View Full Version : National Socialist/Third Reich Art

Monday, May 31st, 2004, 03:07 AM
A very complete source about NS Art:


At the first Great German Art Exhibition, 200 sculptures were shown. As time wore on, the numbers grew; 440 works by 237 sculptors were shown in 1940. This increasing number of sculptures was caused by the fact that sculpture seemed better able to express the National Socialist obsession with race and biology. It offered a body language people could identify with and on which they could model themselves. Sculpture was seen as an enduring faith carved in stone. Another important factor was that art was increasingly viewed as a complement to architecture. Frequently sculpture and low reliefs were used on and in conjunction with buildings, enhancing the idea of architecture as art.

How much importance the National Socialists assigned to sculpture is further emphasised by their desire to let foreign countries know about German achievement in this art form. Angered by foreign reports that German art had come to an end, artists felt prompted to show the art they had the most confidence in. Much of the art displayed on the occasion of the Olympic Games was aimed at foreign visitors. For the 1937 World's Fair in Paris the Germans devised a large sculptural program, which included not only sculptures by the leading artists on the exterior of the German Pavilion but also two exhibition halls holding their work. Breker, the leading German sculptor, was asked in 1938 to organise an exhibition of German sculpture in Warsaw; it included 130 works by 37 sculptors.

Destined to be exhibited in public spaces, sculpture is more susceptible to political influence than painting, which is meant primarily for the intimacy of the home. Nineteenth century sculpture also celebrated nationalistic, traditional State approved values such as honour, heroism, and loyalty.

The National Socialists were quick to recognise that the traditional role of sculpture gave it power as political message carrier. But the role of sculpture as the most visible expression of National Socialist ideology called for a new kind of sculpture. The representation of humanistic values based on the consensus of society was no longer enough. Sculpture now had to be the carrier of specific National Socialist values. Added to the inherited codes of warriors or soldiers were the war, the Party, comradeship.

Many themes expressed in painting also found their way into sculpture. Motherhood, the fertile female body, the peasant. But it was most of all the virile beauty of the male body that dominated sculptural output. Modelled on antiquity, the sculptures displayed steely masculinity. Hitler stated that the present is evolving a new type of human being ..... a new type which we watched as it appeared in its shining, proud, physical strength and beauty, in front of the whole world at last year's Olympic Games. This type is the symbol for our new age. (Hitler at München, July 18th, 1937, cited in Folkish Observer, July 19th, 1937.)

Hitler believed that only the Germans were called upon to render sculpture in its former beauty.The common roots with Greece, the eternal link with the past, impressed not only the politicians; art historians too did not tire of proclaiming the message of the eternal German art: Our time is once more able to be Greek, wrote a government spokesman, Wilfrid Bade, in a preface to the book Deutsche Plastik unserer Zeit -- German Sculpture In Our Time. At this moment, when Germany is overcoming foreign influences of a thousand years and is returning to pure forms, works are created which are in their maturest and noblest examples the equivalents of Greek art.

Monday, May 31st, 2004, 03:11 AM
A website about Brecker:


Tuesday, July 6th, 2004, 03:45 PM
Available once again: Kunst in Deutschland 1933-1945 by Mortimer G. Davidson. In four oversized awesomely illustrated volumes!


A hefty price, but worth every penny!

A true understanding of National Socialism is best gained by studying its incredible artworks.

Tuesday, July 6th, 2004, 07:12 PM
I should also mention that the text of all four volumes is tri-lingual: German, English, and French.

Wednesday, July 21st, 2004, 10:30 AM
Some works of Arno Breker (1900-1991):


http://forums.skadi.net/attachment.php?attachmentid=75957&d=1090401856 http://forums.skadi.net/attachment.php?attachmentid=75960&d=1090401856 http://forums.skadi.net/attachment.php?attachmentid=75958&d=1090401856


Wednesday, July 21st, 2004, 10:32 AM
Females / Males

http://forums.skadi.net/attachment.php?attachmentid=75961&d=1090402356 http://forums.skadi.net/attachment.php?attachmentid=75965&d=1090402356

http://forums.skadi.net/attachment.php?attachmentid=75964&d=1090402356 http://forums.skadi.net/attachment.php?attachmentid=75963&d=1090402356


Wednesday, July 21st, 2004, 10:47 AM
Some works of Josef Thorak (1889 -1952)



http://forums.skadi.net/attachment.php?attachmentid=75969&d=1090403228 http://forums.skadi.net/attachment.php?attachmentid=75968&d=1090403228 http://forums.skadi.net/attachment.php?attachmentid=75967&d=1090403228

Wednesday, July 21st, 2004, 10:48 AM
some more:

http://forums.skadi.net/attachment.php?attachmentid=75971&d=1090403298 http://forums.skadi.net/attachment.php?attachmentid=75972&d=1090403298

Tuesday, August 10th, 2004, 03:54 AM
http://forums.skadi.net/attachment.php?attachmentid=76157&d=1092106097 http://forums.skadi.net/attachment.php?attachmentid=76162&d=1092106097

http://forums.skadi.net/attachment.php?attachmentid=76161&d=1092106097 http://forums.skadi.net/attachment.php?attachmentid=76160&d=1092106097

http://forums.skadi.net/attachment.php?attachmentid=76159&d=1092106097 http://forums.skadi.net/attachment.php?attachmentid=76158&d=1092106097

Tuesday, August 10th, 2004, 04:08 AM
http://forums.skadi.net/attachment.php?attachmentid=76163&d=1092107261 (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Farno.bre ker.free.fr%2Facoeil01.htm)

http://forums.skadi.net/attachment.php?attachmentid=76167&d=1092107261 http://forums.skadi.net/attachment.php?attachmentid=76166&d=1092107261 http://forums.skadi.net/attachment.php?attachmentid=76165&d=1092107261


Mistress Klaus
Wednesday, August 11th, 2004, 05:33 PM
Females / Males

:D Hey...what is my body doing there!

:) Good posts.

http://forums.skadi.net/attachment.php?attachmentid=76254&d=1092241940 http://forums.skadi.net/attachment.php?attachmentid=76253&d=1092241940

Friday, October 8th, 2004, 05:06 AM
Nazi Art: Romantic Twilight or Post-modernist Dawn?

Printed in Oxford Art Journal, Vol. 18, no. 2, pp. 103-7, 1995.


