by Mary M. Lane
21. Joseph Goebbels, “Diary Entry: 8 June 1925,” in Fröhlich, Die Tagebücher von Joseph Goebbels, vol. 1, pt. 1/I, 312.
22. Joseph Goebbels, “Diary Entry: 12 July 1925,” in Fröhlich, Die Tagebücher von Joseph Goebbels, quoted in Longerich, Goebbels, 59.
23. Joseph Goebbels, “Diary Entry: 10 May 1931,” in Fröhlich, Die Tagebücher von Joseph Goebbels, vol. 1, pt. 2/I, 403.
24. Adolf Hitler, Mein Kampf (New York: Reynal & Hitchcock, 1939), 826–830.
25. Hitler, Mein Kampf, 423.
26. Hitler, Mein Kampf, 419, 420.
27. Hitler, Mein Kampf, 67.
28. Hitler, Mein Kampf, 75.
29. Joseph Goebbels, “15 March 1927: Propaganda in Wort und Bild,” Nationalsocialistische Briefe, quoted in Longerich, Goebbels, 79.
30. Longerich, Goebbels, 71, 78.
31. Longerich, Goebbels, 151, 158.
32. Joseph Goebbels, “Introduction,” in The New Germany Desires Work and Peace: Speeches by Reich Chancellor Adolf Hitler, the Leader of the New Germany (Berlin: Liebheit & Thiesen, 1933), n.p.
33. Ian Kershaw’s Hitler: A Biography (London: W. W. Norton & Company, 2010) is a condensed biography of 969 pages from the original two-volume edition by Kershaw that totals 1,450 pages with over 10,000 footnotes. Kershaw cut out references to his original 450 pages of footnotes in the condensed biography. After consulting directly with Kershaw, I concluded that his research methods were assiduous enough that citing the condensed biography followed research ethics. Readers interested in the original footnotes should consult Kershaw’s original two-volume biography. Adolf Hitler, quoted in Kershaw, Hitler, 263, 264.
34. Kershaw, Hitler, 276.
35. Kershaw, Hitler, 276, 279.
36. Hitler, Mein Kampf, 76.
37. Kershaw, Hitler, 282.
38. Kershaw, Hitler, 293.
39. Stephanie Barron, “1937: Modern Art and Politics in Prewar Germany,” in Degenerate Art: The Fate of the Avant-Garde in Nazi Germany, ed. Stefanie Barron (Los Angeles, CA: Los Angeles County Museum of Art, 1991), 9.
40. Hitler, Mein Kampf, 640.
41. Sabine Brantl, ed., Haus der Kunst 1937–1997: Eine historische Dokumentation (Munich: Haus der Kunst, 1998), 30, quoted in Schlenker, Hitler’s Salon, 48.
42. Jonathan Petropoulos, Artists Under Hitler: Collaboration and Survival in Nazi Germany (New Haven, CT: Yale University Press, 2014), 156.
43. Emil Nolde, Jahre der Kämpfe, rev. 5th. ed. (Cologne: DuMont, 1985), 90, quoted in Emil Nolde, ed. Peter Vergo and Felicity Lunn (London: Whitechapel, 1995), 10.
44. Hans Fehr, Emil Nolde: Buch der Freundschaft (Cologne: M. DuMont Schauberg, 1957), 86.
45. Petropoulos, Artists Under Hitler, 143.
46. Gertrud Stickforth to Emil and Ada Nolde, 19 June 1933, Archives: Stiftung Seebüll Ada und Emil Nolde (ANS), quoted in Bernhard Fulda and Aya Soika, “Emil Nolde and the National Socialist Dictatorship,” in Peters, Degenerate Art, 190.
47. Fehr, Emil Nolde, 66.
48. Joseph Goebbels, “Diary Entry: 2 July 1933,” in Fröhlich, Die Tagebücher von Joseph Goebbels, vol. 1. pt. 2/III, 219.
49. Exhibition catalogue, Kollektiv-Ausstellung Max Pechstein Berlin, ed. Fritz Gurlitt (Berlin: No publisher, 1913), referenced in Bernhard Fulda and Aya Soika, Max Pechstein: The Rise and Fall of Expressionism (Boston: De Gruyter, 2012), 127.
50. Fulda and Soika, Max Pechstein, 128.
51. Fulda and Soika, Max Pechstein, 200.
52. Letter, Max Pechstein to Hildebrand Gurlitt, 25 June 1925, Archiv der Kunstsammlungen, Städtische Museum Zwickau, Dusseldorf City Archives, Dusseldorf, Germany, quoted in Fulda and Soika, Max Pechstein, 258. Also see Fulda and Soika, Max Pechstein, 243.
