Famous Austrian artist Adolf Hitler. ~ Adolf Hitler - artist - evil genius ~
It is common knowledge that in his youth Adolf Hitler drew and wanted to become an artist. He himself wrote about this in Mein Kampf. Biographers and numerous researchers of the murderer’s life vividly described this. However, until recently, his works were unknown to the general public, and the “narrow” did not advertise their presence. The situation seems to be clear on its own: denazification took place in Germany, Nazi symbols, organizations and propaganda are illegal, there is no need for the Germans to poison the soul once again, and even more so to pour salt into the wounds of the Jews. So they didn’t show the dictator’s painting.
But in the 2000s, the theme of Hitler's paintings appears on empty space with a proper banal legend - found by chance. First in 2001 the German trading house Freiburg put up for sale an image of a flower with Hitler's signature. After violent protests, the lot was withdrawn from auction and returned to the owner. Two years later, several drawings were put up for auction in private gallery in the US with a starting price of $7,500. In 2004, in Japan, in one of the Tokyo theaters, a public demonstration of Hitler's watercolor depicting the Viennese Church of St. Charles took place. And the following year, 2005, sales began. Drawings of Adolf Hitler and Greeting Cards with his signature, sent to the chief architect of the Reich, Albert Speer, were sold for an amount of 26.5 thousand dollars at an auction held in Montreal. Via Austrian branch electronic auction The painting "Munich" was sold on eBay for 2,100 euros, and the painting "Bad Gastein" was sold for 4,500 euros. In England, a portrait of a postman was sold at auction at Jefferys for £5,200. And even in Israel, in the Pyramid gallery in Haifa, reproductions of 6 paintings by Adolf Hitler were shown. The exhibition, however, was soon closed by the Haifa City Hall, but a precedent had already been created. In 2006, Jefferys, a small auction house in the town of Losttheel in Cornwall, Great Britain, put up for sale 21 paintings of Hitler with the “traditional” history of their origin for such cases. Allegedly in the 1980s (according to international rules, copyright expired), a Belgian woman from the city of Huy discovered (in the attic, of course) a box of paintings, which, according to family legend, was left in the house by two French refugees returning home in 1919, after end of the war. A Belgian pensioner contacted Jefferys auction (there were obviously no closer or more famous houses) and put up for sale paintings (most likely some of the ones discovered) signed “AH” or “A. Hitler". Hitler’s authorship, by the way, has still not been established with complete certainty, because the Belgian experts who confirmed their authenticity in the 1980s are now dead (the perspicacious old lady foresaw this too). It is only clear that the age of the paper corresponds to the hypothesis about Hitler’s authorship, and historians confirm that the future Fuhrer in those years actually visited many of the landscapes depicted in the paintings. Such enterprisingly educated old ladies live in the outback of Belgium. A full house was guaranteed by an independent and incorruptible press. The auction attracted audiences from all over the world: Estonians, Russians, Americans, British, Japanese, New Zealanders and South Africans. The paintings went for 176 thousand pounds. The most expensive watercolor was sold for 10,500 pounds sterling, the cheapest cost the buyer 3 thousand. The main buyer was an anonymous businessman from Russia. It was he who bought for 10.5 thousand pounds sterling the “Church of Prez-aux-Bois”, signed “A. Hitler” and 4 more landscapes from the same series.
In 2009, the Malloch auction house in Shropshire (England) sold fifteen Hitler paintings for a total of $120,000. And at the Ludlow auction in Shropshire, thirteen paintings were sold for a total of more than 100 thousand euros. Also in 2009, Hitler’s watercolor “ White church in Warsaw" was sold for 24 thousand euros, "Destroyed Mill" was bought for 11 thousand euros, and "House by the Bridge over the River" cost the buyer 7 thousand euros. In 2012, one painting of Hitler was sold at auction in Slovakia for $42,300. In 2015, at an auction in Nuremberg (Germany), 14 paintings painted by Adolf Hitler were sold for 400,000 euros.