Keith Hartley (editor in chief): The Romantic Spirit in German Art 1790-1990, The South Bank Centre, National Galleries of Scotland and Oktagon Verlag, 504 pp. ISBN 1 85332 130 3 £40

The exhibition The Romantic Spirit in German Art 1790-1990, and the catalogue which accompanied it, sought to present an overview of two centuries of German art organized around a specific theme. One of the key components in the project's rationale was its inclusion of examples of Nazi art and a consideration of its intimate relationship to the art tradition which preceded the Third Reich. As the Press Release of 28 June 1994 pointed out, `Previous surveys of German art have tended to omit any reference to art in the Third Reich, but here, for the first time, the ways the Nazis trivialized and misrepresented romantic art for their own ultra-nationalist ends will be taken into account.'

In the event the Nazi dimension of German Romanticism, though given its own sub-section entitled `Romantic Twilight: Art in the Third Reich', is only represented by two paintings, The Sower (1937) by Oskar Matin-Amorbach and Farming Family from Kalenberg (1939), two paintings by non-Nazis who had withdrawn into `inner immigration', Otto Dix and Frank Lenk, and a single essay by Lutz Becker, `Aspects of Art in the Third Reich'. Drawing heavily on Bertold Hinz's book on the subject published in English as Art in the Third Reich, Becker makes several fundamental assumptions on which to base the account of its art policies: the Third Reich is to be seen i) as an arch-conservative, reactionary, and restorationist régime, ii) whose support came essentially from the angst-ridden lower middle classes, and iii) which was bent on purging of German society of its allegedly decadent elements in a profoundly `anti-modern' spirit. Consistent with this iv) its official aesthetic was a perverted form of Romanticism, which v) naturally led to a war against artistic Modernism.

In the light of my own research — carried out not as an art historian, but as someone who has investigated the ideological dynamics of fascism, and in particular of Nazism as the most radical and destructive specimen of it to have come to power — I consider each of Becker's basic assumptions about art in the Third Reich to be highly misleading. This calls into question the criteria which the exhibition's organizers have applied both to selecting the specimens of Nazi painting to be included and to locating them within the art history of Germany and of Modernism as a whole. The reasons why they are misleading may be of some interest even to art historians who have no specific interest in cultural production under authoritarian régimes.

First, to see Nazism as restorationist, as nostalgic for recreating past idylls in any literal sense, is to fail to recognize that the mythic core which acted as the lynch-pin of all its ideology, policy and propaganda was the myth of national palingenesis: the nation's rebirth in a radically new order. The role of the past was to supply the spiritual values for this rebirth, not blueprints for the new Germany. The Nazis no more wanted to return Germany to the period of the Völkerwanderungen (tribal migrations) or the Holy Roman Empire than the Fascists wanted to return literally to the age of the Romans or the Renaissance. (By the same token Lawrence Olivier's lavish film version of Henry V made during the Second World War was not a call for the British literally to return to the fifteenth century to defeat the nation's foes). Like all fascisms, Nazism attempted to realize what Moeller van den Bruck, author of The Third Reich and principal ideologue of a brand of non-Nazi fascism known as the Conservative Revolution, called a `Wiederanknüpfung nach vorwärts', a `reconnection' with eternal values expressed in certain moments in Germany's historic development which would allow society to be regenerated and progress `forwards'. True to this spirit, Nazism ransacked the past for any examples of healthy cultural or racial life which could be used in the retooling of the German national consciousness.

To fail to recognize the central role played in the Third Reich by the myth of rebirth in the sense of `Neugeburt', or new birth, leads to a radical misreading of its futuristic dimension and of the logic of its destruction. The Nazis wanted to build an entirely new type of modern nation-state on the basis of archetypal German values. This involved the destruction of everything that was associated with Germany's decadence, and the retention of every element of usable past in the redefinition of Germany as a State based on a healthy, revitalized Volksgemeinschaft or national community. There is a dialectical relationship between destruction and creation at the centre of all palingenetic myth. Once projected onto Germany it took the form of what fascists themselves have called `German nihilism'. It is the terrifying logic of the principle `destroy to build' which links the Nazi's destruction of liberalism, socialism, pluralism, and humanism to the creation of a `strong' state based on a single party and a single ideology; the sterilization, eugenics, and euthanasia campaigns to the cult of athleticism and physical health; the burning of decadent books to the publishing of `healthy' literature; the cleansing of art of its degenerate elements to the fostering of aesthetic forms deemed to be life-asserting. Similarly, the rejuvenation of the Volksgemeinschaft went hand in hand with the elimination of Jews, gypsies, homosexuals, communists, Jehovah Witnesses, the physically and mentally handicapped, and various categories of `asocials', including adolescent fans of swing-music, all alleged sources of cultural decay.

Ironically, though Becker's article makes no reference to the Nazis' myth of national rebirth, the exhibition catalogue itself contains several essays which document its significance in non-Nazi forms of art. For example, the essay on `The Bauhaus Utopia' by Wulf Herzogengraf points to radically palingenetic ideals behind Gropius' project which led him to be influenced by the ideas on the regeneration of Man as a species formulated by a mystic such as Jacob Böhme, by the utopianism of William Morris, and by Mazdanan's `Breath and Health Doctrines'. Even more telling is Carla Schulz-Hoffman's essay on `War, apocalypse and the purification of the world', which refers to the way Franz Marc's dedication to German idealism `led him to see the First World war as a possible "catharsis", as a process of purification that held out the chance of universal atonement for the wrongs of humanity, which was suffocating in materialism'. He associates this idea with Friedrich Schlegel's pronouncement that only `in the exhilaration of annihilation is the sense of divine creation revealed'.

Once the literalness with which the Nazis took their idea of a revolutionary new state, new order, new era, and new man is grasped, the second assumption of Becker's essay also becomes highly debatable, namely that Nazism is anti-modern. As Zygmunt Bauman has argued brilliantly in his Modernity and the Holocaust, the Final Solution was run by bureaucracies and technocracies, rationalized by science, and subjected to the logic of accountancy. Moreover, it was only made possible by the awesome power of the modern state which can operate largely beyond control of the international community. In other words conceptually, organizationally, legally, and technically the Holocaust could only occur in a country at an advanced stage of modernity. With modernity violence becomes a technique, acted out through division of labour which turns personal responsibility into technical responsibility: Bauman cites the efforts of German engineers to increase the efficiency of the gassing-van used in the early stages of the extermination programme. At the root of the Holocaust was the state-led drive for a fully designed, fully controlled social world. So far the forces of pluralism at work in modern society have generally conspired to prevent such schemes from being carried out, but when this countervailing moment is overridden by authoritarianism there is little to stop wholesale social engineering and the terror state which this necessarily creates: the electoral victory of Nazism in 1933 ensured that its totalitarian scheme of utopian society could be implemented to a terrifying degree.

