{"id":17002,"date":"2023-01-25T13:14:17","date_gmt":"2023-01-25T12:14:17","guid":{"rendered":"https:\/\/www.stadtmuseum.de\/?post_type=article&#038;p=17002"},"modified":"2023-01-25T13:15:03","modified_gmt":"2023-01-25T12:15:03","slug":"tracing-degenerate-art","status":"publish","type":"article","link":"https:\/\/www.stadtmuseum.de\/en\/article\/tracing-degenerate-art","title":{"rendered":"Tracing \u201eDegenerate Art\u201c"},"content":{"rendered":"<section class=\"block block-header-article block-header-article-center block-header-article-align-pullLeft\" >\n\t<div class=\"container-fluid\">\n\t\t<div class=\"row middle-xs\">\n\t\t\t\t\t\t\t<div class=\"col-xs-12 col-md-6 first-md\">\n\t\t\t\t\t<div class=\"block-header-article-image block-header-article-image-center\">\n\t\t\t\t\t\t\n\t\t<lazy-media-inline inline-template data-id=\"13835\">\n\t\t\t<figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" id=\"media_6a1b78a1d9ed8\" data-md-src=\"https:\/\/stiftung-stadtmuseum-berlin.b-cdn.net\/wp-content\/uploads\/2022\/12\/die-blumenfrau-christof-drexel-272x300.jpg\" data-md-alt=\"Gem\u00e4lde einer Blumenfrau mit Hut und blumengef\u00fclltem Korb zwischen Blument\u00f6pfen\">\n<script type=\"application\/json\" ref=\"data\">\n{\n\"sizes\" : {\"medium\":{\"file\":\"die-blumenfrau-christof-drexel-272x300.jpg\",\"width\":272,\"height\":300,\"mime-type\":\"image\\\/jpeg\",\"filesize\":20757},\"large\":{\"file\":\"die-blumenfrau-christof-drexel-927x1024.jpg\",\"width\":927,\"height\":1024,\"mime-type\":\"image\\\/jpeg\",\"filesize\":196689},\"medium_large\":{\"file\":\"die-blumenfrau-christof-drexel-768x848.jpg\",\"width\":768,\"height\":848,\"mime-type\":\"image\\\/jpeg\",\"filesize\":131984},\"1536x1536\":{\"file\":\"die-blumenfrau-christof-drexel-1391x1536.jpg\",\"width\":1391,\"height\":1536,\"mime-type\":\"image\\\/jpeg\",\"filesize\":477835},\"small\":{\"file\":\"die-blumenfrau-christof-drexel-399x440.jpg\",\"width\":399,\"height\":440,\"mime-type\":\"image\\\/jpeg\",\"filesize\":39845},\"semi\":{\"file\":\"die-blumenfrau-christof-drexel-525x580.jpg\",\"width\":525,\"height\":580,\"mime-type\":\"image\\\/jpeg\",\"filesize\":63949},\"mobile\":{\"file\":\"die-blumenfrau-christof-drexel-652x720.jpg\",\"width\":652,\"height\":720,\"mime-type\":\"image\\\/jpeg\",\"filesize\":95000},\"hd\":{\"file\":\"die-blumenfrau-christof-drexel-1159x1280.jpg\",\"width\":1159,\"height\":1280,\"mime-type\":\"image\\\/jpeg\",\"filesize\":329997},\"original\":{\"file\":\"die-blumenfrau-christof-drexel.jpg\",\"width\":1739,\"height\":1920}},\n\"alt\" : \"Gem\\u00e4lde einer Blumenfrau mit Hut und blumengef\\u00fclltem Korb zwischen Blument\\u00f6pfen\",\n\"path\" : \"https:\\\/\\\/stiftung-stadtmuseum-berlin.b-cdn.net\\\/wp-content\\\/uploads\\\/2022\\\/12\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"hls\" : \"\",\n\"hls_autoplay\" : \"\",\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : {\"x\":0.5,\"y\":0.5},\n\"background\" : true,\n\"scale\" : 2,\n\"zoom\" : false,\n\"annotations\" : null}\n<\/script>\n\t\t\t\t<div class=\"height-container\" style=\"padding-bottom:110.40828062105%;  \">\n\t\t\t\t\t<lazy-media