apparently purchased or otherwise appropriated by art dealer
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Entartete Kunst, poster for the 1938 exhibition in the house of art at Koenigsplatz in Munich
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Kaiser, Fritz (1991). "Entartete "Kunst" Ausftellungsführer". In Barron, Stephanie (ed.).
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and others. Ziegler also confiscated and exhibited works of foreign artists, such as
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1389:"Judge for Yourselves" – The Degenerate Art Exhibition as Political Spectacle
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The exhibition was prepared in haste, to be presented concurrently with the
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were made known in 2013. Cornelius Gurlitt left the collection to the
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The Jewish longing for the wilderness reveals itself—in Germany the
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Explore 'Entartete Kunst': The Nazis' inventory of 'degenerate art'
990:"Degenerate Art Database (Beschlagnahme Inventar, Entartete Kunst)"
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Another Degenerate Art Exhibition was hosted a few months later in
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Degenerate art : the fate of the avant-garde in Nazi Germany
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504:, oil on canvas, 146 x 114 cm, exhibited at Moderni Umeni,
1214:"Gurlitt: Status Report: Degenerate Art - Confiscated and Sold"
922:, Film of Degenerate Art Exhibition, Story RG-60.2668, Tape 951
629:." Almost 5,000 were burned on 20 March 1939. In June 1939, an
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892:. Translated by Britt, David. New York: H.N. Abrams. pp.
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Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937
573:("Great German Art Exhibition") was intended to show the more
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Even museum bigwigs called this the "art of the German people"
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In the first half of 1937, preparations were underway for the
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1305:
Degenerate Art:' The Fate of the Avant-Garde in Nazi Germany
558:, when the cost of a kilo loaf of bread reached 233 billion
1348:
Nazi-Era Provenance of Museum Collections: A research guide
842:
Kimmelman, Michael (19 June 2014). "The Art Hitler Hated".
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1050:"'Degenerate Art' exhibition at the Neue Galerie New York"
862:"Entartete" Kunst für Basel: die Herausforderung von 1939
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218:(Reich Culture Chamber) was established, administered by
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and exalt classical and neoclassical art, which lionized
1189:"German Officials Provide Details on Looted Art Trove"
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Speeches of Nazi party leaders contrasted with artist
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There were slogans painted on the walls. For example:
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and 650 pieces of art confiscated from German museums
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Collection: "All Artists in the Degenerate Art Show"
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640:staged a forensic reproduction of the exhibition.
451:Insolent mockery of the Divine under Centrist rule
1407:ART AND PROPAGANDA: THE DEGENERATE ART EXHIBITION
224:Reichsminister für Volksaufklärung und Propaganda
1748:
1074:: CS1 maint: bot: original URL status unknown (
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804:"U. Ginder: Two 1937 Art Exhibitions in Munich"
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1056:. Archived from the original on 23 March 2014
919:German town; Degenerate Art exhibit in Munich
910:
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226:(Reich Minister for Public Enlightenment and
1091:"RAUBKUNST: Kollaborateur oder Nutzniesser?"
473:becomes the racial ideal of a degenerate art
264:, 1918–19, mixed media, 100 x 70 cm. *
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933:"1937 Munich exhibition of Degenerate Art"
45:
1402:, 85 (Summer 1998), 41–64, pp. 48,56
917:Steven Spielberg Film and Video Archive,
177:. The day before the exhibition started,
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463:Deliberate sabotage of national defence
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72:19 July – 30 November 1937 (5 months)
1416:University of Michigan Museum of Art
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1153:Wilson, William (15 February 1991).
1103:from the original on 8 December 2021
651:which had been inherited by his son
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543:from various art movements, such as
508:, Prague, 1914, acquired in 1916 by
454:Revelation of the Jewish racial soul
1384:, Victoria and Albert Museum. 2019.
1378:. Victoria and Albert Museum, 2014.
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16:1937 art exhibition in Nazi Germany
13:
1450:
1307:. New York: Harry N. Abrams, Inc.
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728:Hitler and the Power of Aesthetics
535:in Munich, and missing ever since.
486:
435:exhibition, with two paintings of
14:
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1187:Eddy, Mellisa (5 November 2013).
1048:Budick, Ariella (21 March 2014).
556:hyperinflation of the early 1920s
343:The exhibition was hosted at the
155:Die Ausstellung "Entartete Kunst"
1335:. New York: Holmes & Meyer.
