Holdings: The political confrontation of the arts in Europe from the Great Depression to the Second Word War

The political confrontation of the arts in Europe from the Great Depression to the Second Word War:

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Bibliographic Details
Main Author:	Werckmeister, Otto Karl 1934-2023 (Author)
Format:	Book
Language:	English
Published:	Heidelberg arthistoricum.net 2020
Series:	Zurich studies in the history of art 24/25
Subjects:	Geschichte 1930-1945 Politik Politisierung Künste Europa Kunstpolitik Kunstsysteme Kunstrevolution Kunstunterdrückung Revolutionäre Kunst Populäre Kunst
Online Access:	Inhaltsverzeichnis
Physical Description:	486 Seiten Illustrationen 26 cm x 20 cm
ISBN:	9783948466237 9783948466244 3948466238

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Record in the Search Index

_version_	1804181825142128640
adam_text	CONTENT 1 POLICIES TRADITIONAL VERSUS MODERN ART PREFACE 14 1.1/1 STRUCTURAL CONFLICT RELATED PUBLICATIONS .................................. .................................. 16 1.1/1.1 MODERNIZATION AND TRADITION 1.1/1.1.1 DECLINING SELF-ADJUSTMENT .................................... ....... 20 1.1/1.1.2 UPPER MIDDLE-CLASS ART POLICIES .................................. 21 1.1/1.1.3 THE CRISIS OF THE DEPRESSION ................................. ....... 22 1.1/1.2 POLITICAL STABILIZATION AND SOCIAL EMANCIPATION 1.1/1.2.1 ENDURING DISPARITY ................................................ ....... 23 1.1/1.2.2 ART OF DISSENT ............................................................... 24 1.1/1.2.3 DEPRESSION SHOWDOWN ......................................... ....... 25 1.1/1.3 THE AVANT-GARDE IDEAL 1.1/1.3.1 FROM LEADERSHIP TO NONCONFORMITY ..................... ....... 27 1.1/1.3.2 AESTHETIC TRANSPOSITION ........................................ ....... 28 1.1/1.3.3 POST-WAR RISE AND FALL .......................................... ....... 29 1.1/2 POLITICAL COMPETITION 1.1/2.1 ARTISTIC AND POLITICAL CULTURE 1.1/2.1.1 ART IN THE PUBLIC SPHERE ............................................... 30 1.1/2.1.2 MODERN ART ON THE LEFT ......................................... ....... 31 1.1/2.1.3 POLITICIZATION ......................................................... ....... 32 1.1/2.2 CLASS LIMITATION OF MODERN ART 1.1/2.2.1 ART OF FREEDOM ............................................................. 34 1.1/2.2.2 EFFORTS AT CLASS TRANSCENDENCE .................................. 35 1.1/2.2.3 DEPRESSION BACKLASH............................................ ....... 36 1.1/2.3 MARKET DECLINE AND POLITICAL STRUGGLE 1.1/2.3.1 QUEST FOR STATE SUPPORT ........................................ ....... 37 1.1/2.3.2 COORDINATION ......................................................... ....... 38 1.1/2.3.3 DELIVERY .................................................................. ....... 39 1.1/3 STATE INTERVENTION 1.1/3.1 POLITICAL STABILITY AND POPULIST APPEAL 1.1/3.1.1 POPULIST ART POLICY ................................................. ....... 41 1.1/3.1.2 CHALLENGE TO DEMOCRACY ....................................... ....... 42 1.1/3.1.3 ART WITH A MANDATE ....................................................... 43 1.1/3.2 PUBLIC BUILDING 1.1/3.2.1 POLITICAL ECONOMY AND ARCHITECTURAL POLICY ......... ....... 44 1.1/3.2.2 FROM URBANISM TO MONUMENTALISM ..................... .......45 1.1/3.2.3 TRADITIONAL VERSUS MODERN ARCHITECTURE ............. ....... 46 1.1/3.3 REVALIDATION OF TRADITIONAL ART 1.1/3.3.1 RECOIL FROM MODERN ART ...............................................48 1.1/3.3.2 RESTORATION AND ENFORCEMENT ..................................... 49 1.1/3.3.3 REALISM OR CLASSICISM .................................................50 I.2 / TOTALITARIAN ART POLICY 1.2/1 PROFESSIONAL ORGANIZATION AND POLITICAL CONTROL I. 2/1.1 STATE AND PARTY MANAGEMENT 1.2/1. I.I POLICY STRUCTURES ........................................................... 1.2/1.1.2 TOTALITARIAN ARTISTIC CULTURE ........................................... 1.2/1. I.3 CHRONOLOGY ..................................................................... I. 2/1.2 WORK UNDER CONTROL I.2/I.2.I ECONOMIC REGULATION ...................................................... I.2/I. 2.2 CONTROLLED DEBATE ........................................................... 1.2/1.2.3 STRUCTURAL CONFLICTS ........................................................ 1.2/1.3 REPUDIATION OF MODERN ART I.2/I.3.I STACKED COMPETITION ...................................................... I.2/I. 3.2 PUBLIC DISCRIMINATION ..................................................... I.2/I. 3.3 OPPRESSION ..................................................................... I.2/2 MOBILIZATION AND MONUMENTALLY I. 2/2.1 TOTALITARIAN CAPITALS I.2/2.I.I MONUMENTAL URBANISM .................................................. 1.2/2. I.2 STATE AND PARTY ALLOCATIONS ........................................... I.2/2.I.3 PEOPLE S REPRESENTATION ............................................... 1.2/2.2 MONUMENTALIZED MOBILIZATION I.2/2.2.I PSEUDO-PLEBISCITARY POLITICS ......................................... I.2/2. 2.2 GERMANY .......................................................................... 1.2/2.2.3 USSR ................................................................................ 1.2/2.3 PROJECTION INTO THE FUTURE I.2/2.3.I PLANNING AND STYLE ......................................................... 1.2/2.3.2 HYPERBOLIC BUILDING ........................................................ I.2/2. 3.3 MONUMENTAL TIMELINES .................................................. I.2/3 POLICY AND ACCOMPLISHMENT I. 2/3.1 SETTING STANDARDS I.2/3.I.I PARTIES AND POLICIES ........................................................ I.2/3.I.2 PARTIES VERSUS GOVERNMENTS ........................................ 1.2/3. I.3 DICTATORS INTERVENTIONS ................................................. I.2/3. 2 LIMITS OF ORGANIZATION I.2/3.2.I REACH OF CONTROL ............................................................. I.2/3. 2.2 EFFORTS AT INSTRUCTION ...................................................... 1.2/3.2.3 MARKET LICENSE ............................................................... I. 2/3.3 ASCENDANCY OF ELITES 1.2/3. 3.I FROM POPULISM TO ELITISM .............................................. 1.2/3.3.2 LEADERSHIP POSTURES ...................................................... I.2/3. 3.3 POWER, MONEY, SOCIAL STATUS .......................................... IS / DEMOCRATIC ART POLICY I.3/I FRANCE VERSUS GERMANY 1.3/1. I DISPARITY OF STATE SUPPORT 1.3/1. I.I FRENCH EQUITABILITY ...........................................................88 1.3/1. I.2 GERMAN IMBALANCE ........................................................... 89 1.3/1. I.3 COMPETITION IN REVERSE ...................................................90 1.3/1.2 POLITICAL DIVERGENCE, 1929-1934 I.3/I.2.I MODERN ART ON THE LEFT IN FRANCE ..................................... 91 1.3/1.2.2 TRADITIONAL ART ON THE RIGHT IN GERMANY .......................... 92 I.3/I. 2.3 PARTING WAYS ..................................................................... 