Nazism presented itself as an alternative to liberal and socialist forms of modernity. The importance it attributed to the organically and racially conceived nation meant that it rejected both the individualism, pluralism, cosmopolitanism, materialism, and rationalism associated with liberalism as radically as it did the internationalism and materialism it attributed to Bolshevism. What has presumably prevented so many commentators from grasping this point has been the deep impression that Nazism incarnated a systematized and calculated form of barbarism reminiscent of a throw back to an earlier dark age. But, as Bauman maintains, barbarism has nothing to do with the colossal destructiveness of the Third Reich: rather it is the capacity of modern states untrammelled by liberal institutions to set about creating at whatever social and human cost an ideal world through social engineering. It should also be remembered that Germany under Hitler pursued policies based on a populist nationalism conceived partially, though not exclusively in biological, eugenic, and Darwinian terms. All these components were literally inconceivable before the nineteenth century.

Certainly the ideology of Nazism placed great emphasis on the Aryan myth, the heroic past of the Germans before their Europeanization and (Judeo-)Christianization, and on the values of Blood and Soil. But these were not regressive, atavistic myths, but articulated in the spirit of the Conservative Revolution referred to above: the roots of the new order were to be extended as deep as possible into the past so that the tree of the organically conceived nation could grow as vigorously and high as possible. As a result of Nazism's full-blooded commitment to modern industry and science, the Nazi Blood and Soil programme had nothing to do with the radical re-ruralization programme which Pol Pot carried out in Cambodia, which involved emptying the cities of their inhabitants. Germany was to remain a highly urbanized and technologically advanced nation. However, a steady flow of festivals, rituals, and propaganda celebrating the German nation as a Schicksalsgemeinschaft, a community of destiny, was designed to ensure that the significance of the peasant as the back-bone of the economy, and of nature as a source of transcendent values and meaning, would be acknowledged to a point where every German recognized his or her roots, both physical and spiritual. The countryside was a focus for palingenetic myth of renewal and sustenance, not for a retreat from the twentieth century. It is in no way a contradiction if the same régime which celebrated the peasant also embarked on an extensive programme for modernizing and beautifying the urban housing stock and factory working conditions, glorifying the motorway network and the Volkswagen as symbols of the new Germany. By marrying the industrial age to tribal consciousness Nazis believed they were resolving the tensions and neuroses of the modern age. The aim was to give modern life a new spiritual basis and historical purpose, not to destroy it.

That Nazism was in its own way a progressive, revolutionary force ties in with the third fallacy underlying Becker's essay. Nazism was not a middle-class movement (Mittlestandsbewegung), but a genuine Volksbewegung or `movement of the people'. Extensive archival work by modern scholars, notably Detlef Mühlberger has established incontrovertibly that even before 1933 the membership of the NSDAP represented all classes, with a average of 40% working-class support nationally, and up to 75% in some branches. Thus Nazism cannot be reduced to the reaction of an alienated petty-bourgeoisie to the terrors of modern anomie, political and economic chaos, and the spectre of socialist revolution. These certainly played a role. But Becker's assumption, ultimately derived from vulgar Marxist preconceptions about fascism as the weapon of beleaguered capitalism, fails to appreciate that the precondition for Nazism's emergence as a mass movement which offered a total diagnosis of and panacea for the ills of Weimar Germany was the degree to which the `sense-making crisis' was one which gripped all areas and strata of German society. Clearly a significant percentage of workers were susceptible to the Marxist diagnosis, but many were not, and found the shrewd blend of nationalism and socialism offered by the NSDAP irresistible. It was the positive pull of an ideology offering the prospect of a new order in which all current problems would be resolved which accounts for the success of Nazism in 1933, rather than the purely negative ingredients of anti-socialism and anti-Semitism. Germans saw in Nazism not a refuge from the twentieth century, an anti-modern utopia, but a revolutionary, modern mass-movement bent on creating a new type of nation-state. On the basis of a rejuvenated national community, and under Hitler's leadership, this state would be able to undertake heroic deeds both in the area of domestic and foreign policy, thus establishing it the major military and industrial power in Europe, if not in the whole world.

Clearly this interpretation of Nazism has a direct bearing on any exploration of the links between Nazism and Romanticism. The assumption that any such links are explicable in terms of a petty-bourgeois nostalgia for an idyllic past has to be rejected. But before suggesting how that link might be conceived more appropriately, it is important to put the record straight about the type of art which prospered under the Third Reich. Becker implies that the dominant form of Nazi art was a Blood and Soil genre paintings of landscapes and rural activities. Certainly much Nazi art fits this category, but it is important to remember that other recurrent types of art were neo-classical studies of nudes in arcadian surroundings, historical themes, figures engaged in athletic activities, military subjects whether of soldiers or battle scenes, and portraits of members of the Nazi hierarchy. These last three subjects are unmistakably `modern', and though the style was generally a highly romanticized form of heroic realism, not unrelated to the `socialist realism' of contemporary Russia, it was not always so. As the art historian Brandon Taylor points out: `The art of the Third Reich in its `mature' form of 1936 or 1937 came to employ a host of formal and aesthetic devices which Modernism itself had invented'. This `Modernist' aspect of Nazi art should be seen in the context not just of paintings evoking the vast building projects being undertaken by the Third Reich, such as the construction of a motorway bridge or work in a stone quarry, but of the vast outpouring of sophisticated graphic art and photographs of the Third Reich's flourishing advertizing industry promoting such quintessentially modern products as Leica cameras and Daimler-Benz cars. Nor were housing and factory projects, or the vast realm of product and interior design free from the influence of the Bauhaus and the Modern Movement. In his important essay on this neglected aspect of Nazi aesthetics, John Heskett draws attention to the unresolved tension between `Modernism and archaism', a tension which is arguably resolved once the concept `Conservative Revolution' is applied.

There is a direct correlation here with the field of ideology. Some historians have presented Nazism as the fruit of an aberrant tradition in German thought and culture which blended nationalism and idealism with the rejection of liberal humanistic values. The journalist William Shirer echoed this assumption when he wrote: `Hitler had somehow absorbed, as had so many Germans, a weird mixture of the irresponsible, megalomaniacal ideas which erupted from German thinkers during the nineteenth century'. Certainly Nazism drew on Fichte and Wagner, but it also made much of the rigorously scientific basis of its Weltanschauung in a highly modern spirit far removed both from Romanticism and idealism.

