Here are 100 books that Art, Ideology, and Economics in Nazi Germany fans have personally recommended if you like
Art, Ideology, and Economics in Nazi Germany.
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My interest in this topic began because of a trip to a museum in 2008. I noticed that a painting had been removed from view and a small piece of paper was hanging on the wall where the painting had been. The paper explained that this piece was involved in a court case revolving around whether or not it had been stolen from its Jewish owner by the Nazis during World War II. Nazi cultural appropriation, looting, suppression, and destruction turned out to be one of the most fascinating stories of the entire war. The research for my historical novel took several years, but it allowed me to write a book based on the facts.
The Faustian Bargain is all about the art world inside Germany in the 1930s and 1940s. Petropoulos chronicles the artists, art dealers, art professors, art journalists, and many others who were forced to live under Hitler’s cultural rules, which forbade modernist art of any kind. Some profited from this arrangement, others subtly fought against it. This is an inside look at a culture choked and suppressed by its own leadership.
Nazi art looting has been the subject of enormous international attention in recent years, and the topic of two history bestsellers, Hector Feliciano's The Lost Museum and Lynn Nicholas's The Rape of Europa. But such books leave us wondering: What made thoughtful, educated, artistic men and women decide to put their talents in the service of a brutal and inhuman regime? This question is the starting point for The Faustian Bargain, Jonathan Petropoulos's study of the key figures in the art world of Nazi Germany. Petropoulos follows the careers of these prominent individuals who like Faust, that German archetype, chose…
I am a professor of English and Visual Culture at St. John’s University in New York. My research in recent years has focused on reexamining the fate of modernist art in Hitler’s Germany. I have chosen five books that have shaped our understanding of Nazi art and have new resonance with the present resurgence of fascism and authoritarian governments around the world.
A superb English translation has transformed Michaud’s Un Art de L’Éternité into a classic study of the ultimate purpose of Nazi aesthetics: to convert depictions of present reality in Hitler’s Germany into enduring images of National Socialism’s aspiration to generate aesthetic values that would last an eternity. In addition, Michaud argues persuasively how art was central to Nazi ideology.
The Cult of Art in Nazi Germany presents a new interpretation of National Socialism, arguing that art in the Third Reich was not simply an instrument of the regime, but actually became a source of the racist politics upon which its ideology was founded. Through the myth of the "Aryan race," a race pronounced superior because it alone creates culture, Nazism asserted art as the sole raison d'etre of a regime defined by Hitler as the "dictatorship of genius." Michaud shows the important link between the religious nature of Nazi art and the political movement, revealing that in Nazi Germany…
As a graduate student during the late 1970s, my mentor, Martin Jay, generously introduced me to two members of the Frankfurt School: Herbert Marcuse and Leo Lowenthal. These memorable personal encounters inspired me to write a dissertation on Walter Benjamin, who was closely allied with the Frankfurt School. The completed dissertation, Walter Benjamin: An Aesthetic of Redemption, became the first book on Benjamin in English and is still in print. The Frankfurt School thinkers published a series of pioneering socio-psychological treatises on political authoritarianism: The Authoritarian Personality, Prophets of Deceit, and One-Dimensional Man. These studies continue to provide an indispensable conceptual framework for understanding the contemporary reemergence of fascist political forms.
When I first read Herf’s book during the 1990s, it totally transformed my understanding of National Socialism’s attitude toward technology and modernity.
Prior to its publication, Nazism was commonly perceived asanti-modernandanti-technological: as aspiring toward a vaguely defined pre-modern, martial-communitarian dystopia. Conversely, Herf shows that Nazism concertedly sought to integrate technological modernity within the movement’s militaristic, pan-German ideological framework. Here, the effusive expression employed by Goebbels to describe Nazism’s hypertrophic pro-technological enthusiasms, “steely romanticism,” says it all!
In this respect, Ernst Jünger’s allegorical glorification of totalitarian militarism in The Worker (Der Arbeiter) was paradigmatic.
In a unique application of critical theory to the study of the role of ideology in politics, Jeffrey Herf explores the paradox inherent in the German fascists' rejection of the rationalism of the Enlightenment while fully embracing modern technology. He documents evidence of a cultural tradition he calls 'reactionary modernism' found in the writings of German engineers and of the major intellectuals of the. Weimar right: Ernst Juenger, Oswald Spengler, Werner Sombart, Hans Freyer, Carl Schmitt, and Martin Heidegger. The book shows how German nationalism and later National Socialism created what Joseph Goebbels, Hitler's propaganda minister, called the 'steel-like romanticism…
I am a professor of English and Visual Culture at St. John’s University in New York. My research in recent years has focused on reexamining the fate of modernist art in Hitler’s Germany. I have chosen five books that have shaped our understanding of Nazi art and have new resonance with the present resurgence of fascism and authoritarian governments around the world.