Official Germany does not see propaganda in Hitler’s paintings, which means the law has not been violated. Auction houses, which are mainly owned by Jews, have completely forgotten about the Holocaust and the “cannibal” no longer evokes any emotions in them. Anti-Nazi organizations are also silent. In the minds of society, Hitler the artist is increasingly distancing himself from Hitler the politician. This is a multi-standard policy, business comes first. At the same time, the sudden and incredible popularity of Hitler’s works raises a logical question: did civilization overlook the brilliant artist or did it get caught up in yet another scam by scammers?
To answer this question, it is necessary, at least briefly, to “review” the life of Adolf Hitler during the period of his active creative research.
After finishing the folk rural school in 1900, Adolf, at the age of 11, was sent to a real school in Linz. Adolf did not like the change of school to a larger one in the city that was foreign to him. From that time on, he began to learn only what he liked - history, geography and especially drawing; I didn't notice everything else. As a result, I stayed for the second year in first grade. At the age of 13, after the death of his father, and therefore the loss of control over himself, he moved into a school dormitory. During this period, I missed classes and played tricks. In 1904, I passed the third grade exams the second time under the promise that I would go to another school in the fourth grade. Already at this age, school teachers notice pronounced psychopathic traits and imbalance of character. Under pressure from his mother, he barely completed his studies in the fourth grade in Steyr. Until the beginning of 1907, due to a lung disease, he lived in the village doing nothing. In the same year, 18-year-old Hitler went to Vienna to take the entrance exam to the general art school, however, did not pass the second round of exams. After the exams, Hitler managed to get a meeting with the rector, from whom he received advice to take up architecture: Hitler’s drawings testified to his abilities in this art. In 1908, after the death of his mother, Hitler made a second attempt to enter the Vienna University. art academy, but failed in the first round. An appeal to the Jewish relatives of his late father for help was unsuccessful. He got a job as an “academic artist”, and from 1909 as a writer. It should be noted that in his book Hitler describes this period as a time of particular poverty, which was not true, since he received a good inheritance from his mother and, in addition, had regular help from her sister. At the same time, until mid-1910 he painted small-format paintings (copies from postcards and old engravings depicting all kinds of historical Buildings Vienna), which were initially successfully sold by Reinhold Ganish, a neighbor in a rented apartment, and later himself. In addition, he drew all kinds of advertisements. The inheritance he received from his aunt in 1911 and income from his work allowed Hitler to educate himself. Subsequently, he was free to communicate and read literature and newspapers in the original French and English. He was well versed in the armaments of the armies of the world, history, etc. At the same time, he developed an interest in politics. In 1913, avoiding service in the Austrian army, Hitler, at the age of 24, moved from Vienna to Munich, where he worked as an artist. With the outbreak of the First World War, he obtained permission to serve in the Bavarian army and fought until its end.
From this entire story, only two facts are important for us. First. Hitler, being confident in his genius as an artist, never learned to draw anywhere, although throughout his entire life he convinced everyone of their desire to become an artist. Second. The basis of his creative heritage were copies of paintings. Knowing these facts, we can now begin to analyze his work.
It should be noted in advance that Hitler’s paintings are clearly divided into two parts. The first is the copies he made at a fairly tolerable level. The second is your own creativity. Below, as an example, we give two such paintings with architectural images. First copy. The second is its own plot.
Both paintings were made by the same hand and at approximately the same time. However, the composition of the first one very successfully reflects the architectural structure, while in the second one it is difficult to see the depicted object. If the first picture has a complete plot, then the second with a distorted perspective, incomplete lines and fragmented plot is close to children's drawing. The independence in creating the picture of the monastery is confirmed by several surviving pencil sketches. Let’s also consider the artist’s landscapes in the paintings below.
The first picture has been copied. The second is Hitler’s own work. Can you really say that this is the view and hand of one artist? Doesn't the second one surprise you with the banality of the plot? Its execution?
