Speer’s account of the last performance of the Berlin Philharmonic was given to Gitta Sereny, who published it in Albert Speer: His Battle with Truth. Gerda Bormann’s comparison of the end to Wagner are cited in Kershaw, Hitler.
The Hitler testaments are in the personal papers of Adolf Hitler, in the U.S. National Archives. I found them online at https://catalog.archives.gov/id/6883511.
The trashiness of Hitler’s final scene is Fest’s insight. He states that: “Even his death, trivial and botched though it may seem, reflected both aspects of the era that he admired and once again represented: something of its sonorous splendor, as expressed in the Götterdämmerung motifs of the staging, but also something of its trashiness, when he lay dead on the bunker sofa like a ruined gambler of the opera-hat era beside his newly wedded mistress.”
21. LANDSCAPES OF THE BRAIN
Maria Rave-Schwank told me the story of her first encounter with the Prinzhorn collection, and her decision to try to restore it, which is generally regarded as the moment that marks its postwar rebirth.
Of the numerous Prinzhorn artists who escaped Hitler’s murder programs, we know the fate of two. Josef Forster, the former upholsterer who aspired to become an Edelmensch and travel through the air at great speed, was spared thanks to his quick-thinking sister, who also had a nephew in psychiatric care. In 1940, she was told that the nephew was being transferred, and soon afterward the family received a condolence letter informing them he had died and been immediately cremated. She found this suspicious, and asked that her brother be released from the Karthaus Prüll asylum in Regensburg, where he lived. Forster was let out on June 15, 1941, at age sixty-three, and lived for another eight years. His sister had acted just in time: Aktion T4 would kill 641 patients at Karthaus Prüll by the end of the summer. A second Prinzhorn artist, Alfred Seidl, was moved from the same asylum by his brother, who relocated him to a safe municipal care facility across town. He lived until 1953, by which time he was in his seventies. The names of other artist-patients who outlived the Third Reich are not yet known.
Details of Dubuffet’s visit to the Prinzhorn collection are in Baptiste Brun, “Ein unumgänglicher Besuch,” in Beyme and Röske (eds.), Dubuffets Liste. Afterward, on September 23, 1950, Dubuffet wrote to Pierre Matisse: “I was able to see at leisure, in the best conditions, in Heidelberg, the wonderful collection of Dr. Prinzhorn, which I had, for so many years, longed to visit” (Archives de la Fondation Dubuffet). As Dubuffet told MacGregor: “I had the idea of doing research on the art of the insane. I was so excited by the pictures in Prinzhorn, and I felt it might be possible to discover more” (cited in The Discovery of the Art of the Insane).
In 2013, the show Angels, Demons, and Savages: Pollock, Ossorio, Dubuffet at the Phillips Collection traced the influence of Dubuffet on the Abstract Expressionists. (See, for example, Philip Kennicott, “ ‘Angels, Demons, and Savages: Pollock, Ossorio, Dubuffet’ Review,” Washington Post, February 8, 2013.) Peter Selz has more details of his intervention in Chicago in “Surrealism and the Chicago Imagists of the 1950s.” Szeemann’s role in relaunching the Prinzhorn collection was the subject of a 2005 show in Heidelberg, Bern 1963: Harald Szeemann Invents the Prinzhorn Collection.
An explanation of what Roger Cardinal meant by Outsider Art can be found in John Maizel’s Raw Creation: Outsider Art and Beyond. Linda Yablonsky’s article “The Outsider Art Fair: A Victim of Its Own Success?” was published on the website of the Art Newspaper on January 19, 2019 (https://www.theartnewspaper.com/blog/has-the-outsider-art-fair-become-a-victim-of-its-own-success).
In an interview, Maike Rotzoll explained the reemergence of the medical files that had been lost to the Soviet zone, and described a visit to the archives, with three rooms filled with records.
The latest figure of thirty artists thought to have been killed and ten forcibly sterilized were given to me by Sabine Hohnholz of the Sammlung Prinzhorn.
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