Creating on Borrowed Time

The Nazi party adored art.

Hitler and other high ranking officers inspecting artwork as well as participating in purchases

To be more specific, art that was approved by the Fuhrer himself. Any art that was deemed “undesirable” would be destroyed or taken by the Nazis to be displayed in a degenerate art museum.

Themes that were considered perfect German values would be praised and those that were created by Jews or displayed themes that clashed with these values would be rejected.

While in Berlin, I saw examples of the art that was allowed by the Nazi party and art that was rejected entirely. The German History Museum had an extensive WWII exhibit that featured a portion about art censorship and theft. In this portion, I saw the most iconic example of German endorsed art. This painting, titled “Kahlenberger Bauernfamilie (“Farm Family From Kahlenberg) and painted by Adolf Wissel, represented the ideal Aryan family. Hitler purchased this painting at the Great German Art Exhibition in 1939 because he believed in the message that the work portrayed. Alongside this iconic work were other “acceptable” works for reference and also photographs of Hitler inspecting artwork.

The perfect Aryan family in the eyes of the Nazi party

 

Another example of Nazi endorsed artwork was a photograph that I saw at the Topography of Terror Museum (located in the exact place where S.S. Headquarters were during the Second World War). This photo shows two Aryan lovebirds who are cuddling on the sand while surrounded by swastika flags. The work is titled “German Vacation Fun with Swastikas” (ca. 1939). The photograph is beautiful and shows young love yet represents the propaganda that was being circulated in Germany at the beginning of the war.

“German Vacation Fun with Swastikas”

To juxtapose the Nazi support of acceptable art, I also visited the temporary Bauhaus Museum exhibit. The Bauhaus School of Art, located in Berlin, was creating designs in the 1920s, 30s, and 40s that were revolutionary and shocking for the art world. As Germany entered the war, the students at Bauhaus felt the pressure of being labeled a “degenerate artist”. While touring the museum, I came across several examples of female students who ultimately ended up in concentration camps for their art. Choosing to not comply with German standards or fundamentally being the wrong race lead to many artists losing their lives. The possibility of new inspiration and creativity was killed along with them.

Female artists who studied at Bauhaus before being sent to a concentration camp

Thankfully, these artists’ stories are finally being told. While reading about both the acceptable and degenerate art in these exhibits, I felt like there was a sort of justice for those who had been lost. Those who collaborated with the Nazis were listed by name. Those who lost the battle were remembered. It seems to me that the creation art during the Second World War was created on borrowed time and we are lucky to learn about the artists’ struggles in the modern day.

Searching for Stolen Art

By Matthew Bonner

We arrived in Krakow, Poland on May 21st, greeted by a thunderstorm and the smell of fresh perogies. My personal mission in Krakow was to explore how museums and neighborhoods feature Polish artwork, as the country has had a turbulent history with its cultural treasures. Over the course of the Spring semester, I researched Nazi art looting during the Second World War, touching on the story of art from preparation to restitution. While researching I focused mainly on France, but Poland’s experience specifically captivated me. According to the Nazis, most Polish and other Slavic artwork was deemed “degenerate artwork” – meaning it did not align with Nazi ideology or was made by Jewish people, immigrants, or other enemies of the Third Reich. In Poland the Nazis waged a violent war against Polish culture by targeting monuments and artwork. Additionally, as Poland was the site of a majority of Europe’s Jewish population before World War II, the Nazis attempted to eradicate both the Jewish community and its cultural artifacts. However, the Poles also possessed a multitude of artwork from all over Europe, as Krakow had long been the capital of Poland, that the Nazis systematically targeted, confiscated, and shipped back to Nazi Germany.

The two Polish masterpieces I had the opportunity to visit were among those not targeted for Nazi destruction, but instead were looted from the country by Nazis for Hitler’s proposed Führermuseum. The Veit Stoss altarpiece is a massive wooden altar that took 12 years to create in 1477 and stands in the heart of St. Mary’s Basilica in Krakow’s Main Market Square. Before the war, Poland attempted to protect the cultural treasure from looting by dismantling the altar and shipping it to the countryside. However, Hitler tracked down the altarpiece and shipped it to Germany, due to its creator’s German origin. Additionally, I had the pleasure of viewing Da Vinci’s Lady with an Ermine, one of three surviving oil paintings by the master painter. Older than the Mona Lisa, the portrait is a depiction of Cecilia Gallerani, the mistress of Leonardo’s employer Ludovico Sforza, holding an emblematic ermine. Before the war, the painting was also shipping to the outskirts of Poland for protection, but was seized in 1939 by Nazis and sent to Berlin. In 1945 the painting was restored to Poland.

The Veit Stoss altarpiece, located behind the High altar of St. Mary’s Basilica.

Looking at these pieces of artwork in real life was a surreal experience after reading about their tumultuous stories the past semester. The art fell into many people’s hands and was hunted down for years to finally end up in their current buildings for visitors’ viewing pleasures. Though some pieces such as these two made it out of the war intact, the same cannot be said of other Polish artwork and cultural sites. Specifically, Rembrandt’s Portrait of A Young Man was lost in the war and could have been destroyed. In the Czartoryski Museum there is a blank wall stating that the art piece was lost during the Second World War, possibly destroyed or still owned illegally. The wall and empty picture frame symbolize the thousands of other sculptures and paintings lost or destroyed by the Nazis.

Matthew Bonner with a copy of “Lady with an Ermine”, at the special exhibit in the Main Krakow Museum.

