Euroacademia Conferences
Europe Inside-Out: Europe and Europeanness Exposed to Plural Observers (9th Edition) April 24 - 25, 2020
Identities and Identifications: Politicized Uses of Collective Identities (9th Edition) June 12 - 13, 2020
8th Forum of Critical Studies: Asking Big Questions Again January 24 - 25, 2020
Re-Inventing Eastern Europe (7th Edition) December 13 - 14, 2019
The European Union and the Politicization of Europe (8th Edition) October 25 - 26, 2019
Identities and Identifications: Politicized Uses of Collective Identities (8th Edition) June 28 - 29, 2019
The European Union and the Politicization of Europe (7th Edition) January 25 - 26, 2019
7th Forum of Critical Studies: Asking Big Questions Again November 23 - 24, 2018
Europe Inside-Out: Europe and Europeanness Exposed to Plural Observers (8th Edition) September 28 - 30, 2018
Identities and Identifications: Politicized Uses of Collective Identities (7th Edition) June 14 - 15, 2018
Spitting on Incapables, Madmen, and Cheats: The NSDAP’s War on Degenerate Art
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Presentation speakers
- Sean N. Kalic, Dept of Military History, US Army Command and General Staff College, Fort Leavenworth, USA
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Abstract:
In the months and years after World War I, a tremendous amount of anti-war art emerged from the Weimar Republic. Avant-garde artists such as Otto Dix, Georg Grosz, and Max Beckmann, to name a few, established their art as critical commentary on the negative value of war to a civilized society. However, as the interwar period evolved, the rise of the NSDAP in Germany allowed them to critique the value and significance of what they called “cultural bolshevism,” believing that it was of little value to the psyche of the Nazi vision of the new German state. Hence once Adolf Hilter and the NSDAP achieved power, they institute a systematic program to cleanse Germany of “degenerate art.” In its place, the NSDAP established a state run system to produce strong national art that represent the “truth” about Germany and its people. Drawing on paintings from the period 1918-1945, combined with primary source documents from various Weimar artists and their guilds, juxaposted against official documents from the NSDAP, I explain how the NSDAP used all assets of the State to use art as a vehicle to advance NSDAP propaganda for their political and military programs. My research provides critical insights into how the NSDAP used art as a tool to manufacture public support for their war effort. Furthermore, my paper explores the question how an artificial truth can become manufactured and perpetuated.
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