1303:Barron, Stephanie, ed. (1991). '
865:(in German). Wiese. p. 19.
638:Los Angeles County Museum of Art
80:Institute of Archaeology in the
1321:. New York: The Penguin Press.
1254:
1235:Farago, Jason (13 March 2014).
1206:
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1089:Studer, Guy (9 November 2013).
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571:Große Deutsche Kunstausstellung
333:Große Deutsche Kunstausstellung
305:Große Deutsche Kunstausstellung
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1:
1716:Racial policy of Nazi Germany
1345:Schuhmacher, Jacques (2024).
1319:The Coming of the Third Reich
992:. Emuseum.campus.fu-berlin.de
970:. Emuseum.campus.fu-berlin.de
699:
631:auction took place in Lucerne
517:
466:German farmers—a Yiddish view
457:An insult to German womanhood
189:
844:The New York Review of Books
479:Nature as seen by sick minds
7:
935:. Ushmm.org. Archived from
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531:, Berlin, displayed at the
516:, confiscated by the Nazis
175:Great German Art Exhibition
10:
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1762:Art exhibitions in Germany
1711:Censorship in Nazi Germany
1122:Barron, Stephanie (1992).
460:The ideal—cretin and whore
193:
1703:
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1466:Degenerate Art Exhibition
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1331:Grosshans, Henry (1983).
726:Spotts, Frederic (2002).
533:Degenerate Art Exhibition
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312:to make a new selection.
279:works of artists such as
254:En Canot ("On the Beach")
248:, 1921, oil on canvas. *
142:Degenerate Art exhibition
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40:Degenerate Art Exhibition
1736:Museum of Fine Arts Bern
824:Grosshans 1983, p. 73-74
657:Museum of Fine Arts Bern
579:Haus der Deutschen Kunst
345:Institute of Archaeology
338:
1620:Elfriede Lohse-Wächtler
20:
1471:Degenerate Art auction
1333:Hitler and the Artists
1288:Art of the Third Reich
689:Art of the Third Reich
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536:
476:Madness becomes method
440:
272:
154:
33:considered for merging
1690:Karl Schmidt-Rottluff
1580:Ernst Ludwig Kirchner
1317:Evans, R. J. (2004).
1292:Harry N. Abrams, Inc.
859:Kreis, Georg (1990).
664:Neue Galerie New York
592:
494:
427:
358:Ernst Ludwig Kirchner
236:
1570:Alexej von Jawlensky
1286:Adam, Peter (1992).
246:Der Gott der Flieger
1405:Maren Laurel Read,
1394:17 May 2017 at the
1054:The Financial Times
1026:Evans 2004, p. 106.
734:. pp. 151–68.
439:hanging to the left
291:, a faction led by
204:Art in Nazi Germany
41:
1726:Hildebrand Gurlitt
1721:Gurlitt Collection
1545:Ludwig Godenschweg
1530:Conrad Felixmüller
1216:. Kunstmuseum Bern
1193:The New York Times
806:. History.ucsb.edu
732:The Overlook Press
649:Gurlitt Collection
645:Hildebrand Gurlitt
595:
537:
501:En Canot (Im Boot)
444:particular theme.
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215:Reichskulturkammer
39:
1744:
1743:
1731:Cornelius Gurlitt
1685:Rudolf Schlichter
1610:Wilhelm Lehmbruck
1575:Wassily Kandinsky
1159:Los Angeles Times
1130:Hirmer Publishers
1035:Barron 1991, p.9.
957:Barron 1991, p.46
939:on 16 August 2012
872:978-3-909158-31-7
585:Subsequent events
525:Kronprinzenpalais
414:Wassily Kandinsky
370:Wilhelm Lehmbruck
326:Wolfgang Willrich
310:Heinrich Hoffmann
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101:To scapegoat the
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1670:Christian Rohlfs
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242:Johannes Molzahn
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1777:1937 in Germany
1757:Nazi propaganda
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1680:Oskar Schlemmer
1645:Wilhelm Morgner
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1650:Otto Mueller
1625:August Macke
1600:Alfred Kubin
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1555:George Grosz
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1510:Marc Chagall
1505:Max Beckmann
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366:Georg Kolbe
354:Georg Grosz
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1767:Modern art
1751:Categories
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1630:Franz Marc
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1351:. London:
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700:References
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256:, 1913. *
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194:See also:
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133:Nazi Party
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