93 I.3/I. 3 POLITICIZATION IN FRANCE, 1934-1936 1.3/1. 3.I MODERNIZING TRADITIONAL ART ............................................. 95 I.3/I. 3.2 MODERN ART IN POLITICAL OPPOSITION ................................... 96 I.3/I. 3.3 COMMUNIST ART PROGRAMS ................................................ 97 I.3/2 ART OF THE POPULAR FRONT I. 3/2.1 CAMPAIGNING WITH THE ARTS 1.3/2. I.I DEMOCRACY VERSUS DICTATORSHIP ...................................... 98 I.3/2.I.2 ART UNDER DEBATE ............................................................. 99 I.3/2.I.3 COMMUNIST LEADERSHIP ..................................................100 I.3/2. 2 FROM MOVEMENT TO GOVERNMENT 1.3/2. 2.I EXPANSIVE ART POLICY ....................................................... 101 1.3/2.2.2 SOCIAL PROGRESS AND CIVIL WAR .......................................103 I.3/2. 2.3 THE CIVIL WAR DIVIDE ........................................................ 104 1.3/2.3 MODERN ART IN COALITION 1.3/2. 3.I ALIGNING TRADITIONAL AND MODERN ART ............................ 105 I.3/2. 3.2 DEMOCRATIC COEXISTENCE ................................................ 106 1.3/2.3.3 MODERN FIGUREHEAD ARTISTS ......................................... 107 1.3/3 THE PARIS WORLD EXPOSITION OF 1937 I. 3/3.1 A DEMOCRATIC ENTERPRISE I.3/3.I.I PLANNING, CANCELLATION, RE-LAUNCH ............................... 108 1.3/3. I.2 LABBE S VISION ................................................................. 109 I.3/3.I.3 CLASSICAL ARCHITECTURE AND SOCIAL POLICY ....................... ILL 1.3/3.2 THE TOTALITARIAN CHALLENGE I.3/3.2.I FROM COMPETITION TO CONFRONTATION .............................. 112 I.3/3. 2.2 TOTALITARIAN PAVILIONS ...................................................... 113 I.3/3. 2.3 THE MONUMENTAL SCENARIO ............................................. 114 I.3/3. 3 THE POPULAR FRONT CONTRIBUTION 1.3/3. 3.I THE NEW POLITICAL AGENDA ............................................... 115 I.3/3. 3.2 PROPAGANDA BY TRADITIONAL ART ..................................... 116 I. 3/3.3 3 SHOWCASING MODERN ART ............................................... 117 54 55 56 57 58 60 61 62 63 64 65 66 68 69 70 71 72 73 74 76 77 78 79 80 81 82 84 2 IDEOLOGIES 2.1/ ART OF THE PEOPLE 2.1/1 POPULIST ART BY THE STATE 2. I/I.I THE QUEST FOR MASS ACCEPTANCE 2.1/1. I.I THE ISSUE OF ART FOR THE PEOPLE ...................................... 122 2.1/1. I.2 TOTALITARIAN MASS ART ..................................................... 123 2. I/I.I.3 PEOPLE S ART WITHOUT DEMOCRACY ................................... 124 2.1/1.2 ART BY AND FOR THE PEOPLE 2. I/I.2.I POPULAR ART AND PROFESSIONAL ART ................................... 125 2.1/1.2.2 PEOPLE S JUDGMENT ........................................................ 126 2.1/1.2.3 THE DEMOCRATIC ALTERNATIVE ........................................... 128 2. I/I. 3 TRADITIONAL ART FOR THE PEOPLE 2. I/I.3.I TRADITIONAL ART RIGHT AND LEFT ........................................ 129 2.1/1.3.2 TOTALITARIAN TRADITIONALISM ............................................ 130 2.1/1.3.3 POPULAR FRONT TRADITIONALISM ......................................... 131 2.1/2 NATIONALIST VERSUS INTERNATIONALIST ART 2.1/2.1 NATIONALIST ART IN A CLASSICAL STYLE 2. I/2.I.I COMPETITIVE CLASSICISM ................................................ 132 2. I/2.I.2 POWER CLASSICISM ......................................................................................... 133 2. I/2.I.3 POPULIST CLASSICISM ....................................................... 134 2. I/2. 2 INTERNATIONALISM UNDER ATTACK 2. I/2.2.I RESURGENT ANTI-INTERNATIONALISM ................................... 136 2.1/2.2.2 ANTI-IMPERIALISM, ANTI-SEMITISM, ANTI-BOLSHEVISM... 137 2.1/2.2.3 SPECIOUS CHARGES .......................................................... 138 2.1/2.3 THE FRENCH EQUATION 2. I/2.3.I LIMITS OF INTERNATIONALISM ............................................. 139 2.1/2.3.2 AGGRESSION OR COOPTATION ............................................. 140 2.1/2.3.3 SURREALIST INTERNATIONALISM ......................................... 141 2.1/3 TOTALITARIAN ENFORCEMENT 2.1/3.1 MASS BASE OF ART POLICY 2. I/3.I.I COMPARATIVE OVERVIEW .................................................. 142 2. I/3.I.2 USSR ............................................................................... 144 2. I/3.I.3 GERMANY......................................................................... 145 2. I/3. 2 PROPAGANDA ART 2. I/3.2.I FUNCTIONAL MISSION ......................................................... 146 2.1/3.2.2 THE FIVE-YEAR PLAN FOR THE ARTS ................................... 147 2.1/3.2.3 THE NATIONAL SOCIALIST ELECTION CAMPAIGN OF 1931 ........ 148 2. I/3. 3 POPULISM ENFORCED 2. I/3.3.I FROM AGITATION TO GUIDANCE ........................................... 149 2.1/3.3.2 POLICY CONSOLIDATION ....................................................... 150 2.1/3.3.3 POLITICAL ASSESSMENT ..................................................... 152 2.2/ REVOLUTIONARY ART 2.2/I APOGEE TO ECLIPSE 2.2/1. I THE FIRST WAVE OF REVOLUTIONARY ART 2.2/1. I.I MODERN ART OF REVOLUTIONARY REGIMES .........................156 2.2/I.I.2 RETREAT TO THE USSR ........................................................ 157 2. 2/I.I.3 FROM REVOLUTION TO MODERNIZATION ................................ 158 2. 2/I. 2 THE SECOND WAVE OF REVOLUTIONARY ART 2. 2/I.2.I REVOLUTION FROM ABOVE .................................................. 159 2.2/1.2.2 REVOLUTIONARY MOBILIZATION OF THE ARTS ......................... 160 2.2/1.2.3 CONSTRUCTION OR SUBVERSION ........................................ 161 2. 2/I. 3 ECLIPSE OF REVOLUTIONARY ART 2. 2/I.3.I RECOIL TO RHETORIC IN FRANCE........................................... 163 2.2/1.3.2 CLASS STRUGGLE OR DEFENSE OF THE REPUBLIC IN SPAIN... 164 2.2/1.3.3 SURREALIST INTRANSIGENCE ............................................... 165 2.2/2 FROM REVOLUTIONARY TO ANTI-FASCIST ART 2.2/2.1 ANACHRONISTIC DEBATE 2.2/2. I.I INCOMMENSURATE CONFRONTATION .................................... 166 2.2/2. I.2 HITLER S TARGET ................................................................ 167 2.2/2. I.3 THE DEGENERATE ART EXHIBITIONS .................................. 168 2.2/2 2 THE ANTI-FASCIST TURN 2.2/2. 2.I OVERVIEW ...................................................................... 170 2.2/2.22 FRANCE........................................................................... 171 2.2/2.2.3 SPAIN .............................................................................. 172 2.2/2.3 ANARCHIST RELAPSE 2.2/2. 3.I REVOLUTION WITHOUT POLITICS .......................................... 173 2.2/23.2 ANARCHISM IN SPAIN ........................................................ 174 2.2/2.3.3 THE MANIFESTO OF ANARCHIST ART .................................... 175 2.2/3 FROM REVOLUTIONARY ART TO WAR ART 2.2/3.1 MILITARISM VERSUS PACIFISM 2.2/3. I.I SOLDIERS REVOLUTIONS .................................................... 177 2.2/3. I.2 REVOLUTIONARY MILITARISM .............................................. 178 2.2/3. I.3 FROM REVOLUTION TO CIVIL WAR........................................ 179 2 2/3.2 MODERN ART, REVOLUTIONARY NO LONGER 2.2/3. 