53. Letter, Max Pechstein to George Grosz, 28 March 1933, George Grosz Archives, Houghton Library, Harvard University, Cambridge, quoted in Fulda and Soika, Max Pechstein, 297.
54. Fulda and Soika, Max Pechstein, 297.
55. Fulda and Soika, Max Pechstein, 302.
56. Fulda and Soika, Max Pechstein, 305.
57. Albert Speer, Inside the Third Reich: Memoirs by Albert Speer (New York: MacMillan Company), 27.
58. James A. Van Dyke, “Something New on Nolde, National Socialism, and the SS,” Kunstchronik 65, no. 5 (May 2012): 265–270.
59. Nolde, Jahre der Kämpfe, 28.
60. Gustav Schiefler, Meine Graphiksammlung (Hamburg: Christians Verlag, 1974), 46.
61. Nolde, Jahre der Kämpfe, 33.
62. Nolde, Jahre der Kämpfe, 101.
63. Nolde, Jahre der Kämpfe, 101, 120, 124.
64. Nolde, Jahre der Kämpfe, 123.
65. Nolde, Jahre der Kämpfe, 133, quoted in Vergo and Lunn, Emil Nolde, 33.
66. Ernst Ludwig Kirchner to Gustav Schiefler, 20 December 1934, in Ernst Ludwig Kirchner, Briefwechsel 1910–1935/1938, ed. Wolfgang Henze (Stuttgart: Belser, 1990), 706.
67. Joseph Goebbels, “Diary Entry: 13 December 1923,” in Fröhlich, Die Tagebücher von Joseph Goebbels, vol. 1, pt. 1, 60.
68. Petropoulos, Artists Under Hitler, 37.
69. Kershaw, Hitler, 303.
70. Kershaw, Hitler, 305, 306.
71. Spotts, Hitler and the Power of Aesthetics, 111.
72. Kershaw, Hitler, 312.
73. Kershaw, Hitler, 312.
74. Kershaw, Hitler, 315.
75. Kershaw, Hitler, 318.
76. William L. Shirer, Berlin Diary: The Journal of a Foreign Correspondent, 1934–1941 (New York: Alfred A. Knopf, 1941), 17.
77. Kershaw, Hitler, 333.
78. Kershaw, Hitler, 335.
79. Kershaw, Hitler, 339, 340.
80. Joseph Goebbels, “Diary Entry: 13 July 1935,” in Fröhlich, Die Tagebücher von Joseph Goebbels, vol. 1, pt. 3/I, 261.
81. Adolf Hitler, “Art and Politics: Address Delivered at the Seventh National Socialist Congress, Nuremberg, September 11, 1935,” in Liberty, Art, Nationhood, ed. Adolf Hitler (Berlin: M. Müller & Sohn, 1935), 33, 34.
82. Hitler, “Art and Politics,” 46, 47.
83. Hitler, “Art and Politics,” 46, 47.
84. Kershaw, Hitler, 326.
85. I wish to credit historian Ian Kershaw for coining this term.
86. “Speaking of Pictures: Jugend um Hitler,” Life, 6 December 1937, 6–9.
87. “Hitler His Own Architect: He Practices His Art on a Simple Chalet,” New York Times Magazine, 13 October 1935.
88. Schlenker, Hitler’s Salon, 54.
89. Schlenker, Hitler’s Salon, 61.
90. Schlenker, Hitler’s Salon, 61.
91. Joseph Goebbels, “Diary Entry: 6 June 1937,” in Fröhlich, Die Tagebücher von Joseph Goebbels, vol. 1, pt. 4, 170.
92. Schlenker, Hitler’s Salon, 119.
93. Joseph Goebbels, “Diary Entry: 6 June 1937,” in Fröhlich, Die Tagebücher von Joseph Goebbels, vol. 1, pt. 4, 170.
94. Joseph Goebbels, “Diary Entry: 7 June 1937,” in Fröhlich, Die Tagebücher von Joseph Goebbels, vol. 1, pt. 4, 171.
95. Katrin Engelhardt, “Die Ausstellung ‘Entartete Kunst’ in Berlin 1938: Rekonstruktion und Analyse,” in Angriff auf die Avantgarde: Kunst und Kunstpolitik im Nationalsozialismus (Berlin: Akademie Verlag, 2007), 94, quoted in Longerich, Goebbels, 348.
