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Art of the Third Reich

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ART OF THE THIRD REICH is a fascinating book for several reasons:

1. First, it addresses a subject (painting, sculpture, and architecture of Nazi Germany) that has yet to be objectively explored by scholars (just try finding anything else about it, much less a volume of this quality). The Nazi era still provokes such an emotional response that it has yet to be seen in any kind of historical perspective. However, as time marches on, studies such as this one will become more common, as students of history attempt to understand the perplexing Nazi phenomenon.

2. Art was arguably more important in Nazi Germany than in any other regime in history. In fact, some scholars have argued that the entire social structure was based on the pursuit of an aesthetic ideal (see the film "The Architecture of Doom" for a presentation of this thesis). In other words, rather than Nazi-approved art being a reflection of the culture, the culture sprang from the artistic ideals of its founders. Much of the events of 1933-45 can be seen to fit this paradigm, and this book provides valuable insight into how those events were orchestrated.

3. No regime in history has used propaganda as extensively as Nazi Germany. All aspects of media, art, cinema, and popular culture were channeled toward advancement of the government's objectives, to a degree never seen before. Hence, this book provides a window into the period that will be useful for anyone wishing to understand how images can be manipulated...something that occurs all around us every day.

4. Finally, there is a great deal of magnificent art in this book, which can be appreciated as a distinct phenomenon from the regime that created or condoned it...just as works such as "Alexander Nevsky" are hailed despite their obvious origin as Soviet propaganda. While it is true that totalitarian government-sanctioned art often dips into mediocrity, that is certainly not always the case here. The art of this era deserves to be viewed in the context of the larger evolution of art in the twentieth century, regardless of the political/social "baggage" associated with it.

This is a remarkable book; 300+ pages of wonderful art - much of it censored today (hidden away in DOD archives in Washington DC).

Some of the art is clearly the propaganda of a powerful government. And some (the chapter of "Degenrate Art") is the propaganda of modern American elites. But most of this artwork is truely fine - and of a type no longer allowed to be seen anywhere.

In our modern age - where art is subsidized by the government and reflects the taste of elites - this kind of art is priceless for this is the art of the people. I was touched to tears by the loving caress of working folk and farmers in the painting of Adolph Wissel, Leopold Schmutzler, and Fritz Mackensen.

Also remarkable is the celebration of the human body as nature in ways that are simply not seen in Judeo-Christian societies like modern America - particularly in the sculpture of Arno Breker and Fritz Klimsch. So also the nod to non-Judeo-Christian spirituality that simply could not exist in a modern European society.

The author - Peter Adams - makes the required politically correct, anti-German statements - without which this book could not have been published and would never be sold. Ignore the text - look at the art.

Unlike the propagandistic "Degenerate Art" exhibit of a decade ago, this art will not be traveling to a museum near you. For that reason you MUST get this book. It is pricey - but it is priceless.

The reviewer immediately below has raised a very troubling but quite accurate issue in relation to National Socialist art: much of it - particularly the sculpture - is quite beautiful by the standards of classical/Renaissance aesthetics. Can we separate the appeal of some of this material from the political regime which operated the factories of death? I think that we can and we must. Adam's book opens the door onto a forbidden chapter of art history, but one with startling implications for modernism. This book is the only basic, english-language survey of its subject. Sadly, much of the art Adam discusses was destroyed or remains inaccessible. I have had the great priviledge to have seen some of the works reproduced in this book on travels to Germany, and it possesses an undeniable power. My only criticism of this book is Adam's decision to treat the art of 1930's Germany as an anomaly in the history of 20th century art - ignoring the fact that these artists were enormously popular in their day, and neglecting to offer a comparison with the distorted visions of Weimar art. No historical phenomenon is without context. Perhaps the rejection of modernism characteristic of this period is not solely the result of a society descending into barbarism, but is indicative of some flaw in modernist culture. If you buy this book, you will be able to judge for yourself.

Peter Adam reveals on his book "Art of the Third Reich", an extraordinary glimpse of Nazi Germany's grandeur days. The published compilation and research of "orderly directed" propaganda by the National Socialist regime within the arts, is remarkably astounding. This rare historical analysis, illustrates the intensive mass manipulation created by Adolf Hitler. Adam unveils a very powerful book, with an even greater message for the generations to come. "Art of the Third Reich" is one of my few favourite art books.

In the thousands of books devoted to the German National Socialist movenment and rule, this one holds some very important clues to two questions that have gnawed at us like relentless dogs since the close of this tragic story. The first question is how did the Nazi movement gain such an allegiance among the German people who seemed as civilized and educated and cultured as any in Europe and the second question is what was really the goal of the National Socialist German Workers Party. Why can we even think a book on art can answer these questions ? If this were some text rich academic dissertation then that would be a hard sell. But the author, Peter Adam, has used the visual media extremely well, working off the blackground of a BBC documentary. The hundreds of black and white and color illustrations tell us a great deal especially when combined with extensive contemporaneous quotations, primarily from the Germans who promoted and controlled art in the Third Reich.

