Art in the Third Reich - Revision history

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	~~[[de:Kunst im Nationalsozialismus]]~~

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	~~[[Category:Architects of the Third Reich]]~~
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	==Myths==		==Myths==
	It is a myth the [[~~Jew~~]]s were the 'cream' of the German art world when they made up less than one percent of the population.<ref>''Encyclopaedia Britannica 1938 Year Book'', London, 1938, p.354.</ref> Certainly by 1933, 50.4% of all theatre directors were ~~Jews~~, but "there was a widespread feeling that they blocked the approaches to these positions, monopolising them for themselves."<ref>Medlicott, Professor W.N., Dakin, Professor Douglas, Bennett, Gillian, ''Documents on British Foreign Policy 1919-1939'', Second Series, vol.xvii, HMSO London, 1979, p.175. Report from British Embassy in Berlin to London.</ref> What is true is that the arts lost some four per cent of their fraternity<ref>Petropoulos, 2014, p.100: In June 1933 a professional census recorded that just 2.04% of musicians in Germany were ~~Jewish~~.</ref> when the ~~Jews~~ were prohibited from working in these posts and emigrated.<ref>Petropoulos, 2014, p.5:"Most ~~Jewish~~ modernists recognised that it would be impossible to make a career in Germany and therefore emigrated.......Others gradually came to the realisation that they would never be accepted and many departed in the mid-to-late-1930s."</ref><ref>''Encyclopaedia Britannica 1938 Year Book'', London, 1938, p.354. Between the 1933 Census and the end of 1937 about 110,000 ~~Jews~~ left Germany plus there was a natural decrease of about 25,000, leaving 365,000 in Germany at the end of 1937.</ref> Obviously this left 96% of the artists in ''situ''. It is also untrue that "swing" music was banned<ref>Petropoulos, 2014, p.200, citing music historian P.Potter.</ref> (although [[negro]] music was) and, for instance, many musical films were made almost to the end of the war which featured such music. In addition, some "jazz" was encouraged, and on February 14, 1938 the [[Berlin Philharmonic Orchestra]] recorded [[Eduard Kunneke]]’s ''Tanzerische Suite'', a concerto in five movements for jazz band and large orchestra.<ref>Remastered and available today on CD under the Dutton (UK) brand, catalogue number CDBP 9787.</ref>		It is a myth the [[jew]]s were the 'cream' of the German art world when they made up less than one percent of the population.<ref>''Encyclopaedia Britannica 1938 Year Book'', London, 1938, p.354.</ref> Certainly by 1933, 50.4% of all theatre directors were jews, but "there was a widespread feeling that they blocked the approaches to these positions, monopolising them for themselves."<ref>Medlicott, Professor W.N., Dakin, Professor Douglas, Bennett, Gillian, ''Documents on British Foreign Policy 1919-1939'', Second Series, vol.xvii, HMSO London, 1979, p.175. Report from British Embassy in Berlin to London.</ref> What is true is that the arts lost some four per cent of their fraternity<ref>Petropoulos, 2014, p.100: In June 1933 a professional census recorded that just 2.04% of musicians in Germany were jewish.</ref> when the jews were prohibited from working in these posts and emigrated.<ref>Petropoulos, 2014, p.5:"Most jewish modernists recognised that it would be impossible to make a career in Germany and therefore emigrated.......Others gradually came to the realisation that they would never be accepted and many departed in the mid-to-late-1930s."</ref><ref>''Encyclopaedia Britannica 1938 Year Book'', London, 1938, p.354. Between the 1933 Census and the end of 1937 about 110,000 jews left Germany plus there was a natural decrease of about 25,000, leaving 365,000 in Germany at the end of 1937.</ref> Obviously this left 96% of the artists in ''situ''. It is also untrue that "swing" music was banned<ref>Petropoulos, 2014, p.200, citing music historian P.Potter.</ref> (although [[negro]] music was) and, for instance, many musical films were made almost to the end of the war which featured such music. In addition, some "jazz" was encouraged, and on February 14, 1938 the [[Berlin Philharmonic Orchestra]] recorded [[Eduard Kunneke]]’s ''Tanzerische Suite'', a concerto in five movements for jazz band and large orchestra.<ref>Remastered and available today on CD under the Dutton (UK) brand, catalogue number CDBP 9787.</ref>

