In the first chapter on the German militarys unlikely function as
an incubator of modernist art and in the second chapter on Adolf
Hitlers advocacy for eugenic figurative representation embodying
nostalgia for lost Aryan racial perfection and the aspiration for
the future perfection of the German Volk, Maertz conclusively
proves that the Nazi attack on modernism was inconsistent. In
further chapters, on the appropriation of Christian iconography in
constructing symbols of a Nazi racial utopia and on Baldur von
Schirachs heretical patronage of modernist art as the supreme Nazi
Party authority in Vienna, Maertz reveals that sponsorship of
modernist artists continued until the collapse of the regime. Also
based on previously unexamined evidence, including 10,000 works of
art and documents confiscated by the U.S. Army, Maertzs final
chapter reconstructs the anarchic denazification and rehabilitation
of German artists during the Allied occupation, which had
unforeseen consequences for the postwar art world.
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