2.I FROM FUTURISM TO AEROPITTURA ....................................... 180 2.2/3.2.2 SURREALIST INTROVERSION .................................................. 181 2.2/3.2.3 BROKEN EQUATION ............................................................ 182 2.2/3.3 THE END OF REVOLUTIONARY ART 2.2/3.3.1 MILITARY ASCENDANCY ...................................................... 183 2.2/3.3.2 NO VENUE LEFT ................................................................. 184 2.2/3.3 3 REVOLUTIONARY ART OR ART FOR THE PEOPLE? ....................... 186 3 ARTISTS 2.3/ IDEOLOGIES AND POLICIES 3.1/ POLITICAL ACTIVITY 2.3/1 CONFRONTATION AND COEXISTENCE 3.1/1 POLITICAL ENGAGEMENT 2.3/1.1 UNCERTAIN ANTAGONISMS 3.1/1.1 POLITICAL POTENTIAL OF THE PUBLIC SPHERE 2.3/1.1.1 THREE-WAY CONFLICT .............................................. ......190 3.1/1.1.1 FROM OPINION TO ENGAGEMENT ............................. ...... 224 2.3/1.1.2 TWO-WAY CONFLICT .................................................. ...... 191 3.1/1.1.2 FROM MOVEMENT TO GOVERNMENT ........................... ......225 2.3/1.1.3 FROM REVOLUTIONARY ART TO ART OF THE PEOPLE ...... ...... 192 3.1/1.1.3 ACCEPTANCE OR REJECTION ...................................... ...... 226 2.3/1.2 CHANGES OF ART POLICY 3.1/1.2 ENGAGEMENT FOR REVOLUTION 2.3/1.2.1 USSR 1: FROM ACTIVISM TO CONTENTMENT .............. ...... 193 3.1/1.2.1 FROM A FUTURIST TO THE FASCIST PARTY ..................... ...... 227 2.3/1.2.2 USSR II: SOCIALIST REALISM ..................................... ...... 194 3.1/1.2.2 PROLETKULT VERSUS FUTURIST ART IN THE USSR ........ ...... 228 2.3/1.2.3 GERMANY, ITALY, FRANCE ......................................... ......195 3.1/1.2.3 FAILED REVOLUTION IN GERMANY .............................. ......230 2.3/1.3 DECEPTIVE ALIGNMENTS 3.1/1.3 ENGAGEMENT DURING THE DEPRESSION 2.3/1.3.1 GENERAL ................................................................. ...... 197 3.1/1.3.1 GENERAL .................................................................. ...... 231 2.3/1.3.2 USSR AND GERMANY .............................................. ......198 3.1/1.3.2 GERMANY................................................................. ...... 232 2.3/1.3.3 GERMANY AND FRANCE ............................................ ...... 199 3.1/1.3.3 FRANCE.................................................................... ...... 233 2.3/2 DISORIENTED ARTISTS 3.1/2 TOTALITARIAN SERVICE 2.3/2.1 PAVEL FILONOV AND OSKAR SCHLEMMER 3.1/2.1 ARTISTS IN OFFICE 2.3/2.1.1 REJECTED BY THE REGIME ....................................... ...... 200 3.1/2.1.1 ORGANIZED LEADERSHIP .......................................... ...... 234 2.3/2.1.2 PAINTING AND TEACHING.......................................... ......201 3.1/2.1.2 STRUCTURAL PREMISES .............................................. ......236 2.3/2.1.3 REJECTION OF CONFORMITY ....................................... ......202 3.1/2.1.3 ENACTMENT OF AUTHORITY ......................................... ...... 237 2.3/2.2 GERT ARNTZ 3.1/2.2 RISING TO SERVE 2.3/2.2.1 SCHEMES OF DECEPTION ......................................... ...... 204 3.1/2.2.1 ITALY ........................................................................ .....238 23/2.2.2 FROM STATISTICS TO CARTOON .................................. ...... 205 3.1/2.2.2 USSR ....................................................................... ..... 239 2.3/2.23 UNCERTAIN CONFRONTATIONS ................................... ...... 206 3.1/2.2.3 GERMANY................................................................. ......240 23/2.3 LE CORBUSIER 3.1/2.3 ENFORCING CONFORMITY 2.3/2.3.1 THE SEARCH FOR POLITICAL BACKING .......................... ...... 207 3.1/2.3.1 DEGREES OF DISCIPLINE ................................................. 241 2.3/2.3.2 SOVIET DISILLUSION .................................................. ...... 208 3.1/2.3.2 ALABIAN S TENUOUS LEADERSHIP ............................. ...... 242 2.3/2.3.3 MARGINALIZED BY THE POPULAR FRONT ...................... ......210 3.1/2.3.3 ZIEGLER AND HIS COHORT ............................................... 244 2.3/3 THE LEFT AT A LOSS 3.1/3 DEFERRING TO DEMOCRACY 2.3/3.1 THE SHIFTING SOVIET PARADIGM 3.1/3.1 ARTISTS IN DEMOCRATIC GOVERNMENT 2.3/3.1.1 THE TURNS OF SOVIET POLICY ......................................... 211 3.1/3.1.1 THE PRECEDENTS OF DAVID AND COURBET ................. .....245 2.3/3.1.2 SOVIET ART ABROAD ......................................................212 3.1/3.1.2 FRANCE.........................................................................246 2.3/3.1.3 SOVIET ART BEYOND EMULATION ............................... ......213 3.1/3.1.3 SPAIN ............................................................................ 247 2.3/3.2 ARAGON VERSUS BRETON 3.1/3.2 POPULAR FRONT DEMOCRACY 2.3/3.2.1 LOUIS ARAGON ......................................................... ...... 214 3.1/3.2.1 ALLEGIANCE AND OPPORTUNITY .......................................248 2.3/3.2.2 ANDRE BRETON ........................................................ ......216 3.1/3.2.2 FROM MOVEMENT TO GOVERNMENT ........................... ..... 249 2.3/3.2.3 THE CLASH ............................................................... ...... 217 3.1/3.2.3 AN ARTIST LEFT BEHIND .................................................. 251 2.3/3.3 GEORGE GROSZ IN EXILE 3.1/3.3 POLITICAL OVEREXTENSION 2.3/3.3.1 THE CONFLICT WITH THE COMMUNIST PARTY .................... 218 3.1/3.3.1 LE CORBUSIER S QUEST FOR AUTHORITY .................... ..... 252 2.3/3.3.2 THE TOTALITARIAN EQUATION ..................................... ...... 219 3.1/3.3.2 BRETON S STRUGGLE WITH THE COMMUNIST PARTY ...........253 2.3/3.3.3 THE TROTSKYIST QUANDARY ...................................... ...... 220 3.1/3.3.3 RECOIL TO ANARCHISM .............................................. ..... 254 3.2/ POLITICAL OPPRESSION 3.3/ POLITICAL RESISTANCE 3.2/1 THE TOTALITARIAN OPPRESSION OF MODERN ART 3.3/1 FROM DISSENT TO RESISTANCE 3.2/1.1 THE DISCRIMINATION OF MODERN ART 3.3/1.1 GENERAL 3.2/1.1.1 STRUCTURAL ANTAGONISM ............................................ .. 258 3.3/1.1.1 FIELDS OF CONFLICT .............................................. ............ 292 3.2/1.1.2 PREFERENCE FOR TRADITIONAL ARTISTS ........................... .. 259 3.3/1.1.2 MODERN RESISTANCE?........................................ ............293 3.2/1.1.3 MODERN ARTISTS BID FOR ACCEPTANCE ......................... .. 260 3.3/1.1.3 AGAINST TOTALITARIAN OPPRESSION ..................... ............ 294 3.2/1.2 POLITICAL ECONOMY 3.3/1.2 SOVIET ARTISTS RESISTANCE 3.2/1.2.1 POLITICAL SUPPORT AND POLITICAL CONTROL ..................... .. 261 3.3/1.2.1 THE PRESSURE OF ORTHODOXY ............................ ............295 3.2/1.2.2 POLITICAL MARKET REGULATION ....................................... .. 262 3.3/1.2.2 MALEVICH AND FILONOV ....................................... ............296 3.2/1.2.3 TOTALITARIAN MARKET CONTROL ..................................... .. 263 3.3/1.2.3 CHRONOLOGY ...................................................... ............ 