	Another left-wing propaganda myth is that only German music could be performed. This is shown to be untrue when one examines the colossal output of recordings made in Germany in this period. [[Pyotr Ilyich Tchaikovsky\|Tchaikovsky]] continued to be performed through the war, particularly in Vienna<ref>Spotts, 2002, pps:34 & 275.</ref> as did for instance, French and Belgian (i.e: Franck) composers. In one film made in 1942 and released the following year, the famous tenor [[Peter Anders]] gives a complete rendition of an aria from Tchaikovsky’s opera ''Eugene Onegin'' in a theatre, to great applause,<ref>https://www.youtube.com/watch?v=zmjWqc0nT38</ref> at a time when the German armies were actually retreating in [[Russia]].		Another left-wing propaganda myth is that only German music could be performed. This is shown to be untrue when one examines the colossal output of recordings made in Germany in this period. [[Pyotr Ilyich Tchaikovsky\|Tchaikovsky]] continued to be performed through the war, particularly in Vienna<ref>Spotts, 2002, pps:34 & 275.</ref> as did for instance, French and Belgian (i.e: Franck) composers. In one film made in 1942 and released the following year, the famous tenor [[Peter Anders]] gives a complete rendition of an aria from Tchaikovsky’s opera ''Eugene Onegin'' in a theatre, to great applause,<ref>https://www.youtube.com/watch?v=zmjWqc0nT38</ref> at a time when the German armies were actually retreating in [[Russia]].
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	==Music==		==Music==
	Germany's pre-eminence in all things musical continued in the Third Reich. Atonal music, epitomised by the [[Second Viennese School]], was suppressed and whilst a handful of ~~Jewish~~ musicians and conductors went into exile they were quickly replaced by brilliant natives. An example of this brilliance is the violinist George Kulenkampff whose 1943 recording with Furtwangler and the [[Berlin Philharmonic]] of Sibelius's Violin Concerto is still regarded today as an "outstanding interpretation" of this work.<ref>Archipel ARPCD 0014 critic's assessment.</ref> Some argue that the German musical scene reached a peak of excellence between 1933-45.		Germany's pre-eminence in all things musical continued in the Third Reich. Atonal music, epitomised by the [[Second Viennese School]], was suppressed and whilst a handful of jewish musicians and conductors went into exile they were quickly replaced by brilliant natives. An example of this brilliance is the violinist George Kulenkampff whose 1943 recording with Furtwangler and the [[Berlin Philharmonic]] of Sibelius's Violin Concerto is still regarded today as an "outstanding interpretation" of this work.<ref>Archipel ARPCD 0014 critic's assessment.</ref> Some argue that the German musical scene reached a peak of excellence between 1933-45.

	Undoubtedly the heavy subsidies from the State assisted in this. Furtwangler, for example, signed a five-year contract with the Berlin State Opera in January 1934 for the then extravagant sum of 36,000 Reichsmarks per year.<ref>Petropoulos, 2014, p.308.</ref> In 1938 Hitler approved an 'initial' list of 773 names of artists in all fields whose income taxes were to be cut by as much as 40 per cent.<ref>Petropoulos, 2014, p.80.</ref> A string of first class conductors took to the podiums, many of them names still well-known today. Amongst the notable composers in this period was Max von Schillings, [[Richard Strauss]], [[Paul Lincke]], Alois Melichar, [[Werner Egk]], [[Eduard Kunneke]], [[Hans Pfitzner]], [[Gottfried von Einem]], Theo Mackeben, Nico Dostal, and Franz Grothe, to name but a few.		Undoubtedly the heavy subsidies from the State assisted in this. Furtwangler, for example, signed a five-year contract with the Berlin State Opera in January 1934 for the then extravagant sum of 36,000 Reichsmarks per year.<ref>Petropoulos, 2014, p.308.</ref> In 1938 Hitler approved an 'initial' list of 773 names of artists in all fields whose income taxes were to be cut by as much as 40 per cent.<ref>Petropoulos, 2014, p.80.</ref> A string of first class conductors took to the podiums, many of them names still well-known today. Amongst the notable composers in this period was Max von Schillings, [[Richard Strauss]], [[Paul Lincke]], Alois Melichar, [[Werner Egk]], [[Eduard Kunneke]], [[Hans Pfitzner]], [[Gottfried von Einem]], Theo Mackeben, Nico Dostal, and Franz Grothe, to name but a few.
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	==Film==		==Film==
	The German film industry was possibly the most advanced in the world when the Third Reich came into being. At Babelsburg outside Berlin the UFA company had the largest sound stage in the world. From the late 1920s many actors & actresses, and others with special cinematographic expertise, had left the German and Viennese film studios for the bright lights and far higher salaries in [[Hollywood]]. From 1933 this accelerated for ~~Jews~~ and those out of sympathy with the new government. Undaunted, the industry found more than able replacements.		The German film industry was possibly the most advanced in the world when the Third Reich came into being. At Babelsburg outside Berlin the UFA company had the largest sound stage in the world. From the late 1920s many actors & actresses, and others with special cinematographic expertise, had left the German and Viennese film studios for the bright lights and far higher salaries in [[Hollywood]]. From 1933 this accelerated for jews and those out of sympathy with the new government. Undaunted, the industry found more than able replacements.

