Art Criticism - The State University of New York

urns. Goebbels and Ziegler wanted this task to fall under their responsibility,
though they received competition from Hermann Goering. By 1936, Goering
had attained the posts of head of the Luftwaffe, director of the Four Year Plan,
and simultaneously was the Prime Minister of Prussia. He was a greedy collector,
particularly of the baroque, and his character is exemplified by his use of
his collection; he used Rubens's Diana at the Stag Hunt as the cover for his
movie screen.36 It had been Goering who had ordered the close of the Bauhaus
in 1933 and he had been using his power in the Nazi Party to gain power in the
cultural administration. The dispute was settled by Hitler, who gave Goebbels
charge of the degenerate art dealings, and instructed all party ministers to act
more cooperativelyY This conflict was common as Hitler would often assign
several departments jurisdiction over the same task, fostering a competitive
atmosphere that not only ensured that tasks were completed, but that they
were completed efficiently and often with more zeal than necessary.
The following year saw an even more merciless attitude towards unacceptable
art, with little regard for what the outside world thought. There were
two main reasons for this: the clearance of non-German work out of Germany
and personal gain. The purifying of Germany was always said to be the main
reason for the Nazis' campaign against what they labeled as degenerate art.
However, the desire to rid Germany of these works which were taken from
collections without compensation presented a major opportunity for industrious
Nazi officials. And it was not just individuals who would profit from the
moving of art works, but the party itself.
In 1938, Ziegler's committee to find degenerate art for exhibition was
transformed into a disposal commission under the control of Goebbels. It was
then Goering's suggestion that Goebbels sell the degenerate works, which
were greatly valued outside of Germany.38 Goebbels approved of this idea and
appointed three professional art dealers (Karl Haberstock, Karl Meder, and
Max Taeuber) to sell the works in the Degenerate Art Exhibition. Soon, art
buyers were approaching these dealers, sometimes because of the value ofthe
works the Nazis were selling, but also sometimes motivated by a desire to save
these works from those who did not appreciate them and might destroy them.
In some ways, the Nazi dealings operated like a ransoming. The works were
taken from collections, ifnot by physical force, than by political force, without
compensation. They were then held until it was known that the works were in
danger. And finally, the works were sold to those who valued them.
Under Goebbels's authority, the organization of sales was begun even
before the proper laws were in place. Goering, in an effort to cooperate with
Goebbels, asked that thirteen Impressionist and Post-Impressionist works be
placed under his authority. These works included Van Gogh's Dr. Gachet and
Cezanne's The Quarry.39 Through a complex series oflegal agreements, these
works were sent abroad and were used to obtain foreign currency and works
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