Additionally, when traveling through the streets of Kazimierz, the Jewish Quarter of Krakow, I visited the Old Jewish Cemetery. The cemetery was used to bury members of the Jewish community from 1552 to 1800 and is considered one of the most important Jewish cemeteries in Europe. During the war, the Nazis took a place of reflection and prayer and desecrated the graves. Now, the shattered gravestones form a mosaic wall surrounding the cemetery and the adjoining synagogue serves as one of the only practicing Jewish religious sites in Krakow.

Old Jewish Memorial wall featuring gravestones broken during Nazi occupation and persecution.

After visiting the artworks and sites in Krakow, it is obvious that Poland is still attempting to reclaim and restore its great cultural treasures. The Nazis waged a war of destruction against the Polish people, with the goal of eradicating an entire culture, people, and memory. Though it is shocking that only around 200 Jewish people in remain in Krakow, what was once a vibrant Jewish community and cultural hub of as many as 68,000, Krakow is rebounding to its former glory. Street art is rampant throughout the city, new exhibitions are featured in museums, and the Old Jewish Cemetery was filled with Jewish community members praying. Although the arduous work of restoring Polish artwork to its original owners and rebuilding damaged sites is ever evolving, that which remains is celebrated and showcased. This is both a testament to the Polish people and evidence that though the Nazis murdered millions, the legacy, culture, and memory of those lost will never be destroyed.

How Bombs Brought Forth Art

View from the cliff face

Though we can read books about warfare, we will never know what it was like to be showered with bombs. Growing up in the early 21st century, I have lead a privileged life that has been safe in my own country. In history classes, a picture was painted of families fleeing to the London Tube tunnels during bombing and fearing to return to a pile of rubble that used to be their home. I could not begin to comprehend the sheer power that these bombs harnessed until I walked the grounds of Pointe du Hoc.

 

Example of a bomb crater at Pointe du Hoc

This site is the most striking thing we’ve visited on our journey thus far. Pointe du Hoc was the highest point between the American landings on Utah and Omaha beaches. Though the area had been fortified by the Germans, the United States Army Ranger Assault Group attacked and captured Pointe du Hoc by scaling the cliffs from the beach. The Rangers accomplished this by using borrowed ladders from the London Fire Brigade and grappling hooks while under fire. I finally saw the damage that was caused by bombs dropped by the allied forces during the pre invasion strikes. All around me were gouges in the ground, some 20-30 feet deep. To fully understand the impact, I walked into a crater and I almost felt like I was in another world.

 

The bottom of the crater was a new ecosystem, one that was magical and seemed almost safe. Among the yellow flowering bushes, vibrant green lichen, and chirping birds, I found a surprise. As the bombs ripped through this land, they created art and new life. The impact had ripped away the substantial concrete blocks, leaving the metal support spikes, or rebars, exposed. This created an organic, found art experience. These clumps of metal spikes reached up towards the opening of the crater in an almost snake-like manner and they seemed a logical part of the earth they were protruding from.

Metal spikes exposed after bombing

These spikes didn’t seem to be a result of a bomb impact, they seemed to be slithering out of the ground to rejoin and intertwine with the new plants growing. Seeing something that is usually man made become something that could interpreted as many organic forms was an inspiring moment.

 

Trying to comprehend the power of bombs is impossible until you’ve seen the damage and walked the path of destruction.

More rebar detail

Regardless of the sources that I’ve read for our spring class or for other history classes, I didn’t understand the reality. Beyond understanding the power of bombing, I never expected to find something so beautiful as a bi-product. The juxtaposition of the craters to the flower accented spike art was a true sight to behold. Art is always something that is unexpected and finding beauty in the midst of destruction was the most unexpected of all.  As an arts major, I find myself inspired by the organic art that I discovered at Pointe du Hoc and I plan to explore the idea of recreating this experience in an arts series.

 

A Room Full Of Evil Art: The Unplanned Collaboration From Artists Who Lived Through The “People’s War”

Once the Second World War had come to an end, the people who had lived through the war were left to process what had happened. Coined the “people’s war”, WWII truly called upon all who could further the war effort and demanded that personal sacrifices would be made. Artists were among those who needed to come to terms with the horrors that they had seen and had lived through during this period of war. Something that was crucial to further creativity would be to define how these people, who had been told to change their lives for the war effort, could return to a creative state post WWII. After individually defining what journey each artist had gone on, they began creating again. The result of this new movement of art was a cathartic and sinister collection of works.

I experienced a small sampling of this phenomenon while walking through the Tate Modern in London. After casually walking from exhibit to exhibit, I came across a large room that had walls lined with almost uniform art pieces. There was not one painting or sculpture in the room that wasn’t covered mostly with black or dark colors. Depicted in these art pieces was everything from the defilement of a soldier, bodies strewn across a road, and more abstract works that were angular and evil. From Jackson Pollock to Matisse, these artists had obviously experienced a shared trauma. I finally came across the description of the curated exhibit and it was art works from 1945-1955. This exhibit is designed to show artists having to redefine art and how they began to create again. Though not the most affected people (in terms of fighting), artists had the task of showing what happened to the people in the “people’s war”.

What struck me the most was the fact that these artists didn’t gather and discuss a large collaboration of similar works for an exhibit, they were creating their own stories. Every experience with war is different yet all of the pieces seemed to make a large cohesive story of pain and loss. Nothing is more organic than paint on a canvas, showing the horrors of the “people’s war”. We may have photographs, journal entries, first hand accounts, and documents that paint the picture of war but I felt the pure essence in that room of people who were frightened. I felt the inner turmoil of trying to show the trauma to be able to move on with creativity.