	The first person to understand fully the value of the cinema and film generally was the German Minister of Propaganda and Enlightenment, Dr. [[Joseph Goebbels]]. During the period in question the film companies worked overtime churning out over 1000 films<ref>https://mubi.com/lists/third-reich-1933-1945</ref>, some poor, many exceptionally good, such as the docu-film of the 1936 Olympic Games, ''Olympia'' (4 hours long), the 1940 documentary ''Michaelangelo: The Life of a Titan''; the two biographical masterpieces: ''Friedrich Schiller - The Triumph of Genius'' (1940) and ''The Great King'' (1942 - Frederick The Great); ''Munchhausen'' (1943), ''The Great Sacrifice'' (1944), ''Kolberg'' (1945), and the many excellent musicals starring Martha Eggerth and Marika Rokk<ref>https://www.youtube.com/watch?v=0F82kZj2CYE</ref>. In 1940 cinema attendances for the year reached 850,000,000.<ref>Ott, 1986, p.181.</ref> Opera stars also appeared in films, including sopranos Maria Cebotari and Erna Sack (''Nanon''). In 1940 the first film with [[Agfa]]-colour opened in the cinemas to much acclaim. Notable directors of this period include Leni Riefenstahl, Hans Deppe, Willi Forst, Veit Harlan, Rolf Hansen, Herbert Maisch, G.W. Pabst, Karl Ritter, Hans Schweikart, Hans Steinhoff, Curt Oertel, Gustav Ucicky. On March 25, 1943, a huge celebration took place in the UFA-Palast am Zoo Theatre to celebrate 25 years of UFA.<ref>Ott, 1986, p.186.</ref>		The first person to understand fully the value of the cinema and film generally was the German Minister of Propaganda and Enlightenment, Dr. [[Joseph Goebbels]]. During the period in question the film companies worked overtime churning out over 1000 films<ref>https://mubi.com/lists/third-reich-1933-1945</ref>, some poor, many exceptionally good, such as the docu-film of the 1936 Olympic Games, ''Olympia'' (4 hours long), the 1940 documentary ''Michaelangelo: The Life of a Titan''; the two biographical masterpieces: ''Friedrich Schiller - The Triumph of Genius'' (1940) and ''The Great King'' (1942 - Frederick The Great); ''Munchhausen'' (1943), ''The Great Sacrifice'' (1944), ''Kolberg'' (1945), and the many excellent musicals starring Martha Eggerth and Marika Rokk<ref>https://www.youtube.com/watch?v=0F82kZj2CYE</ref>. In 1940 cinema attendances for the year reached 850,000,000.<ref>Ott, 1986, p.181.</ref> Opera stars also appeared in films, including sopranos Maria Cebotari and Erna Sack (''Nanon''). In 1940 the first film with [[Agfa]]-colour opened in the cinemas to much acclaim. Notable directors of this period include Leni Riefenstahl, Hans Deppe, Willi Forst, Veit Harlan, Rolf Hansen, Herbert Maisch, G.W. Pabst, Karl Ritter, Hans Schweikart, Hans Steinhoff, Curt Oertel, Gustav Ucicky. On March 25, 1943, a huge celebration took place in the UFA-Palast am Zoo Theatre to celebrate 25 years of UFA.<ref>Ott, 1986, p.186.</ref>
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	* Emil Jannings (in ''Ohm Kruger'').		* Emil Jannings (in ''Ohm Kruger'').
	* Hilde Krahl (in ''The Stationmaster'' (1940))		* Hilde Krahl (in ''The Stationmaster'' (1940))
	* Werner Krauss (in ''~~Jew~~ Suss'' (1940)).		* Werner Krauss (in ''jew Suss'' (1940)).
	* Marianne von Simpson (in ''Munchhausen'').		* Marianne von Simpson (in ''Munchhausen'').
	* Leo Slezak (in many films).		* Leo Slezak (in many films).
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	The German spirit rose like a giant flame once more during the last one hundredn and fifty years in all fields, to be almost completely extinguished at the turn of this century.......Sine then the officially reconised art has become a matter of playing with empty forms or representing a distorted world populated by miscarriages and crétins. The art propogated by academies and museums existed arrogantly above the heads of the lay people, who did not understand it. It was for a select few - the art intellectual and the art market. Art had no value, only a price. It was no longer the friendly goddess healing and blessing. It was only a whore."		The German spirit rose like a giant flame once more during the last one hundredn and fifty years in all fields, to be almost completely extinguished at the turn of this century.......Sine then the officially reconised art has become a matter of playing with empty forms or representing a distorted world populated by miscarriages and crétins. The art propogated by academies and museums existed arrogantly above the heads of the lay people, who did not understand it. It was for a select few - the art intellectual and the art market. Art had no value, only a price. It was no longer the friendly goddess healing and blessing. It was only a whore."