v-if=\"sizes\" :inline=\"true\" :alt=\"alt\" :sizes=\"sizes\" :scale=\"scale\" :zoom=\"zoom\" :brightness=\"brightness\" :path=\"path\" :video=\"video\" :autoplay=\"autoplay\" :youtube=\"youtube\" :hls=\"hls\" :hls-autoplay=\"hlsAutoplay\" :crop=\"crop\" :youtubelabel=\"youtubelabel\" :annotations=\"annotations\" :background=\"background\"><\/lazy-media>\n\n\t\t\t\t\t\t\t\t\t\t\t<figcaption class=\"lazy-info-on-grid \">\n\t\t\t\t\t\t\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"lazy-media-image-label\">Hans Cristof Drexel: \u201cDie Blumenfrau\u201d[The Flower Woman], oil on canvas, 114 x 103 cm, 1927\/28.<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Hans Christof Drexel \/ Stadtmuseum Berlin | Reproduction: Oliver Ziebe <\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/figcaption>\n\t\t\t\t\t\t\t\t\t<\/div>\n\n\t\t\t<\/figure>\n\t\t<\/lazy-media-inline>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"col-xs-12 col-md-5 col-md-offset-1 first-xs margin-bottom-third  block-header-article--text\">\n\t\t\t\t\t<div class=\"box\">\n\t\t\t\t\t\t<h1 class=\"zeplin-subHead01 margin-bottom-sixth\">Tracing \u201eDegenerate Art\u201c<\/h1>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"box\">\n\t\t\t\t\t\t<div class=\"copy margin-bottom-third\">\n\t\t\t\t\t\t\t<p>Hans Cristof Drexel\u2019s \u201eDie Blumenfrau\u201c<\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\n\t\t\t\t\t<div class=\" has-highlight-color\">\n\t\t\t\t\t\t\t<span class=\"zeplin-category\">by<\/span>\n\t\t\t\t<a href=\"https:\/\/www.stadtmuseum.de\/en\/autor\/deborah-pomeranz-2\" class=\"has-highlight-color text-decoration-none zeplin-category\">Deborah Pomeranz<\/a>, \n\t\t\t<a href=\"https:\/\/www.stadtmuseum.de\/en\/autor\/deborah-pomeranz-en\" class=\"has-highlight-color text-decoration-none zeplin-category\">Deborah Pomeranz<\/a>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\n\n\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/section>\n\n\n\n<section class=\"block block-copy\">\n\t<div class=\"container-fluid\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-xs-12 col-md-7\">\n\t\t\t\t<div class=\"copy\">\n\t\t\t\t\t<p><strong>Hans Cristof Drexel\u2019s \u201cDie Blumenfrau\u201d [The Flower Woman] (1927\/1928), with her yellow hat and oversized basket of flowers, does not give the impression she could overthrow a regime. According to Nazi cultural ideology, however, she had the power to stand in the way of their totalitarian ambitions.<\/strong><\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/section>\n\n\n<section class=\"block block-copy\">\n\t<div class=\"container-fluid\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-xs-12 col-md-7\">\n\t\t\t\t<div class=\"copy\">\n\t\t\t\t\t<p>Convinced that conformist culture would create a conformist populace, the National Socialist government removed modern art from public collections and museums in the summer of 1937. Before the confiscated works were destroyed or sold on the international market, they were shown in a series of exhibits called \u201cEntartete Kunst\u201d [Degenerate Art]. To emphasize the cultural danger of the modern, minors were barred from the exhibits.