297 3.2/1.3 FROM REJECTION TO OPPRESSION 3.3/1.3 FIGHTING HITLER S ASCENDANCY 3.2/1.3.1 CHRONOLOGY ............................................................... .. 265 3.3/1.3.1 TO STEM THE TIDE .............................................. ............298 3.2/1.3.2 SUCCESS AND FAILURE OF ACCOMMODATION ................. .. 266 3.3/1.3.2 A. PAUL WEBER S WORK FOR RESISTANCE ........................ 299 3.2/1.3.3 MEASURES OF ENFORCEMENT ........................................ .. 267 3.3/1.3.3 HEARTFIELD, PARTY ARTIST ............................................... 300 3.2/2 USSR AND GERMANY 3.3/2 SUBVERSION AT HOME 3.2/2.1 PROTAGONISTS OF OPPRESSION 3.3/2.1 GOING UNDERGROUND 3.2/2.1.1 SIMILARITIES AND DIFFERENCES .................................... .. 268 3.3/2.1.1 OPPORTUNITIES FOR DISSENT ............................................ 302 3.2/2.1.2 ANTI-MODERN EXHIBITIONS .......................................... .. 269 3.3/2.1.2 DIVERSE RESISTANCE .....................................................303 3.2/2.1.3 IDEOLOGICAL CHARGES ................................................. .. 270 3.3/2.1.3 MIDDLE-CLASS DISSENT ...................................................304 3.2/22 CHRONOLOGY 3.3/2.2 RESISTANCE FROM THE LEFT 3.2/2.2.1 ADJUSTMENT AND REJECTION ........................................ .. 271 3.3/2.2.1 HANS GRUNDIG .............................................................. 306 3.2/2.2.2 BEFORE 1936 .............................................................. .. 273 3.3/2.2.2 LEA GRUNDIG ................................................................. 307 3.2/2.23 AFTER 1936 .................................................................. .. 274 3.3/2.23 KATHE KOLLWITZ .................................................. ............ 308 3.2/2.3 CLAMPDOWN AND RECALCITRANCE 3.3/23 HIDDEN PICTURES 3.2/2.3.1 CONTENTIOUS OPPRESSION .......................................... .. 275 3.3/2.3.1 MAGNUS ZELLER S TOTAL STATE ........................................ 309 3.2/23.2 LEONIDOV AND FILONOV, VILLAINS OF SOVIET ART POLICY... .. 276 3.3/2.3.2 OTTO DIX FLANDERS ........................................... ............ 310 3.2/2.3.3 BARLACH S AND NOLDE S REJECTED CONFORMITY ............ .. 277 3.3/2.3.3 RUDOLF SCHLICHTER S BLIND POWER ................................. 311 3.2/3 EMIGRATION AND EXILE 3.3/3 POLEMICS FROM ABROAD 3.2/3.1 THE NECESSITY TO EMIGRATE 3.3/3.1 PRINTED PROPAGANDA 3.2/3.1.1 INTERNATIONAL PROSPECTS ........................................... .. 278 3.3/3.1.1 PUBLIC LIMITS .................................................... ............ 312 3.2/3.1.2 GERMAN EXODUS ........................................................ .. 279 3.3/3.1.2 GRAPHIC IMAGERY .............................................. ............ 314 3.2/3.1.3 WORKING ABROAD ........................................................ .. 280 3.3/3.1.3 CLEMENT MOREAU .............................................. ............ 314 3.2/3.2 ORGANIZING ABROAD 3.3/3.2 JOHN HEARTFIELD S WAR AGAINST HITLER 3.2/3.2.1 POLITICAL OR UNPOLITICAL ............................................... .. 282 3.3/3.2.1 ACTIVITIES IN PRAGUE ......................................... ............ 316 3.2/3.2.2 POLITICIZATION ............................................................. .. 283 3.3/3.2.2 PROVOKING THE REGIME .................................... ............ 317 3.2/3.2.3 THE GERMAN ARTISTS LEAGUE .................................. .. 284 3.3/3.2.3 INTERNATIONAL FAME .......................................... ............318 3.2/3.3 THE NEW BURLINGTON GALLERY SHOW 3.3/3.3 OSKAR KOKOSCHKA S LEADERSHIP 3.2/3.3.1 CONFLICTS OF ORGANIZATION .......................................... .. 285 3.3/3.3.1 THE TURN TO POLITICS ......................................... ............ 319 3.2/33.2 MAX BECKMANN S PROMINENCE .................................. .. 286 3.3/3.3.2 POLITICAL WRITINGS .............................................. ............320 3.2/3.3.3 READ S CHALLENGE TO HITLER ........................................ .. 287 3.3/3.3.3 TESTIMONIAL PAINTINGS ..................................... ............ 321 4 TOWARD WAR 4.1/ ART POLICY AND WAR POLICY 4.1/1 GERMAN ART SUPREME A . I/I.I BUILDING AND REARMAMENT 4.1/1. I.I THE CAPITAL OF FUTURE CONQUEST ..................................... 326 4. I/I.I.2 ARCHITECTURE OF AGGRESSION ..........................................327 4. I/I.I.3 ARCHITECTURAL WAR POLICY ............................................... 328 4. I/I. 2 HITLER S ART STRATEGY 4. I/I.2.I FROM IDEOLOGY TO POLICY .................................................329 4.1/1.2.2 ART POLICY FOR WAR ........................................................... 330 4.1/1.2.3 ALBERT SPEER .................................................................. 332 4.1/1.3 WAR ART BEFORE THE WAR 4. I/I.3.I GUARDED WAR PROPAGANDA ............................................. 333 4.1/1.3.2 ANOTHER WAR ................................................................... 334 4.1/1.3.3 HARDSHIP AND ENDURANCE .............................................. 335 4.1/2 TOTALITARIAN DISPARITIES 4.1/2.1 PREPARED OR UNPREPARED FOR WAR 4. I/2.I.I OVERVIEW ........................................................................ 336 4. I/2.I.2 INTER-WAR CULTURE ......................................................... 337 4. I/2.I.3 WAR OBJECTIVES ............................................................... 339 4. I/2. 2 ART OF PAX ROMANA 4. I/2.2.I MEMORIALS OF THE FIRST WORLD WAR ................................. 340 4.1/2.2.2 ART OF THE AFRICAN CONQUEST ...........................................341 4.1/2.2.3 EMPIRE OF PEACE ............................................................. 342 4.1/2.3 DEFENSE OF SOCIALISM 4.1/2.3. I FROM CAPITALIST ENCIRCLEMENT TO THE GERMAN THREAT.. 343 4.1/2.3.2 A PEOPLE S ARMY AT PEACE .............................................. 344 4.1/2.3.3 READINESS AT RISK ........................................................... 345 4.1/3 DEFENSE OF DEMOCRACY 4.1/3.1 FRANCE 4. I/3.I.I THE MAGINOT MENTALITY ................................................... 346 4. I/3.I.2 LANDOWSKI S FANTOMES ................................................... 347 4. I/3.I.3 BOUCHARD S MONUMENT AT MONDEMENT ......................... 348 4. I/3. 2 SPAIN 4. I/3.2.I A WAR POLICY FOR THE ARTS ............................................... 350 4.1/3.2.2 THE PAVILION OF WAR.........................................................351 4.1/3.2.3 CIVIL WAR PHOTOGRAPHY ................................................... 352 4. I/3. 3 FROM DEFIANCE TO DESPONDENCY 4. I/3.3.I WAR POLICY VERSUS SOCIAL POLICY ...................................... 353 4.1/3.3.2 THE NUMANCIA SYNDROME .............................................. 354 4.1/3.3.3 DEMOCRATIC VERSUS TOTALITARIAN WAR ART ...................... 356 4.2/ THE LAST STAND OF REVOLUTIONARY ART 4.2/1 REVOLUTIONARIES TO THE END 4.2/1. I RIVERA THE HOST 4. 2/I.I.I ARRANGING THE MEETING ................................................... 360 4. 2/I.I.2 THE AUTHENTIC REVOLUTIONARY ARTIST ............................. 361 4. 