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Die Malerei im deutschen Faschismus: Kunst u. Konterrevolution (Kunstwissenschaftliche Untersuchungen des Ulmer Vereins für Kunstwissenschaft ; 3)
German
320 pages, Perfect Paperback
First published January 1, 1975
37 people want to read
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July 15, 2018
Imagine picking a book about romantic painting, about north italian renaissance sculpture, about gothic architecture and reading the book author saying that such artistic movement was a failure as an art form, that it was weak, simply passing judgement?
Well, this is exactly how Berthold Hinz approaches nazi art, spending paragraphs and paragraphs expressing what is nothing more than his personal opinion, mentioning how nazis "dehistoricized" german art, how Thorak's work is supposedly bad and cartoonesque, how modern art is supposedly more vibrant and authentic than the anti-modern reactionary official art of nazi Germany. Not a single word is spent discussing techniques, mediums and materials used by artists, much less about their biographies. We don't get to understand why great talented people like Adolf Ziegler, Georges Sluyterman, Wissel, Thorak, etc, worked for and by nazi power, what they thought about it, what they said in their long lives about their production.
Why then, someone who deeply dislikes nazi art, writes a book mostly about nazi art, with a chapter about "degenerate art"?
As it is, this book serves as nothing more than an introduction to a very interesting and contradictory cultural period, a list of artists a reader can look for in other places. Hinz doesn't cover printmaking- woodcut, engraving and lithography- in nazi Germany as an art form, and he barely touches on political and military propaganda as art.
Well, this is exactly how Berthold Hinz approaches nazi art, spending paragraphs and paragraphs expressing what is nothing more than his personal opinion, mentioning how nazis "dehistoricized" german art, how Thorak's work is supposedly bad and cartoonesque, how modern art is supposedly more vibrant and authentic than the anti-modern reactionary official art of nazi Germany. Not a single word is spent discussing techniques, mediums and materials used by artists, much less about their biographies. We don't get to understand why great talented people like Adolf Ziegler, Georges Sluyterman, Wissel, Thorak, etc, worked for and by nazi power, what they thought about it, what they said in their long lives about their production.
Why then, someone who deeply dislikes nazi art, writes a book mostly about nazi art, with a chapter about "degenerate art"?
As it is, this book serves as nothing more than an introduction to a very interesting and contradictory cultural period, a list of artists a reader can look for in other places. Hinz doesn't cover printmaking- woodcut, engraving and lithography- in nazi Germany as an art form, and he barely touches on political and military propaganda as art.
Displaying 1 of 1 review