	The Government began a purging process by removing dissenting elements in acadamies and art institutes. Otto Klein wrote: "Never again will museums be places for the virus of decadence."<ref>Klein, Otto, "Das Deutsche Volksmuseum" in ''Deutsches Volkstum'', 1934, p.17.</ref> The venerable Prussian Academy in Berlin, the most important and distinguished art institute in Germany, was one of Dr. [[Joseph Goebbels]] main targets: the ~~Jewish~~ painter, Max Liebermann, resigned as President of the academy. The ''Tagliche Rundschau'' responded on May 11, 1933:		The Government began a purging process by removing dissenting elements in acadamies and art institutes. Otto Klein wrote: "Never again will museums be places for the virus of decadence."<ref>Klein, Otto, "Das Deutsche Volksmuseum" in ''Deutsches Volkstum'', 1934, p.17.</ref> The venerable Prussian Academy in Berlin, the most important and distinguished art institute in Germany, was one of Dr. [[Joseph Goebbels]] main targets: the jewish painter, Max Liebermann, resigned as President of the academy. The ''Tagliche Rundschau'' responded on May 11, 1933:

	: "''Liebermann's idea about the isolated artist, alienated from the people, has lost it validity today and in the future."''		: "''Liebermann's idea about the isolated artist, alienated from the people, has lost it validity today and in the future."''
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	==Propaganda as Art==		==Propaganda as Art==

	The National Socialists were masters of propaganda through art and exhibitions. Their propaganda art-work pre-dated the foundation of the Third Reich and there are many examples from the 1920s onwards. Their graphic arts are still regarded today as exceptional (despite the often negative message). Examples are to be found in their anti-~~Jewish~~ graphic art-work in the posters for the great political exhibition "The Eternal ~~Jew~~" in Vienna in August 1938, and for the posters for the 1940 film, ''[[Jud Süß (1940 film)\|''~~Jew~~ Süss'']].		The National Socialists were masters of propaganda through art and exhibitions. Their propaganda art-work pre-dated the foundation of the Third Reich and there are many examples from the 1920s onwards. Their graphic arts are still regarded today as exceptional (despite the often negative message). Examples are to be found in their anti-jewish graphic art-work in the posters for the great political exhibition "The Eternal jew" in Vienna in August 1938, and for the posters for the 1940 film, ''[[Jud Süß (1940 film)\|''jew Süss'']].