2/I.I.3 RIVERA S CONTROVERSIAL CAREER ...................................... 362 4. 2/I. 2 TROTSKY THE LEADER 4. 2/I.2.I MODERN ART AND REVOLUTION ............................................ 363 4.2/1.2.2 AUTHORITY AND INDEPENDENCE ........................................ 364 4.2/1.2.3 ANOTHER AVANT-GARDE .................................................... 365 4. 2/I. 3 BRETON THE SCRIBE 4. 2/I.3.I THE REVOLUTIONARY HABIT ................................................. 367 4. 2/I. 3.2 CLASS LIMITATION OF INDEPENDENCE ................................ 368 4.2/1.3.3 BRETON S TROTSKYISM .......................................................369 4.2/2 THE MANIFESTO 4.2/2.1 STRUCTURED DIGEST OF QUOTATIONS FROM THE TEXT 4.2/2. I.I THE HISTORIC MOMENT ...................................................... 370 4.2/2. I.2 SUBJECTIVE REVOLUTION ..................................................... 371 4.2/2. I.3 A NEW ORGANIZATION ...................................................... 371 4.2/2.2 INTERNAL ANALYSIS 4.2/2. 2.I AGAINST ALL POLITICAL SYSTEMS .......................................... 372 4.2/2.2.2 A COMMUNIST DEMOCRACY ............................................... 373 4.2/2.2.3 ANARCHISM AND PSYCHOANALYSIS ................................... 374 4.2/2.3 COLLABORATIVE WRITING 4.2/2. 3.I BRETON S TEXTS ................................................................. 375 4.2/2 3.2 THE BLEND ....................................................................... 376 4.2/2.3.3 TROTSKY S EDITORIAL WORK ................................................. 377 4.2/3 HISTORICAL CRITIQUE 4.2/3.1 AN ARTISTS GROUP IN A NO-MAN S LAND 4.2/3. I.I AGAINST THE POPULAR FRONT ............................................. 378 4.2/3. I.2 FROM ANARCHISM TO SOLITUDE .......................................... 380 4.2/3. I.3 POLITICAL NO-MAN S LAND .................................................381 4.2/3.2 SELF-CONTRADICTION AND SELF-DELUSION 4.2/3. 2.I DELUSIONS OF THE PUBLIC SPHERE .....................................382 4.2/3.2.2 CONCEALED LEADERSHIP ................................................... 383 4.2/3.2.3 CIRCULAR REASONING ........................................................ 384 4 2/3.3 TOO LATE 4.2/3. 3.I FIARI S FAILURE ................................................................ 385 4.2/3.3.2 RIVERA S DEFECTION .......................................................... 386 4.2/3.3.3 MASSON VERSUS PICASSO.................................................. 388 4.3/ TRADITIONAL VERSUS MODERN ART REVISITED 4.3/1 VIEW FROM THE USA 4.3/1.1 THE NEW YORK WORLD FAIR OF 1939 4. 3/I.I.I MONUMENTALIZATION OF DEMOCRACY .............................. 4. 3/I.I.2 RECONFIGURATION OF PAVILIONS ........................................ 4. 3/I.I.3 THE UNBUILT GERMAN FREEDOM PAVILION ..................... 4. 3/I. 2 STATE ART OF DEMOCRACY 4. 3/I.2.I STATE SUPPORT FOR THE ARTS ........................................... 4.3/1.2.2 CONTROVERSIAL ENACTMENT ........................................... 4.3/1.2.3 POLITICAL CLOSURE ......................................................... 4. 3/I. 3 THE DEMOCRATIC INVESTITURE OF MODERN ART 4. 3/I.3.I TRADITIONAL AND MODERN ART AT THE NEW YORK WORLD FAIR . 4.3/1.3.2 MOMA S EXHIBITION ART IN OUR TIME ........................... 4.3/1.3.3 RECOIL FROM POLITICS ..................................................... 4.3/2 POLITICAL ASCENDANCY OF TRADITIONAL ART 4.3/2. I THE ARROGANCE OF TRADITION 4.3/2. I.I THE TOTALITARIAN ACHIEVEMENT ..................................... 4.3/2. I.2 DEMOCRATIC DIFFIDENCE ................................................. 4. 3/2.I. 3 THE INTERNATIONAL SUCCESS OF TOTALITARIAN ART ............. 4.3/2.2 ACCELERATED MASTERWORKS 4.3/2. 2.I THE MOSCOW SUBWAY .................................................... 4.3/2.2.2 THE NEW REICH CHANCELLERY IN BERLIN ........................... 4.3/2.2.3 THE SITE OF THE E42 ....................................................... 4.3/2 3 THE END OF POLITICAL CONFRONTATION 4.3/2.3.1 BALANCE SHEET .............................................................. 4.3/2.3 2 THE WORLD EXPOSITION OF TRUCE ................................... 4.3/2 3.3 THE WORLD EXPOSITION OF FASCISM ................................ 4.3/3 THE POLITICAL MARGINALIZATION OF MODERN ART 4.3/3.1 INTERNATIONAL SURVEY 4.3/3. I.I THE TOTALITARIAN CHALLENGE........................................... 4.3/3.I.2 IDEOLOGICAL DEFINITIONS ................................................ 4.3/3. I.3 THE ANTI-FASCIST CACHET ............................................... 4 3/3.2 THE POPULAR FRONT S SUPPORT OF MODERN ART 4.3/3. 2.I GOVERNMENT POLICY ....................................................... 4.3/3.2.2 COMMUNIST RELUCTANCE ................................................ 4.3/3.2.3 FRENCH ACCOMPLISHMENTS ........................................... 4.3/3 3 MODERN ARTISTS ON THEIR OWN 4.3/3. 3.I RECOIL ONTO SELF-ORIENTATION ........................................ 4.3/3.3 2 THE LAST ISSUE OF MINOTAURE ....................................... 4.3/33.3 DALI, MASSON, PICASSO ................................................. PLATES MONUMENTAL SCULPTURES AT THE PARIS WORLD EXPOSITION 1937 .................................................................426 ANTONIO RODRIGUEZ LUNA, DRAWINGS PUBLISHED ON BEHALF OF THE SPANISH GOVERNMENT .............................. 434 HIDDEN PICTURES OF POLITICAL RESISTANCE ........................... 446 PAUL LANDOWSKI S WAR MONUMENT ..................................... 458 NOTES ................................................................................ 470 REPEATEDLY CITED WORKS .................................................... 480 INDEX OF NAMES .................................................................. 482 392 393 394 395 396 398 399 400 401 402 403 405 406 407 408 409 410 412 413 414 415 416 417 418 419 421 422
adam_txt	CONTENT 1 POLICIES TRADITIONAL VERSUS MODERN ART PREFACE 14 1.1/1 STRUCTURAL CONFLICT RELATED PUBLICATIONS . . 16 1.1/1.1 MODERNIZATION AND TRADITION 1.1/1.1.1 DECLINING SELF-ADJUSTMENT . . 20 1.1/1.1.2 UPPER MIDDLE-CLASS ART POLICIES . 21 1.1/1.1.3 THE CRISIS OF THE DEPRESSION . . 22 1.1/1.2 POLITICAL STABILIZATION AND SOCIAL EMANCIPATION 1.1/1.2.1 ENDURING DISPARITY . . 23 1.1/1.2.2 ART OF DISSENT . 24 1.1/1.2.3 DEPRESSION SHOWDOWN . . 25 1.1/1.3 THE AVANT-GARDE IDEAL 1.1/1.3.1 FROM LEADERSHIP TO NONCONFORMITY . . 27 1.1/1.3.2 AESTHETIC TRANSPOSITION . . 28 1.1/1.3.3 POST-WAR RISE AND FALL . . 29 1.1/2 POLITICAL COMPETITION 1.1/2.1 ARTISTIC AND POLITICAL CULTURE 1.1/2.1.1 ART IN THE PUBLIC SPHERE . 30 1.1/2.1.2 MODERN ART ON THE LEFT . . 31 1.1/2.1.3 POLITICIZATION . . 32 1.1/2.2 CLASS LIMITATION OF MODERN ART 1.1/2.2.1 ART OF FREEDOM . 34 1.1/2.2.2 EFFORTS AT CLASS TRANSCENDENCE . 35 1.1/2.2.3 DEPRESSION BACKLASH. . 36 1.1/2.3 MARKET DECLINE AND POLITICAL STRUGGLE 1.1/2.3.1 QUEST FOR STATE SUPPORT . . 37 1.1/2.3.2 COORDINATION . . 38 1.1/2.3.3 DELIVERY . . 39 1.1/3 STATE INTERVENTION 1.1/3.1 POLITICAL STABILITY AND POPULIST APPEAL 1.1/3.1.1 POPULIST ART POLICY . . 41 1.1/3.1.2 CHALLENGE TO DEMOCRACY . . 42 1.1/3.1.3 ART WITH A MANDATE . 43 1.1/3.2 PUBLIC BUILDING 1.1/3.2.1 POLITICAL ECONOMY AND ARCHITECTURAL POLICY . . 