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/section>\n\n\n<section class=\"block block-copy\">\n\t<div class=\"container-fluid\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-xs-12 col-md-7 col-md-offset-5\">\n\t\t\t\t<div class=\"copy\">\n\t\t\t\t\t<p>The Nationalgalerie in Berlin had removed the Blumenfrau from its public collection after the Nazis took power in 1933. Now, it was confiscated and sent to Munich for the first of the \u201cEntartete Kunst\u201d exhibits, to demonstrate the supposed excess and threat of modern art. Afterwards, with the help of his contacts in the Reich Ministry of Public Enlightenment and Propaganda, art dealer Bernhard B\u00f6hmer acquired hundreds of these \u201cUngerman\u201d artworks. He bought the Blumenfrau for five dollars.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/section>\n\n\n<section class=\"block block-standard-image block-standard-image-medium\">\n\t\t<div class=\"block-standard-image-wrapper\">\n\t\t\n\t\t<lazy-media-inline inline-template data-id=\"13843\">\n\t\t\t<figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" id=\"media_6a1b78a1dce07\" data-md-src=\"https:\/\/stiftung-stadtmuseum-berlin.b-cdn.net\/wp-content\/uploads\/2022\/12\/entartete-kunst-ausstellung-muenchen-272x300.jpg\" data-md-alt=\"Schwarz-wei\u00df-Foto der Ausstellung \u201eEntartete Kunst\u201c in den Hofgartenarkaden, M\u00fcnchen, Sommer 1937. \u201eDie Blumenfrau\u201c h\u00e4ngt am Fensterpfeiler links im Vordergrund.\">\n<script type=\"application\/json\" ref=\"data\">\n{\n\"sizes\" : {\"medium\":{\"file\":\"entartete-kunst-ausstellung-muenchen-272x300.jpg\",\"width\":272,\"height\":300,\"mime-type\":\"image\\\/jpeg\",\"filesize\":15908},\"large\":{\"file\":\"entartete-kunst-ausstellung-muenchen-927x1024.jpg\",\"width\":927,\"height\":1024,\"mime-type\":\"image\\\/jpeg\",\"filesize\":177254},\"medium_large\":{\"file\":\"entartete-kunst-ausstellung-muenchen-768x848.jpg\",\"width\":768,\"height\":848,\"mime-type\":\"image\\\/jpeg\",\"filesize\":122807},\"1536x1536\":{\"file\":\"entartete-kunst-ausstellung-muenchen-1391x1536.jpg\",\"width\":1391,\"height\":1536,\"mime-type\":\"image\\\/jpeg\",\"filesize\":368919},\"small\":{\"file\":\"entartete-kunst-ausstellung-muenchen-399x440.jpg\",\"width\":399,\"height\":440,\"mime-type\":\"image\\\/jpeg\",\"filesize\":32686},\"semi\":{\"file\":\"entartete-kunst-ausstellung-muenchen-525x580.jpg\",\"width\":525,\"height\":580,\"mime-type\":\"image\\\/jpeg\",\"filesize\":57418},\"mobile\":{\"file\":\"entartete-kunst-ausstellung-muenchen-652x720.jpg\",\"width\":652,\"height\":720,\"mime-type\":\"image\\\/jpeg\",\"filesize\":88892},\"hd\":{\"file\":\"entartete-kunst-ausstellung-muenchen-1159x1280.jpg\",\"width\":1159,\"height\":1280,\"mime-type\":\"image\\\/jpeg\",\"filesize\":268600},\"original\":{\"file\":\"entartete-kunst-ausstellung-muenchen.jpg\",\"width\":1739,\"height\":1920}},\n\"alt\" : \"Schwarz-wei\\u00df-Foto der Ausstellung \\u201eEntartete Kunst\\u201c in den Hofgartenarkaden, M\\u00fcnchen, Sommer 1937. \\u201eDie Blumenfrau\\u201c h\\u00e4ngt am Fensterpfeiler links im Vordergrund.