Rich in illustrations, ambitious in scope, and still relevant despite having been written in the pre-perestroika Soviet Union, Golomstock makes his four-way comparison accessible and convincing by insisting that “totalitarian art,” a distinct genre with its own aesthetics and style, organization, and ideology, emerged with the rise of the four regimes indicated in the title of his book.
In the Soviet Union, and later in Maoist China, theories of mass artistic appeal were used to promote the Revolution both at home and abroad. In Nazi Germany and Fascist Italy they asserted the putative grandeur of the epoch. All too often, art that served the Revolution became "total realism," and always it became a slave to the state and the cult of personality, and ultimately one more weapon in the arsenal of oppression. Igor Golomstock gives a detailed appraisal of the forms that define totalitarian art and illustrates his text with more than two hundred examples of its paintings,…
The American-born son of Jewish refugees, I would have every reason to revile the erstwhile capital of The Third Reich. But ever since my first visit, as a Fulbright Fellow in 1973, Berlin, a city painfully honest about its past, captured my imagination. A bilingual, English-German author of fiction, nonfiction, plays, poetry, travel memoir, and translations from the German, Ghost Dance in Berlin charts my take as a Holtzbrinck Fellow at the American Academy in Berlin in a villa on Wannsee, Berlin’s biggest lake, an experience marked by memorable encounters with derelicts, lawyers, a taxi driver, a hooker, et al, and with cameo appearances by Henry Kissinger and the ghost of Marlene Dietrich.
In Berlin Stories, the book that inspired the movie Cabaret, comprising two linked novellas by Christopher Isherwood loosely based on his first-hand experience as an expat in Berlin in the Twenties, the British novelist evokes the anything-goes atmosphere that reigned in the capital of the Weimar Republic immediately prior to the Nazi take-over. That free-wheeling, raucous spirit survived the Third Reich and still thrives in Berlin today.
First published in the 1930s, The Berlin Stories contains two astonishing related novels, The Last of Mr. Norris and Goodbye to Berlin, which are recognized today as classics of modern fiction. Isherwood magnificently captures 1931 Berlin: charming, with its avenues and cafes; marvelously grotesque, with its nightlife and dreamers; dangerous, with its vice and intrigue; powerful and seedy, with its mobs and millionaires-this is the period when Hitler was beginning his move to power. The Berlin Stories is inhabited by a wealth of characters: the unforgettable Sally Bowles, whose misadventures in the demimonde were popularized on the American stage and…
While growing up in a Vermont town in the lower Champlain Valley, I became fascinated with the wealth of nearby historic sites dating from the French and Indian War and the American Revolution. Within easy reach of our family station wagon were Fort Ticonderoga and more. I became especially intrigued by German mercenaries hired by the British to fight the American colonists. My interest led me to become a history major at the University of Vermont, and eventually to Germany as a correspondent for The Associated Press. I worked and lived in Germany from 1987-1997, covering the toppling of Communism, the birth of a new Germany, the rise of neo-Nazi violence, and other themes.
There is no better scholarly work about the birth and death of Germany’s first democracy than The Coming of the Third Reich, by British historian Richard J. Evans. Evans uses a wealth of archival material to create a masterful narrative of the intrigue, revolts, economic forces, and political chaos that marked the Weimar era. The Coming Of The Third Reich is the first book in a three-volume series, which covers Germany from the end of World War I to the downfall of the Nazi regime.
Richard J. Evans' The Coming of the Third Reich: How the Nazis Destroyed Democracy and Seized Power in Germany explores how the First World War, the Weimar Republic and the Great Depression paved the way for Nazi rule.
They started as little more than a gang of extremists and thugs, yet in a few years the Nazis had turned Germany into a one-party state and led one of Europe's most advanced nations into moral, physical and cultural ruin and despair.
In this consummate and compelling history, the first book in his acclaimed trilogy on the rise and fall of Nazi…
Unlike most children of immigrants who were told nothing about the past, I grew up surrounded by family history—my grandfather’s village in Russia, my father’s memories of 1930s Europe, and my mother’s childhood on a migrant worker farm during the Great Depression. I realized that history isn’t just names and dates but a unique opportunity to study human behavior. I wrote Hammer of the Gods about the Thule Society because Thule was often mentioned in passing by historians of Nazi Germany, as if they were uncomfortable delving into an occult group recognized as influential on the Nazis. I decided I wanted to learn who they were and what they wanted.
I found this book by the German scholar Joachim Fest many years ago at a flea market. Fest’s portrait of Hitler and a dozen high-ranking officials of the Third Reich became models for my own writing. Fest maps out the range of personalities—their cruelty, greed, and misplaced ideals—and the way in which Hitler encouraged rivalry among them to preserve absolute power for himself.