44 1.1/3.2.2 FROM URBANISM TO MONUMENTALISM . .45 1.1/3.2.3 TRADITIONAL VERSUS MODERN ARCHITECTURE . . 46 1.1/3.3 REVALIDATION OF TRADITIONAL ART 1.1/3.3.1 RECOIL FROM MODERN ART .48 1.1/3.3.2 RESTORATION AND ENFORCEMENT . 49 1.1/3.3.3 REALISM OR CLASSICISM .50 I.2 / TOTALITARIAN ART POLICY 1.2/1 PROFESSIONAL ORGANIZATION AND POLITICAL CONTROL I. 2/1.1 STATE AND PARTY MANAGEMENT 1.2/1. I.I POLICY STRUCTURES . 1.2/1.1.2 TOTALITARIAN ARTISTIC CULTURE . 1.2/1. I.3 CHRONOLOGY . I. 2/1.2 WORK UNDER CONTROL I.2/I.2.I ECONOMIC REGULATION . I.2/I. 2.2 CONTROLLED DEBATE . 1.2/1.2.3 STRUCTURAL CONFLICTS . 1.2/1.3 REPUDIATION OF MODERN ART I.2/I.3.I STACKED COMPETITION . I.2/I. 3.2 PUBLIC DISCRIMINATION . I.2/I. 3.3 OPPRESSION . I.2/2 MOBILIZATION AND MONUMENTALLY I. 2/2.1 TOTALITARIAN CAPITALS I.2/2.I.I MONUMENTAL URBANISM . 1.2/2. I.2 STATE AND PARTY ALLOCATIONS . I.2/2.I.3 PEOPLE'S REPRESENTATION . 1.2/2.2 MONUMENTALIZED MOBILIZATION I.2/2.2.I PSEUDO-PLEBISCITARY POLITICS . I.2/2. 2.2 GERMANY . 1.2/2.2.3 USSR . 1.2/2.3 PROJECTION INTO THE FUTURE I.2/2.3.I PLANNING AND STYLE . 1.2/2.3.2 HYPERBOLIC BUILDING . I.2/2. 3.3 MONUMENTAL TIMELINES . I.2/3 POLICY AND ACCOMPLISHMENT I. 2/3.1 SETTING STANDARDS I.2/3.I.I PARTIES AND POLICIES . I.2/3.I.2 PARTIES VERSUS GOVERNMENTS . 1.2/3. I.3 DICTATORS' INTERVENTIONS . I.2/3. 2 LIMITS OF ORGANIZATION I.2/3.2.I REACH OF CONTROL . I.2/3. 2.2 EFFORTS AT INSTRUCTION . 1.2/3.2.3 MARKET LICENSE . I. 2/3.3 ASCENDANCY OF ELITES 1.2/3. 3.I FROM POPULISM TO ELITISM . 1.2/3.3.2 LEADERSHIP POSTURES . I.2/3. 3.3 POWER, MONEY, SOCIAL STATUS . IS / DEMOCRATIC ART POLICY I.3/I FRANCE VERSUS GERMANY 1.3/1. I DISPARITY OF STATE SUPPORT 1.3/1. I.I FRENCH EQUITABILITY .88 1.3/1. I.2 GERMAN IMBALANCE . 89 1.3/1. I.3 COMPETITION IN REVERSE .90 1.3/1.2 POLITICAL DIVERGENCE, 1929-1934 I.3/I.2.I MODERN ART ON THE LEFT IN FRANCE . 91 1.3/1.2.2 TRADITIONAL ART ON THE RIGHT IN GERMANY . 92 I.3/I. 2.3 PARTING WAYS . 93 I.3/I. 3 POLITICIZATION IN FRANCE, 1934-1936 1.3/1. 3.I MODERNIZING TRADITIONAL ART . 95 I.3/I. 3.2 MODERN ART IN POLITICAL OPPOSITION . 96 I.3/I. 3.3 COMMUNIST ART PROGRAMS . 97 I.3/2 ART OF THE POPULAR FRONT I. 3/2.1 CAMPAIGNING WITH THE ARTS 1.3/2. I.I DEMOCRACY VERSUS DICTATORSHIP . 98 I.3/2.I.2 ART UNDER DEBATE . 99 I.3/2.I.3 COMMUNIST LEADERSHIP .100 I.3/2. 2 FROM MOVEMENT TO GOVERNMENT 1.3/2. 2.I EXPANSIVE ART POLICY . 101 1.3/2.2.2 SOCIAL PROGRESS AND CIVIL WAR .103 I.3/2. 2.3 THE CIVIL WAR DIVIDE . 104 1.3/2.3 MODERN ART IN COALITION 1.3/2. 3.I ALIGNING TRADITIONAL AND MODERN ART . 105 I.3/2. 3.2 DEMOCRATIC COEXISTENCE . 106 1.3/2.3.3 MODERN FIGUREHEAD ARTISTS . 107 1.3/3 THE PARIS WORLD EXPOSITION OF 1937 I. 3/3.1 A DEMOCRATIC ENTERPRISE I.3/3.I.I PLANNING, CANCELLATION, RE-LAUNCH . 108 1.3/3. I.2 LABBE'S VISION . 109 I.3/3.I.3 CLASSICAL ARCHITECTURE AND SOCIAL POLICY . ILL 1.3/3.2 THE TOTALITARIAN CHALLENGE I.3/3.2.I FROM COMPETITION TO CONFRONTATION . 112 I.3/3. 2.2 TOTALITARIAN PAVILIONS . 113 I.3/3. 2.3 THE MONUMENTAL SCENARIO . 114 I.3/3. 3 THE POPULAR FRONT CONTRIBUTION 1.3/3. 3.I THE NEW POLITICAL AGENDA . 115 I.3/3. 3.2 PROPAGANDA BY TRADITIONAL ART . 116 I. 3/3.3 3 SHOWCASING MODERN ART . 117 54 55 56 57 58 60 61 62 63 64 65 66 68 69 70 71 72 73 74 76 77 78 79 80 81 82 84 2 IDEOLOGIES 2.1/ ART OF THE PEOPLE 2.1/1 POPULIST ART BY THE STATE 2. I/I.I THE QUEST FOR MASS ACCEPTANCE 2.1/1. I.I THE ISSUE OF ART FOR THE PEOPLE . 122 2.1/1. I.2 TOTALITARIAN MASS ART . 123 2. I/I.I.3 PEOPLE'S ART WITHOUT DEMOCRACY . 124 2.1/1.2 ART BY AND FOR THE PEOPLE 2. I/I.2.I POPULAR ART AND PROFESSIONAL ART . 125 2.1/1.2.2 PEOPLE'S JUDGMENT . 126 2.1/1.2.3 THE DEMOCRATIC ALTERNATIVE . 128 2. I/I. 3 TRADITIONAL ART FOR THE PEOPLE 2. I/I.3.I TRADITIONAL ART RIGHT AND LEFT . 129 2.1/1.3.2 TOTALITARIAN TRADITIONALISM . 130 2.1/1.3.3 POPULAR FRONT TRADITIONALISM . 131 2.1/2 NATIONALIST VERSUS INTERNATIONALIST ART 2.1/2.1 NATIONALIST ART IN A CLASSICAL STYLE 2. I/2.I.I COMPETITIVE CLASSICISM . 132 2. I/2.I.2 POWER CLASSICISM . 133 2. I/2.I.3 POPULIST CLASSICISM . 134 2. I/2. 2 INTERNATIONALISM UNDER ATTACK 2. I/2.2.I RESURGENT ANTI-INTERNATIONALISM . 136 2.1/2.2.2 ANTI-IMPERIALISM, ANTI-SEMITISM, ANTI-BOLSHEVISM. 137 2.1/2.2.3 SPECIOUS CHARGES . 138 2.1/2.3 THE FRENCH EQUATION 2. I/2.3.I LIMITS OF INTERNATIONALISM . 139 2.1/2.3.2 AGGRESSION OR COOPTATION . 140 2.1/2.3.3 SURREALIST INTERNATIONALISM . 141 2.1/3 TOTALITARIAN ENFORCEMENT 2.1/3.1 MASS BASE OF ART POLICY 2. I/3.I.I COMPARATIVE OVERVIEW . 142 2. I/3.I.2 USSR . 144 2. I/3.I.3 GERMANY. 145 2. I/3. 2 PROPAGANDA ART 2. I/3.2.I FUNCTIONAL MISSION . 146 2.1/3.2.2 THE FIVE-YEAR PLAN FOR THE ARTS . 147 2.1/3.2.3 THE NATIONAL SOCIALIST ELECTION CAMPAIGN OF 1931 . 148 2. I/3. 3 POPULISM ENFORCED 2. I/3.3.I FROM AGITATION TO GUIDANCE . 149 2.1/3.3.2 POLICY CONSOLIDATION . 150 2.1/3.3.3 POLITICAL ASSESSMENT . 152 2.2/ REVOLUTIONARY ART 2.2/I APOGEE TO ECLIPSE 2.2/1. I THE FIRST WAVE OF REVOLUTIONARY ART 2.2/1. I.I MODERN ART OF REVOLUTIONARY REGIMES .156 2.2/I.I.2 RETREAT TO THE USSR . 157 2. 2/I.I.3 FROM REVOLUTION TO MODERNIZATION . 158 2. 2/I. 2 THE SECOND WAVE OF REVOLUTIONARY ART 2. 2/I.2.I REVOLUTION FROM ABOVE . 159 2.2/1.2.2 REVOLUTIONARY MOBILIZATION OF THE ARTS . 160 2.2/1.2.3 CONSTRUCTION OR SUBVERSION . 161 2. 2/I. 3 ECLIPSE OF REVOLUTIONARY ART 2. 2/I.3.I RECOIL TO RHETORIC IN FRANCE. 163 2.2/1.3.2 CLASS STRUGGLE OR DEFENSE OF THE REPUBLIC IN SPAIN. 164 2.2/1.3.3 SURREALIST INTRANSIGENCE . 165 2.2/2 FROM REVOLUTIONARY TO ANTI-FASCIST ART 2.2/2.1 ANACHRONISTIC DEBATE 2.2/2. I.I INCOMMENSURATE CONFRONTATION . 166 2.2/2. I.2 HITLER'S TARGET . 167 2.2/2. I.3 THE 'DEGENERATE ART' EXHIBITIONS . 168 2.2/2 2 THE ANTI-FASCIST TURN 2.2/2. 2.I OVERVIEW . 170 2.2/2.22 FRANCE. 171 2.2/2.2.3 SPAIN . 172 2.2/2.3 ANARCHIST RELAPSE 2.2/2. 3.I REVOLUTION WITHOUT POLITICS . 173 2.2/23.2 ANARCHISM IN SPAIN . 174 2.2/2.3.3 THE MANIFESTO OF ANARCHIST ART . 175 2.2/3 FROM REVOLUTIONARY ART TO WAR ART 2.2/3.1 MILITARISM VERSUS PACIFISM 2.2/3. I.I SOLDIERS' REVOLUTIONS . 177 2.2/3. I.2 REVOLUTIONARY MILITARISM . 178 2.2/3. I.3 FROM REVOLUTION TO CIVIL WAR. 179 2 2/3.2 MODERN ART, REVOLUTIONARY NO LONGER 2.2/3. 2.I FROM FUTURISM TO AEROPITTURA . 180 2.2/3.2.2 SURREALIST INTROVERSION . 181 2.2/3.2.3 BROKEN EQUATION . 182 2.2/3.3 THE END OF REVOLUTIONARY ART 2.2/3.3.1 MILITARY ASCENDANCY . 183 2.2/3.3.2 NO VENUE LEFT . 184 2.2/3.3 3 REVOLUTIONARY ART OR ART FOR THE PEOPLE? . 186 3 ARTISTS 2.3/ IDEOLOGIES AND POLICIES 3.1/ POLITICAL ACTIVITY 2.3/1 CONFRONTATION AND COEXISTENCE 3.1/1 POLITICAL ENGAGEMENT 2.3/1.1 UNCERTAIN ANTAGONISMS 3.1/1.1 POLITICAL POTENTIAL OF THE PUBLIC SPHERE 2.3/1.1.1 THREE-WAY CONFLICT . .190 3.1/1.1.1 FROM OPINION TO ENGAGEMENT . . 224 2.3/1.1.2 TWO-WAY CONFLICT . . 191 3.1/1.1.2 FROM MOVEMENT TO GOVERNMENT . .225 2.3/1.1.3 FROM REVOLUTIONARY ART TO ART OF THE PEOPLE . . 192 3.1/1.1.3 ACCEPTANCE OR REJECTION . . 226 2.3/1.2 CHANGES OF ART POLICY 3.1/1.2 ENGAGEMENT FOR REVOLUTION 2.3/1.2.1 USSR 1: FROM ACTIVISM TO CONTENTMENT . . 193 3.1/1.2.1 FROM A FUTURIST TO THE FASCIST PARTY . . 227 2.3/1.2.2 USSR II: SOCIALIST REALISM . . 194 3.1/1.2.2 PROLETKULT VERSUS 'FUTURIST' ART IN THE USSR . . 