	==1945 Looting==		==1945 Looting==

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	* [[Wilhelm Furtwangler]] (Berlin State Opera & Philharmonic; and also the Vienna Philharmonic from 1940).		* [[Wilhelm Furtwangler]] (Berlin State Opera & Philharmonic; and also the Vienna Philharmonic from 1940).
	* Robert Heger (Philharmonic and other orchestras in Vienna, Nuremberg, Munich. In London he was a guest conductor 1925-35 at London's Royal Opera House, giving the first UK performance of Richard Strauss's opera ''Capriccio''. During the war he was busy conducting several German opera house orchestras. From 1945-48 he conducted the German Opera in Berlin).		* Robert Heger (Philharmonic and other orchestras in Vienna, Nuremberg, Munich. In London he was a guest conductor 1925-35 at London's Royal Opera House, giving the first UK performance of Richard Strauss's opera ''Capriccio''. During the war he was busy conducting several German opera house orchestras. From 1945-48 he conducted the German Opera in Berlin).
	* Hans Knappertsbusch ("Arch-conservative and ~~nationalistic~~". Berlin Philharmonic, and permanent guest conductor at Vienna State Opera.<ref>Petropoulos, 2014, pps:241 & 296.</ref> "The most important interpreter of Bruckner of his time.")		* Hans Knappertsbusch ("Arch-conservative and fascistic". Berlin Philharmonic, and permanent guest conductor at Vienna State Opera.<ref>Petropoulos, 2014, pps:241 & 296.</ref> "The most important interpreter of Bruckner of his time.")
	* [[Herbert von Karajan]] (Had his debut with the Berlin State Opera orchestra in 1938 and was appointed ''Staatskapellmeister'' the following year. Conducted in [[Paris]] in 1941).		* [[Herbert von Karajan]] (Had his debut with the Berlin State Opera orchestra in 1938 and was appointed ''Staatskapellmeister'' the following year. Conducted in [[Paris]] in 1941).
	* Clemens Krauss. (Principal conductor at the Berlin State Opera from Jan 1935 to 1937 when moved to Munich. Hitler considered him one of the greatest of German opera conductors.<ref>Petropoulos, 2014, p.296.</ref>)		* Clemens Krauss. (Principal conductor at the Berlin State Opera from Jan 1935 to 1937 when moved to Munich. Hitler considered him one of the greatest of German opera conductors.<ref>Petropoulos, 2014, p.296.</ref>)

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	[[Category:Music]]		[[Category:Music]]
	[[Category:Classical music]]		[[Category:Classical music]]
	~~[[Category:Germany]]~~
	~~[[Category:National Socialist Germany]]~~
	[[Category:Architects of the Third Reich]]		[[Category:Architects of the Third Reich]]
	[[de:Kunst im Nationalsozialismus]]		[[de:Kunst im Nationalsozialismus]]

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	[[File:House_of_German_Art.~~jpg~~\|400px\|thumb\|House of German Art ([https://de.metapedia.org/wiki/Haus_der_Deutschen_Kunst ''Haus der Deutschen Kunst'']), from the English Garden, Munich, by Paul Ludwig Troost, a renowned architect and designer who had also worked on the [[Cecilienhof]].]]		[[File:House_of_German_Art.png\|400px\|thumb\|House of German Art ([https://de.metapedia.org/wiki/Haus_der_Deutschen_Kunst ''Haus der Deutschen Kunst'']), from the English Garden, Munich, by Paul Ludwig Troost, a renowned architect and designer who had also worked on the [[Cecilienhof]].]]
	'''Art in the [[Third Reich]]''' <ref>This page’s title is adapted from the 1992 book by Peter Adam.</ref>refers to the many cultural arenas in Germany in the period 1933 - 1945 which could be classified as the Arts. It has been stated that "the [[National Socialist\|Nazi]]s exposed more Germans to culture than any previous regime."<ref> Petropoulos, Jonathan, ''Artists under Hitler'', Yale University Press, 2014, p.215, ISBN 978-0-300-19747-1</ref>		'''Art in the [[Third Reich]]''' <ref>This page’s title is adapted from the 1992 book by Peter Adam.</ref>refers to the many cultural arenas in Germany in the period 1933 - 1945 which could be classified as the Arts. It has been stated that "the [[National Socialist\|Nazi]]s exposed more Germans to culture than any previous regime."<ref> Petropoulos, Jonathan, ''Artists under Hitler'', Yale University Press, 2014, p.215, ISBN 978-0-300-19747-1</ref>