One more characteristic feature Hitler's creativity is a variety of genres and subjects. Architecture, rural landscape, landscape, sea, flowers... Diverse terrain, different landscapes, forests, lakes, and this despite the fact that neither Hitler himself nor his entourage left evidence of plein air trips. And this is the most memorable part in the work of any artist. How could the artist recreate the landscape without going into nature, without making sketches, sketches and sketches? And so varied, and with such detailed plots? Only in one case - he copied the finished product.
Military themes in Hitler's works, in fact, cross out his abilities as an artist. The paintings below are more reminiscent of children's scribbles than the meaningful works of a 25-year-old artist with a claim to genius.
And one more, probably weak argument, but clearly striking - the absence of at least one photograph depicting Hitler at his easel. Having had a personal photographer since the 30s, who always and everywhere accompanied the Fuhrer, who took thousands of photographs, recording every step of the leader in war, at home, on vacation, one cannot take a single photograph of the “genius” in creative process. Probably, the process of copying paintings was not suitable for immortalization and was not a source of pride for the artist.
It is well known that Hitler had visible psychological deviations, had a bunch of complexes that were today a definitive diagnosis has not been determined. Psychologists, psychoanalysts and other “brain scientists” authoritatively declare that the roots of these problems come from childhood, from a young age. However, they did not find any psychological abnormalities or problems in Hitler's paintings. This is not even theoretically explainable, because for a “brain scientist” a drawing is what a map is for a military man – a storehouse of information. And here there is only one explanation, and not that before the First World War, Hitler was a good boy, and then “gotten crazy,” but that the paintings and drawings under study were not the fruit of Adolf’s own creativity. They were only copies, that is, a cast, an expression of someone else's consciousness, and not of Hitler. Naturally, neither the plots, nor the colors, nor the lines that “brain scientists” love to analyze so much belonged to the psychotype being studied.
A few words about artistic value paintings Of course, Adolf Hitler had artistic abilities, but did not possess the skills of an artist and did not have the necessary level of skill. His natural talent made it possible to copy other people's works quite well, but his own imagination was not enough to create more than a simple, primitive childish drawing. According to the auction organizers, the paintings are mediocre and do not represent any artistic value. Professional critics also did not express enthusiasm creative heritage Hitler. Success at auctions can be explained by only one thing - the name, which, as in in this case, and in the field of art in general, was the main thing for buyers.
In many media covering and promoting this topic, incl. and Wikipedia, provides information about total number Hitler's works in 3400 pieces. This figure is doubtful and far from unfounded.
The most prolific artists of recent centuries: Aivazovsky, Picasso, Roerich, Rubens, Rembrandt created works (including drawings, sketches and everything that the artist's hand touched) little more than is attributed to Hitler. But they worked professionally for 50-60 years, and Hitler only 10-12 years, of which for a couple of years (Viennese period) he was professionally engaged in painting. According to Hitler himself in Mein Kampf, while living in Vienna, he painted 2-3 paintings a day. Perhaps such fertility manifested itself on certain days of creative inspiration or an urgent need for money, but by no means every day. On this basis, some experts have calculated that during this time about a thousand works were created, which, to put it mildly, cannot correspond to reality, since, again, according to Hitler himself, at that time he was actively engaged in self-education, learning languages, and, in fact, he worked as an artist. According to Reinhold Hanisch, who was involved in the sale of works, the demand for paintings exceeded supply, but Hitler was of little interest in this. He wrote exactly as much as provided him with the minimum necessary income to live. In addition, it is known for certain that after the First World War, Hitler practically did not engage in painting anymore and became interested in politics. Other experts call a more realistic figure for this period of 300 works.
The number of works is also questionable by the fact that during the period of mass Nazi “psychosis” there was no mention of Hitler’s paintings by either his comrades or opponents. Would Goebbels really have ignored such perfect occasion once again confirm the genius of the Fuhrer? But there are no materials on this topic in the press. The general admiration for the “genius” of Hitler could not ignore his “brilliant” creativity. This means that the paintings, if they were in such significant quantities, would be scattered among admirers like “hot cakes” in a student’s shop. Probably every member of the SS would consider it an honor to have a tome of their adored idol. It was so thousands of years ago, and it is so today. Was the period of the Third Reich really an exception? But, alas, history is silent about this.