228 2.3/1.2.3 GERMANY, ITALY, FRANCE . .195 3.1/1.2.3 FAILED REVOLUTION IN GERMANY . .230 2.3/1.3 DECEPTIVE ALIGNMENTS 3.1/1.3 ENGAGEMENT DURING THE DEPRESSION 2.3/1.3.1 GENERAL . . 197 3.1/1.3.1 GENERAL . . 231 2.3/1.3.2 USSR AND GERMANY . .198 3.1/1.3.2 GERMANY. . 232 2.3/1.3.3 GERMANY AND FRANCE . . 199 3.1/1.3.3 FRANCE. . 233 2.3/2 DISORIENTED ARTISTS 3.1/2 TOTALITARIAN SERVICE 2.3/2.1 PAVEL FILONOV AND OSKAR SCHLEMMER 3.1/2.1 ARTISTS IN OFFICE 2.3/2.1.1 REJECTED BY THE REGIME . . 200 3.1/2.1.1 ORGANIZED LEADERSHIP . . 234 2.3/2.1.2 PAINTING AND TEACHING. .201 3.1/2.1.2 STRUCTURAL PREMISES . .236 2.3/2.1.3 REJECTION OF CONFORMITY . .202 3.1/2.1.3 ENACTMENT OF AUTHORITY . . 237 2.3/2.2 GERT ARNTZ 3.1/2.2 RISING TO SERVE 2.3/2.2.1 SCHEMES OF DECEPTION . . 204 3.1/2.2.1 ITALY . .238 23/2.2.2 FROM STATISTICS TO CARTOON . . 205 3.1/2.2.2 USSR . . 239 2.3/2.23 UNCERTAIN CONFRONTATIONS . . 206 3.1/2.2.3 GERMANY. .240 23/2.3 LE CORBUSIER 3.1/2.3 ENFORCING CONFORMITY 2.3/2.3.1 THE SEARCH FOR POLITICAL BACKING . . 207 3.1/2.3.1 DEGREES OF DISCIPLINE . 241 2.3/2.3.2 SOVIET DISILLUSION . . 208 3.1/2.3.2 ALABIAN'S TENUOUS LEADERSHIP . . 242 2.3/2.3.3 MARGINALIZED BY THE POPULAR FRONT . .210 3.1/2.3.3 ZIEGLER AND HIS COHORT . 244 2.3/3 THE LEFT AT A LOSS 3.1/3 DEFERRING TO DEMOCRACY 2.3/3.1 THE SHIFTING SOVIET PARADIGM 3.1/3.1 ARTISTS IN DEMOCRATIC GOVERNMENT 2.3/3.1.1 THE TURNS OF SOVIET POLICY . 211 3.1/3.1.1 THE PRECEDENTS OF DAVID AND COURBET . .245 2.3/3.1.2 SOVIET ART ABROAD .212 3.1/3.1.2 FRANCE.246 2.3/3.1.3 SOVIET ART BEYOND EMULATION . .213 3.1/3.1.3 SPAIN . 247 2.3/3.2 ARAGON VERSUS BRETON 3.1/3.2 POPULAR FRONT DEMOCRACY 2.3/3.2.1 LOUIS ARAGON . . 214 3.1/3.2.1 ALLEGIANCE AND OPPORTUNITY .248 2.3/3.2.2 ANDRE BRETON . .216 3.1/3.2.2 FROM MOVEMENT TO GOVERNMENT . . 249 2.3/3.2.3 THE CLASH . . 217 3.1/3.2.3 AN ARTIST LEFT BEHIND . 251 2.3/3.3 GEORGE GROSZ IN EXILE 3.1/3.3 POLITICAL OVEREXTENSION 2.3/3.3.1 THE CONFLICT WITH THE COMMUNIST PARTY . 218 3.1/3.3.1 LE CORBUSIER'S QUEST FOR 'AUTHORITY' . . 252 2.3/3.3.2 THE TOTALITARIAN EQUATION . . 219 3.1/3.3.2 BRETON'S STRUGGLE WITH THE COMMUNIST PARTY .253 2.3/3.3.3 THE TROTSKYIST QUANDARY . . 220 3.1/3.3.3 RECOIL TO ANARCHISM . . 254 3.2/ POLITICAL OPPRESSION 3.3/ POLITICAL RESISTANCE 3.2/1 THE TOTALITARIAN OPPRESSION OF MODERN ART 3.3/1 FROM DISSENT TO RESISTANCE 3.2/1.1 THE DISCRIMINATION OF MODERN ART 3.3/1.1 GENERAL 3.2/1.1.1 STRUCTURAL ANTAGONISM . . 258 3.3/1.1.1 FIELDS OF CONFLICT . . 292 3.2/1.1.2 PREFERENCE FOR TRADITIONAL ARTISTS . . 259 3.3/1.1.2 MODERN RESISTANCE?. .293 3.2/1.1.3 MODERN ARTISTS' BID FOR ACCEPTANCE . . 260 3.3/1.1.3 AGAINST TOTALITARIAN OPPRESSION . . 294 3.2/1.2 POLITICAL ECONOMY 3.3/1.2 SOVIET ARTISTS' RESISTANCE 3.2/1.2.1 POLITICAL SUPPORT AND POLITICAL CONTROL . . 261 3.3/1.2.1 THE PRESSURE OF ORTHODOXY . .295 3.2/1.2.2 POLITICAL MARKET REGULATION . . 262 3.3/1.2.2 MALEVICH AND FILONOV . .296 3.2/1.2.3 TOTALITARIAN MARKET CONTROL . . 263 3.3/1.2.3 CHRONOLOGY . . 297 3.2/1.3 FROM REJECTION TO OPPRESSION 3.3/1.3 FIGHTING HITLER'S ASCENDANCY 3.2/1.3.1 CHRONOLOGY . . 265 3.3/1.3.1 TO STEM THE TIDE . .298 3.2/1.3.2 SUCCESS AND FAILURE OF ACCOMMODATION . . 266 3.3/1.3.2 A. PAUL WEBER'S WORK FOR 'RESISTANCE' . 299 3.2/1.3.3 MEASURES OF ENFORCEMENT . . 267 3.3/1.3.3 HEARTFIELD, PARTY ARTIST . 300 3.2/2 USSR AND GERMANY 3.3/2 SUBVERSION AT HOME 3.2/2.1 PROTAGONISTS OF OPPRESSION 3.3/2.1 GOING UNDERGROUND 3.2/2.1.1 SIMILARITIES AND DIFFERENCES . . 268 3.3/2.1.1 OPPORTUNITIES FOR DISSENT . 302 3.2/2.1.2 ANTI-MODERN EXHIBITIONS . . 269 3.3/2.1.2 DIVERSE RESISTANCE .303 3.2/2.1.3 IDEOLOGICAL CHARGES . . 270 3.3/2.1.3 MIDDLE-CLASS DISSENT .304 3.2/22 CHRONOLOGY 3.3/2.2 RESISTANCE FROM THE LEFT 3.2/2.2.1 ADJUSTMENT AND REJECTION . . 271 3.3/2.2.1 HANS GRUNDIG . 306 3.2/2.2.2 BEFORE 1936 . . 273 3.3/2.2.2 LEA GRUNDIG . 307 3.2/2.23 AFTER 1936 . . 274 3.3/2.23 KATHE KOLLWITZ . . 308 3.2/2.3 CLAMPDOWN AND RECALCITRANCE 3.3/23 HIDDEN PICTURES 3.2/2.3.1 CONTENTIOUS OPPRESSION . . 275 3.3/2.3.1 MAGNUS ZELLER'S TOTAL STATE . 309 3.2/23.2 LEONIDOV AND FILONOV, VILLAINS OF SOVIET ART POLICY. . 276 3.3/2.3.2 OTTO DIX' FLANDERS . . 310 3.2/2.3.3 BARLACH'S AND NOLDE'S REJECTED CONFORMITY . . 277 3.3/2.3.3 RUDOLF SCHLICHTER'S BLIND POWER . 311 3.2/3 EMIGRATION AND EXILE 3.3/3 POLEMICS FROM ABROAD 3.2/3.1 THE NECESSITY TO EMIGRATE 3.3/3.1 PRINTED PROPAGANDA 3.2/3.1.1 INTERNATIONAL PROSPECTS . . 278 3.3/3.1.1 PUBLIC LIMITS . . 312 3.2/3.1.2 GERMAN EXODUS . . 279 3.3/3.1.2 GRAPHIC IMAGERY . . 314 3.2/3.1.3 WORKING ABROAD . . 280 3.3/3.1.3 CLEMENT MOREAU . . 314 3.2/3.2 ORGANIZING ABROAD 3.3/3.2 JOHN HEARTFIELD'S 'WAR AGAINST HITLER' 3.2/3.2.1 POLITICAL OR UNPOLITICAL . . 282 3.3/3.2.1 ACTIVITIES IN PRAGUE . . 316 3.2/3.2.2 POLITICIZATION . . 283 3.3/3.2.2 PROVOKING THE REGIME . . 317 3.2/3.2.3 THE 'GERMAN ARTISTS' LEAGUE' . . 284 3.3/3.2.3 INTERNATIONAL FAME . .318 3.2/3.3 THE NEW BURLINGTON GALLERY SHOW 3.3/3.3 OSKAR KOKOSCHKA'S LEADERSHIP 3.2/3.3.1 CONFLICTS OF ORGANIZATION . . 285 3.3/3.3.1 THE TURN TO POLITICS . . 319 3.2/33.2 MAX BECKMANN'S PROMINENCE . . 286 3.3/3.3.2 POLITICAL WRITINGS . .320 3.2/3.3.3 READ'S CHALLENGE TO HITLER . . 287 3.3/3.3.3 TESTIMONIAL PAINTINGS . . 321 4 TOWARD WAR 4.1/ ART POLICY AND WAR POLICY 4.1/1 GERMAN ART SUPREME A . I/I.I BUILDING AND REARMAMENT 4.1/1. I.I THE CAPITAL OF FUTURE CONQUEST . 326 4. I/I.I.2 ARCHITECTURE OF AGGRESSION .327 4. I/I.I.3 ARCHITECTURAL WAR POLICY . 328 4. I/I. 2 HITLER'S ART STRATEGY 4. I/I.2.I FROM IDEOLOGY TO POLICY .329 4.1/1.2.2 ART POLICY FOR WAR . 330 4.1/1.2.3 ALBERT SPEER . 332 4.1/1.3 WAR ART BEFORE THE WAR 4. I/I.3.I GUARDED WAR PROPAGANDA . 333 4.1/1.3.2 ANOTHER WAR . 334 4.1/1.3.3 HARDSHIP AND ENDURANCE . 335 4.1/2 TOTALITARIAN DISPARITIES 4.1/2.1 PREPARED OR UNPREPARED FOR WAR 4. I/2.I.I OVERVIEW . 336 4. I/2.I.2 INTER-WAR'CULTURE . 337 4. I/2.I.3 WAR OBJECTIVES . 339 4. I/2. 2 ART OF PAX ROMANA 4. I/2.2.I MEMORIALS OF THE FIRST WORLD WAR . 340 4.1/2.2.2 ART OF THE AFRICAN CONQUEST .341 4.1/2.2.3 EMPIRE OF PEACE . 342 4.1/2.3 DEFENSE OF SOCIALISM 4.1/2.3. I FROM CAPITALIST ENCIRCLEMENT TO THE GERMAN THREAT. 343 4.1/2.3.2 A PEOPLE'S ARMY AT PEACE . 344 4.1/2.3.3 READINESS AT RISK . 345 4.1/3 DEFENSE OF DEMOCRACY 4.1/3.1 FRANCE 4. I/3.I.I THE MAGINOT MENTALITY . 346 4. I/3.I.2 LANDOWSKI'S FANTOMES . 347 4. I/3.I.3 BOUCHARD'S MONUMENT AT MONDEMENT . 348 4. I/3. 2 SPAIN 4. I/3.2.I A WAR POLICY FOR THE ARTS . 350 4.1/3.2.2 THE PAVILION OF WAR.351 4.1/3.2.3 CIVIL WAR PHOTOGRAPHY . 352 4. I/3. 3 FROM DEFIANCE TO DESPONDENCY 4. I/3.3.I WAR POLICY VERSUS SOCIAL POLICY . 353 4.1/3.3.2 THE NUMANCIA SYNDROME . 354 4.1/3.3.3 DEMOCRATIC VERSUS TOTALITARIAN WAR ART . 356 4.2/ THE LAST STAND OF REVOLUTIONARY ART 4.2/1 REVOLUTIONARIES TO THE END 4.2/1. I RIVERA THE HOST 4. 2/I.I.I ARRANGING THE MEETING . 360 4. 2/I.I.2 THE 'AUTHENTIC REVOLUTIONARY ARTIST' . 361 4. 2/I.I.3 RIVERA'S CONTROVERSIAL CAREER . 362 4. 2/I. 2 TROTSKY THE LEADER 4. 2/I.2.I MODERN ART AND REVOLUTION . 363 4.2/1.2.2 AUTHORITY AND INDEPENDENCE . 364 4.2/1.2.3 ANOTHER AVANT-GARDE . 365 4. 2/I. 3 BRETON THE SCRIBE 4. 2/I.3.I THE REVOLUTIONARY HABIT . 367 4. 2/I. 3.2 CLASS LIMITATION OF INDEPENDENCE . 