At the root of this is a trait central to all fascist ideology, namely rampant eclecticism. In their attempt to revitalize the present and wipe out decadence, fascists unashamedly draw on anything which appears to rationalize their policies. The British Union of Fascists, for example, stressed the need for Britain to become a nation in which industry and the economy would flourish in a corporative state in which scientists and technocrats would have unprecedented power. They wanted to construct a motorway system on Italian and German lines and have the best-equipped armed forces in the world. In The Greater Britain Mosley writes `Future organisation is a matter for technicians with the ring kept free for the operation of science and organization by the universal authority of an organised and disciplined movement. ... Thus can be achieved the great necessity of steadily and systematically increasing the power to consume as science and rationalisation increase the power to produce.' Yet BUF ideologues also praised the Elizabethan age, Christianity, and Nietzsche, and once in power would have had few scruples in celebrating the literature of Beowulf, Chaucer, Shakespeare, Milton, Blake, and Kipling, the paintings of Stubbs, Constable, and Turner, and the music of Handel, Purcell, and Elgar, as epitomizing an archetypally British genius. To focus on only those aspects of art and ideology under Hitler which fit into the restorationist, anti-modern, bourgeois thesis is thus not only to misrepresent Nazism, but to misunderstand the nature of all fascisms.

In case all this seems somewhat remote from the legitimate concerns of art historians, I would like to conclude with two points which fall directly into their remit. Both concern the relationship between Nazi aesthetics and Modernism. Firstly, it would be a fallacy to assume that Nazism was per se against all forms of Modernism even in theory. In his semi-autobiographical novel Michael: A German Destiny, Goebbels's thinly veiled alter-ego claims at one point that he himself is an Expressionist, and in another passage writes:

I visit ... an exhibition of modern painting. ... We see much new nonsense. One star: Vincent van Gogh. In these surroundings he already seems tame, but yet he is the most modern of the moderns. For modernity has nothing to do with heroic gestures. All that is just learnt through practice. The modern man is necessarily a god-seeker, perhaps a Christ-like person. Van Gogh's life tells us even more than his work. He combines in his personality the most important elements: he is teacher, preacher, fanatic, prophet - mad.

In the last analysis we are all mad if we have an idea. Fanatics of love: the capacity for self-sacrifice.

Predictably Michael/Goebbels goes on to find an outlet for what he goes on to call `Christ-Socialism' by joining the Nazi party, but this did not mean abandoning his commitment to `healthy' Modernism. If Goebbels had had his way then the Third Reich would have included Expressionist art — as long as the artists themselves were not Jews, communists, or pacifists — as incarnations of healthy `Nordic' energies. He was not alone. In the early 1930s some Nazi art critics adopted a vehemently anti-archaizing position on aesthetics. One of them, Bruno Werner, went so far as to argue that `it was New Art itself which prepared the way for the national revolution', citing as examples Nolde, Otto Müller, Franz Marc, Macke, Klee, Feininger, Barlach, and Mies van der Rohe. Despite their efforts, Expressionism had been condemned as `un-German' well before the Exhibition of Degenerate Art of 1937. Three years earlier the dispute between the anti-Modernist Rosenberg and pro-modernist Goebbels had been resolved in Rosenberg's favour by Hitler himself. Nevertheless, one Expressionist dramatist, Hanns Johst, had a successful career under the Third Reich, while Gottfried Benn, a major Expressionist poet and essayist, briefly became one of the régime's most ecstatic apologists, and is to be found in 1934 enthusiastically defending the total state in speeches to the Reichskulturkammer before he started belatedly to recognize the error of his ways and to de-nazify himself.

These observations lead to my second point. We have already seen how any temptation to make a simplistic equation between Nazi aesthetics and anti-modernism and perverted Romanticism has to be strongly resisted. The precise relationships between the two clearly require a sophisticated knowledge of the history of the Third Reich, of art history, and of the sociology of modern culture which few possess, and certainly neither Becker or myself can claim to. But I would suggest that a fruitful line of investigation of the topic is to see Modernism as a blanket-term for a bewildering variety of initiatives undertaken since the late Nineteenth century to re-spiritualize and `re-enchant', to bring magic and meaning to a Western civilization widely experienced as `decadent', namely hyper-rationalized and (in Max Weber's terms) disenchanted (entzaubert). If this perspective is adopted then Nazism can be seen as promoting a quintessentially modernist form of politics and aesthetics in an attempt to purge society of its decadence, and to enable the entire German race, or rather its `healthy' specimens, to tap into `eternal' sources of spirit, value, and meaning. There is thus a subterranean link between the attempt of Futurists, Expressionists and Abstractionists and others to find new sources of spiritual regeneration for modern humanity and the Nazi project for the recreation of Germany as the vanguard of a rejuvenated Europe: a rite of spring enacted exclusively for the Aryan race in Europe.

The art critic Brandon Taylor goes even further. He recognizes the supreme importance to the Nazis' art policies of their self-appointed mission `to destroy a carefully selected "Modernist" past', a mission which we have presented as integral to their crusade for Germany's reawakening or palingenesis (the omnipresent Swastika itself was a symbol of the rising sun and of spiritual rebirth). He dubs this impulse `Fascist Post-Modernism', and goes on to argue that this is to be seen:

most probably part of a wider Modernist dynamic in which all forms are to be renovated and life as a whole is to be transformed and improved. For it seems likely that at a number of points within our Modernist and modernising century, the very apocalyptic [i.e. palingenetic] nature of the race into the future has meant both a search for tradition as well as an obsession with the speed of time. This is the sense in which Fascism was an early form of Post-Modernism — albeit an authoritarian one — and hence part of that wider network of Modernisms with which we are still trying to get adequately acquainted.

In other words, the Nazi exploitation of both Classicism and Romanticism is not the archaism of a society nostalgic for the past, but the Modernism of a régime which was, to use a phrase coined by the Italian neo-fascist party the MSI, `nostalgic for the future'. Specific factors meant that while the Nazis ridiculed Futurism and Abstraction as embodiments of the Cultural Bolshevism which was causing Germany's degeneration, the Fascists accommodated both of them as incarnations of the vitalism of the New Italy. But their common palingenetic projects for the nation meant that they remained blood brothers under the skin. Both embarked on a modernist adventure in state politics and social engineering in a totalitarian spirit which was doomed to lead to `war and apocalypse'. As Franz Marc found in the case of the Great War, these resulted not in purification, not in catharsis, but only in degeneration and destruction on an unimaginable scale. The new dawn had immediately melted into a baleful twilight beyond the palette of any true Romantic.


`A generation of depressed dreamers and irrationalists unleashed the Third Reich, the tyranny of the mediocre. In its eyes the new state was to be the reincarnation of the Holy Roman Empire'; `The restoration of "traditional values" which harked back to old Germanic tribalism and pre-Christian pantheism dominated the development of the arts' (L. Becker, `Aspects of Art in the Third Reich', The Romantic Spirit in German Art 1790-1990, p. 390).

`National Revolution was no more than a radical back-lash organized and supported by anti-left and anti-semitic forces largely recruited from an alienated petit-bourgeoisie' (ibid., p. 291).

