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 research of Nazi cultural management, interpreting a posh development of interplay between major Nazi figures, German cultural functionaries, traditional artists, and shoppers of tradition. Steinweis supplies distinctive cognizance to Nazi efforts to purge the humanities of Jews and different so-called undesirables. Steinweis describes the political, expert, and financial atmosphere within which German artists have been forced to operate and explains the constitution of selection making, hence displaying in whose curiosity cultural regulations have been formulated. He discusses such concerns as coverage, minimal salary statutes, and certification directions, all of that have been concerns of excessive precedence to the artwork professions earlier than 1933 in addition to after the Nazi seizure of strength. by means of elucidating the commercial context of cultural existence, Steinweis is helping to give an explanation for the common acquiescence of German artists to creative censorship and racial 'purification.' His paintings additionally sheds new gentle at the purge of Jews from German cultural lifestyles.
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Extra resources for Art, Ideology, and Economics in Nazi Germany: The Reich Chambers of Music, Theater, and the Visual Arts
Among the occupational associations, the Reich Association of Visual Artists of Germany (Reichsverband bildender Künstler Deutschlands, or RVbK) stood at the forefront. "25 It sponsored a purchasing cooperative, from which members could buy art supplies at discounted prices; issued publications that kept members informed about meetings, competitions, exhibitions, stipends, and prizes; and lobbied for tax code adjustments that would benefit artists. However, numerous attempts to secure official state recognition of the RVbK met with failure in the Weimar era.
However, numerous attempts to secure official state recognition of the RVbK met with failure in the Weimar era. The Reich, Länder, and local governments generally refused to entrust the RVbK with the administration of publicly financed competitions and exhibitions. 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.
These hitherto underexploited membership files furnish the researcher with a wealth of information about the impact of official policy on German artists. Based on these files, this study seeks to provide answers to questions that have not previously been subjected to empirical analysis. For example, biographical data contained in the files has been used to analyze the politicization of artists as reflected in membership in the NSDAP and affiliated organizations both before and after 1933. Materials from the Document Center's collection have also made it possible to reconstruct the Nazi racial and political purge of the art world with a good deal more precision than has heretofore been possible.