The Faustian Bargain: The Art World in Nazi Germany

By Jonathan Petropoulos | Go to book overview

Chapter 3
Art Journalists

Art critics served as extremely important mediators between the regime and the public during the Third Reich. They communicated to a broad audience the ideological precepts manifest in the contemporaneous artworks and played a crucial role in the campaign to generate enthusiasm for these products. Because they were a part of the propaganda machinery, they were closely regulated as a profession. Not only were all critics obliged to be members of the Reich Chamber of Culture and the discipline-specific Reich Chamber for the Visual Arts, but they were, as of November 1936, required to obtain certification from the Propaganda Ministry. At this critical juncture in the history of the Third Reich, when the Nazi leaders steered the government on a more radical and aggressive course, Goebbels proclaimed the Regulation of the Art Report, whereby only journalists with the rank of editor (Schriftleiter) could engage in art criticism. 1 In this 26 November law, which was also known as the Art Editor Law, Goebbels placed other restrictions on those who could discuss artworks in public organs. Editors, for example, had to be at least thirty years of age--

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The Faustian Bargain: The Art World in Nazi Germany
Table of contents

Table of contents

  • Title Page iii
  • Contents ix
  • Acknowledgments xi
  • Abbreviations and Acronyms xv
  • Introduction 1
  • Chapter 1 Art Museum Directors 13
  • Chapter 2 Art Dealers 63
  • Chapter 3 Art Journalists 111
  • Chapter 4 Art Historians 165
  • Chapter 5 Artists 215
  • Conclusion 273
  • Notes 281
  • Bibliography 351
  • Index 377
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