`This utopia claimed it would resolve the irreconcilable discrepancy of living in a medieval world using pre-industrial modes of production with the requirements of a highly industrialized society in the twentieth century' (ibid., p. 391).

`National Socialism was a decadent flowering of Romantic nationalism, aimed at restoring Germany to the status it had in medieval times, encouraging an aggressively expansionist drive, supported by notions of race and Lebensraum' ibid.

`The Nazi "cultural revolution" aimed at the complete liquidation of the liberal Modernist culture that had been developing in Germany' (ibid., p. 390).

See R. Griffin, Fascism (Oxford University Press, Oxford, 1995), pp. 352-3.

The Romantic Spirit, 377-9.

Ibid., pp. 202-3.

D. Mühlberger, Hitler's Followers. Studies in the Sociology of the Nazi Movement (Routledge, London, 991).

See G.M. Platt, `Thoughts on a theory of collective action: language, affect, and ideology in Revolution', in M. Albin (ed.), New Directions in Psychohistory (Lexington Books, Lexington, Mass., 1980).

In Brandon Taylor and Wilfried van der Will (eds), The Nazification of Art (The Winchester Press, Winchester, 1990), p. 128.

`Modernism and Archaism in Design in the Third Reich', ibid., pp. 110-27.

E.g. Rohan d'O'Butler, The Roots of National Socialism (Faber & Faber, London, 1941).

For a theory of fascism which stresses its eclectic nature, see R. Eatwell, `Towards a new model of generic fascism', Journal of Theoretical Politics, vol. 4 (2), 1992, pp. 161-94.

Oswald Mosley, The Greater Britain (BUF, London, 1932), p. 100

See R. Griffin, Modernity under the New Order: The Fascist Project for Managing the Future, no. 2 in the series Modernity and Post-Modernity: Mapping the Terrain (Thamesman Publications, School of Business, Oxford Brookes University, Oxford, 1994).

Quoted R. Griffin Fascism op.cit., pp. 120-1.

Taylor, `Post-modernism in the Third Reich', op.cit., p. 131

Berthold Hinz, Art in the Third Reich (Blackwell, Oxford, 1979), pp. 34-6, 55-8. Signifcantly, Becker takes no account of these passages.

See R. Griffin, Fascism, op.cit. pp. 135-6.

Taylor, `Post-Modernism in the Third Reich, op.cit. p. 143.

See L. Cheles, `"Nostalgia dell'avvenire". The new propaganda of the MSI between tradition and innovation', in L. Cheles et al. (eds), Neo-fascism in Europe (Longman, London, 1991).

Monday, January 31st, 2005, 02:12 PM
Here's a brief outline and highlights of the artist Arno Breker. I'm just starting to read a bit about his life and work, he was incredibly talented and devoted to his art.

We need more artists like Arno Breker who are in touch with their people's needs, who have decent aspirations and visions, and who can inspire the heart and awaken noble sentiments in it.

The hordes of post-modernist/contemporary dregs churning out the reams of spiritless bile seen in liberal galleries fulfil exactly the opposite function in my eyes.

Noble, healthy (and preferably Heathen:D) art is like liquid fertilizer for the spirit IMO :)

How AWESOME is the sculpture of "The Guard"?!
Breker did many sculptures of naked men with swords. The Guard, unites ideals of health, strength, competition and collective action. The glorification of militarism seen in The Guard was designed to inspire others to sacrifice the self for the common good


Arno Breker was born in Elberfeld, Northern German, on July 19th, 1900. In his late teens be began the study of stone-carving and anatomy and at age 20 began attending the Duesseldolf Academy of Arts where he began his study of sculpture and an immensely successful art career.

His work between 1933 and 1942 was most noted for its classical approach to the human form which depicts men and women in timeless glory, youth, potential, honor, desire, hope, and possibility. Works such as Comradeship (1940) express a powerful anguish as the state of the world and a simultaneous promise to one's comrades that their loss will be redeemed. In a similar vein are Torchbearer (1940), Sacrifice (1940), and Predestination (1941). Touching on the traditional relationships between men and women are the powerfully naturalistic You and I (1940) and the classically inspired Apollo and Daphne (1940).

Though the return to a classical era of beauty and human potential was shattered with the collective national loss in World War 2, the vast inspiration of his art lives on. http://arno.breker.free.fr/ (french)
http://www.dhm.de/lemo/html/biografien/BrekerArno/ (german)
http://www.museum-arno-breker.org/ (german)

Friday, February 18th, 2005, 09:26 PM

Here is a brief history of National Socialist visual art in Germany, with some examples of beautiful paintings. Jewish propaganda, inclined to Jewish degenerate art, and the gullible and dumb scholars who excel in Jewish toe-licking, tend to present artistic life in the Reich as barren. But it's only Jewish-toe licking, really. The artistic output in National Socialist Germany was impressive.

Perish their degenerate art that is poison for the soul !







Saturday, February 19th, 2005, 04:28 AM

Here is a brief history of National Socialist visual art in Germany, with some examples of beautiful paintings. Jewish propaganda, inclined to Jewish degenerate art, and the gullible and dumb scholars who excel in Jewish toe-licking, tend to present artistic life in the Reich as barren. But it's only Jewish-toe licking, really. The artistic output in National Socialist Germany was impressive.

Perish their degenerate art that is poison for the soul!

I very much agree!

Have you read Hitler and the Power of Aesthetics by Frederic Spotts?
I learned quite a few new things. Of course, there is some NS-bashing (as is mandatory), but the scholarship is excellent, and some of the art and pictures will make you very happy and yet sad for what could and should have been.

Dr. Solar Wolff
Saturday, February 19th, 2005, 06:37 AM
Have you ever noticed that Jews try to muddle every issue, art, religion, science, ethics, politics, etc. They seem to benifit form confusion which allows them to operate in an unidentified state.

Dr. Solar Wolff
Sunday, February 20th, 2005, 02:50 AM
Another thought: Jews in the USA are heavily into the art business. As such they are always after government money to support bad art and defend everything as art. They become dogmatic about this idea that everything is art. I wonder if the "rights" of artists would be so vigerously defended by these types if the art concerned was, for instance, a painting of Dr. Mengele sitting at a table infront of the alleged train-full-of-Jews giving the thumbs down sign just as in pictures of Roman emperiors. Do you suppose their cannons of art would change?

Monday, February 21st, 2005, 07:14 PM
there is some NS-bashing (as is mandatory).Mandatory ? Is there a law saying to scholars : When dealing with National Socialism and Fascism you shall depart from the detached tone expected from a scholar and start writing, or better shrieking, words such as 'rabid' and 'infamous' every two lines ? No there isn't.

