Art, Ideology, and Economics in Nazi Germany: The Reich by Alan E. Steinweis

By Alan E. Steinweis

From 1933 to 1945, the Reich Chamber of tradition exercised a profound impression over thousands of German artists and entertainers. Alan Steinweis makes a speciality of the fields of song, theater, and the visible arts during this first significant examine of Nazi cultural management, reading a fancy trend of interplay between major Nazi figures, German cultural functionaries, usual artists, and shoppers of tradition. Steinweis provides detailed cognizance to Nazi efforts to purge the humanities of Jews and different so-called undesirables. Steinweis describes the political, expert, and fiscal atmosphere during which German artists have been forced to operate and explains the constitution of choice making, therefore exhibiting in whose curiosity cultural regulations have been formulated. He discusses such matters as coverage, minimal salary statutes, and certification guidance, all of that have been concerns of excessive precedence to the artwork professions sooner than 1933 in addition to after the Nazi seizure of strength. by means of elucidating the industrial context of cultural lifestyles, Steinweis is helping to give an explanation for the frequent acquiescence of German artists to creative censorship and racial 'purification.' His paintings additionally sheds new mild at the purge of Jews from German cultural lifestyles.

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Additional resources for Art, Ideology, and Economics in Nazi Germany: The Reich Chambers of Music, Theater, and the Visual Arts

Example text

In April 1932, the Bühnengenossenschaft published detailed statistics describing unemployment in the theater profession. " Joblessness for all categories of theater personnel had climbed to 44 percent. In almost all job classifications, unemployment among women exceeded that among their male colleagues. 3 percent, or 868 out of 1,514. 8 percent were of other foreign citizenships. 40 Although not especially high for a profession in which some cosmopolitanism is to be expected, such figures seemed significant enough to lend some credence to the xenophobic arguments of Nazis and others who clamored for official protection against competition from foreigners.

Lewis Bateman lent his encouragement from an early stage, Ron Maner shepherded the manuscript through the publication process, and Christi Stanforth carefully copyedited my prose. At home, Catherine Clarke patiently abided my preoccupation with the completion of this book. Finally, my greatest debt is to my parents, to whom this book is dedicated. Their integrity, compassion, dignity, and goodness, which survived the camps of Nazi Europe intact, provide compelling proof of the ability of the human spirit to overcome evil and adversity.

The Reich government turned down an RVbK proposal to establish a national foundation for visual artists, funded by a special tax on art auctions. The Reich government also declined to support RVbK attempts to integrate self-employed, or "free," artists into the national unemployment insurance scheme. Among architects, the structure of professional representation reflected divisions in employment status and training. Self-employed architects sharply distinguished themselves from publicly employed architects.

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