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	There were quite a few German art magazines which propagated the new German cultural ideology. ''Kunst und Volk'' (''Art and the People'') revelled in articles about mediaeval Germany and old sagas, linking them with subjects of the Teutonic peoples. Besides reproductions of new paintings, there were illustrations of the beloved precursors Durer and Riemenschneider. But the most important arts magazine of this era was ''Die Kunst im Dritten Reich'', (''Art in the Third Reich'') which was founded in 1937. The first editor was [[Alfred Rosenberg]]. His collaborators were Walter Horn, Werner Rittich and Robert Scholz. The magazine reached a circulation of 50,000, very considerable for that time.<ref>Adam, 1992, p.115.</ref>		There were quite a few German art magazines which propagated the new German cultural ideology. ''Kunst und Volk'' (''Art and the People'') revelled in articles about mediaeval Germany and old sagas, linking them with subjects of the Teutonic peoples. Besides reproductions of new paintings, there were illustrations of the beloved precursors Durer and Riemenschneider. But the most important arts magazine of this era was ''Die Kunst im Dritten Reich'', (''Art in the Third Reich'') which was founded in 1937. The first editor was [[Alfred Rosenberg]]. His collaborators were Walter Horn, Werner Rittich and Robert Scholz. The magazine reached a circulation of 50,000, very considerable for that time.<ref>Adam, 1992, p.115.</ref>
	[[File:Furtwangler.~~jpg~~\|200px\|thumb\|right\|The famous conductor Wilhelm Furtwangler was forced to undergo the humiliation of a Soviet-American inspired 'denazification'<ref>The term ''denazification'' was first coined as a legal term in 1943 in the [[Pentagon]]. See: Taylor, Frederick, ''Exorcising Hitler: The Occupation and Denazification of Germany'', Bloomsbury Press, London, 2011, p.253-4. ISBN 978-1-60819-503-9</ref> process despite the fact that he was not a [[National Socialist]].]]		[[File:Furtwangler.png\|200px\|thumb\|right\|The famous conductor Wilhelm Furtwangler was forced to undergo the humiliation of a Soviet-American inspired 'denazification'<ref>The term ''denazification'' was first coined as a legal term in 1943 in the [[Pentagon]]. See: Taylor, Frederick, ''Exorcising Hitler: The Occupation and Denazification of Germany'', Bloomsbury Press, London, 2011, p.253-4. ISBN 978-1-60819-503-9</ref> process despite the fact that he was not a [[National Socialist]].]]
	===What should artists have done?===		===What should artists have done?===
	[[File:Fritz_Klimsch.~~jpg~~\|200px\|thumb\|right\|Fritz Klimsch at work in his studio.]]		[[File:Fritz_Klimsch.png\|200px\|thumb\|right\|Fritz Klimsch at work in his studio.]]
	[[File:Gustinus_Ambrosi.~~jpg~~\|200px\|thumb\|right\|Gustinus Ambrosi (d.1970)]]		[[File:Gustinus_Ambrosi.png\|200px\|thumb\|right\|Gustinus Ambrosi (d.1970)]]
	[[File:Josef_Thorak.~~jpg~~\|200px\|thumb\|right\|Josef Thorak at work in his studio.]]		[[File:Josef_Thorak.png\|200px\|thumb\|right\|Josef Thorak at work in his studio.]]
	[[File:German sculptor Josef Thorak, Familie, German Pavilion, 1937 Paris World Fair.~~jpg~~\|200px\|thumb\|right\|Josef Thorak: "Familie" at the German Pavilion, 1937 Paris World Fair.]]		[[File:German sculptor Josef Thorak, Familie, German Pavilion, 1937 Paris World Fair.png\|200px\|thumb\|right\|Josef Thorak: "Familie" at the German Pavilion, 1937 Paris World Fair.]]
	[[File:Bruckner_1944.~~jpg~~\|200px\|thumb\|right\|A Sept 1944 "legendary wartime performance" remastered and available today.]]		[[File:Bruckner_1944.png\|200px\|thumb\|right\|A Sept 1944 "legendary wartime performance" remastered and available today.]]
	[[File:Roswaenge.~~jpg~~\|200px\|thumb\|right\|Helge Rosvaenge, tenor.]]		[[File:Roswaenge.png\|200px\|thumb\|right\|Helge Rosvaenge, tenor.]]
	[[File:Marcel Wittrisch.~~jpg~~\|200px\|thumb\|right\|Marcel Wittrisch, tenor.]]		[[File:Marcel Wittrisch.png\|200px\|thumb\|right\|Marcel Wittrisch, tenor.]]
	[[File:Erna_Berger.~~jpg~~\|200px\|thumb\|Erna Berger.]]		[[File:Erna_Berger.png\|200px\|thumb\|Erna Berger.]]
	[[File:Erna_Sack.~~jpg~~\|200px\|thumb\|Erna Sack.]]		[[File:Erna_Sack.png\|200px\|thumb\|Erna Sack.]]
	[[File:Anders.~~jpg~~\|200px\|thumb\|right\|Peter Anders, tenor.]]		[[File:Anders.png\|200px\|thumb\|right\|Peter Anders, tenor.]]
	[[File:Cebotari.~~jpg~~\|200px\|thumb\|right\|Maria Cebotari.]]		[[File:Cebotari.png\|200px\|thumb\|right\|Maria Cebotari.]]
	[[File:UFA.~~jpg~~\|200px\|thumb\|right\|The huge UFA film studios at Neubabelsberg (Potsdam), the largest in [[Europe]].]]		[[File:UFA.png\|200px\|thumb\|right\|The huge UFA film studios at Neubabelsberg (Potsdam), the largest in [[Europe]].]]
	[[File:Munchhausen.~~jpg~~\|200px\|thumb\|The 1943 film "Munchhausen", still available today.]]		[[File:Munchhausen.png\|200px\|thumb\|The 1943 film "Munchhausen", still available today.]]
	[[File:Marika Rokk.~~jpg~~\|200px\|thumb\|Marika Rokk.]]		[[File:Marika Rokk.png\|200px\|thumb\|Marika Rokk.]]
	[[File:Gebuhr,_Harlan.~~jpg~~\|200px\|thumb\|right\|Otto Gebuhr, Veit Harlan (clapping) Kristina Söderbaum and Goebbels at the premier of "The Great King", 1942.]]		[[File:Gebuhr,_Harlan.png\|200px\|thumb\|right\|Otto Gebuhr, Veit Harlan (clapping) Kristina Söderbaum and Goebbels at the premier of "The Great King", 1942.]]
	[[File:German Kristina Söderbaum (1).~~jpg~~\|200px\|thumb\|right\|Kristina Söderbaum.]]		[[File:German Kristina Söderbaum (1).png\|200px\|thumb\|right\|Kristina Söderbaum.]]
	[[File:Ilse_Werner.~~jpg~~\|200px\|thumb\|Ilse Werner.]]		[[File:Ilse_Werner.png\|200px\|thumb\|Ilse Werner.]]

