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4°. 440 S. Mit 147 Abb. u. 75 Dokumenten. Original-Leinenband mit Schutzumschlag. Heidelberger Kunstgeschichtliche Abhandlungen, NF, Bd. 21. - Schutzumschlag ein wenig abgegriffen. Einband etwas verzogen. Gewicht (Gramm): 2290

First Edition, First Printing. Published by C.H. Beck, 1988. Octavo. Paperback. Text in German. Book is very good with sticker on inside front cover. 100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Sag Harbor, New York.

220 S., Abb., 24 cm. Sprache: Deutsch

Unread book in perfect condition.

German language. 12.09x9.92x1.42 inches. In Stock.

Neuware -Seit seiner Machtübernahme führte das nationalsozialistische Regime einen rigorosen Kampf gegen die moderne Kunst. 1939 bot es aus den deutschen Museen geraubte Werke zeitgenössischer Kunst dem Ausland zum Kauf an. Zuvor waren sie als abschreckende Beispiele «entarteter Kunst» in München zur Schau gestellt worden. Wie sollte man sich im Ausland zum Angebot des Dritten Reichs stellen Machte man sich als Käufer zum Komplizen von Kunsträubern Oder wurde man vielmehr zum Fürsprecher und Retter verfolgter Kunst Das Kunstmuseum Basel kaufte 21 solcher Werke an. Das Unternehmen gelang nur dank des Engagements weniger Kunstfreunde, vor allem des Museumsdirektors Georg Schmidt, und im Widerspruch zum herrschenden Zeitgeist. Mit einem kunstwissenschaftlichen Beitrag von Eva Reifert, Kuratorin des Kunstmuseums Basel. 220 pp. Deutsch

Formateinband: Pappband mit Umschlag / gebundene Ausgabe VII, 444 S. (25 cm) 1. Aufl.; (Mit zahlreichen Abbildungen); Sehr guter Zustand. Sprache: Deutsch Gewicht in Gramm: 1700 [Stichwörter: Kunsthändler Hildebrand Gurlitt, Nationalsozialismus, Kunsthandel, Positionierung Gurlitts zur Moderne u.a.]

This is a key work in the field of what was termed 'Degenerate Art' ('Entartete Kunst') by the Nazis. Particularly valuable for its reconstruction of the 'Entartete Kunst' Exhibition held in Munich in 1937 on the basis of existing photographs and documentation, and, to a certain extent, the touring of versions of this show to other major cities.

In 1933 Paul Klee’s work was branded as ‘Entartete Kunst’ (Degenerate Art) by the National Socialists and he was dismissed from his professorial post at the Düsseldorf Academy of Fine Arts. This led him, together with his wife Lily, to return to his ‘real home’ of Bern. Here his avant-garde art was not understood and Klee found himself in unasked for isolation. In 1935 Klee started to suffer from a mysterious disease. The symptoms included changes to the skin and problems with the internal organs. In 1940 Paul Klee died, but it was only 10 years after his death that the illness was actually given the name ‘scleroderma’ in a publication about Klee. However, the diagnosis remained mere conjecture. Since his adolescence, the dermatologist and venereologist Dr. Hans Suter has been fascinated by Paul Klee and his art, and more than 30 years ago this fascination spurred him to commence research into the illness and its influence on the art of Paul Klee’s final years. It was due to Dr. Suter’s meticulous investigations that Klee’s illness could be defined as ‘diffuse systemic sclerosis’. In this book the author assembles his findings and describes the rare and complex disease in a clear and comprehensible way. Further, he empathetically interprets more than 90 of Klee’s late works. The point of view of a dermatologist renders a unique source of information. It provides, on one hand, new insights into everyday medical practices at the University of Bern in the 1930s, which will fascinate doctors and local historians alike. While, on the other hand, art historians and art lovers will be absorbed by the newly discovered links between Paul Klee's work and his illness.

In 1933 Paul Klee’s work was branded as ‘Entartete Kunst’ (Degenerate Art) by the National Socialists and he was dismissed from his professorial post at the Düsseldorf Academy of Fine Arts. This led him, together with his wife Lily, to return to his ‘real home’ of Bern. Here his avant-garde art was not understood and Klee found himself in unasked for isolation. In 1935 Klee started to suffer from a mysterious disease. The symptoms included changes to the skin and problems with the internal organs. In 1940 Paul Klee died, but it was only 10 years after his death that the illness was actually given the name ‘scleroderma’ in a publication about Klee. However, the diagnosis remained mere conjecture. Since his adolescence, the dermatologist and venereologist Dr. Hans Suter has been fascinated by Paul Klee and his art, and more than 30 years ago this fascination spurred him to commence research into the illness and its influence on the art of Paul Klee’s final years. It was due to Dr. Suter’s meticulous investigations that Klee’s illness could be defined as ‘diffuse systemic sclerosis’. In this book the author assembles his findings and describes the rare and complex disease in a clear and comprehensible way. Further, he empathetically interprets more than 90 of Klee’s late works. The point of view of a dermatologist renders a unique source of information. It provides, on one hand, new insights into everyday medical practices at the University of Bern in the 1930s, which will fascinate doctors and local historians alike. While, on the other hand, art historians and art lovers will be absorbed by the newly discovered links between Paul Klee's work and his illness.

In 1937, Germany’s Nazi government staged an exhibition in Munich entitled “Entartete Kunst”—the official designation given to all “modern art” which was not strictly classicist or realist in nature.The exhibition was not merely designed to illustrate what the Nazis deemed “bad art,” but had a political purpose.“Modern art” was deemed to be part of the overall assault on “German art” and culture by a Bolshevist—and largely Jewish—movement of “artists” who were working in tandem with the Communist movement to destroy German, and Western, civilization.Included in this “degenerate art” were all works classed as cubism, Dada, surrealism, symbolism, post-Impressionism and Fauvism. Germany’s art museums were scoured for such works, and were declared forfeit to the state.When the exhibition finally closed, this guide-book, written by Fritz Kaiser, an official in the Reich Propaganda Ministry, was issued as a souvenir.This version consists of a high quality reproduction of the original German booklet, and then an English-language translation, neatly laid out in the place of the German text. A fascinating historical document.“‘Works of art’ which cannot be understood, cannot speak for themselves but require a verbose set of instructions in order to find some shy creature who patiently listens to such stupid and brazen nonsense, will from now on no longer reach the German People.”—Adolf Hitler, 1937, as quoted in the book.