Nazi Art As Propaganda Nazi Germany regulated and controlled the art produced between 1933 and 1945 to ensure they embodied the values they wished to indoctrinate into the German people. The notion of volk (people) and blut und boden (soil and blood) was championed in paintings to glorify an idealized rural Germany and instill a sense of superiority in the Nordic physicality. Highly veristic and asthetisized works romanticized everyday subjects and reiterated redundant stereotyped Nazi ideals of the human body and its purposes in the Reich. Paintings of Adolf Hitler valorized and his image to heroic status, even to the extent of deification, elevating him to a god-like status. By promoting Hitler as superior to the average person, the artist made Hitler a mythological being who, if followed with unconditional religious piety, would lead the Germanic race to an ideal future.
The architecture, or so-called ideology in stone, was also a vessel for political ideology. The monumental buildings served to construct a pseudo-history to authenticate the stable, strong and righteous nature of the thousand year Reich. Thus, art in the Third Reich was merely a form of propaganda that insidiously promoted the superiority of the Nordic race, the need for loyalty and obedience and the invulnerability of the German nation. Images of the Nordic peasant endorsed a return to a pre-industrial idyllic rural Germany. The oil painting Kalenberg Farm Family, by Adolf Wissel, depicts an intimate domestic situation of a family relaxing, presumably after a day of working the land, in a tranquil natural setting. It is an easily accessible work, that the Dadaist Duchamp would label retinal art, as it is an aesthetically motivated and stylistically anti-modernist piece. The rich warm colours are inviting, serving to emphasize the serenity and timelessness of the scene.
The composition is extremely ordered, controlled, and dignified, there is no indication of social unrest under the rule of the Third Reich, it is an ideal Utopia where the every day person a subject worthy of intense interest. This is a blatant celebration of the virtues of a simple rural life (that in reality did not exist) as it presents the family in such positive and reverent way, a stereotyped perfect standard for German families to aspire to. This was an extremely popular subject as indicated by the multitudes of paintings that were similar in genre, for example Rest During the Harvest by George Gunter, and Farm Girls returning from the Fields by Leopold Schmutzter. Hitler said that art should be the expressions of the soul and ideals of the community and these painting certainly do present the ideals of life that the National Socialists chose to privilege. These values in turn, like a circulatory motion encouraged the feelings and values of the German people who saw it, by instilling a sense of national pride in a wholesome and righteous life dictated by the Nazi values.
Nazi ideology is also illustrated by Ploughing, by Julius Paul Junghan; this is more specifically linked to the notion of blood and soil. A person who works with the land achieves a spiritual unity with it, so that they become a part of the natural world and integral to both the continuances of its fertility and yours. The painting displays this ancient German ideology that was appropriated and extended by the Nazis to rationalize the policy of Lebensraum or living space so that the superior Nordic race could control over and order the land of other inferior nations. The oil landscape painting depicts a man reigning three sturdy workhorses with an archaic plow. The eyes are drawn from the three horses to the intellectual force behind the action with sweeping converging lines, thus ploughing the land is a collective action, shared between farmer and animal, working towards a better field, or in symbolic terms a better Germany.
Again a highly romanticized image of life entwined with nature is presented to manipulate the viewer, it forces them to connect hard work to achieve a collective goal (plowing the soil ready for planting) with moral righteousness. This theme is reiterated repeatedly almost to exhaustion in such works as Ploughing in the Evening by Willy Jackel, and The Sower by Oskar Martin-Ambach. The Nazi ideals are embodied more implicitly in Ploughing than Kalenburg Farm Family, as on a sub-conscious level the positive view of expansionist values, the farmer representing a hard working Germany, who is regulator of the land (representing European countries), acts to subtly alter personal views on the Nazi situation. Water Sports painted by Albert Janesh in 1936 is a prime example of the way National Socialists encouraged, through the commissioning of the piece, collective action and the superiority of the Germanic body. There is a great sense of movement in this veristic depiction of a canoe race, where so-called examples of the perfection of the pure blood male Aryans harmoniously working together in their respective teams.
The painting conforms to stereotypical representations of the male body who is an agent of action, the rowers enforce their will upon the elements of nature (water, wind) and surge forward to the finish line, symbolic of the glorious future. The sculptured bodies of the men resemble the classical ideals appropriated by the Nazis from Grecian statutes, the way the men are articulated as having bulging toned muscles, fair skin and hair and as examples of superior strength and will of the pure blooded Aryan male. The piece obliquely champions the notion of the individual conforming to the group and being unified in both physical and intellect strength. Whether rowing in a race, building the new German nation, or fighting as one force against the enemy, becoming homogenous with the crowed will result in success. In this way Water Sports is discouraging independent thought and rational evaluation of Nazi actions, and urging the unanimous and uncritical following of the National Socialist ideology. Hitler and God painted by Toust, is a more explicit depiction of the need for absolute and unconditional trust in Nazi actions.
The piece portrays Hitler triading in front of an avid crowed; we only see his back, but assume it the glorious Fuhrer because of the title. The way the painting is articulated, Hitler is literally deified he is elevated to a god-like status. There are three religious references present, firstly there is a luminescent aura or halo surrounding his head, and this is often depicted in Jesus icons. Secondly, the positioning of his hand, in a blessing motion, combined with the extreme symmetry of the disciples could possibly be a reference Leonardo Da Vincis 1497 Mural The Last Supper. This is connoting that Hitler is in direct contact with, or a medium through which God acts and therefore Hitler cannot be wrong. Thirdly, in the foreground, the swastika stands within a semi-circle, both flaming and bringing light to the night. Toust constructs a sense of reverence here, postulating that Germany has been through dark times, hence the fact that it is nighttime, but the purifying flames of the Nazis (represente …