	Despite the usual post-1945 liberal-left lies about and condemnations of the Third Reich's cultural policies opposing 'modernists' and 'progressives', only a minority 'suffered' as a result, while "many artists thrived".<ref>Petropoulos, 2014, p.177.</ref> Indeed Petropoulos argues that it was the degrees of modernism which counted, and that some modernists managed to accommodate themselves in the new Reich. In 1947 the Allies' denazification court in [[Munich]] stated "as National Socialist barbarism took over in 1933, it is deeply disappointing that the intellectual elite, instead of opposing, one by one collaborated with [[National Socialism]] and placed their talents and names at their disposal."<ref>Petropoulos, 2014, p.307.</ref>		Despite the usual post-1945 liberal-left lies about and condemnations of the Third Reich's cultural policies opposing 'modernists' and 'progressives', only a minority 'suffered' as a result, while "many artists thrived".<ref>Petropoulos, 2014, p.177.</ref> Indeed Petropoulos argues that it was the degrees of modernism which counted, and that some modernists managed to accommodate themselves in the new Reich. In 1947 the Allies' denazification court in [[Munich]] stated "as National Socialist barbarism took over in 1933, it is deeply disappointing that the intellectual elite, instead of opposing, one by one collaborated with [[National Socialism]] and placed their talents and names at their disposal."<ref>Petropoulos, 2014, p.307.</ref>
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	==Architecture==		==Architecture==
	[[File:Olympics_1936.~~jpg~~\|200px\|thumb\|right\|Werner March: Olympic Stadium & Reichssportfeld, Berlin.]]		[[File:Olympics_1936.png\|200px\|thumb\|right\|Werner March: Olympic Stadium & Reichssportfeld, Berlin.]]
	[[File:German architect Werner March (Olympic Stadium).~~jpg~~\|200px\|thumb\|right\|Werner March.]]		[[File:German architect Werner March (Olympic Stadium).png\|200px\|thumb\|right\|Werner March.]]
	Throughout the inter-war period architecture in Germany was an exciting medium. The modernists, the Bauhaus Movement, ''et al'', were thriving, but by 1933 the National Socialists were making it clear that they instead wanted a return to traditionalist forms of architecture in every sphere. Probably the best known architect of this period was the young [[Albert Speer]], but this was doubtless because of his association with Hitler. There were other 'official' architects, notably Paul Troost, who died before his time. A very great many new buildings went up in the pre-[[World War II]] period of the Third Reich, and again possibly the best-known of these was Speer's New Chancellery in Berlin. There can be no doubt that it was a magnificent work of art and a tragedy that the Soviets destroyed it when it was only partially damaged during the war. Other magnificent feats of architecture abound, and some of these can be seen in Professor Troost's book, ''Buildings of the New State''. Many of these buildings are still extant, notably the Berlin Air Ministry which miraculously survived the war, was used by the ''STASI'' during the [[DDR]], and has now been fully restored.		Throughout the inter-war period architecture in Germany was an exciting medium. The modernists, the Bauhaus Movement, ''et al'', were thriving, but by 1933 the National Socialists were making it clear that they instead wanted a return to traditionalist forms of architecture in every sphere. Probably the best known architect of this period was the young [[Albert Speer]], but this was doubtless because of his association with Hitler. There were other 'official' architects, notably Paul Troost, who died before his time. A very great many new buildings went up in the pre-[[World War II]] period of the Third Reich, and again possibly the best-known of these was Speer's New Chancellery in Berlin. There can be no doubt that it was a magnificent work of art and a tragedy that the Soviets destroyed it when it was only partially damaged during the war. Other magnificent feats of architecture abound, and some of these can be seen in Professor Troost's book, ''Buildings of the New State''. Many of these buildings are still extant, notably the Berlin Air Ministry which miraculously survived the war, was used by the ''STASI'' during the [[DDR]], and has now been fully restored.

