Art as politics in the Third Reich

著者

書誌事項

Art as politics in the Third Reich

Jonathan Petropoulos

University of North Carolina Press, c1996

  • : pbk

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注記

Originally presented as the author's thesis (doctoral)--Harvard University

Includes bibliographical references (p. 385-415) and index

内容説明・目次

巻冊次

ISBN 9780807822401

内容説明

The political elite of Nazi Germany perceived itself as a cultural elite as well. In Art as Politics in the Third Reich, Jonathan Petropoulos explores the elite's cultural aspirations by examining both the formulation of a national aesthetic policy and the content of the private art collections held by high-ranking Nazis. He demonstrates that these leaders manipulated public policy and their own collecting patterns to articulate fundamental tenets of Nazi ideology. Petropoulos begins by tracing the evolution of official aesthetic policy, from the purges of museum staff and academics labeled as 'undesirable' in 1933 to the confiscation of Jewish-owned artworks in the late 1930s and the organized plundering of art from occupied areas during the war. He then reconstructs the collections of a dozen prominent Nazi officials--including Hitler, Goring, Goebbels, Himmler, Speer, and Ribbentrop--and argues that their private holdings defined their relationships to one another within the Nazi hierarchy in addition to reflecting their racist and nationalist beliefs. According to Petropoulos, art collecting offered the political elite a way to achieve legitimacy and social standing, thereby providing a common cultural language for the leaders of the Third Reich. |Explores the cultural aspirations of Nazi leaders by examining both their formulation of a national aesthetic policy and the content of their private collections.
巻冊次

: pbk ISBN 9780807848098

内容説明

The political elite of Nazi Germany perceived itself as a cultural elite as well. This work explores the elite's cultural aspirations by examining both the formulation of a national aesthetic policy and the content of the private art collections held by high-ranking Nazis. The author demonstrates that these leaders manipulated public policy and their own collecting patterns to articulate fundamental tenets of Nazi ideology. The work begins by tracing the evolution of aesthetic policy from the purges of museum staff and academics labelled as ""undesirable"" in 1933 to the confiscation of Jewish-owned artworks in the late 1930s and the organized plundering of art from occupied areas during the war. The author then reconstructs the collections of prominent Nazi officials - including Hitler, Goring, Goebbels, Himmler, Speer, and Ribbentrop - and argues that their private holdings defined their relationships to one another within the Nazi hierachy in addition to reflecting their racist and nationalist beliefs. According to the author, art collecting offered the political elite a way to achieve legitimacy and social standing, thereby providing a common cultural language for the leaders of the Third Reich.

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