How Did Hitler Control Images And Types Of Art?

Imagery is a portrait that is painted in your mind, a portrait that makes you feel you are there. The Holocaust is full of disturbing and horrible images of death. Pictures of inhumanity that just make you sick looking at them. In many images you see the pale, unemotional faces whose lives were changed for eternity, and yet with these images some believe that the Holocaust did not happen. In the Holocaust there was mass genocide of over six million Jews. Also many ethnic Poles, gypsies, Soviet civilians, Soviet prisoners of war, disabled people, homosexual men, and political and religious opponents were targeted by the Nazis to be exterminated. Hitler’s ultimate goal during the Holocaust was to

The Architecture of Doom clearly demonstrates how Hitler uses our inner demon of ideology to suppress our inner angels for his own gain. Hitler and those who, according to The Architecture of Doom, had also been denied by the world of art created his own ideology of beauty. This ideology of beauty required a pureness of blood, a cleanlier people to create a more perfect nation. Hitler used his artistic abilities to create a distorted vision of those he felt weren’t worthy. The Architecture of Doom and Steven Pinker’s The Better Angels of Our Nature show how Hitler used each of the subsections of Ideology to create an atmosphere conducive for the mass genocide that took place.

The Holocaust was a devastating time for many people. Eleven million Jews, gypsies, homosexuals, and other non-Aryans were killed. But lives were not the only thing lost during the Holocaust. Hitler and the Nazis stole several million works of art. Five million were tracked down and recovered by the Monument Men. These courageous people helped to find and save the art stolen during the greatest cultural disaster in history.

Art, music, poetry, known as a way to express a deep emotion through a brush, instrument, and or a pen/pencil. The Holocaust did only involve killing, but also art and music. At a young age Hitler was obsessed with art just as he was obsessed with power. He knew that conquering Europe would require more than just war, but for COMPLETE domination of culture. When Hitler went out to kill Jews and other races he also destroyed all museums and libraries and if they were not destroyed, he stole them to create a “super museum” as the rumor went around. (“Why did Hitler Steal Art”)

Despite the brutality of the Hitler, as a strategist, he gained widespread support throughout the country through his passionate public speeches, exploiting the anxious populace's fear of communism, mistrust of Jews, and anger over the Versailles settlement. Hitler's crude and violence attracted adherents from throughout German society. The Nazi platform appealed not only to violent forces and veterans but also to anxious middle-class Germans traumatized by the Great Depression, who were attracted to Hitler's ardent nationalism and charismatic personality in a time of unsettling crisis and instability. Students and intellectuals were enchanted by the Nazis' aura of confident modernity, embracing the party's fascination with mass media, technological

The troubling part of this was the fact that Hitler was a little rebel for at the age of nine he was caught smoking a cigarette by the Priest. He forgave him and told him never to do it again. His father was a more of an abusive type of man, for he abused his children to discipline them. Since he was a custom official, he expected his son to obey and respect his orders as his men did in his job. As the years went by, in 1900, Hitler discovered that he had a magnificent talent for drawing and memory. He was able to look at a building and draw it from memory, making its architecture very detailed in his drawings. He then had to face a choice of either going to a university for gymnasium or for a “technical/scientific Realschule.” Since this Realschule contains a drawing institute he decided to go there. His father really wanted him to focus on becoming a leader like he was, instead of becoming an artist. There was much argument going on between these two people.” My father did not depart from his 'Never!' And I intensified my 'Oh, yes!'…. For the moment only one thing was certain: my obvious lack of success at school. What gave me pleasure I learned, especially everything which, in my opinion, I should later need as a painter. What seemed to me unimportant in this respect or was otherwise unattractive to me, I sabotaged completely,” (Hitler Chap 1). Hitler only focused on what he thought what was important

Hitler’s influences did have a big effect on what he did to the Jews during World War II (Mandelbaum). During his time in Vienna, Hitler gained inspiration from many prominent figures in Vienna (Adolf Hitler). “He [Hitler] acquired his first education in politics by studying the demagogic techniques of the popular Christian-social Mayor, Karl Lueger” (Adolf Hitler). Lueger was a major anti-semitic and Hitler started blaming all the semitics (especially Jews) for his failures because of what Lueger believed in (Adolf Hitler). There were two more major inspirations to Hitler in Vienna, “Defrocked monk, Lanz von Liebenfels, and the Austrian Pan-German leader, Georg von Schoenerer, the young Hitler learned to discern the Eternal Jew” (Adolf

These are all important and interesting questions, but it's easy to tangle separate and distinct issues. I'm glad I saw Spartacus, as I think I understand a little more about how the art of that era reflected its politics and culture. Ditto for the Grigorovich Swan Lake. Ditto for the examples of paintings Hitler loved now on display at the Degenerate Art show at the Neue Gallerie.

