With the Nazis gaining power in 1933, the Ministry of Public Enlightenment and Propaganda headed by Joseph Goebbels was created to assume control over the cultural sector. In a short amount of time different laws were introduced. Of particular importance was the Reichskulturkammergesetz (Law of the Reich Chamber of Culture), which was enacted on 22 September 1933. Hereinafter the Reichskulturkammer (Reich Chamber of Culture) was founded as an umbrella authority to comprehensively supervise and regulate the divisions of fine arts, film, music, theater, press, broadcasting and literature [FIG. 1] by making membership in its organisation mandatory for anyone active in these fields.
The fine arts division was called the Reichskammer der Bildenden Künste (The Reich Chamber of Fine Arts), which was again divided into subdivisions and professional categories. The responsibility for the art trade and auctions was with Department VII. Propaganda concerning all divisions of the Reichskammer der Bildenden Künste was disseminated via its own journal Die Kunstkammer. [FIG. 2]
The first president of Reichskammer der Bildenden Künste was the architect Eugen Hönig. He was succeeded by the painter Adolf Ziegler in 1936 and by architect Wilhelm Kreis in 1943. And it was Ziegler who in 1937 was commissioned by the Ministry of Public Enlightenment and Propaganda to confiscate the existing products of the era of ‘decayed work.’ The delegation composed by Ziegler confiscated 20,000 works by more than 1,400 artists considered by the Nazis to be ‘degenrate’. [FIG. 3]
The headquarters were in Tiergartenviertel along with the regional office of Berlin.
At first, Jewish art dealers and artists could be admitted to the Reichskammer der Bildenden Künste, but this changed in February 1934 with a discriminatory announcement by Goebbels, to categorically exclude Jewish applicants and members on the grounds of alleged ‘lack of suitability’. This criterion of ‘suitability’ was arbitrarily applied in practice with the admission and rejection of artists as members, though, notably, those of Jewish background were rejected. For instance, the painter Otto Dix, known for his harsh realism and social critiques, who was dismissed from his position at the Dresden Academy of Fine Arts by the Nazi authorities in 1933 was accepted the following year into the Reichskammer der Bildenden Künste. [FIG. 4]
In August 1934 the ‘First Order to Protect the Profession and the Activity of Art and Antiquity Dealers’‘ was introduced, banning Jewish art dealers from the business. A few exemptions were made in the following years for art dealers, such as Paul Graupe, who was allowed to hold auctions until 1937 also in order to obtain foreign currency Germany needed. In October 1934 the ‘Law on the Auction Trade’ allowed auctions to only be held under the supervision of the Reichskammer der Bildenden Künste.
After the enactment of the racial ‘Nuremberg Laws’ in September 1935, the membership to the Reichskammer der Bildenden Künste was based on antisemitic and discriminating regulations, with the ‘Ariernachweis’ (‘Aryan certificate’) required for admission from May 1936 onward. This resulted in the universal exclusion of Jewish citizens and other racially persecuted groups from participating in the arts sector in particular as well as from German society in general.
Measures against Jewish citizens continued to intensify. In April 1938 with the ‘Decree on the Registration of Jewish Property’ and in January 1940 when property was made subject to the state in the event of expatriation of Jewish citizens.
The Reichskammer der Bildenden Künste was now responsible for approving the ‘Aryanisation’ of galleries, or the takeovers of Jewish-owned galleries and transfer to non-Jews. In April 1941 the Reichskammer der Bildenden Künste received by order the sole responsibility to buy up cultural property from ‘non-Aryan’ owners.
The Reichskammer der Bildenden Künste was part of the system that regulated and fundamentally restructured the art market during the Nazi era. The work and lives of many Jewish artists, art dealers and auctioneers were destroyed in its wake. The dissolution of the Reichskammer der Bildenden Künste by the Allied Control Council in October 1945 ended this regulation, but could not reverse the deep impact on the art market in Germany.
The rich text element allows you to create and format headings, paragraphs, blockquotes, images, and video all in one place instead of having to add and format them individually. Just double-click and easily create content.
Quote sample text
A rich text element can be used with static or dynamic content. For static content, just drop it into any page and begin editing. For dynamic content, add a rich text field to any collection and then connect a rich text element to that field in the settings panel. Voila!
Headings, paragraphs, blockquotes, figures, images, and figure captions can all be styled after a class is added to the rich text element using the "When inside of" nested selector system.
In August 1934 the ‘First Order to Protect the Profession and the Activity of Art and Antiquity Dealers’‘ was introduced, banning Jewish art dealers from the business. A few exemptions were made in the following years for art dealers, such as Paul Graupe, who was allowed to hold auctions until 1937 also in order to obtain foreign currency Germany needed. In October 1934 the ‘Law on the Auction Trade’ allowed auctions to only be held under the supervision of the Reichskammer der Bildenden Künste.
After the enactment of the racial ‘Nuremberg Laws’ in September 1935, the membership to the Reichskammer der Bildenden Künste was based on antisemitic and discriminating regulations, with the ‘Ariernachweis’ (‘Aryan certificate’) required for admission from May 1936 onward. This resulted in the universal exclusion of Jewish citizens and other racially persecuted groups from participating in the arts sector in particular as well as from German society in general.