Since Hitler's most prolific period fell in Vienna, it is likely that the buyers of his works were residents of the city, and not from the wealthy classes. Considering that the works were small in size, and many of them were done in watercolors, their long-term preservation was problematic. In addition, the assault on Vienna by the Red Army in 1945 within a week turned the city into complete ruins and conflagrations.
Today, 130-150 works by Hitler (or those attributed to him) are known, but every year the number of “accidentally” discovered works increases, as does the auction price for them. It is obvious that the number of works exaggerated in the media from 720 known to 3400 completed is the limit that their sellers are counting on. It is possible that this number of works sold will not be realized, but today the peak of sales has not yet been reached.
Conclusion: it is obvious that the theme of “Hitler’s paintings” is another scam on the painting market, cleverly promoted, most likely, by Russian scammers who decided to historical theme It’s a good idea to coward the moneybags who don’t particularly bother with the authenticity of “rarities” and their real value. The scam has already been picked up by the Dutch, who have used no less creative methods of “raising” money for hot topic. It is likely that in a few years we will be exposed. But it is unlikely that it will be loud, the rich do not like to look like fools.
In conclusion. The appearance of this article is not caused by concern about “suckers” who have thrown away and are planning to throw away considerable amounts of money in the future for mediocrity or counterfeiting. God be with them and their money. The question is morality, attempts to find light in the monster, whitening the black pages of history. In oblivion the memory of 70 million people who died with the direct participation of the beast in human form. The question is human stupidity, the thirst for profit, the short historical memory. In the absence of safeguards against a repetition of the tragedy in the future. The theme of Hitler's paintings in the increasingly popular neo-Nazism in many countries is very fertile ground for this.
Adolf Hitler (Schicklgruber), 1889–1945.
Leader (Führer) of the National Socialist German Workers' Party from July 29, 1921, Reich Chancellor of National Socialist Germany from January 31, 1933, Fuhrer and Reich Chancellor of Germany from August 2, 1934, Supreme Commander-in-Chief armed forces Germany in World War II, the main war criminal.
If Hitler had once been accepted into the Vienna Academy of Painting, where he unsuccessfully tried to enter twice, it is likely that the whole story would have gone differently... They made a big mistake! Who knows what the fate of the great dictator would have been like if he had become an artist or an architect. But history cannot be turned back, no matter how much we would like it. But now, several decades later, we can look at the paintings created by Adolf Hitler and be amazed how a man who committed so many atrocities could be the author of this painting.
Church, 1911
Vienna Opera, 1912
Adolf Hitler had artistic ability, but did not have a sufficient level of skill. He had a sense of color and a good command of line and stroke. The laws of composition were also not alien to him. At the same time, he would never have reached the level he adored of Rubens or Rembrandt. In addition, the Fuhrer did not accept all trends in art; he was close to academicism, romanticism, realism, and the “old” masters; he denied other trends. IN own creativity Hitler's romantic moods can be traced; the composition is precise, but sometimes banal; the colors were chosen well. His painting for the most part quite graphic in nature. Adolf did great architectural landscapes. In general, Hitler was undoubtedly talented. His projects are interesting and often even great. It is interesting that there are practically no dark motifs in Hitler’s work; the color of his works is predominantly saturated with light and bright tones.
Imperial Theater
Convent of Neuberg on Danube, 1911
Family home in Braunau, 1912
Adolf Hitler's work can be divided into four periods: the Vienna period (1907-1912), the Munich period (1913-1914), the period of World War I (1914-1918) and the period before World War II (1924-1939). In 1907-1918 artistic ability they helped the future leader make ends meet and somehow feed himself. At this time, it was often necessary to carry out small orders, for example, drawing postcards. The flowers were especially successful. Such work did not require great skill, but contributed to some improvement in technology.