As “Entartete Kunst” traveled around Germany for a few years, the Nazi party wanted to show that art has degenerated with the works expressionism. This was one of the many ways the Nazi party wanted to show how society is “sick” and needs to be cleaned. The Nazi party wanted the viewers of the exhibit to see and think that the expressionist art is “degenerate” in their own viewer’s mind, other than just saying it was to the public.

According to Jenkins (2014) who we are or who we are seen to be depend on personal, collective, and historical forms of identity. Identity creates a moral system, the formation of likes/dislikes, and the “other” or the “spoken about” (Jenkins, 2014). Identity is produced in a symbolic relationship between people and denotes the ways in which individuals and the collective are distinguished (Jenkins, 2014). The media plays a large role in how identities can be shaped, and this paper will analyze the affects of the American media and how it in turn shaped not only Nazi Party but also how Hitler’s personal and political identity was shaped.

Szymborska’s poem “Hitler’s First Photograph” has many interesting aspects to it, including ironic diction which sculpts the literal meanings behind the figurative wordings. The entire poem mocks the present for its ignorance of the past. By doing this, it is evident that the outcome of who Hitler turned out to be, is the ironic part and makes us feel guilty in a way. The tone of this poem, is spoken in a way that isn’t out of the blue, but knowing what has occurred in the past leads us to read this in a sardonic way.

Degenerate art, at one point in history shocked and bewildered its viewers in Germany during the 1930’s. The Nazi’s claimed that these works of art were considered dangerous and therefore, sought to destroy the pieces of art. Nazi Germany, during the 1930’s and 1940’s was ruled by an iconic figure named Adolph Hitler. Hitler, referred to himself as Hitler the Furrier and promised to the people of Germany, that there would be a formulation and the rise of a master race in which degenerate beings would be rid of. Hitler believed that a master race was to be comprised of individuals of German decent, blonde haired, blue eyed and tall in height. Those who did not correlate with his belief, were considered degenerates.

Adolf Hitler, before he began the notorious German regime in 1919, had aspirations to be an artist. He applied to the Vienna Academy of Fine Arts in 1907; his aspirations to become an artist did not become a reality as his application to the art school was rejected. This motivated his hatred towards degenerate art, a type of art that was described as modern; Hitler was known to describe it as Jewish or communist in nature. Hitler pushed the classical art ideal, in which the only type of art allowed to be showcased in museums were classical pieces from artists such as Phidias and Picasso (Campbell 1).

World War II was a war that was forever etched in history as a result of it destruction and overwhelming body count. But who would have thought that this war would have found a way to impact art before it’s time. Before Hitler rose to power, he used the civil war in Spain around 1936 as his personal field test. In response, arts took to their trade to cope with their frustration and express their opinions. Then as war was on the verge of beginning, Hitler stole modern art from Jewish artists and put them in his own show. His show was titled “Degenerate Art,” and it portrayed the artist as demented people who were a hindrance to society. He felt sane people were incapable of producing such abstract art. He went on to sponsor another

In his Mein Kampf (“The Struggles”), Adolf Hitler argues that “force reigns everywhere and supreme over weakness, which it either compels to serve it docilely or else crushes out existence” (qtd. in Weil 237). Hitler reasons that “Man cannot be subject to special laws of his own” because of “force” overrules all human law (qtd. in Weil 237). Simone Weil claims that Hitler’s ideology of force is “the only conclusion that can reasonably be drawn from the conception of the world contained in our science” (237). Wile’s claim is correct because we in fact live in a world of scientism. Weil sees scientism as an intoxication with “force,” the power and prestige of science which inspired Hitler’s whole life. Hitler used “force” for power to control the weak. The point of Weil’s claim is to indict science.