Georg Kolbe — The Artist and National Socialism

doi:10.5771/9783786175261

Georg Kolbe — The Artist and National Socialism

Breaks and Continuities in Life, Work and Reception

Published 2023

No access

doi.org/10.5771/9783786175261
ISBN print: 978-3-7861-2915-8
ISBN online: 978-3-7861-7526-1
Gebr. Mann Verlag, Berlin Gebr. Mann Verlag, Berlin

Abstract

Georg Kolbe (1877–1947), one of the most important sculptors of the first half of the 20th century in Germany, was an important representative of classical modernism. However, his activities during National Socialism have not yet been fully explored. With the receipt of an extensive estate from the bequest of Kolbe’s late granddaughter Maria von Tiesenhausen in 2019, it is now possible to gain more precise research perspectives. Authors Magdalena Bushart, Ambra Frank, Christian Fuhrmeister, Jan Giebel, Arie Hartog, Christina Irrgang, Gesa Jeuthe Vietzen, Bernhard Maaz, Olaf Peters, Kathleen Reinhardt, Wolfgang Schöddert, Dorothea Schöne, Paula Schwerdtfeger, Aya Soika, Maike Steinkamp, Elisa Tamaschke, Anja Tiedemann und Julia Wallner

Schlagworte

Auftragskunst Berlin Georg Kolbe Klassische Moderne Kontinuitäten Kunst und Künstler im „Dritten Reich“ Kunstgeschichte Kunstmarkt Nachkriegsdeutschland Nationalsozialismus Skulptur

Chapter Expand | CollapseAuthorsPage
1–8 Titelei/Inhaltsverzeichnis 1–8
9–10 Preface 9–10
11–22 Introduction 11–22
24–80 Precursors 24–80
- Martial Sculpture of the Imperial Era: Georg Kolbe’s Predecessors and Environment Bernhard Maaz Bernhard Maaz
82–162 Georg Kolbe and Art Policy 1933–45 82–162
- 82–115 “Franco and Beethoven, how can I manage this?” Georg Kolbe and the Controversy over Modernism: The Sculptor within the Art Political Situation of the Years after 1933 Aya Soika Aya Soika 82–115
- 116–135 Conceived in Space. Georg Kolbe’s Exhibition Participations 1933–42 Paula Schwerdtfeger Paula Schwerdtfeger 116–135
- 136–151 Georg Kolbe in Frankfurt am Main—Ambivalence and Opportunism Ambra Frank Ambra Frank 136–151
- 152–162 At One Table: Breker, Klimsch, Kolbe, Göring, Hitler, and Mrs. Himmler. Coteries, Circles, Dependencies Christian Fuhrmeister Christian Fuhrmeister 152–162
164–248 Georg Kolbe and the Art Market in National Socialism 164–248
- 164–189 “I am by no means in the position of having to sell my few bronzes at dumping prices.” Georg Kolbe’s Marketing Strategies Jan Giebel Jan Giebel 164–189
- 190–207 General von Einem, Kniende, Stehende. Georg Kolbe with Ferdinand Möller and Three Works on Consignment from 1938 Wolfgang Schöddert Wolfgang Schöddert 190–207
- 208–225 The Binding Waiver. Georg Kolbe as a Creditor of Galerie Alfred Flechtheim GmbH Gesa Jeuthe Vietzen Gesa Jeuthe Vietzen 208–225
- 226–248 “… they exist; that’s all I know.” The Works of Georg Kolbe and Vesting Order 3711 Anja Tiedemann Anja Tiedemann 226–248
250–332 Analyses of Works and Georg Kolbe’s Media Strategies 250–332
- 250–277 Participation without Participating—Georg Kolbe, Friedrich Nietzsche, and National Socialism Olaf Peters Olaf Peters 250–277
- 278–293 What Does the Hüterin Guard? Arie Hartog Arie Hartog 278–293
- 294–311 Continuity through Mediality. Georg Kolbe in the Mirror of Self-Staging and Reproduction Photography Christina Irrgang Christina Irrgang 294–311
- 312–332 Georg Kolbe Celebrates His Birthday. Journalistic Strategies Magdalena Bushart Magdalena Bushart 312–332
334–362 Georg Kolbe after 1945 334–362
- 334–349 “Rightly forgotten”? Georg Kolbe after 1945 Maike Steinkamp Maike Steinkamp 334–349
- 350–362 “An extraordinary case of ambivalence”—The American Reception of Georg Kolbe during and after the National Socialist Dictatorship Dorothea Schöne Dorothea Schöne 350–362
364–372 Appendix 364–372
- 364–368 Short Biographies of the Authors 364–368
- 369–372 Image Credits 369–372

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