\",\n\"path\" : \"https:\\\/\\\/stiftung-stadtmuseum-berlin.b-cdn.net\\\/wp-content\\\/uploads\\\/2022\\\/12\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"hls\" : \"\",\n\"hls_autoplay\" : \"\",\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : null,\n\"background\" : false,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}\n<\/script>\n\t\t\t\t<div class=\"height-container\" style=\"padding-bottom:110.40828062105%;  \">\n\t\t\t\t\t<lazy-media v-if=\"sizes\" :inline=\"true\" :alt=\"alt\" :sizes=\"sizes\" :scale=\"scale\" :zoom=\"zoom\" :brightness=\"brightness\" :path=\"path\" :video=\"video\" :autoplay=\"autoplay\" :youtube=\"youtube\" :hls=\"hls\" :hls-autoplay=\"hlsAutoplay\" :crop=\"crop\" :youtubelabel=\"youtubelabel\" :annotations=\"annotations\" :background=\"background\"><\/lazy-media>\n\n\t\t\t\t\t\t\t\t\t<\/div>\n\n\n\t\t\t\t\t\t\t\t  <div class=\"container-fluid\">\n\t\t\t\t\t  <div class=\"row\">\n\t\t\t\t\t  \t<div class=\"col-xs-12\">\n\t\t\t\t\t\t\n\n\n\t\t\t\t\t\t\t\t\t\t<figcaption class=\"\">\n\t\t\t\t\t\t\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"lazy-media-image-label\">A room on the ground floor of the \u201cEntartete Kunst\u201d [Degenerate Art] exhibition in Munich\u2019s Hofgartenarkaden, summer 1937. \u201cDie Blumenfrau\u201d hangs between windows in the front left of the photo.<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Staatliche Museen zu Berlin, Central archive <\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/figcaption>\n\t\t\t\t\t\t\t\t\t\n\t\t\t   \t\t\t\t\t\t<\/div>\n\t\t\t\t\t  <\/div>\n\t\t\t\t  <\/div>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t<\/lazy-media-inline>\n\t\t\t<\/div>\n\n\t<\/section>\n\n\n<section class=\"block block-copy\">\n\t<div class=\"container-fluid\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-xs-12 col-md-7\">\n\t\t\t\t<div class=\"copy\">\n\t\t\t\t\t<p>In the postwar period, there were disagreements about what to do with the once-confiscated works. Should they remain with their current, private owners? On the one hand, this would further the Nazi\u2019s cultural mission, as German museums would then have little if any modern art in their collections. And, art dealers who collaborated with the Nazis would continue to profit from their close ties to the Third Reich. On the other hand, the museums were a part of the Nazi state, and so cannot claim to have been its victims. While the occupying powers in West Germany \u2013 as well as the current German state \u2013 subscribed to the latter argument, in the Soviet Zone efforts were made to recover the art for public institutions.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/section>\n\n\n<section class=\"block block-copy\">\n\t<div class=\"container-fluid\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-xs-12 col-md-7 col-md-offset-5\">\n\t\t\t\t<div class=\"copy\">\n\t\t\t\t\t<p>In Berlin, a city organization called the Department for the Return of Artistic Property was responsible for seizing looted, stolen, imperiled, or presumed ownerless art. In 1947 this department sent Kurt Reutti to G\u00fcstrow, where Bernhard B\u00f6hmer had lived until his death. There, Reutti was to recover the confiscated artworks from B\u00f6hmer\u2019s estate. In 1949 he was able to return some of these recovered works, including \u201cDie Blumenfrau\u201d, to Berlin\u2019s museums.