This book helps us address the question of how mentioned above in a number of ways. By covering painting, sculpture and architecture in one text we begin to see the outlines of the alternate reality the National Socialist movement tried to construct on top of the German nation and state. Other aspects of this alternate reality such as the imagery of Zepplins, Mercedes and Auto-Union race cars, swift new ocean liners, and proud new battleships are not covered in this book but fit together in a way that was uniquely intentional. Every proud imperialist nation state of the 19th and 20th centuries had some sort of imperial style seen in display in the capitals and colonial outposts of its empire. Normally these characteristics developed over a considerable period of time. But Art in the Third Reich makes it very clear that in a few short years, from 1933 to 1940, there was an intensive and directed effort to completely control the visual content of life on a scale and with a commitment that was more totalitarian than even the efforts to do the same in the early years of the Soviet Union. This was absolutely part and parcel of the entire approach to social control in the new state that the Nazi movement was constructing.

The key to the new visual art of the National Socialist movement is made clear in this book. It was not the creation of a new and unique style of art. It was rather the selection of certain tendencies and sytles as mandatory and all others as forbidden. Naturalistic and representational painting that illustrated a certain ideal view of life was all that was allowed. Some of this work was "good" work from an artistic point of view, and some of it was not. But all of it served a purpose and that is why it was allowed. The quotations from the leaders of this effort make that entirely clear. The sculpture chosen was initially no more than conventionally monumental but crossed over into the collosal and the un-natural depiction of force and proud brutality combined with duty driven nudity. The architecture started off in conventional enough neo-Classical style and then became incredibly grandiose and even grotesque. There is good coverage of the pioneering multimedia efforts of Speer and Reifenstahl. The good news here is that you can look at this work in this book and draw these conclusions for yourself.

This brings us to the second question I mentioned above. What was the purpose of all this? The words of Mein Kampf have been buried beneath the natural redaction that occours because of our knowledge of the historical outcome of the National Socialist process. In these works of art the truth of the purpose can perhaps strike us more directly. I think a great virtue of this book is that it does so strike us or at least it struck me. From looking at the images it seems that the purpose of the National Socialist movement was in essence to create a society of clones. I say, in essence, since the scientific process was unknown at the time. But the uniformity of image, the positive rejection of diversity and individuality, the endless repitition of themes, lead to the conclusion that the Nazi leaders actually wanted a population of folk who looked and thought alike. The theme of Ein Folk, Ein Reich, Ein Fuhrer was not an idle throw away line as the idea of Oneness was truly the soul of National Socialism. This was the purpose, this was the goal. The New Order was only for some. The art was to show us who those some were.

In the end the National Socialist movement cannot be finally judged by its actions, awful as they were. The 20th century was a time of willfull death and destruction without precedent in history and the Nazis and the German people were not the only perpetrators or victims. An overall judgement has to take in account the goal of the movement. If you read this book and study it carefully, I think you will see what the goal was and your own sense of moral purpose in the universe will have to guide you to your conclusion about it.

One way to approach this book is to understand the era preceding the Third Reich, the Weimar Republic - that period between 1918 and 1933 when creativity and depravity collided into exhilarating Hannah Höch-like montages of architecture, art, music, and literature . When Walter Gropius and the Bauhaus bent form into function like Marcel Breuer steel-tubed furniture. When Expressionist artists such as George Grosz, Otto Dix, and Max Beckmann dragged people into the dark world of Berlin cabarets, deformed prostitutes, and opium dens. In many ways art took a complete 180 degree turn from 1933-1945. Growing up, I was taught in school that Nazi-era art was stupid, clumsy, and overbearing. After reading "Art of the Third Reich" (and leafing through its rich collection of photographs), I find quite the opposite to be true.

One can never be "objective" about art - especially Nazi art. It is a subjective journey into the mind of a people and culture that both dazzles and disgusts. Nazi art is both beautiful and idealistic. Is much of Nazi art propaganda? Of course it is. Yet so is Graeco-Roman art. So is the art of any era - from ancient Egypt to the 21st century.

"Art of the Reich" is a unique and seductive look into beauty, naiveté, and the dark horror of one of the worst chapter's in the history of civilization. Yet the photographs of Nazi architecture and monuments will bring to mind the granite, marble, and concrete edifices of contemporary Washington, D.C., London, Rome, Beijing, and Moscow.

I urge you not to look at "Art of the Third Reich" from a 21st century perspective. Instead, read a book (if you can find it) like "Cabaret Berlin," or a book on "Expressionist," art as a primer. You will understand and appreciate this book much better.

Both in responce to popular revulsion against modern 'art' and following in the footsteps of the Soviet Union to manipulate the arts to a political purpose nazi Germany launched its massive arts program covered in this unique and most insightful book.

For those interested in this subject this unique book is a must read. Especially since no other books on the subject are on the market and a number of websites have been forced to shut down.

For thos interested this book covers the nazi arts program. Some of the art created by artists Adolf Zeigler and Ernst Liebermann and various others is actually quite good but these people would have succeeded without this program. Much however is quite bad like politically correct art today, often the work of mediocre artists.

If anything, this book proves that Government and Politics should not be supporting the arts as they do not inspire beutiful things but rubbish.