96. Longerich, Goebbels, 348, 349.
97. Joseph Goebbels, “Diary Entry: 12/13 July 1937,” in Fröhlich, Die Tagebücher von Joseph Goebbels, vol. 1, pt. 4, 216.
98. Schlenker, Hitler’s Salon, 67.
99. Adolf Hitler, “Rede zur Eröffnung der ‘Großen Deutschen Kunstausstellung’ 1937,” in Die “Kunststadt” München 1937: Nationalsozialismus und “Entartete Kunst” (Munich: Prestel Verlag, 1998), 242.
100. Hitler, “Rede zur Eröffnung der ‘Großen Deutschen Kunstausstellung’ 1937,” 252.
101. Joseph Goebbels, “Diary Entry: 19 July 1937,” in Fröhlich, Die Tagebücher von Joseph Goebbels, 224.
102. Peter Guenther, “Three Days in Munich: July 1937,” in
Barron, Degenerate Art, 34.
103. Zentralinstitut für Kunstgeschichte and Deutsches Historisches Museum and Haus der Kunst, “Trefferliste: Große Deutsche Kunstausstellung,” GDK-Research, 2011, accessed 26 December 2018, www.gdk-research.de.
104. Guenther, “Three Days in Munich,” 34.
105. Guenther, “Three Days in Munich,” 35.
106. Guenther, “Three Days in Munich,” 36, 38.
107. Readers interested in viewing a detailed layout of the entire exhibition should refer to the blueprint in Marion-Andreas von Lüttichau, “Entartete Kunst, Munich 1937: A Reconstruction,” in Barron, Degenerate Art, 45–80.
108. Lüttichau, “Entartete Kunst, Munich 1937.”
109. Guenther, “Three Days in Munich,” 40.
110. Ines Schlenker, “Defining National Socialist Art,” in Peters, Degenerate Art, 100; Lüttichau, “Entartete Kunst, Munich 1937,” 55.
111. Schlenker, “Defining National Socialist Art,” 100.
112. No author, Berliner Morgenpost, 20 July 1937; no author, Berliner Illustrierte Nachtausgabe, 25 February 1938, quoted in Evans, The Third Reich in Power, 173.
113. Schlenker, Hitler’s Salon, 80.
114. Emil Nolde, Reisen, Ächtung, Befreiung, 1919–1946 (Cologne: DuMont, 1967), 121.
115. Schlenker, Hitler’s Salon, 82, 83.
116. Schlenker, Hitler’s Salon, 199.
117. Joseph Goebbels, “Diary Entry: 17 April 1937,” in Fröhlich, Die Tagebücher von Joseph Goebbels, vol. 1, pt. 4, 98; Joseph Goebbels, “Diary Entry: 18 July 1937,” in Fröhlich, Die Tagebücher von Joseph Goebbels, vol. 1, pt. 4, 223.
118. Emil Nolde to Joseph Goebbels (2 July 1938), R 55/21014, doc. 64, Bundesarchiv Berlin-Lichterfelde, quoted in Petropoulos, Artists Under Hitler, 155.
119. Kirchner Museum Davos, 1992, news release, Biography Ernst Ludwig Kirchner, accessed 29 November 2018, www.kirchnermuseum.ch/fileadmin/Inhalte_Redaktoren/Bilder_Inhalt/E.L.Kirchner/Biography_E.L.Kirchner_english.pdf.
120. Max Beckmann, “On My Painting (First Read in London, 21 July 1938),” in Max Beckmann: Self-Portrait in Words, ed. Barbara Copeland Buenger (Chicago: University of Chicago Press, 1997), 305.
CHAPTER V: BAD COMPANY CORRUPTS GOOD MORALS
1. Undated diary entry, Hildebrand Gurlitt, Schriftlicher Nachlass Cornelius Gurlitt, N 1826_55 (Salzburg Archives), quoted in Meike Hoffmann, “The Long Shadows of the Past—a Critical Appraisal of Hildebrand Gurlitt’s Life,” in Gurlitt: Status Report, ed. Kunstmuseum Bern, Bundeskunsthalle (Munich: Hirmer, 2017), 16.
2. Hildebrand Gurlitt to Wilibald Gurlitt, 16 October 1917, Gurlitt Estate, TU Dresden, 126/045, quoted in Hoffmann, “The Long Shadows of the Past,” 18.
3. Jürgen Paul, Cornelius Gurlitt: Ein Leben für Architektur, Kunstgeschichte, Denkmalpflege und Städtebau (Dresden: Hellerau Verlag, 2003), 51.
4. See Vanessa-Maria Voigt, Kunsthändler und Sammler der Moderne im Nationalsozialismus: Die Sammlung Sprengel 1934 bis 1945 (Berlin: Dietrich Reimer Verlag, 2007), 134.
