![my summer car skins deviant art my summer car skins deviant art](https://i.pinimg.com/736x/f1/25/c0/f125c087077a9a70bbf76ae3a57402b0--deviantart-drawings-fox-art.jpg)
![my summer car skins deviant art my summer car skins deviant art](https://images-wixmp-ed30a86b8c4ca887773594c2.wixmp.com/i/813c1da0-43e1-49be-b37b-fd262ac140b3/dax1srm-6c4cd508-571e-4817-8bd3-dbd8c69e2936.png)
However, he was eventually sacked as professor at the Dresden School of Arts and Crafts. For example, Otto Dix had to promise to paint only inoffensive landscapes or portraits. In this way it became possible to prevent artists who were opposed to the policies of the Nazi government from working. (7) Ziegler made all artists join the Reich Chamber of Fine Arts. In 1936 Adolf Ziegler became President of the Reich Chamber of Fine Arts (Reichskammer der bildenden Kuenste), a subdivision of the Cultural Ministry under Joseph Goebbels. They will see that the commissioning of what may be the greatest cultural and artistic projects of all time will pass them by as if they had never existed." (6) Reich Chamber of Fine Arts "These charlatans are mistaken if they think that the creators of the new Reich are stupid enough or insecure enough to be confused, let alone intimidated, by their twaddle. First, the iconoclastic "saboteurs of art," were threatening the development of art in Nazi Germany. Hitler argued that there were "two dangers" that National Socialism had to overcome. He made his position clear in a speech in September, 1934. Hitler was asked to intervene in the dispute. Rosenberg saw his mission to preserve the "folkish ideology in its purest form" and rejected Goebbels's belief that artists such as Heckel, Nolde and Barlach were representative of contemporary Germany's "indigenous Nordic" art. Ziegler got support from Rosenberg in his disagreement with Goebbels. In January 1934 Hitler had appointed Alfred Rosenberg as the cultural and educational leader of the Reich. (3) In a speech made in June 1934 Goebbels argued "We National Socialists are not un-modern we are the carrier of a new modernity, not only in politics and in social matters, but also in art and intellectual matters." (4) In March 1934 he had served as a honorary patron of an exhibition on Italian Futurism in Berlin. As a student at university he had regularly attended lectures in art history. At the time Goebbels did not share Ziegler's views on modern art and liked artists such as Emil Nolde, Erich Heckel and Ernst Barlach. Joseph Goebbels, the head of the Culture Ministry. Soon after Adolf Hitler gained power he appointed Adolf Ziegler, a strong supporter of Schultze-Naumburg, as his artistic adviser. And the battle for art has to be fought with the same seriousness and determination as the battle for political power." According to Berthold Hinz, the author of Art in the Third Reich (1979): "This issue became a touchstone for determining who were the friends and who were the foes of the Third Reich". Hitler agreed with Schultze-Naumburg when he wrote: "A life-and-death struggle is taking place in art, just as it is in the realm of politics. He was especially angry about the popularity of left-wing and anti-war artists such as Käthe Kollwitz, John Heartfield, George Grosz and Otto Dix. And since that task is substantially conducted with spiritual tools, national socialism cannot ignore the instrument of art." (1)Īdolf Hitler took a keen interest in art and saw it as a means of promoting fascism and changing attitudes in Germany. And the idea of National Socialism is based on appropriately 'giving direction' to the German people and leading it to salvation. The essential element of art, as we understand it, is therefore to always show a ‘spiritual direction’. They express a ravening lasciviousness that sees the nude only as an undressed human being in its lowest form. They convey not the slightest trace of the sacredness of the human body or of the glory of a divine nakedness. Woman has probably never been depicted so disrespectfully and in so unappetizing a way as in the paintings we have been obliged to put up with in German exhibits of the last twelve years, paintings that inspire only nausea and distrust. After all, one cannot ignore that the higher task of the artist is to show the final objectives to the people of their time, to make visible the image towards which one wishes to move, so that all people could recognize beauty and can start the contest to imitate it and to make themselves compliant with that ideal. In 1932 Paul Schultze-Naumburg, a senior figure in the Nazi Party, wrote a pamphlet entitled, The Struggle for Art: "We know that, from the works of art that the peoples and the times have left us, we can draw a picture of their true spiritual essence, form and environment.