Adolf Hitler: “For five years I was forced to earn my living, first as a day laborer, then as a humble artist; the meager earnings were not even enough to satisfy hunger every day...”
Still life
Cityscape
Already as Reich Chancellor, Hitler could afford to paint “for the soul and simply enjoy the fine arts, of which he was a great connoisseur. In 1934, the Fuhrer acted as a designer, sketching a sketch of the future on a napkin appearance the VW Kafer, later known as the Beetle.
Corner of Munich
Church of St. Charles, 1912
Mountain Lake. Watercolor, 1910
Lake Konigri, 1911
Lamberg Castle, 1912
Landscape with a Church, 1911
Battlements Castle. Watercolor, Vienna period, 1910
Rural landscape
Peasant fields. Watercolor. Vienna period
Vein. Werder Gate, 1911. Watercolor, Vienna period (1910-1912)
Triumphal Arch in Munich, 1913
Rotterdam Cathedral, 1913
Vienna Opera, 1911
Church by the Wachau River, 1910
St. Stephen's Cathedral
Mountain village
Still life, 1912
Village by the river, 1910
Parents' house in Leonding, 1911
Near the church
Mother and Child, 1913
Interior. Living room, 1910
Hilly terrain
Nude
White orchids. Watercolor on gray paper. 1913
Today I will introduce you to the book “Hitler’s Artists”, which was published by the Frankfurt publishing house “Insel Verlag”. Now, on the eve of the 60th anniversary of the end of World War II, a lot of similar books are being published in Germany. They reveal the mechanics of the “Third Reich”, show how they became criminals, it would seem quite decent people, blinded by ideology, like totalitarian state destroyed, intimidated and bought talent. The collection “Hitler's Artists” talks not only about painters, but also about representatives of other types of art: musicians, architects, writers, actors... When I read about them, I sometimes felt a little scared: some of the creative ideals of the nationalist movement seemed very familiar. socialists and bearers of these ideals, favored by the “Third Reich”. Hitler also liked to say that art should belong to the people, that it should be accessible and understandable to the broad masses. Nazi leaders also preferred monumental architecture and monumental propaganda, hated abstract art, and forbade, as they did in the Soviet Union during Stalin’s times, dancing the foxtrot. Incredibly, one of Goebbels' leading newspaper articles against modernist composers was literally titled "Confusion Instead of Music," as was the infamous 1936 Pravda article vilifying Shostakovich. However, it would be incorrect to simply draw unambiguous parallels. Well, let's say that the Nazis considered the most important of the arts not cinema, but architecture. We will begin our story about the book “Hitler’s Artists” with architecture.
Architecture was Hitler's strong point. As an architect and artist, he remained at an amateur level, but it was his taste that determined appearance buildings of the "Third Reich". Even after the start of the war, the “Führer” continued to personally monitor the progress of the reconstruction of Berlin and give instructions to the builders. And he came to Paris, occupied by the Wehrmacht, primarily to inspect the Grand Opera building, the Arc de Triomphe, the Pantheon and the Champs Elysees. However, architectural style“Third Reich” is a typical style of any dictatorship: colossal cube-shaped buildings, overwhelming with their power, strict hierarchical symmetry, hyperbolic proportions, “heavy” construction material(particular preference was given to granite), columns, arches, massive balconies, ornamental stucco, pseudo-antique sculptures... Except that the folklore design, which Hitler loved very much, the combination of Doric and Teutonic elements, and even the abundant Nazi symbols were specifically German aspects. An example of this style was, for example, the Reich Chancellery in Berlin, Hitler’s main residence. It was bombed in 1945 and built from granite blocks after the war. memorial Complex in Treptower Park with a monument Soviet soldier. The Reich Chancellery building stood for only a few years. But Paul Ludwig Troost, the architect who shaped the neoclassical style of the “Third Reich,” loudly called such monumental projects “masterpieces built to last.” The work of Troost, who died in 1934, was continued by his young student - Hitler’s favorite and future Minister of Armaments Nazi Germany Albert Speer. It was Speer who was entrusted by the failed Austrian artist and architect, who became the “Führer,” to carry out the grandiose reconstruction of Berlin. A talented courtier, Speer planned to build on main square the future “capital of the world”, a triumphal arch, a sketch of which was sketched by Hitler himself in the twenties. It should have been almost twenty times larger Arc de Triomphe in Paris. The entire project was characterized by gigantomania. So, under the dome of the Nazi Congress Palace - “ People's House“- it was supposed to accommodate 120 thousand people at once! Fortunately, these monstrous plans could not be carried out. However, the National Socialists managed to demolish many old quarters, disfiguring the capital. The cruel and senseless “Battle of Berlin” in last weeks the war completed the destruction. Today, only a few typical examples of Third Reich architecture remain in Berlin. As for Albert Speer, he eventually turned out to be among the main Nazi criminals, who were tried in Nuremberg, and became the only one of the accused who admitted his guilt. He was sentenced to twenty years in prison, which Speer served, as they say, from bell to bell.