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	==Gallery==		==Gallery==
	<gallery widths="200" heights="250" perrow="5">		<gallery widths="200" heights="250" perrow="5">
	File:Hitler_1911-12_Old_Vienna_Courtyard.~~jpg~~\|[[Adolf Hitler]]'s own watercolour (1911-12) of "An Old Vienna Courtyard" has some merit.		File:Hitler_1911-12_Old_Vienna_Courtyard.png\|[[Adolf Hitler]]'s own watercolour (1911-12) of "An Old Vienna Courtyard" has some merit.
	File:Reichschancellery.~~jpg~~\|[[Albert Speer]]'s [[New Reich Chancellery]], Berlin. Garden front, with bronze horses by [[Josef Thorak]].		File:Reichschancellery.png\|[[Albert Speer]]'s [[New Reich Chancellery]], Berlin. Garden front, with bronze horses by [[Josef Thorak]].
	File:Billing_Reichspost.~~jpg~~\|Herman Billing: new Reichspost HQ in [[Karlsruhe]]		File:Billing_Reichspost.png\|Herman Billing: new Reichspost HQ in [[Karlsruhe]]
	File:JP_Junghanns_-_Ploughing.~~jpg~~\|"Ploughing" by Julius Paul Junghanns		File:JP_Junghanns_-_Ploughing.png\|"Ploughing" by Julius Paul Junghanns
	File:Aliens_cleaned_out.~~jpg~~\|"We have swept the aliens out of Germany".		File:Aliens_cleaned_out.png\|"We have swept the aliens out of Germany".
	</gallery>		</gallery>
	==See also==		==See also==

Art in the Third Reich - Revision history

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