368 4.2/1.3.3 BRETON'S TROTSKYISM .369 4.2/2 THE MANIFESTO 4.2/2.1 STRUCTURED DIGEST OF QUOTATIONS FROM THE TEXT 4.2/2. I.I THE HISTORIC MOMENT . 370 4.2/2. I.2 SUBJECTIVE REVOLUTION . 371 4.2/2. I.3 A NEW ORGANIZATION . 371 4.2/2.2 INTERNAL ANALYSIS 4.2/2. 2.I AGAINST ALL POLITICAL SYSTEMS . 372 4.2/2.2.2 A COMMUNIST DEMOCRACY . 373 4.2/2.2.3 ANARCHISM AND PSYCHOANALYSIS . 374 4.2/2.3 COLLABORATIVE WRITING 4.2/2. 3.I BRETON'S TEXTS . 375 4.2/2 3.2 THE BLEND . 376 4.2/2.3.3 TROTSKY'S EDITORIAL WORK . 377 4.2/3 HISTORICAL CRITIQUE 4.2/3.1 AN ARTISTS' GROUP IN A NO-MAN'S LAND 4.2/3. I.I AGAINST THE POPULAR FRONT . 378 4.2/3. I.2 FROM ANARCHISM TO SOLITUDE . 380 4.2/3. I.3 POLITICAL NO-MAN'S LAND .381 4.2/3.2 SELF-CONTRADICTION AND SELF-DELUSION 4.2/3. 2.I DELUSIONS OF THE PUBLIC SPHERE .382 4.2/3.2.2 CONCEALED LEADERSHIP . 383 4.2/3.2.3 CIRCULAR REASONING . 384 4 2/3.3 TOO LATE 4.2/3. 3.I FIARI'S FAILURE . 385 4.2/3.3.2 RIVERA'S DEFECTION . 386 4.2/3.3.3 MASSON VERSUS PICASSO. 388 4.3/ TRADITIONAL VERSUS MODERN ART REVISITED 4.3/1 VIEW FROM THE USA 4.3/1.1 THE NEW YORK WORLD FAIR OF 1939 4. 3/I.I.I MONUMENTALIZATION OF DEMOCRACY . 4. 3/I.I.2 RECONFIGURATION OF PAVILIONS . 4. 3/I.I.3 THE UNBUILT 'GERMAN FREEDOM PAVILION' . 4. 3/I. 2 STATE ART OF DEMOCRACY 4. 3/I.2.I STATE SUPPORT FOR THE ARTS . 4.3/1.2.2 CONTROVERSIAL ENACTMENT . 4.3/1.2.3 POLITICAL CLOSURE . 4. 3/I. 3 THE DEMOCRATIC INVESTITURE OF MODERN ART 4. 3/I.3.I TRADITIONAL AND MODERN ART AT THE NEW YORK WORLD FAIR . 4.3/1.3.2 MOMA'S EXHIBITION 'ART IN OUR TIME' . 4.3/1.3.3 RECOIL FROM POLITICS . 4.3/2 POLITICAL ASCENDANCY OF TRADITIONAL ART 4.3/2. I THE ARROGANCE OF TRADITION 4.3/2. I.I THE TOTALITARIAN ACHIEVEMENT . 4.3/2. I.2 DEMOCRATIC DIFFIDENCE . 4. 3/2.I. 3 THE INTERNATIONAL SUCCESS OF TOTALITARIAN ART . 4.3/2.2 ACCELERATED MASTERWORKS 4.3/2. 2.I THE MOSCOW SUBWAY . 4.3/2.2.2 THE NEW REICH CHANCELLERY IN BERLIN . 4.3/2.2.3 THE SITE OF THE E42 . 4.3/2 3 THE END OF POLITICAL CONFRONTATION 4.3/2.3.1 BALANCE SHEET . 4.3/2.3 2 THE WORLD EXPOSITION OF TRUCE . 4.3/2 3.3 THE WORLD EXPOSITION OF FASCISM . 4.3/3 THE POLITICAL MARGINALIZATION OF MODERN ART 4.3/3.1 INTERNATIONAL SURVEY 4.3/3. I.I THE TOTALITARIAN CHALLENGE. 4.3/3.I.2 IDEOLOGICAL DEFINITIONS . 4.3/3. I.3 THE ANTI-FASCIST CACHET . 4 3/3.2 THE POPULAR FRONT'S SUPPORT OF MODERN ART 4.3/3. 2.I GOVERNMENT POLICY . 4.3/3.2.2 COMMUNIST RELUCTANCE . 4.3/3.2.3 FRENCH ACCOMPLISHMENTS . 4.3/3 3 MODERN ARTISTS ON THEIR OWN 4.3/3. 3.I RECOIL ONTO SELF-ORIENTATION . 4.3/3.3 2 THE LAST ISSUE OF MINOTAURE . 4.3/33.3 DALI, MASSON, PICASSO . PLATES MONUMENTAL SCULPTURES AT THE PARIS WORLD EXPOSITION 1937 .426 ANTONIO RODRIGUEZ LUNA, DRAWINGS PUBLISHED ON BEHALF OF THE SPANISH GOVERNMENT . 434 HIDDEN PICTURES OF POLITICAL RESISTANCE . 446 PAUL LANDOWSKI'S WAR MONUMENT . 458 NOTES . 470 REPEATEDLY CITED WORKS . 480 INDEX OF NAMES . 482 392 393 394 395 396 398 399 400 401 402 403 405 406 407 408 409 410 412 413 414 415 416 417 418 419 421 422
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author	Werckmeister, Otto Karl 1934-2023
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author_facet	Werckmeister, Otto Karl 1934-2023
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author_sort	Werckmeister, Otto Karl 1934-2023
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ctrlnum	(OCoLC)1154270341 (DE-599)DNB1209825759
discipline	Kunstgeschichte
discipline_str_mv	Kunstgeschichte
era	Geschichte 1930-1945 gnd
era_facet	Geschichte 1930-1945
format	Book
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geographic	Europa (DE-588)4015701-5 gnd
geographic_facet	Europa
id	DE-604.BV046930703
illustrated	Illustrated
index_date	2024-07-03T15:34:33Z
indexdate	2024-07-10T08:57:48Z
institution	BVB
isbn	9783948466237 9783948466244 3948466238
language	English
oai_aleph_id	oai:aleph.bib-bvb.de:BVB01-032339633
oclc_num	1154270341
open_access_boolean
owner	DE-188 DE-M507 DE-B496 DE-Y2 DE-Y7
owner_facet	DE-188 DE-M507 DE-B496 DE-Y2 DE-Y7
physical	486 Seiten Illustrationen 26 cm x 20 cm
psigel	BSB_NED_20201208
publishDate	2020
publishDateSearch	2020
publishDateSort	2020
publisher	arthistoricum.net
record_format	marc
series	Zurich studies in the history of art
series2	Zurich studies in the history of art
spelling	Werckmeister, Otto Karl 1934-2023 Verfasser (DE-588)115651861 aut The political confrontation of the arts in Europe from the Great Depression to the Second Word War Otto Karl Werckmeister Heidelberg arthistoricum.net 2020 486 Seiten Illustrationen 26 cm x 20 cm txt rdacontent n rdamedia nc rdacarrier Zurich studies in the history of art 24/25 Geschichte 1930-1945 gnd rswk-swf Politik (DE-588)4046514-7 gnd rswk-swf Politisierung (DE-588)4046590-1 gnd rswk-swf Künste (DE-588)4033422-3 gnd rswk-swf Europa (DE-588)4015701-5 gnd rswk-swf Kunstpolitik Kunstsysteme Kunstrevolution Kunstunterdrückung Revolutionäre Kunst Populäre Kunst Europa (DE-588)4015701-5 g Künste (DE-588)4033422-3 s Politik (DE-588)4046514-7 s Geschichte 1930-1945 z DE-604 Politisierung (DE-588)4046590-1 s Erscheint auch als Online-Ausgabe, PDF 978-3-948466-22-0 Zurich studies in the history of art 24/25 (DE-604)BV035634528 24 25 DNB Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032339633&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis
spellingShingle	Werckmeister, Otto Karl 1934-2023 The political confrontation of the arts in Europe from the Great Depression to the Second Word War Zurich studies in the history of art Politik (DE-588)4046514-7 gnd Politisierung (DE-588)4046590-1 gnd Künste (DE-588)4033422-3 gnd
subject_GND	(DE-588)4046514-7 (DE-588)4046590-1 (DE-588)4033422-3 (DE-588)4015701-5
title	The political confrontation of the arts in Europe from the Great Depression to the Second Word War
title_auth	The political confrontation of the arts in Europe from the Great Depression to the Second Word War
title_exact_search	The political confrontation of the arts in Europe from the Great Depression to the Second Word War
title_exact_search_txtP	The political confrontation of the arts in Europe from the Great Depression to the Second Word War
title_full	The political confrontation of the arts in Europe from the Great Depression to the Second Word War Otto Karl Werckmeister
title_fullStr	The political confrontation of the arts in Europe from the Great Depression to the Second Word War Otto Karl Werckmeister
title_full_unstemmed	The political confrontation of the arts in Europe from the Great Depression to the Second Word War Otto Karl Werckmeister
title_short	The political confrontation of the arts in Europe from the Great Depression to the Second Word War
title_sort	the political confrontation of the arts in europe from the great depression to the second word war
topic	Politik (DE-588)4046514-7 gnd Politisierung (DE-588)4046590-1 gnd Künste (DE-588)4033422-3 gnd
topic_facet	Politik Politisierung Künste Europa
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032339633&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
volume_link	(DE-604)BV035634528
work_keys_str_mv	AT werckmeisterottokarl thepoliticalconfrontationoftheartsineuropefromthegreatdepressiontothesecondwordwar

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