With the rise of the National Socialist Party in Germany in 1933, the Reich began to collect and
control the artwork that was displayed through the areas that were controlled by the Nazis.
Part of this included an exhibit titled “Entartete Kunst” (degenerate art) that showed art that the Nazis
believed to be less than, or degenerate. Many artworks from the 20th century were placed under this
name, and some from that collection have not been recovered since then. After the Second World War,
German artist, Anselm Kiefer, began to create artworks that wrestle with the Nazizeit
(the time of Nazi rule), in some of his work focusing on the fascist element of the Nazis and how
that affects a person’s worldview and interaction with other people and new ideas.
This exhibit examines the concept of ideological isolation in Anselm Kiefer’s
Everyone Stands Under the Dome of His Own Heaven and how the isolating effects of fascism
can be see in Greco-Roman purism that lead to the Nazi rejection of a selection of works featured in
the Entartete Kunst exhibit.
control the artwork that was displayed through the areas that were controlled by the Nazis.
Part of this included an exhibit titled “Entartete Kunst” (degenerate art) that showed art that the Nazis
believed to be less than, or degenerate. Many artworks from the 20th century were placed under this
name, and some from that collection have not been recovered since then. After the Second World War,
German artist, Anselm Kiefer, began to create artworks that wrestle with the Nazizeit
(the time of Nazi rule), in some of his work focusing on the fascist element of the Nazis and how
that affects a person’s worldview and interaction with other people and new ideas.
This exhibit examines the concept of ideological isolation in Anselm Kiefer’s
Everyone Stands Under the Dome of His Own Heaven and how the isolating effects of fascism
can be see in Greco-Roman purism that lead to the Nazi rejection of a selection of works featured in
the Entartete Kunst exhibit.
Anselm Kiefer, Everyone Stands Under the Dome of his Own Heaven, 1970, Watercolor, gouache, and graphite on joined paper 1995.14.4
Kiefer’s Everyone Stands highlights the isolation of ideologies, and how everyone has their own
dome which contains the extent of their worldview. The small figure with his arm raised in the
signature Nazi salute highlights the placement of fascism as an ideology with its own purview that
does not extend very far. The works exhibited in Entartete Kunst do not fit within the ideology of the
Nazis, as such they were considered “degenerate.” This is the centerpiece of the exhibit, a work that
would most likely be considered Entartete Kunst by the Nazis, continues to exist after the fall of the
Nazi powers, and goes so far as to critique the limited worldview of the Nazis.
dome which contains the extent of their worldview. The small figure with his arm raised in the
signature Nazi salute highlights the placement of fascism as an ideology with its own purview that
does not extend very far. The works exhibited in Entartete Kunst do not fit within the ideology of the
Nazis, as such they were considered “degenerate.” This is the centerpiece of the exhibit, a work that
would most likely be considered Entartete Kunst by the Nazis, continues to exist after the fall of the
Nazi powers, and goes so far as to critique the limited worldview of the Nazis.
Lyonel Charles Feininger, Gelmeroda, 1936, Oil on Canvas, 42.158
The Gothic church of Gelmeroda in Weimar Germany was one of Feininger’s favorite buildings to
study, and in this artwork he explored perspective and cubism as a way of tapping into the spirituality
of the religious space. The Nazis had isolated the purity of art down to Greek and Roman styles,
and anything outside of that was considered degenerate, and was derided as such, thus falling outside
of the dome of fascism.
study, and in this artwork he explored perspective and cubism as a way of tapping into the spirituality
of the religious space. The Nazis had isolated the purity of art down to Greek and Roman styles,
and anything outside of that was considered degenerate, and was derided as such, thus falling outside
of the dome of fascism.
Paul Klee, Ghost Chamber with the Tall Door (New Version), 1925, Sprayed and brushed watercolor, and transferred printing ink on paper bordered with gouache and ink, mounted on cardboard, 1987.455.16
Many of the works produced by Paul Klee were considered Entartete Kunst by the Nazis. This work,
with its spectral lines and use of perspective failed to fall within the parameters of art acceptable to the
Nazis, as such it was considered degenerate. Because of the isolating effects of aesthetics that fascism
had on the Reich Ministry of propaganda, there was no room for Klee or his
Ghost Chamber in “good art.”
with its spectral lines and use of perspective failed to fall within the parameters of art acceptable to the
Nazis, as such it was considered degenerate. Because of the isolating effects of aesthetics that fascism
had on the Reich Ministry of propaganda, there was no room for Klee or his
Ghost Chamber in “good art.”
Max Beckman, Descent from the Cross, 1917, Oil on Canvas, MOMA
Derided as being “unGerman”, Beckman’s Descent from the Cross was featured in the Entartete Kunst
exhibit, The presentation of bodily suffering that is so boldly exhibited in Descent from the Cross did not
fit well with the Nazi understanding of religion and the Christ figure because it did not depict Christ as a
hero, but rather as a weak and broken victim. As such this work was dismissed as Entartete.
exhibit, The presentation of bodily suffering that is so boldly exhibited in Descent from the Cross did not
fit well with the Nazi understanding of religion and the Christ figure because it did not depict Christ as a
hero, but rather as a weak and broken victim. As such this work was dismissed as Entartete.
Ernst Ludwig Kirchner, Street, Berlin, 1913, Oil on Canvas, MOMA
Considering Kirchner’s openness in critiquing German culture and people, it is no surprise that his
harsh use of color and themes would be considered “degenerate” by the purist Nazis. As the Nazi
ideology was based on a foundation of superiority, the work and critique of Kirchner did not sit well
with those in charge of the use of culture as propaganda in Nazi Germany. The Nazi worldview did not
overlap with Kirchner’s, so in their minds he was a degenerate artist.
harsh use of color and themes would be considered “degenerate” by the purist Nazis. As the Nazi
ideology was based on a foundation of superiority, the work and critique of Kirchner did not sit well
with those in charge of the use of culture as propaganda in Nazi Germany. The Nazi worldview did not
overlap with Kirchner’s, so in their minds he was a degenerate artist.
Henri Matisse, The Blue Window, 1913, Oil on Canvas, MOMA
While the majority of the works that the Nazis attacked as “degenerate” were German in origin, their
attack on Modern artworks extended internationally, and included the works of Matisse. The German
understanding of and typical dislike of Modernism had begun during the Weimar Republic, but continued
through the Nazis and was enhanced by Nazi purism and propaganda. This dislike is notable in the
dismissal of artists such as Matisse as “degenerate” due to the failure to meet the standards of the
ideologically isolated Nazis.
attack on Modern artworks extended internationally, and included the works of Matisse. The German
understanding of and typical dislike of Modernism had begun during the Weimar Republic, but continued
through the Nazis and was enhanced by Nazi purism and propaganda. This dislike is notable in the
dismissal of artists such as Matisse as “degenerate” due to the failure to meet the standards of the
ideologically isolated Nazis.
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