Why did I end up spending almost a third of my life researching Nazi boarding schools, and childhood under the Third Reich more generally? I sometimes wonder if it was because I myself was sent to boarding school at the age of nine – somehow, I can sympathise with what these children had to endure, as well as knowing full well from a historian’s perspective which hardships were truly unique to a National Socialist elite education, and which were simply the kind of heart-ache that’s common to any institution which takes children away from their parents at a young age…
Written during the Third Reich itself, this is the hard-hitting book that told the world just how heinous Nazi education policy was – although it was only heeded by a prescient few at the time. Anyone who is worried about how easily schooling can become subject to ideology should definitely read this book!
Published in 1938, when Nazi power was approaching its zenith, this well-documented indictment reveals the systematic brainwashing of Germany's youth. The Nazi program prepared for its future with a fanatical focus on national preeminence and warlike readiness that dominated every department and phase of education. Methods included alienating children from their parents, promoting notions of racial superiority instead of science, and developing a cult of personality centered on Hitler. Erika Mann, a member of the World War II generation of German youth, observed firsthand the Third Reich's perversion of a once-proud school system and the systematic poisoning of family life.…
Spending my childhood in Nazi Germany, the nature and the horrific consequences of Nazi ideology have occupied me as a student of German history and later as a teacher of intellectual and literary history. In 1933 Car Schmitt opted to support the Nazis. While he was banned from the public sohere in post-war Germany, his ideas remained influential on the far right and the far left, fortunately without significantly impacting the democratic reconstruction of West Germany. It was the growing international visibility of Schmitt’s writings that became my personal concern after 2000. In particular, Schmitt’s increasing influence in the United States energized me to reread and respond to his writings.
Are you tired of Hollywood clichés about Nazi culture? The Princeton historian Anson Rabinbach is your man. His brilliant essays on aspects of Nazi culture as diverse as the popular novel under Nazism, the Nazi-organized leisure industry, and the fate of the humanities at German universities between 1933 and 1945, provide the sharp, well-informed analysis you never got at school. Get started with the interview the author gave to two younger colleagues (pp. 450-480); here things become personal. Of course, Rabinbach is a pro, he knows the critical literature on the topic and cites it to differentiate his argument. But more importantly, his insights and arguments force you to rethink your response to German fascism, and to question the facile opposition of democracy and Nazism portrayed in American pop culture.
A widely celebrated intellectual historian of twentieth-century Europe, Anson Rabinbach is one of the most important scholars of National Socialism working over the last forty years. This volume collects, for the first time, his pathbreaking work on Nazi culture, antifascism, and the after-effects of Nazism on postwar German and European culture. Historically detailed and theoretically sophisticated, his essays span the aesthetics of production, messianic and popular claims, the ethos that Nazism demanded of its adherents, the brilliant and sometimes successful efforts of antifascist intellectuals to counter Hitler's rise, the most significant concepts to emerge out of the 1930s and 1940s…
When I find a big story that has not come out, which has massive relevance for history and for the entire world, I go all out to bring it to light, as I have done with this book. Most of the books I have written have been devoted to telling big, unknown stories that concern the world. (Examples: alien intelligence, the origins of ancient civilisations, the Chinese contribution to the history of inventions, the existence of optical technology in antiquity, who were the people who tried and executed King Charles I and why did they do it.) I simply had to expose this information to the public.
This book was originally published by Doubleday, New York, in 1944. This book also contains material obtained from Heinrich Pfeifer, not only from Pfeifer’s own experience but from Pfeifer’s secret network of sympathisers and informants deep within the Nazi Establishment.
It is alarming in the extreme, detailing as it does how the Nazis of the SS and SD had since 1943 started planning to metastasize their doctrines all round the world, and found a Nazi International organisation, with the eventual hope of creating a Fourth Reich which was not dependent upon the territory of Germany, but was spread across the world invisibly, so that no armies could ever conquer it.
They planned the ratlines and escape routes to all the friendly countries such as Argentina and Chile. Their ratline HQ was in Madrid, with the full cooperation of the Franco Government. One of the two chief organisers was SS Lieutenant…
'Its existence is known only by the effects of its action.' Author Curt Riess on what happens when an organisation goes underground. Written in 1944, thus contemporary to the events of the Second World War and Nazi Germany, The Nazis Go Underground describes how the Nazis planned and organised their descent into the underground as early as 1943. At this stage of the war, the situation for the Third Reich looked grim. With Bormann and Himmler as its architects, the Nazi party would go underground and prepare for World War III from the shattered ruins of Berlin. German generals were…