5. Michael Löffler, Hildebrand Gurlitt: Erster Zwickauer Museumsdirektor (Zwickau: Städtisches Museum, 1994), 22, quoted in Voigt, Kunsthändler und Sammler der Moderne im Nationalsozialismus, 134.
6. Voigt, Kunsthändler und Sammler der Moderne im Nationalsozialismus, 135.
7. Meike Hoffmann and Nicola Kuhn, Hitler’s Kunsthändler: Hildebrand Gurlitt, 1895–1956 (Munich: C. H. Beck, 2016), 130–133.
8. Voigt, Kunsthändler und Sammler der Moderne im Nationalsozialismus, 135.
9. Gurlitt: Status Report, 324.
10. Beat Wismer, Karl Ballmer, Der Maler (Aarau: Argauer Kunsthaus, 1990), 61.
11. See Richard J. Evans, The Third Reich in Power: How the Nazis Won Over the Hearts and Minds of a Nation (New York: Penguin Books, 2006), 649.
12. Henrik Eberle and Matthias Uhl, eds., The Hitler Book: The Secret Dossier Prepared for Stalin from the Interrogations of Hitler’s Personal Aides (New York: PublicAffairs, 2005), 26.
13. Rochus Misch, Hitler’s Last Witness: The Memoirs of Hitler’s Bodyguard (London: Frontline Books, 2015), 24.
14. Adolf Hitler, “Monologe: 15/16 Januar 1942,” in Monologe in Führerhauptquartier, 1941–1944, ed. Werner Jochmann (Hamburg: A. Knaus, 1980), 200.
15. Eduard Bloch, “My Patient Hitler,” Collier’s Magazine, 15 March 1941, 11; see also Brigitte Hamann, Hitler’s Vienna: A Dictator’s Apprenticeship (New York: Tauris Parke Paperbacks, 2010), 36, 37.
16. Testimony (no first name) Pichler to NSDAP Central Archive, NS 26/20, Bundesarchiv Koblenz, Koblenz, Germany, quoted in Hamann, Hitler’s Vienna, 356.
17. Letter, Samuel Morgenstern to Adolf Hitler, Gew. 2,755/Box 216, Administration of Property Archives, Vienna, Austria, quoted in Hamann, Hitler’s Vienna, 357.
18. Hamann, Hitler’s Vienna, 358, 359.
19. See Evans, The Third Reich in Power, 176.
20. Evans, The Third Reich in Power, 555, 560.
21. Evans, The Third Reich in Power, 575.
22. Joseph Goebbels, “Diary Entry: 29 July 1938,” Die Tagebücher von Joseph Goebbels, ed. Elke Fröhlich (Munich: K. G. Saur, 2000), vol. I, pt. 5, 399.
23. Stephanie Barron, “The Galerie Fischer Auction,” in Degenerate Art: The Fate of the Avant-Garde in Nazi Germany, ed. Stefanie Barron (Los Angeles, CA: Los Angeles County Museum of Art, 1991), 135.
24. Meike Hoffmann, “Saboteur und Profiteur: Hildebrand Gurlitt als Händler ‘entarteter’ Kunst,” in Markt und Macht: Der Kunsthandel im “Dritten Reich,” ed. Uwe Fleckner, Thomas W. Gaehtgens, and Christian Huemer (Berlin: Walter De Gruyter, 2017), 2:141–165.
25. Misch, Hitler’s Last Witness, 61.
26. Eberle and Uhl, The Hitler Book, 34, 35.
27. See Despina Stratigakos, Hitler at Home (New Haven, CT: Yale University Press, 2015), 56.
28. David Lloyd George, “I talked to HITLER,” Daily Express, 17 September 1936.
29. Evans, The Third Reich in Power, 582–595.
30. David Toren in discussion with the author, November 2015 and June 2018.
31. David Toren in discussion with the author, November 2015 and June 2018.
32. Britta Olényi von Husen, “‘They Are the Finest Ones, for Which I Had Set the Highest Prices’: Adolph von Menzel in the Collection of Albert Martin Wolffson,” in Gurlitt: Status Report (Munich: Hirmer, 2017), 130, 132.