Some of our listeners probably have some idea about the fine art of the “Third Reich” - from Mikhail Romm’s film “Ordinary Fascism”. However, Romm showed in his film mainly paintings with nude And sculptural images again, naked and half-naked men and women. In the art of Nazi Germany, however, there were several more “general” directions.
One of them is landscapes depicting, most often, harsh mountain landscapes. Other – scenes from the lives of happy people German families, as a rule, peasants. In hundreds of such paintings, painted during Nazi Germany, we see representatives of several generations, and each has their own role: a grandfather grins wisely through his gray mustache, a grandmother is busy with housework or darning something, a young mother with a braid neatly laid around her head sits down her children. at the table at which the husband who came from the field is already sitting ( blonde hair, Blue eyes, high-rolled sleeves reveal tanned, muscular arms) ... Options were possible: for example, the family dined not at home, but in the field, during the harvest, among fat ears of corn and resting oxen. In general, an idyll. But made in a completely realistic style. So to speak, National Socialist realism.
The book Hitler's Artists tells not only about the art that the Nazis welcomed and generously financed, but also about the art that they hated, persecuted, and destroyed. Modernist art Hitler even in his book “Mein Kampf” called it “the fruit of a sick mind.” Already in 1933, just a few months after the Nazis came to power, they organized the first exhibition “Degenerate Art”. From art museums works of famous German expressionists and representatives of other modern trends, paintings by Gauguin, Van Gogh, Picasso...
And instead to the German people it was suggested to admire the above-mentioned naked women and men, mountain landscapes, National Socialist pastorals, as well as historical paintings, which most often showed the battles of the ancient Germans or, say, the Prussian army, and purely ideological paintings. The latter demonstrated the unity of the party and the people (such as the famous triptych of Hans Schmitz-Wiedenbrück “Worker, Peasant, Soldier”) or illustrated in a romantically elevated style the military exploits of the Wehrmacht in the East and Western fronts.
Of the representatives of the fine arts, the most enviable (as it seemed then) careers were made in the “Third Reich” by the artist Werner Payner, forgotten today, and the sculptors Josef Thorak and Arno Brecker. Payner, who graduated from the Düsseldorf Academy of Arts in 1919, painted portraits, still lifes and landscapes stylized as paintings by old masters. His very average landscapes with their frozen, artificial, linear composition and schematic images human figures began to be considered in the mid-thirties as examples of the unity of “blood and soil” preached by the National Socialists. For a short time, Payner became a professor at the Academy of Arts, but he quarreled with its director and, with the support of Goering, founded his own. She bore the name of Goering. Freshmen of this academy swore an oath of allegiance to the “Fuhrer and the Reich,” and graduates promised to be “officers of art” who educate their students in the “new national spirit.”
From the mid-thirties, Werner Payner began to receive orders for the production of tapestries to decorate various institutions of the “Third Reich” and the personal apartments of its leaders. Albert Speer, Minister of Armaments and main architector Nazi Germany, commissioned Peiner to produce several huge tapestries for the new Reich Chancellery. common topic- “fateful battles.” Speer did not go into detail, but emphasized that it was necessary to show German heroes decisively and courageously fighting against the racially inferior Slavs. The customers were satisfied with the work.
