Overview

The Tower of Blue Horses by Franz Marc, confiscated as ""degenerate"" and missing since then, Emil Nolde’s ""Unpainted Pictures"" from the time of his occupational ban, or Ernst Barlach’s dismantled, partly destroyed memorials constitute works by three key representatives of Expressionism now inscribed in German cultural history as symbols of the National Socialist persecution of art. The art of Barlach, Marc and Nolde, however, was not only defamed in the most vehement manner, but also celebrated, protected or rehabilitated as ""German"". In her well-sourced insight into museum, exhibition and publication practices between 1933 and 1945, Isgard Kracht exposes the mechanisms and myths of Nazi art policy, and so retells the story of Expressionism’s veneration and ostracism during the ""Third Reich"". Fundamental contribution to an understanding of National Socialist art policy New Perspectives on the History of veneration and ostracism of Expressionist art during the ""Third Reich""

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9783110784022

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""Beispielhaft zeichnet Kracht die Rezeptionsgeschichte von Ernst Barlach, Franz Marc und Emil Nolde zwischen 1933 und 1945 akribisch nach."" (Gabriele Miketta in: Museumsjournal, 2024/1) *** ""Unter anderem am Beispiel der Künstler Ernst Barlach, Franz Marc und Emil Nolde legt Kracht Mechanismen sowie Mythen der NS-Kunstpolitik offen und erzählt die Geschichte von Verehrung und Verfemung des Expressionismus im ""Dritten Reich"" neu."" (Arsprototo, 2023/2)

"""Beispielhaft zeichnet Kracht die Rezeptionsgeschichte von Ernst Barlach, Franz Marc und Emil Nolde zwischen 1933 und 1945 akribisch nach."" (Gabriele Miketta in: Museumsjournal, 2024/1)"

Author Information

Isgard Kracht, Kunsthistorikerin und Provenienzforscherin, Düsseldorf

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