Their endless insults break my heart. Don't be surprised then if I want to smash their skulls, as retribution.

Monday, February 21st, 2005, 08:17 PM
Mandatory ? Is there a law saying to scholars : When dealing with National Socialism and Fascism you shall depart from the detached tone expected from a scholar and start writing, or better shrieking, words such as 'rabid' and 'infamous' every two lines ? No there isn't.

Sadly, it is the case if a book on any subject relating to National Socialism seeks "mainstream" publication, it must be biased by way of libellous lies, idiotic half-truths, and in the shrieking tone you describe at the expense of good unbiased scholarship.

This is one reason I am grateful for the Internet, it's a phenomenal grassroots way of fighting back against the distortions and lies, and get the truth out to people who are interested.

Their endless insults break my heart. Don't be surprised then if I want to smash their skulls, as retribution.

I understand how you feel.

Monday, February 21st, 2005, 10:58 PM
More on National Socialist painting :

http://www.portal-ns.com/thecensure/art7.htm (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fwww.port al-ns.com%2Fthecensure%2Fart7.htm)



Wednesday, February 23rd, 2005, 11:03 PM








Friday, February 25th, 2005, 11:27 PM
More about sculpture in the Reich :

http://www.portal-ns.com/thecensure/art8.htm (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fwww.port al-ns.com%2Fthecensure%2Fart8.htm)


Saturday, February 26th, 2005, 05:28 AM
Pictures from the beautiful edition of Kunst dem Volk (Art of the People) from Vienna, published in the war year of 1943.

http://img376.imageshack.us/img376/2788/bookkunstdemvolkaug014jf.th.jpg (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fimg376.i mageshack.us%2Fmy.php%3Fimage%3Dbookkuns tdemvolkaug014jf.jpg) http://img376.imageshack.us/img376/1043/bookkunstdemvolkaug053za.th.jpg (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fimg376.i mageshack.us%2Fmy.php%3Fimage%3Dbookkuns tdemvolkaug053za.jpg) http://img376.imageshack.us/img376/311/bookkunstdemvolkaug063xu.th.jpg (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fimg376.i mageshack.us%2Fmy.php%3Fimage%3Dbookkuns tdemvolkaug063xu.jpg)

http://img376.imageshack.us/img376/4206/bookkunstdemvolkaug100yq.th.jpg (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fimg376.i mageshack.us%2Fmy.php%3Fimage%3Dbookkuns tdemvolkaug100yq.jpg) http://img376.imageshack.us/img376/1539/bookkunstdemvolksep010fj.th.jpg (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fimg376.i mageshack.us%2Fmy.php%3Fimage%3Dbookkuns tdemvolksep010fj.jpg) http://img376.imageshack.us/img376/4032/bookkunstdemvolksep048ln.th.jpg (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fimg376.i mageshack.us%2Fmy.php%3Fimage%3Dbookkuns tdemvolksep048ln.jpg)

http://img376.imageshack.us/img376/2593/bookkunstdemvolksep059xn.th.jpg (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fimg376.i mageshack.us%2Fmy.php%3Fimage%3Dbookkuns tdemvolksep059xn.jpg) http://img399.imageshack.us/img399/1391/bookkunstdemvolksep061rh.th.jpg (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fimg399.i mageshack.us%2Fmy.php%3Fimage%3Dbookkuns tdemvolksep061rh.jpg) http://img399.imageshack.us/img399/3200/bookkunstdemvolksep071fs.th.jpg (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fimg399.i mageshack.us%2Fmy.php%3Fimage%3Dbookkuns tdemvolksep071fs.jpg)

http://img376.imageshack.us/img376/3540/bookkunstdemvolkaug041mc.th.jpg (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fimg376.i mageshack.us%2Fmy.php%3Fimage%3Dbookkuns tdemvolkaug041mc.jpg) http://img376.imageshack.us/img376/3976/bookkunstdemvolksep035jg.th.jpg (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fimg376.i mageshack.us%2Fmy.php%3Fimage%3Dbookkuns tdemvolksep035jg.jpg) http://img399.imageshack.us/img399/5899/bookkunstdemvolksep082cn.th.jpg (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fimg399.i mageshack.us%2Fmy.php%3Fimage%3Dbookkuns tdemvolksep082cn.jpg)

Saturday, February 26th, 2005, 06:29 PM
Throw also a look to this site which gives many examples of NS art: http://faculty-web.at.northwestern.edu/art-history/werckmeister/


I didn't know this one. Could be titled with "Nordic Heaven". :bravo

Tuesday, March 1st, 2005, 05:09 PM
The family and rural themes were also frequent.

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Adolf Wissel, Peasants
Adolf Wissel, Farm Family From Kahlenberg
Adolf Wissel, Peasant Girls From Kahlenberg
Julius Paul Junghanns, Plowing
Julius Paul Junghanns, Rest Under the Willow Trees
Karl Alexander Floegel, Harvests
Julius Paul Junghanns, Hard Labor
Franz Xaver Wolf, Parting
Fritz Mackensen, The Suckling
Georg Günther, Rest During the Harvest
Erich Erler, Blood and Soil
Georg Siebert, Mountain Guide
Albert Henrich, Country Still Life
Oskar Martin-Amorbach, Harvest
Georg Ehmig, Returning From The Alpine Meadows
Constantin Gerhardinger, Family Portrait
Alfred Kitzig, Tyrolean Peasant Woman With Child
Leopold Schmutzler, Farm Girls Returning From The Fields
Jürgen Wegener, Thanksgiving
Franz Eichhorst, Mother And Child
Gisbert Palmié, Labor Rewards
Willy Jäckel, Ploughing In The Evening
Werner Peiner, German Soil

Tuesday, March 1st, 2005, 05:28 PM
Gosh, your images are beautifull !! I think national socialist art is undervalued. If Hitler would has won the war, this kind of art would has been the principal european form of art. With good peace of a genious like Picasso............

Thursday, March 17th, 2005, 04:07 PM
Let us remember that National Socialist art has been disimissed as 'photoism' by the so-called art critics of the Western world, while we enjoy the superhuman beauty of the Germanic soul.

Thursday, March 17th, 2005, 06:15 PM
Let us remember that National Socialist art has been disimissed as 'photoism' by the so-called art critics of the Western world, while we enjoy the superhuman beauty of the Germanic soul.

