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Books > Arts & Architecture > History of art / art & design styles > From 1900
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Art, Ideology, and Economics in Nazi Germany - The Reich Chambers of Music, Theater, and the Visual Arts (Paperback, New edition)
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Art, Ideology, and Economics in Nazi Germany - The Reich Chambers of Music, Theater, and the Visual Arts (Paperback, New edition)
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From 1933 to 1945, the Reich Chamber of Culture exercised a
profound influence over hundreds of thousands of German artists and
entertainers. Subdivided into separate chambers for music, theater,
the visual arts, literature, film, radio, and the press, this
organization encompassed several hundred thousand professionals and
influenced the activities of millions of amateur artists and
musicians as well. Alan Steinweis focuses on the fields of music,
theater, and the visual arts in this first major study of Nazi
cultural administration, examining a complex pattern of interaction
among leading Nazi figures, German cultural functionaries, ordinary
artists, and consumers of culture. One of the most persistent
generalizations to emerge from research on Nazi Germany is the
notion of a German artistic and cultural establishment at the mercy
of a totalitarian regime determined to mobilize the arts for its
own ideological purposes. Steinweis argues that this generalization
obscures a more complex reality. It overlooks continuities in the
agenda of the German cultural establishment from the Weimar
Republic through the Nazi period and presupposes a clearer
distinction than actually existed between officialdom and the
cultural elite, thereby overestimating the degree to which policy
affecting artists originated outside the artistic world. Steinweis
describes the political, professional, and economic environment in
which German artists were compelled to function and explains the
structure of decision making, showing in whose interest cultural
policies were formulated. He discusses such issues as work
creation, social insurance, minimum wage statutes, and
certification guidelines, all of which werematters of high priority
to the art professions before 1933 as well as after the Nazi
seizure of power. By elucidating the economic and professional
context of cultural life, Steinweis also contributes to an
understanding of the response of German artists to cultural
Gleichschaltung, or "coordination", and helps to explain the
widespread acquiescence of German artists to artistic censorship
and racial and political "purification".
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