33. Evans, The Third Reich in Power, 575, 604.
34. Eberle and Uhl, The Hitler Book, 42.
35. Misch, Hitler’s Last Witness, 65.
36. No author, “Hitler, Mussolini and Eden—in Retreat,” Vogue, 15 August 1936.
37. Stratigakos, Hitler at Home, 90, 254.
38. John Dickson, “Europe’s Man of Mystery!” Chicago Daily Tribune, 6 August 1939.
39. Frederic Spotts, Hitler and the Power of Aesthetics (New York: Overlook Press, 2004), 187.
40. Birgit Schwarz, “Hildebrand Gurlitt and the ‘Special Commission Linz,’” in Gurlitt: Status Report, 50.
41. Stephanie Barron, “The Galerie Fischer Auction,” in Barron, Degenerate Art, 138.
42. Barron, “The Galerie Fischer Auction,” 138.
43. Barron, “The Galerie Fischer Auction,” 141.
44. Barron, “The Galerie Fischer Auction,” 155.
45. Barron, “The Galerie Fischer Auction,” 165–167.
46. Carl J. Burckhardt, Meine Danziger Mission 1937–1939 (Munich: G. D. W. Callwey, 1960), 344.
47. Götz Aly, “Der Mord an behinderten Hamburger Kindern zwischen 1939 und 1945,” in Heilen und Vernichten im Mustergau Hamburg: Bevölkerungs- und Gesundheitspolitik im Dritten Reich, ed. Angelika Ebbinghaus, Heidrun Kaupen-Haas, and Karl Heinz Roth (Hamburg: Konkret Literatur, 1984), 151; Hans-Walter Schmul, Rassenhygiene, Nationalsozialismus, Euthanasie: Von der Verhütung zur Vernichtung “lebensunwerten Lebens,” 1890–1945 (Göttingen: Vandenhoeck und Ruprecht Verlag, 1987), 188–189, quoted in Evans, The Third Reich at War, 81.
48. Volker Ries
s, Die Anfänge der Vernichtung “lebensunwerten Lebens” in den Reichsgauen Danzig-Westpreussen und Wartheland 1939/40 (Frankfurt am Main: Universität Stuttgart, 1995), 355–358.
49. Evans, The Third Reich at War, 76.
50. Evans, The Third Reich at War, 94.
51. Hedwig Mauer Simpson, “Herr Hitler at Home in the Clouds,” New York Times Magazine, 20 August 1939.
52. William L. Shirer, Berlin Diary: The Journal of a Foreign Correspondent, 1934–1941 (New York: Alfred A. Knopf, 1941), 201.
53. Shirer, Berlin Diary, 207.
54. No author, “Europe’s Children,” Life, 11 September 1939.
55. No author, “Paintings by Adolf Hitler,” Life, 30 October 1939.
56. George Kreis, “Entartete” Kunst für Basel: Die Herausforderung von 1939 (Basel: Wiese Verlag, 1990), 53.
57. Meike Hoffmann, “Case Studies: Max Beckmann, Old Woman with Cloche Hat, 1920,” in Gurlitt: Status Report, 111.
58. Shirer, Berlin Diary, 404.
59. Letter, Hildebrand Gurlitt to Rolf Hetsch, no file number listed, Federal Archives: Berlin (Reichsministerium für Volksaufklärung und Propaganda), quoted in Hoffmann and Kuhn, Hitler’s Kunsthändler, 204.
60. Letter, Hildebrand Gurlitt to Hans Posse, 10 December 1940, B323-134, Bundesarchiv Koblenz, Koblenz, Germany, and letter, Hans Posse to Hildebrand Gurlitt, 12 December 1940, B 323-134, Bundesarchiv Koblenz, Koblenz, Germany, quoted in Catherine Hickley, The Munich Art Hoard: Hitler’s Dealer and His Secret Legacy (London: Thames & Hudson: 2015), 76.
61. Letter, Hildebrand Gurlitt to Hans Posse, 15 January 1941, B 323/134, no. 376 and 19 March 1941, no. 374, and Hans Posse to Hildebrand Gurlitt, 21 March 1941, no. 373, Bundesarchiv Koblenz, Koblenz, Germany, quoted in Schwarz, “Hildebrand Gurlitt and the ‘Special Commission Linz,’” 50.
62. Hildebrand Gurlitt, business contract, 12 March 1941, no file listed, Federal Archives: Berlin (Reichsministerium für Volksaufklärung und Propaganda), quoted in Hoffmann and Kuhn, Hitler’s Kunsthändler, 193, 194.
63. Hoffmann and Kuhn, Hitler’s Kunsthändler, 208, 209.
64. Katja Terlau, “Hildebrand Gurlitt and the Art Trade During the Nazi Period,” in Vitalizing Memory: International Perspectives on Provenance Research (Washington, DC: American Association of Museums, 2005), 165–170.