By Joan L. Clinefelter
Whereas we frequently take into consideration gifted artists fleeing the clutches of the Nazi regime--forced out or sickened via the strictures put upon them--we infrequently reflect on these artists who willingly stayed in the back of. this is often the 1st complete therapy of the German artwork Society, a bunch of artists, authors and right-wing activists who actively embraced Nazism. Theses artists have normally been disregarded as a lunatic fringe, however the writer argues that they have been actually instrumental in fighting modernist artwork in protection of what they considered as the German cultural culture. Drawing on formerly missed archival fabric, Clinefelter unearths cultural continuities that reach from the Wilhelmine Empire throughout the Weimar Republic into the 3rd Reich and elucidates how theses artists promoted Nazi tradition "from below."
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Extra resources for Artists for the Reich: Culture and Race from Weimar to Nazi Germany
Feistel-Rohmeder’s understanding of herself as a new German woman also sheds light on her organizational tactics. From her notions of female cultural roles, she developed a strategy that guaranteed her inﬂuence within the German Art Society even as it sought other afﬁliations with the wider, male-dominated völkisch movement. Rather than leading the Society in the guise of its chairperson, she served as the organization’s business manager. This position gave her a place on the Society’s board of directors and made her responsible for the day-to-day affairs of the group.
Similarly, she felt that female participation in the rebirth of the German Volk was also absolutely necessary. These beliefs justiﬁed and legitimated her leadership of the German Art Society. Throughout ‘Racial Self-Awareness’ in particular and her activities on behalf of the German Art Society in general, Feistel-Rohmeder created for herself an understanding of race and art that accommodated and even privileged the female gender. For example, the ‘racial gaze’, ﬁrst directed at Günther’s mirror and then art, was coded by Feistel-Rohmeder as female.
Instead, they were forced to take up new sidelines, as civil servants, as teachers and even as businessmen in order to make ends meet. 13 As the artists accused each other of crass materialism and impure, economic motives, their proﬁts disappeared. Artists’ expenses increased and purchasing power declined over the course of the art boom, but the inﬂationary spiral of 1921 to 1923 devastated the profession ﬁnancially. While artists received on average three to ﬁve times more for their work in 1921 than they had in 1913, the prices of canvas, paint, and linseed oil had doubled; turpentine and paint had quintupled.
Artists for the Reich: Culture and Race from Weimar to Nazi Germany by Joan L. Clinefelter