Visitors to “Divinely Gifted: National Socialism’s Favoured Artists in the Federal Republic” at Berlin’s Historical Museum may be surprised to learn that almost all the favoured artists continued to work (and receive handsome pay) after the war
THUS READS the plaque attached to a bronze sculpture of a young naked man with his hands bound, at the memorial site for German resistance to the Nazis at Stauffenbergstrasse in Berlin. The creator of the sculpture, entitled “German Resistance”, was Richard Scheibe.
Visitors to “Divinely Gifted: National Socialism’s Favoured Artists in the Federal Republic”, which opened on August 27th at Berlin’s Historical Museum, may be surprised to learn that almost all the favoured artists continued to work after the war. Museums and galleries did not show their work, which is why their names are hardly known to the general public, but they could still rely on the many public officials and private supporters who had patronised them during the Nazis’ 12-year rule.
How to deal with their work decades later? They are all dead, as are most of their patrons, but their art is on display in public places in Germany and Austria. The exhibition’s curators do not prescribe an answer. They want the public to be aware that the sculptures, paintings, friezes and gobelins displayed in both countries were created by artists who were thriving at a time when Jewish painters and sculptors were hounded out of the country—or suffered much worse fates.
The curators picked 12 artists to show how the “divinely gifted” fared in post-war West Germany. The eight sculptors include Arno Breker and his brother Hans, as well as Scheibe; among the four painters are Paul Mathias Padua and Werner Peiner. One of the surprises of the show is that they did not change their anti-modernist style much after the war. They stuck to ancient mythology, symbolism, fallen soldiers, mothers with children or grieving mothers and hard-working manual labourers.
Rather than feeling remorse after the war, many of the favoured artists defended themselves—arguing that they had needed official approval, whoever provided it, in order to work. The show includes old TV interviews with some of the 12 artists the curators picked.
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