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/section>\n\n\n<section class=\"block block-standard-image-copy  align-left\" data-parallax='{\"child\":\".motion-image\",\"mask\":\".row\",\"full\":{\"y\": [5,-5]}}' id=\"sticky_6a1b78a1dd324\">\n\t<div class=\"container-fluid\" data-parallax='{\"child\":\".row\",\"mask\":\".motion-image\",\"in\":{\"scale\": [1.1,1.1],\"opacity\": [0,0]},\"center\":{\"scale\": [1.1,1],\"opacity\": [0,1],\"ease\":\"sine.out\"},\"out\":{\"opacity\": [1,0]}}'>\n\t\t<div class=\"row\">\n\t\t\t\t\t\t\t<div class=\"col-xs-12 col-md-7\">\n\t\t\t\t\t<div class=\"padding-bottom-minimal padding-top-minimal\" >\n\t\t\t\t\t\t\n\t\t<lazy-media-inline inline-template data-id=\"13837\">\n\t\t\t<figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" id=\"media_6a1b78a1dd7e0\" data-md-src=\"https:\/\/stiftung-stadtmuseum-berlin.b-cdn.net\/wp-content\/uploads\/2022\/12\/die-verlobten-august-wilhelm-dressler-272x300.jpg\" data-md-alt=\"Die erste, vernichtete Fassung von August Wilhelm Dresslers \u201eDie Verlobten\u201c.\">\n<script type=\"application\/json\" ref=\"data\">\n{\n\"sizes\" : {\"medium\":{\"file\":\"die-verlobten-august-wilhelm-dressler-272x300.jpg\",\"width\":272,\"height\":300,\"mime-type\":\"image\\\/jpeg\",\"filesize\":21417},\"large\":{\"file\":\"die-verlobten-august-wilhelm-dressler-927x1024.jpg\",\"width\":927,\"height\":1024,\"mime-type\":\"image\\\/jpeg\",\"filesize\":176345},\"medium_large\":{\"file\":\"die-verlobten-august-wilhelm-dressler-768x848.jpg\",\"width\":768,\"height\":848,\"mime-type\":\"image\\\/jpeg\",\"filesize\":126469},\"1536x1536\":{\"file\":\"die-verlobten-august-wilhelm-dressler-1391x1536.jpg\",\"width\":1391,\"height\":1536,\"mime-type\":\"image\\\/jpeg\",\"filesize\":354538},\"small\":{\"file\":\"die-verlobten-august-wilhelm-dressler-399x440.jpg\",\"width\":399,\"height\":440,\"mime-type\":\"image\\\/jpeg\",\"filesize\":40407},\"semi\":{\"file\":\"die-verlobten-august-wilhelm-dressler-525x580.jpg\",\"width\":525,\"height\":580,\"mime-type\":\"image\\\/jpeg\",\"filesize\":65611},\"mobile\":{\"file\":\"die-verlobten-august-wilhelm-dressler-652x720.jpg\",\"width\":652,\"height\":720,\"mime-type\":\"image\\\/jpeg\",\"filesize\":95476},\"hd\":{\"file\":\"die-verlobten-august-wilhelm-dressler-1159x1280.jpg\",\"width\":1159,\"height\":1280,\"mime-type\":\"image\\\/jpeg\",\"filesize\":261592},\"original\":{\"file\":\"die-verlobten-august-wilhelm-dressler.jpg\",\"width\":1739,\"height\":1920}},\n\"alt\" : \"Die erste, vernichtete Fassung von August Wilhelm Dresslers \\u201eDie Verlobten\\u201c.\",\n\"path\" : \"https:\\\/\\\/stiftung-stadtmuseum-berlin.b-cdn.net\\\/wp-content\\\/uploads\\\/2022\\\/12\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"hls\" : \"\",\n\"hls_autoplay\" : \"\",\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : null,\n\"background\" : false,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}\n<\/script>\n\t\t\t\t<div class=\"height-container\" style=\"padding-bottom:110.40828062105%;  \">\n\t\t\t\t\t<lazy-media v-if=\"sizes\" :inline=\"true\" :alt=\"alt\" :sizes=\"sizes\" :scale=\"scale\" :zoom=\"zoom\" :brightness=\"brightness\" :path=\"path\" :video=\"video\" :autoplay=\"autoplay\" :youtube=\"youtube\" :hls=\"hls\" :hls-autoplay=\"hlsAutoplay\" :crop=\"crop\" :youtubelabel=\"youtubelabel\" :annotations=\"annotations\" :background=\"background\"><\/lazy-media>\n\n\t\t\t\t\t\t\t\t\t<\/div>\n\n\n\t\t\t\t\n\n\n\t\t\t\t\t\t\t\t\t\t<figcaption class=\"\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"lazy-media-image-label\">The first version of August Wilhelm Dressler\u2019s \u201cDie Verlobten\u201d [The Betrothed], which was destroyed.