It was the tapestries, in the production of which Werner Payner achieved, if not artistic, then at least technical perfection, that helped him out after the war. As a Nazi court artist, Peiner was arrested by the Western Allies after the defeat of Germany and spent five months behind bars. Then he was released, but the denazification commission forbade Payner to engage in teaching work; no one was interested in his boring landscapes and portraits, so he focused exclusively on carpets and tapestries. This is how he made his living until his death in 1984. His main customers were the German concern Gerling, whose owner was known for his conservative views, and the Ethiopian Emperor Haile Selassie the First.
As for the sculptors Thorak and Breker, they became famous during the “Third Reich” for their giant sculptures. According to Goebbels, these sculptures were intended to convey “determination, strength, superiority, energy and the truly Germanic spirit.” In the courtyard of the new Reich Chancellery, Breker placed two gigantic naked muscular heroes: one with a sword, the other with a torch. The one with the torch symbolized the party, the one with the sword symbolized the army. By the way, Breker helped some of his colleagues who were persecuted by the regime and stood up for them. Therefore, he was able to continue his career after the collapse of the Third Reich. However, the scale was already more modest, most often - sculptural busts famous contemporaries: from Adenauer to Salvador Dali, with whom Breker was close friends.
One program cannot tell you about all aspects of this interesting topic. True, some artists, musicians, and actors have already been discussed in our previous programs (for example, about movie stars Tsar Leander and Olga Chekhova), so I will not dwell on this in detail today. But while introducing you to a book about the art of the “Third Reich,” it is impossible to ignore cinema. Not only because the Nazis attached great importance to him great importance, and Hitler (as, by the way, Stalin) often organized screenings of new films in a “narrow circle” at his residence. It is important to pay attention here to the specific differences between one dictator and another. The Nazis also made propaganda films, such as “Hitlerjunge Quex” about the fate of a teenager who died at the hands of the communists, “The Eternal Jew” (this pseudo-documentary anti-Semitic film was directed by Fritz Hippler) or “Triumph of the Will” (Leni Riefenstahl’s film dedicated to Nazism and the Fuhrer). But still preference was given to entertaining films. Why?
Unlike the USSR of the Stalin era, much fewer propaganda films were made in the “Third Reich” and much more - musical comedies and melodramas. The post-war generation of our listeners probably remembers the “trophy” German films that were shown in great numbers on the screens of Soviet cinemas - such, for example, as “The Girl of My Dreams” with Marika Rökk. They were shown completely calmly, because they were absolutely apolitical and often the action took place even in some abstract countries, not at all in Germany. The slogan “Kraft durch Freude” - “Joy gives strength” - was one of the main propaganda slogans and a guide to action in National Socialist Germany. " Good mood“This is a strategic resource,” Goebbels liked to say. The more difficult the situation on the fronts became, the more optimistic the songs from film operettas sounded, performed by Tsara Leander, Heinz Rühmann, Marika Röck, Rosita Serrano... After Stalingrad, the radio broadcast almost every day the fantastically popular hits of Tsara Leander from the film “Big Love” with meaningful titles “The world will not collapse from this” and “I believe a miracle will happen”:
Hitler generously rewarded his actors. The “stars” were paid huge fees. Tzara Leander and Hans Albers received up to half a million Reichsmarks for each film. On the “Führer’s” birthday, April 20, the names of the laureates were announced state awards and those who have been awarded the title people's artist" By the way, one of Hitler’s favorite actresses, Olga Chekhova, her niece, also became a “People’s Artist”. famous writer and a German mother, who emigrated from Russia to Germany shortly after the revolution. Many of the film actors received “Aryanized” mansions as gifts from the state (“Aryanized” - that is, confiscated from Jews deported to camps or expelled from the country). The leaders of the “Third Reich” did their best to please the vanity of the movie “stars” by often inviting them to official receptions and “friendly” evenings in informal settings.
