"The Great German Art Exhibition"

" 'Works of art' that are not capable of being understood in themselves but need some pretentious instruction book to justify their existence- until at long last they find someone sufficiently browbeaten to endure such stupid or impudent twaddle with patience- will never again find their way to the German people." Adolf Hitler

This statement was part of the remarks made by Hitler at the opening of the House of German Art. As part of the ceremony there was an elaborate parade through Konigsplatz. July 1937

Art as propaganda encompassed more than pictures, films, and words alone. In the summer of 1937, new methods were implemented that would have far -reaching consequences. Munich was the site of two events that were designed to leave no doubt in the minds of the people about the difference between "good" art and that which was unacceptable. On July 18 the four-month-long show entitled "Great German Art Exhibition," opened at the newly completed House of German Art, the first Nazi public building project. Hitler had participated in then selection of works for the show. Opening ceremonies included a parade and other festivities that culminated in a speech in which the Fuhrer derided modern art and artist, gallery owners and art citics, among others. This exhibition would become an annual event in which Hitler enthusiastic participation was assured.

Opening the following day was a show entitled "Degenerate Art" (Entartete Kunst), also "curated" in part by Hitler. Here, rather than glorifying the artist and their works as was been done at the German Art Exhibition, every possible affort was made to degrade ans humilate them. Painting were jutaposed in a manner unseen previously; some hung cro0ked, others were positioned above doorways or clumped together to create the most negative visual effect. Large panels were hung throughout the exhibition containg quotations by Hitler and Goebbels ridiculing and condeming the works. Purchased price were often cited in an attempt to show how the public had been duped. These efforts were designed to convince the viewing public of the insidious nature of these "perverted" artists and their work. Every effort was made to instill in the visitors the same sence of revulsion so emhatically pronounced by the Fuhrer.