Art Criticism - The State University of New York

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p. 7-8; cited in Pierre Louis Mathieu, Gusiave Moreau p. 182 40 Lacambre, Gustave Moreau Between Epic and Dream, p. 5 41 Gustave Moreau, Notebook 1Il, (Archives Musee Gustave Moreau, Paris), p. 118; cited in Kaplan, The Art oj Gustave Moreau Theory Style and Content, p. 6 42 Julius Kapian, Gustave Moreau (Los Angeles, 1974), p.42 43 Pierre Cadars, Les Debuts de Gustave Moreau 1848-1864 (Toulouse, 1965), p. 71; cited in Kaplan, The Art oj Gustave Moreau Theory Style and Content, p. 11 44 Mathieu, Gustave Moreau, p. 185 I 45 Moreau. Notebook 1Il. p.120-24; cited in Kaplan. 'The ArloJGustave Moreau Theory Style and Content. p. 11 46 Pi~rre-Louis MattIlieu. Gustave Moreau The Watercolors (New York. 1985), p. 7 47 Mathieu, Gustave Moreau p. 256 48 Ibid., p. 258 49 Ibid .• p. 260 50 Garelick. Rising Star p. 29 51 Matthieu. Gustave Moreau The Watercolors, p. 90 52 Odilo,! Redon Gustave Moreau Rudolph Bresdin, p. 144 I . 72 Art Criticism
Degeneration in World War II Germany Kempton Mooney The week of July 18th, 1937 saw the opening of two major exhibits in Munich Germany. The first was the opening of The Great German Art Exhibition, the inaugural exhibition of the Haus der Deutschen Kunst. The second exhibition was Entartete "Kunst," The Degenerate Art Exhibition. The two contrasting exhibitions, which faced each other on either sides of a public park, were a lesson for the German public. The first exhibition showed what art was acceptable, and in its presentation of idyllic nudes and victorious heroes it was also meant to show the public what it should strive to be. Across the park, the Degenerate Art exhibition was meant to show what was unacceptable. The works were laid out in such a way as to provoke their audience to hate what it saw. By giving Germany something to love and something to hate, the exhibitions were to unify the German people. They exemplify Adolf Hitler's use of art to rally support, to instruct the German people on who to be, and to fuel their hatred against those he created as enemies. However, the exhibitions were not solely propaganda, as Hitler genuinely sought to purify Germany of what he considered to be destructive forces. He saw modern art as a decline indicative of society's decline, and he wished to stop this decline by forcing art to adhere to what he perceived as principles it had contained at its zenith. I intend to explore the development of Nazi art policy to show that the methods Hitler used to remove the degenerate elements in German culture, instead of being a cure, only further confirmed the decadence of their cultural position. Before World War I, the German art world was in tune with the avantgarde. It supported the avant-garde through the 1920's with important exhibitions so that when Alfred Barr of New York's Museum of Modem Art visited in 1931, he was amazed at the innovative contemporary works already on display in Germany's museums.' The Nationalgalerie in Berlin had the most representative collection of contemporary art, though many local museums also showed works by German Expressionists. However, while there was an encouraging atmosphere for contemporary artists, there was also an opposition present. As early as 1914, there were passionate debates between conservatives and modern artists. In Prussia, these became political enough that the Parliament passed a resolution against the degeneration of art, though the resolution was little enforced as the question of degenerate art remained in the realm of opinion.2 vol. 17, no. 1 73
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Volume 17; Number I ART C.RIT1C1SM
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Art Department State University of
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4 Art Criticism
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Breaking the Picture Plane: Reflect
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whale saga (more recently Hesse or
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and many of whom were born in Europ
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printed a bullet track fired into a
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music that (like the Mona Lisa) has
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causing by neglect a bitterness amo
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preserved some of the exuberance th
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which inspiration was stabilized. 5
Page 24 and 25: pain in the eyes of the cripple giv
Page 26 and 27: Bruckner did in his music) was not
Page 28 and 29: mortify into hard edges and mushy c
Page 30 and 31: with the sleep of reason. In the Am
Page 32 and 33: cent. Its fluidity of happy acciden
Page 34 and 35: And yet I can imagine these atrocit
Page 36 and 37: erature the not very evocative work
Page 38 and 39: maiden" of Marxism (unless things g
Page 40 and 41: ic he realize that artists suddenly
Page 42 and 43: The little nonsense that wise men r
Page 44 and 45: desensitized by the imitated means
Page 46 and 47: symbolism? If the arts only exist t
Page 48 and 49: The Femme Fatale as seen in the wor
Page 50 and 51: Huysmans parallels the life of De R
Page 52 and 53: ask for the unreasonable and receiv
Page 54 and 55: ennui or physical distress leads th
Page 56 and 57: ences cited herein, the femme fatal
Page 58 and 59: period."2 He traced the tradition b
Page 60 and 61: suggestion to the artist and the po
Page 62 and 63: of Moreau's works is vague and myst
Page 64 and 65: ing her as the femme fatale, or sub
Page 66 and 67: The subtitle Satanic Decameron evok
Page 68 and 69: completely mythical. Coupled with a
Page 70 and 71: Moreau was very much a man of his t
Page 72 and 73: themes and images are often decaden
Page 76 and 77: Between World War I and World War I
Page 78 and 79: shown distrust in the new styles. T
Page 80 and 81: These passages were meant to help g
Page 82 and 83: man public was voicing disapproval
Page 84 and 85: y old masters that were more suitab
Page 86 and 87: Notes 1 Alfred Barr, "Art in the Th
Page 88 and 89: From Diagnoses to Decadence: A Brie
Page 90 and 91: ate effort to reproduce fully an im
Page 92 and 93: patients. Charcot was often to be f
Page 94 and 95: Breuer attributed the presence of A
Page 96 and 97: still is traditionally associated w
Page 98 and 99: is not always recognized as such. H
Page 100 and 101: generation on which the multitude o
Page 102 and 103: 2 Elaine Showalter, The Female Mala
Page 104 and 105: 36 Freud and Breuer, 37. 37 Su'ch a
Page 106 and 107: Recasting the Art History Survey: E
Page 108 and 109: mode of self-consciousness that bes
Page 110 and 111: student-as-Other "calls" us to teac
Page 112 and 113: thesis of such descriptions into an
Page 114 and 115: In this final section of the essay,
Page 116 and 117: image-world, the picture opens up a
Page 118 and 119: history must itself be rethought in
Page 120 and 121: 15 Two of the most prominent propon
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~fJed in the Unikd Smtc, .• 9 ~]~
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