It must be said that the Nazis, as soon as they came to power, immediately began unifying art. For example, the so-called “Imperial Cinematographic Chamber” was created, which combined the functions of the State Committee for Cinematography and the Union of Cinematographers. Only those who were registered with this chamber were allowed to work in the field of cinema - even as an editor or sound engineer, not to mention acting or directing films. Jews were not registered, and they were excluded from cinema, as well as from many other professions. This led to the fact that many talented directors and actors emigrated from Nazi Germany (in the first years after the Nazis came to power, this could still be done relatively calmly). Let's name just a few. These are film directors Fritz Lang and Ernst Lubitsch, the future director of brilliant comedies Billy Wilder (he directed, for example, the film “Some Like It Hot”), actors Conrad Veidt, Fritz Kortner, film composers Kurt Weill and Hans Eisler... Among them were not only Jews. Marlene Dietrich remained in the USA: she hated the Nazi regime and even performed in front of American soldiers who fought with Hitler.
The future founder of the totalitarian dictatorship of the Third Reich did very poorly at school. Almost the only subject that young Adolf coped with excellently was art. He dreamed of becoming an artist, while his father, Alois Hitler, wanted his son to go to public service. On this basis, violent quarrels often arose between them. Adolf, foaming at the mouth, argued that he was only interested in art.
(Total 21 photos)
In 1907, when Hitler Sr. had already died, Adolf tried to enter the Vienna Academy of Arts. He had a very high opinion of his talent and did not consider it necessary to prepare for the entrance exams. As a result, it failed miserably. However, not wanting to upset his terminally ill mother, the young man told her that his work captivated admissions committee. For days on end, the false student wandered the streets of Vienna, looking at the city's architecture and making sketches.
"Color House"
"Town square, store entrance."
"A musician from the old town of Vell."
A year later, Adolf decided to try his luck again and this time he had already done some work to prepare for the exams. But the result was the same. The commission members barely glanced at the work of the aspiring artist. Hitler began to rapidly sink to the bottom; more and more often he appeared in flophouses and taverns in the company of dirty tramps. The money from the sale of paintings was barely enough to live on.
"The Hills".
It is unknown how Hitler’s life would have turned out if he had not met a certain Reinhold Hanisch, with whom they organized a joint business. Ganish was quite successful in selling postcards to tourists with landscapes and views of Vienna, drawn by a self-taught artist. They sold for 20 crowns so well that the court recognized Hitler as a wealthy man, and the survivor's pension went to him younger sister Paula.
"Lock".
"Vienna State Opera".
"Mill".
In 1913, Hitler moved to Munich, where he became a successful master. His works became more diverse. The Germans eagerly bought not only landscapes, but also soft, soothing still lifes.
"Munich Theater"
"White Orchids".
The Munich period ended when the young man, at the age of 25, was drafted to the front of the First World War. He took paints with him and free time was engaged in painting. Drawings painted in the trenches stand in stark contrast to the much more sensual early works. The watercolors are dominated by bombed-out buildings and military equipment.
After returning from the war, Hitler became closely involved in politics and wrote only occasionally. Sometimes he amused himself by portraying naked women.
IN early years creativity, the future dictator painted several self-portraits. Perhaps the most interesting of them dates back to 1910. Hitler depicted himself without eyes, nose and ears, but the characteristic combed hair and initials above the figure in brown suit allowed art historians to attribute the painting.
In total, Adolf Hitler painted more than three thousand paintings and sketches, most of which were painted at the front. The most expensive work was sold at auction for ten and a half thousand pounds sterling. It was purchased by an unknown Russian. Four paintings of the Fuhrer belong to the US Army and rest in a secret underground vault in the Center military history. Access to these paintings is open only to a few experts, and, according to the Americans, the paintings will never be presented to the public.
According to many critics, Hitler's artistic talent was modest. This explains the small number of portraits. However, when a modern art critic was asked to look at some of the paintings without saying whose work they were, he rated them as “pretty good.”