<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Staatliche Museen zu Berlin, Central archive <\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/figcaption>\n\t\t\t\t\t\t\t\t\t\n\t\t\t   \t\t\t\t\t\t\t<\/figure>\n\t\t<\/lazy-media-inline>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"col-xs-12 col-md-4 col-md-offset-1\">\n\t\t\t\t\t<div class=\"padding-bottom-minimal padding-top-minimal copy\" >\n\t\t\t\t\t\t\t\t\t\t\t\tHowever, not all paintings that had been taken from the Nationalgalerie made it back to Berlin: \u201cDie Verlobten\u201d [The Betrothed] (1925), a painting by August Wilhelm Dressler, is listed in the register of confiscations as destroyed. Perhaps it was incinerated in the infamous art burning in Berlin on March 20<sup>th<\/sup>, 1939, after it was shown in the \u201cEntartete Kunst\u201d exhibit there for a final time.\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/section>\n\n\n<section class=\"block block-copy\">\n\t<div class=\"container-fluid\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-xs-12 col-md-7\">\n\t\t\t\t<div class=\"copy\">\n\t\t\t\t\t<p>After the defeat of the Nazis, Dressler painted a new version of \u201cDie Verlobten,\u201d which was bought by the Art Acquisition Commission of the Berliner Magistrate in November 1950. The purchase demonstrated East Berlin\u2019s new cultural politics, which aimed to show a definitive break with Nazism and support living artists in the city.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/section>\n\n\n\n<section class=\"block block-gallery\">\n\t<block-gallery inline-template>\n\t\t<div :class=\"{ firstLoaded: firstLoaded }\">\n\t\t\t<script type=\"application\/json\" ref=\"data\">{\"images\" : [{\"id\":0,\"width\":1672,\"height\":2000,\"alt\":\"R&uuml;ckseite der &bdquo;Verlobten&ldquo; mit Vermerk &bdquo;2. Fassung&ldquo; und Aufkleber des Berliner Magistrats.\",\"title\":\"\",\"label\":\" The back of the new painting, with the note \\u201c2<sup>nd<\\\/sup> version\\u201d and a sticker from the Magistrate of Berlin.\",\"description\":\"\\u00a9 August Wilhelm Dressler \\\/ Stadtmuseum Berlin | Reproduction: Oliver 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class=\"carousel\">\n\t\t\t\t<div class=\"carousel-cell\" :key=\"image.id\" v-for=\"image in images\">\n\t\t\t\t\t<figure>\n\t\t\t\t\t\t<block-gallery-item inline-template :image=\"image\">\n\t\t\t\t\t\t\t<img :src=\"image.src\" :alt=\"image.alt\" @load=\"$parent.imageLoaded\">\n\t\t\t\t\t\t<\/block-gallery-item>\n\n\t\t\t\t\t\t<figcaption>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-label\" v-html=\"image.label\"><\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\" v-html=\"image.description\"><\/div>\n\t\t\t\t\t\t<\/figcaption>\n\t\t\t\t\t<\/figure>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/block-gallery>\n\t<noscript style=\"display: none;\">\n\t\t<figure>\n\t\t<img decoding=\"async\" src=\"https:\/\/www.stadtmuseum.de\/wp-content\/uploads\/2022\/12\/die-verlobten-neufassung-rueckseite-august-wilhelm-dressler.jpg\" alt=\"R\u00fcckseite der \u201eVerlobten\u201c mit Vermerk \u201e2. Fassung\u201c und Aufkleber des Berliner Magistrats.