0210 „Mitglied (kein Amt, kein Rang)“

Christian Schad (1894–1982) is regarded as one of the most important representatives of New Objectivity (Neue Sachlichkeit) in Germany and best known as a painter of the Berlin society during the Weimar Republic. Research, art criticism and exhibitions have long classified him as an artist who neith...
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Autor*in:	Bettina Keß [verfasserIn]

Format:	E-Artikel
Sprache:	Deutsch ; Englisch ; Spanisch ; Französisch ; Italienisch

Erschienen:	2019

Schlagwörter:	christian schad new objectivity neue sachlichkeit kunst im nationalsozialismus art during national socialism deutschland 1933-1945 germany 1933-1945

Übergeordnetes Werk:	In: RIHA Journal - International Association of Research Institutes in the History of Art (RIHA), 2010, (2019)
Übergeordnetes Werk:	year:2019

Links:	Link aufrufen Link aufrufen Link aufrufen Journal toc

DOI / URN:	10.11588/riha.2019.0.69960

Katalog-ID:	DOAJ08680071X

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author	Bettina Keß
spellingShingle	Bettina Keß misc christian schad misc new objectivity misc neue sachlichkeit misc kunst im nationalsozialismus misc art during national socialism misc deutschland 1933-1945 misc germany 1933-1945 misc Fine Arts misc N 0210 „Mitglied (kein Amt, kein Rang)“
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topic_title	0210 „Mitglied (kein Amt, kein Rang)“ christian schad new objectivity neue sachlichkeit kunst im nationalsozialismus art during national socialism deutschland 1933-1945 germany 1933-1945
topic	misc christian schad misc new objectivity misc neue sachlichkeit misc kunst im nationalsozialismus misc art during national socialism misc deutschland 1933-1945 misc germany 1933-1945 misc Fine Arts misc N
topic_unstemmed	misc christian schad misc new objectivity misc neue sachlichkeit misc kunst im nationalsozialismus misc art during national socialism misc deutschland 1933-1945 misc germany 1933-1945 misc Fine Arts misc N
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title	0210 „Mitglied (kein Amt, kein Rang)“
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title_sort	0210 „mitglied (kein amt, kein rang)“
title_auth	0210 „Mitglied (kein Amt, kein Rang)“
abstract	Christian Schad (1894–1982) is regarded as one of the most important representatives of New Objectivity (Neue Sachlichkeit) in Germany and best known as a painter of the Berlin society during the Weimar Republic. Research, art criticism and exhibitions have long classified him as an artist who neither politically nor artistically adapted to the Nazi regime (1933–1945). Schad himself described his attitude towards National Socialism as critical in retrospect. This essay questions both the self-image of the painter and graphic artist and his reception after 1945 as an artist critical of the regime who deliberately withdrew from the art market. Based on archival material regarding the artist's life and work, this article shows that Christian Schad had actually been a member of the National Socialist German Workers' Party (NSDAP) since 1933, continued to be represented in exhibitions and publications, and also somewhat adjusted his motifs and style to the favoured taste in art.
abstractGer	Christian Schad (1894–1982) is regarded as one of the most important representatives of New Objectivity (Neue Sachlichkeit) in Germany and best known as a painter of the Berlin society during the Weimar Republic. Research, art criticism and exhibitions have long classified him as an artist who neither politically nor artistically adapted to the Nazi regime (1933–1945). Schad himself described his attitude towards National Socialism as critical in retrospect. This essay questions both the self-image of the painter and graphic artist and his reception after 1945 as an artist critical of the regime who deliberately withdrew from the art market. Based on archival material regarding the artist's life and work, this article shows that Christian Schad had actually been a member of the National Socialist German Workers' Party (NSDAP) since 1933, continued to be represented in exhibitions and publications, and also somewhat adjusted his motifs and style to the favoured taste in art.
abstract_unstemmed	Christian Schad (1894–1982) is regarded as one of the most important representatives of New Objectivity (Neue Sachlichkeit) in Germany and best known as a painter of the Berlin society during the Weimar Republic. Research, art criticism and exhibitions have long classified him as an artist who neither politically nor artistically adapted to the Nazi regime (1933–1945). Schad himself described his attitude towards National Socialism as critical in retrospect. This essay questions both the self-image of the painter and graphic artist and his reception after 1945 as an artist critical of the regime who deliberately withdrew from the art market. Based on archival material regarding the artist's life and work, this article shows that Christian Schad had actually been a member of the National Socialist German Workers' Party (NSDAP) since 1933, continued to be represented in exhibitions and publications, and also somewhat adjusted his motifs and style to the favoured taste in art.
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title_short	0210 „Mitglied (kein Amt, kein Rang)“
url	https://doi.org/10.11588/riha.2019.0.69960 https://doaj.org/article/062800ecacf14aa9b9ad5a8925dd6bc8 https://journals.ub.uni-heidelberg.de/index.php/rihajournal/article/view/69960 https://doaj.org/toc/2190-3328
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