The crème of centuries of Occidental art is "photoism". :)


The cripple "artists" of the "modernist" decline period, on the other side, claim that their "creations" were the true expression and reflection of their soul and sentiment. That might even be honest. :)


Thursday, March 17th, 2005, 06:47 PM
I like Caravaggio very much. About western critics of art, i can't tell my real judment on them, here on Skadi. I'd be banned cause vulgarity.... :D

Friday, March 18th, 2005, 12:59 AM
Tribute to Arno Breker


Alexander the Great by Arno Breker


Psyche, by Arno Breker


Flora, by Arno Breker


Eos, by Arno Breker


You and I, by Arno Breker

You and I is my personal favorite. I realize a relief sculpture is less "technical" and easier than a 3-dimensional sculpture, but the understones and symbology are very powerful.

Solar and Lunar, Anima and Animus, You and I. Exactly how I feel about that piece.

I honestly feel Breker was hands down the most talented sculptor of the 20th century. Having been to many museums, from the Metropolitan in New York, to the Galleria degli Uffizi in Florence, the Vatican Museum in Rome, to the Alte Pinakothek in Munich and seeing first hand many exmples of fine sculptures, Brekers bold return to the Classical roots of emphasising beauty in line with NS ideology shines as a vanguard against the rot of art before, during, and after his time.

Friday, March 18th, 2005, 01:28 AM
Thank you.

The fact I do not have a scanner to share the images in my books forces me to rely on strictly electronic images. While the electronic images certainly have better quality than a scan would, it is difficult to impossible to post some of the works by artists who may have just submitted one or two paintings for the Reich in their career.

For example, Otto Roloff or Hanns Hanner would be difficult for me to share, while Rollon shared a Sepp Hilz; his Peasant Venus, and certainly had no trouble finding it due to the greater fame of Hilz.

However, I will see what I can find over the weekend when I have some time. Thanks again for the compliment!

Friday, March 18th, 2005, 08:36 PM
I own this book:



See how the Third Reich viewed the naked human body and celebrated healthy sexuality. This unprecedented work of National Socialist artists clearly demonstrates respect for healthy sexuality and the beauty of the human body without the degenerate sexual exploitation that is so common in our society today. (Compare the shocking difference between our porn and their art!) Contains nude artistic photos taken in the 30's & 40's of mostly women and some men. The German text in no way interferes with the "absolute beauty" of this life affirming book!

The merchants statement is dead-on accurate. I wish I had a scanner, the books contains unique and difficult to find nudes from the time period.

Those women were simply beautiful. :heartflow

Really wish I was able to share the photographs, but alas I cannot. I highly recommend that book though for anyone seeking to add a unique look into NS life into their collection.

I'd love to post the merchants site, but I don't know if its allowed (Commercial advertising maybe?). I'm in no way affiliated with them (the site is run by a good, large White family), but they offer hard to find items at fair prices, so I like to try and send a little business their way. Just how I feel we should act towards one another. :thumbup

Private message me if you'd like the shops name I suppose.

Wednesday, July 20th, 2005, 11:41 PM
Anyone know where i get repro plates or sculptures from Breker ?



Saturday, October 15th, 2005, 02:22 PM
Wolfgang Willrich art.

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Interesting collection of pictures can also be found here (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fwww.thul e-italia.com%2Farte%2FWillrich%2Fpubblicaz ioni%2Fpubblicazioni.html).

Saturday, October 15th, 2005, 02:54 PM
More Wolfgang Willrich art:

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Saturday, October 15th, 2005, 05:16 PM
http://forums.skadi.net/attachment.php?attachmentid=41038&d=1129392936 http://forums.skadi.net/attachment.php?attachmentid=41047&d=1129392936 http://forums.skadi.net/attachment.php?attachmentid=41046&d=1129392936 http://forums.skadi.net/attachment.php?attachmentid=41045&d=1129392936 http://forums.skadi.net/attachment.php?attachmentid=41044&d=1129392936 http://forums.skadi.net/attachment.php?attachmentid=41043&d=1129392936

http://forums.skadi.net/attachment.php?attachmentid=41042&d=1129392936 http://forums.skadi.net/attachment.php?attachmentid=41041&d=1129392936 http://forums.skadi.net/attachment.php?attachmentid=41040&d=1129392936 http://forums.skadi.net/attachment.php?attachmentid=41039&d=1129392936

Source (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fwww.thir dreichruins.com%2Fkunsthaus3.htm)

Saturday, October 15th, 2005, 05:18 PM
http://forums.skadi.net/attachment.php?attachmentid=41056&d=1129393094 http://forums.skadi.net/attachment.php?attachmentid=41055&d=1129393094 http://forums.skadi.net/attachment.php?attachmentid=41049&d=1129393094

http://forums.skadi.net/attachment.php?attachmentid=41053&d=1129393094 http://forums.skadi.net/attachment.php?attachmentid=41048&d=1129393094 http://forums.skadi.net/attachment.php?attachmentid=41050&d=1129393094

Source (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fwww.thir dreichruins.com%2Fkunsthaus3.htm)

Saturday, October 15th, 2005, 05:36 PM
Source (http://www.thirdreichruins.com/kunsthaus3.htm)

Saturday, October 15th, 2005, 05:40 PM
More military art:

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Wissen ist Macht
Saturday, October 15th, 2005, 05:51 PM
Arno Breker Sculptures and other works. Enjoy!

Wissen ist Macht
Saturday, October 15th, 2005, 05:53 PM
Part 2

Wissen ist Macht
Saturday, October 15th, 2005, 05:56 PM
One of my favorite sculptors. Enjoy!

Sunday, October 16th, 2005, 06:35 PM
Deutsche Gebirgsjäger im Einsatz

Monday, October 17th, 2005, 12:54 PM
Georg Sluyterman von Langeweyde

German artist, born in Essen.

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Some of the pictures are from here (http://forums.skadi.net/redirector.php?url=http%3A%2F%2Fwww.geoc ities.com%2Fstromerhannes%2F).

Saturday, November 19th, 2005, 09:21 PM
Here's a couple more great ones which you managed to miss:

Friday, November 25th, 2005, 04:54 PM
hitler's First Painting
(in My Opinion His Most Beautiful)

Monday, December 19th, 2005, 11:16 AM
Leni Riefenstahl

Monday, December 19th, 2005, 11:31 AM

Saturday, December 24th, 2005, 02:50 PM
Arno Breker
"Zum höchsten Ruhme des Göttlichen!

Saturday, December 31st, 2005, 07:01 AM
1 & 2: "This is from the beautiful edition of Art of the People from Vienna, Austria published in the war year of 1943 (September). About 43 pages make up this book and comprises some of the finest artistic masterpieces ever assembled in the Third German Reich or anytime, thereafter. Here is the beauty and nobility of male and female of the Aryan race. The supreme elegance of nature as perceived by such Volk. All the heroism of the species known as Übermenschen in a book that would be a proud addition to any refined art library, but especially to the collections of Germanophiles (tried and true!). Here, in essence, is the heart and soul of Teutonic excellence of artistic expression and stark, but beautiful realism. If your taste runs to Picasso we will guarantee you will not like this book."