\" \/>\n\t\t<figcaption> The back of the new painting, with the note \u201c2&lt;sup&gt;nd&lt;\/sup&gt; version\u201d and a sticker from the Magistrate of Berlin.<\/figcaption>\t<\/figure>\n\t\t<figure>\n\t\t<img decoding=\"async\" src=\"https:\/\/www.stadtmuseum.de\/wp-content\/uploads\/2022\/12\/die-verlobten-neufassung-august-wilhelm-dressler.jpg\" alt=\"Die zweite Fassung von August Wilhelm Dresslers \u201eDie Verlobten\u201c, gemalt um 1950.\" \/>\n\t\t<figcaption>August Wilhelm Dressler: \u201cDie Verlobten\u201d [The Betrothed], 2&lt;sup&gt;nd&lt;\/sup&gt; version, oil on wood, 50 x 41,5 cm, ca. 1950.<\/figcaption>\t<\/figure>\n\t\t<\/noscript>\n<\/section>\n\n\n<section class=\"block block-copy\">\n\t<div class=\"container-fluid\">\n\t\t<div class=\"row\">\n\t\t\t<div class=\"col-xs-12 col-md-7 col-md-offset-5\">\n\t\t\t\t<div class=\"copy\">\n\t\t\t\t\t<p>In the course of an administrative reorganization in summer 1951 the city transferred some of its art, including \u201cDie Blumenfrau\u201d and \u201cDie Verlobten,\u201d to the M\u00e4rkisches Museum. These two paintings, which today belong to the Stadtmuseum Berlin\u2019s collection, represent the expressionist November Group, its radical aesthetics and politics. Their journey to the Stadtmuseum Berlin demonstrates the demonization of this movement in the years that followed, the denouncement of its art as perverse and dangerous, as well as the ongoing effects of National Socialism and its ideologies, with which we are left to grapple today.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/section>\n\n\n<section class=\"block block-teaser dont-filter block-teaser-page \" style=\"background-color: #FFFFFF\">\n<\/section>\n","protected":false},"excerpt":{"rendered":"<p>Hans Cristof Drexel\u2019s \u201eDie Blumenfrau\u201c<\/p>\n","protected":false},"featured_media":13836,"template":"","ho_author":[335,402],"ho_category":[218,293,289,262,292],"class_list":["post-17002","article","type-article","status-publish","has-post-thumbnail","hentry","ho_author-deborah-pomeranz-2","ho_author-deborah-pomeranz-en","ho_category-forschung-und-berichte","ho_category-art","ho_category-from-the-provenance-research","ho_category-research","ho_category-research-and-reports"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.stadtmuseum.de\/en\/wp-json\/wp\/v2\/article\/17002","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.stadtmuseum.de\/en\/wp-json\/wp\/v2\/article"}],"about":[{"href":"https:\/\/www.stadtmuseum.de\/en\/wp-json\/wp\/v2\/types\/article"}],"version-history":[{"count":0,"href":"https:\/\/www.stadtmuseum.de\/en\/wp-json\/wp\/v2\/article\/17002\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.stadtmuseum.de\/en\/wp-json\/wp\/v2\/media\/13836"}],"wp:attachment":[{"href":"https:\/\/www.stadtmuseum.de\/en\/wp-json\/wp\/v2\/media?parent=17002"}],"wp:term":[{"taxonomy":"ho_author","embeddable":true,"href":"https:\/\/www.stadtmuseum.de\/en\/wp-json\/wp\/v2\/ho_author?post=17002"},{"taxonomy":"ho_category","embeddable":true,"href":"https:\/\/www.stadtmuseum.de\/en\/wp-json\/wp\/v2\/ho_category?post=17002"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}