Measures against Jewish citizens continued to intensify. In April 1938 with the ‘Decree on the Registration of Jewish Property’ and in January 1940 when property was made subject to the state in the event of expatriation of Jewish citizens.
The Reichskammer der Bildenden Künste was now responsible for approving the ‘Aryanisation’ of galleries, or the takeovers of Jewish-owned galleries and transfer to non-Jews. In April 1941 the Reichskammer der Bildenden Künste received by order the sole responsibility to buy up cultural property from ‘non-Aryan’ owners.
The Reichskammer der Bildenden Künste was part of the system that regulated and fundamentally restructured the art market during the Nazi era. The work and lives of many Jewish artists, art dealers and auctioneers were destroyed in its wake. The dissolution of the Reichskammer der Bildenden Künste by the Allied Control Council in October 1945 ended this regulation, but could not reverse the deep impact on the art market in Germany.
The rich text element allows you to create and format headings, paragraphs, blockquotes, images, and video all in one place instead of having to add and format them individually. Just double-click and easily create content.
Quote sample text
A rich text element can be used with static or dynamic content. For static content, just drop it into any page and begin editing. For dynamic content, add a rich text field to any collection and then connect a rich text element to that field in the settings panel. Voila!
Headings, paragraphs, blockquotes, figures, images, and figure captions can all be styled after a class is added to the rich text element using the "When inside of" nested selector system.
The rich text element allows you to create and format headings, paragraphs, blockquotes, images, and video all in one place instead of having to add and format them individually. Just double-click and easily create content.
Quote sample text
A rich text element can be used with static or dynamic content. For static content, just drop it into any page and begin editing. For dynamic content, add a rich text field to any collection and then connect a rich text element to that field in the settings panel. Voila!
Headings, paragraphs, blockquotes, figures, images, and figure captions can all be styled after a class is added to the rich text element using the "When inside of" nested selector system.
Related addresses: Reichskammer der Bildenden Künste, Government agency 1933-1945; Blumes Hof 4-6 (since June 1934; street and building are destroyed; today's postcode 10785), Derfflingerstrasse 7 (from October 1935 until March 1937), Ahornstrasse 2 (1938). Today's postcode 10785
Related addresses: Reichskammer der Bildenden Künste, Government agency 1933-1945; Blumes Hof 4-6 (since June 1934; street and building are destroyed; today's postcode 10785), Derfflingerstrasse 7 (from October 1935 until March 1937), Ahornstrasse 2 (1938). Today's postcode 10785
The rich text element allows you to create and format headings, paragraphs, blockquotes, images, and video all in one place instead of having to add and format them individually. Just double-click and easily create content.
A rich text element can be used with static or dynamic content. For static content, just drop it into any page and begin editing. For dynamic content, add a rich text field to any collection and then connect a rich text element to that field in the settings panel. Voila!
Headings, paragraphs, blockquotes, figures, images, and figure captions can all be styled after a class is added to the rich text element using the "When inside of" nested selector system.
.svg)
.svg)
%2C%201924%2C%20lithographie.jpg)
.svg)
The rich text element allows you to create and format headings, paragraphs, blockquotes, images, and video all in one place instead of having to add and format them individually. Just double-click and easily create content.
A rich text element can be used with static or dynamic content. For static content, just drop it into any page and begin editing. For dynamic content, add a rich text field to any collection and then connect a rich text element to that field in the settings panel. Voila!
Headings, paragraphs, blockquotes, figures, images, and figure captions can all be styled after a class is added to the rich text element using the "When inside of" nested selector system.
Related addresses: Schöneberger Ufer 38 until May 1935 (Architect: Heinrich Schweitzer); Schöneberger Ufer 71
Budapester Strasse (1932) not identical with today’s Budapester Strasse; Lützowstrasse 32 I (October 1925–1930); Königin-Augusta-Strasse 22 (October 1930–1932) - in 1933 this street becomes Tirpitzufer 84 and in 1947 it was renamed to Reichpietschufer. Lützowufer 19a (November 1932–1937), since 1933: Galerie Nierendorf; Großadmiral-von-Koester-Ufer 65 (1935–1947), Schöneberger Ufer.
Potsdamer Strasse 134c (Mid-Oct 1918-Sept 1924); Schöneberger Ufer 38 (July 1927-1931); Großadmiral-von-Koester-Ufer 39 respectively (since 1936) Großadmiral-von-Koester-Ufer 73 (1935-1939);Kluckstrasse 12 (May 1939 –Dec 1949)
Employee and partner at the Galerie / Kunstsalon Paul Cassirer
Related addresses: Street partially still exists as Hitzigallee.
Related addresses: Koenigin-Augusta-Strasse 46, in 1933 becomes Tirpitzufer 84, in 1947 becomes Reichpietschufer. Her last address in Berlin before deportation to Theresienstadt Bleibtreustrasse 17.
ALL BUILDINGS ARE DESTROYED
%2C%200152454.png)
Henry van de Velde (1894-1943), designer of the interior of the reading room at the gallery Paul Cassirer, Victoria Strasse 35.
(Street and building are destroyed)
Related addresses: Reichskammer der Bildenden Künste, Government agency 1933-1945; Blumes Hof 4-6 (since June 1934; street and building are destroyed; today's postcode 10785), Derfflingerstrasse 7 (from October 1935 until March 1937), Ahornstrasse 2 (1938). Today's postcode 10785