3 & 4: You tell me.

5: "SS-Wache" (SS Guard) by Ferdinand Staeger

6 & 7: Shoot me.

8: 'Tank' by Ferdinand Spiegel

9: Emil Scheibe - Hitler At The Front, 1943

10: "This is a section of a larger painting by Adolf Reich titled "The Wool Collection at a Munich Local Group." It displays a drive collecting woolen goods for soldiers. It is an effort at displaying the Nazi idea of Volksgemeinschaft, the people's community. Young and old work together for the good of Greater Germany."

Thursday, January 5th, 2006, 01:53 AM
"While we are certain that we have expressed the spirit and life source of our Folk correctly in politics, we also believe that we will be capable of recognising its cultural equivalent and realise it."

Hitler, Party Day 1935, Nürnberg

1) Leopold Schmutzler: Farm Girls Returning From The Fields
2) Oskar Martin-Amorbach: The Sower, 1937
3) Werner Peiner: German soil
4) Julius Paul Junghanns: Hard Work.
5) Heinrich Berran: Haymaker.
6) Karl Alexander Flügel: Harvest.
7) Rudolf Hermann Eisenmenger: ...

Monday, January 23rd, 2006, 12:02 AM
Does anyone know where I can get reproduction plaques of Arno Breker's works? All I have been able to find online are photographs of his statues. Thanks.

Dr. Solar Wolff
Monday, January 23rd, 2006, 06:58 AM
Does anyone know where I can get reproduction plaques of Arno Breker's works? All I have been able to find online are photographs of his statues. Thanks.

I think Zionists stole them during the war. They are probably in private homes in Tel Aviv.

Monday, May 1st, 2006, 01:32 PM
Ist das auch ein Gemälde von Sluyterman ?

E schéiner eischter Mee !


Sunday, May 7th, 2006, 11:22 PM
Awesome art...

Saturday, August 12th, 2006, 06:56 PM
Good examples of Keltic Nordids in my opinion.;) http://forums.skadi.net/attachment.php?attachmentid=68973&d=1155402382

Sunday, September 24th, 2006, 07:29 PM
Postkarten aus der "Haus der Kunst"Serie

Sunday, September 24th, 2006, 07:33 PM

Sunday, September 24th, 2006, 11:41 PM
und noch ein paar...

Sunday, September 24th, 2006, 11:44 PM

Tuesday, September 26th, 2006, 05:22 PM
hab hier mal die Breker Bilder zusammen gestellt

Tuesday, September 26th, 2006, 05:24 PM

Monday, February 15th, 2010, 08:34 AM
Various Images Of Hitler






The Autobahn


All Images Retrieved From:http://www.thirdreichruins.com/kunsthaus1.htm

Saturday, December 11th, 2010, 05:07 AM
These are definitely some of the most beautiful pieces that I've seen.

Sunday, December 12th, 2010, 02:14 PM
The Arno Breker Atelier - Take a look in Arno Brekers Studio -Hitlers favorite Sculptor.

Monday, January 3rd, 2011, 09:15 PM

Wednesday, January 12th, 2011, 05:58 PM
And how is about some photo art ?

Wednesday, January 12th, 2011, 07:41 PM
And some more

The Aesthete
Thursday, January 13th, 2011, 03:31 AM
Such beautiful works of art yet I have never seen them till now

Even though they are depicted as brutes they had great artistic sensibilities.

Thursday, June 23rd, 2011, 10:52 AM
And how is about some photo art ?

They are all very lovely and a woman's body is pure art!

Random question....Why are their breasts so small? :/
From my pure German side of my family....well, all the women are SUPER busty. Even myself. Is this down breeding or what???
Sorry, just wondering.

Eugen Hadamovsky
Wednesday, June 29th, 2011, 04:57 PM
Pure National-Socialist Art:

Eugen Hadamovsky
Wednesday, June 29th, 2011, 05:03 PM
Portrait paintings of German leaders and martyrs - by Karl Bauer

Eugen Hadamovsky
Wednesday, June 29th, 2011, 05:16 PM
More Third Reich Art

Eugen Hadamovsky
Wednesday, June 29th, 2011, 06:15 PM
Kriegsweinachten - Christmas at wartime

Tuesday, August 2nd, 2011, 09:57 AM
They are all very lovely and a woman's body is pure art!

Random question....Why are their breasts so small? :/

I noticed that in Leni Riefenstahl films as well (see the intro of Olympia, first 10 mins for example). The "Reigen of the Nymphs", which finally melts into the sun, showing for a brief moment the symbolism of Shiva.


The sequence is from min 8:30- 10:00 and in part2 0:01 ff (see the symbolism in the first seconds).


Monday, August 22nd, 2011, 11:41 AM
I am researching (and planning to publish) the photographic work of Third Reich photographer Erich Retzlaff - here is one of his colour works from the late 30s. Retzlaff was one of the first to use the revolutionary Agfacolor-neu transparency film (after 1936) and his work is centred on portraits of the German Volksgemeinschaft.

Friday, September 2nd, 2011, 01:38 AM
Plot 1: Days of Student Art in Salzburg 1942.
"To develop and advance is the first duty of the German student. To become an university student is not anymore a question of income or social heritage, but a question of character and performance." Dr. Scheel, chairman and leader of the "Reichstudentenbund".

Plot 2: "Grosse Deutsche Kunstaustellung 1942" (German Arts Exhibiton 1942) in Munich. Works by Breker, Thorak etc in the centerpiece.


Thursday, October 20th, 2011, 03:54 AM
Two paintings by Ivo Saliger.

Ivo Saliger: Das Urteil des Paris (1939).

Liegender weiblicher Akt vor kleinem Teich

Saturday, December 31st, 2011, 04:26 PM
Carolyn Yeager: Sculpture & Architecture in the Third Reich

December 27, 2011

Guests Wilhelm Kriessmann, who saw action on the Eastern Front in WWII, and Rodney Martin who specializes in the culture of the Third Reich, discuss with Carolyn the very high achievements in these two branches of the arts, so much of which was wantonly destroyed by the Allies during and after the war.

MP3 download
Honor Court entrance to Reichschancellery designed by Albert Speer, with Arno Breker sculptures Die Partei and Die Wehrmacht.

Sunday, July 1st, 2012, 03:16 PM
Grosse Deutsche Kunstausstellung - 1937-1944

http://nseuropa.com/Grosse%20Deutsche%20Kunstausstellung%20( 1937-44).pdf