Nazi Fascination with Degenerate Art: A Contradiction in Their Ideology and Actions

The Nazis, known for their strict ideological beliefs, exhibited a paradoxical fascination with what they often termed 'degenerate art'. This obsession was not just a humanitarian anomaly but a deep-seated belief rooted in their broader ideological framework.

The Success of Degenerate Art Exhibitions

Contrary to popular belief, the Nazi-curated exhibits of 'Degenerate Art' were highly successful, with millions flocking to view them. The success of these exhibitions brought significant attention, indicating that the Nazis, despite their ideological purges, were keen on showcasing specific art forms for public consumption.

One of the key figures involved in the acquisition of this art was Hermann Goering, who was not only a high-ranking Nazi but also an avid collector. This collection became a tool for the Nazis to demonstrate their power and control over cultural narratives.

Official Art vs. Degenerate Art

Official art of the Third Reich was far from inspiring. It consisted of banal genre paintings and soft pornography, failing to capture any significant artistic or emotional depth. Similarly, Hitler's own art was more akin to architectural renderings rather than expressions of artistic inspiration. His early aspirations to become an artist were thwarted due to the rejection from the art school.

To further illustrate the gap between their ideology and actions, the Nazis not only banned abstract art but also looted it on a massive scale. This ambivalence towards anti-Semitic art and the preservation of items of monetary value reveals a complex interplay of financial interests and ideological purges within the Nazi regime.

Internal Contradictions within the Nazi Elite

Not all Nazis were uniform in their views. Many top-ranking members of the Nazi party were ardent art connoisseurs. Their interest in 'degenerate art' was not just financial, as they recognized the monetary value of these artworks. They believed that as the Nazis fell from power, the value of these pieces would skyrocket, a reflection of their strategic thinking.

Adolf Hitler's obsession with banning abstract art was more about his personal beliefs than the party line. His ideological objections extended to theoretical physics, and he had a similar disdain for themes of evolution. This suggests that his opposition to certain art forms was more a reaction to abstract thinking than a mere expression of religious belief.

Scientists of the time, particularly German physicists, had a significant appreciation for groundbreaking theories like relativity. Hitler, on the other hand, dismissed these ideas as unimportant. His dismissal of evolution aligns with the Nazi belief in rigid hierarchies and the rejection of fluid concepts of species.

A behavioral analysis, influenced by Jean Piaget’s stages of cognitive development, offers an insight into Hitler's thinking. The Nazi leader seemed to have halted his cognitive development at the concrete operational stage, failing to advance to the formal operational stage. This stage, where one begins to understand abstract concepts, might explain his stubborn and inflexible ideological stance.

It is noteworthy that even scientists like Jean Piaget, who challenged entrenched ideologies, would have been considered 'degenerate' by the Nazi regime, further highlighting the complex intertwining of ideology and reality within the Nazi state.

Conclusion

The relationship between the Nazis and 'degenerate art' is a testament to the deep-rooted contradictions within their ideological framework. While they sought to cleanse their society of abstract and modern artistic expressions, they simultaneously recognized the value of these works, using them for strategic and financial gain.