Weimar Germany 1919 - 1926: Culture: 3D Gallery

The Beggar of Prachatice (1924) by Conrad Felixmüller, currently held in the George Economou Collection.

After the end of WW1, German art explored themes of perversion, decadence, and depravity. The colors of this painting are vibrant with a distorted image as a beggar lays prominently in the foreground. Following the prevailing artistic movement of New Objectivity, this painting focuses on the visual heightening of reality and a push against avant-garde abstraction. The movement itself also symbolizes the societal disruption brought upon by the war and presents a satirical critique of the Weimar Republic’s governance.

Berge Meere und Giganten(1920) by Alfred Döblin, translated as, “Mountains, Seas, and Giants”

Republished in 1932 as just “Giganten,” the novel is a biting, anti-utopian satire driven by cycling themes and motifs. The novel has a very lyrical style and attempts to display the dynamic relationship between humans and nature through war. As such, the traumas and traits of the Western Front feature prominently in the book. This aligns with Alfred Döblin’s identity as a prominent German novelist and essayist in the Expressionist movement, a movement that utilized a distorted and subjective view of the world to evoke thoughts and emotions. Due to his Jewish ancestry and socialist ideals, Döblin fled Germany after the Nazi takeover.

Das Glasperlenspiel (1943) by Hermann Karl Hesse, translated as either “The Glass Bead Game” or “Magister Ludi”

Set in a post-apocalyptic future, the novel contemplates the duality and paradoxes of the eternal search for enlightenment by focusing on an elite cult of intellectuals who play an elaborate game using the cultural and scientific knowledge of the ages. Although the book was written in 1931 in Switzerland, it was rejected for publication in Germany due to Hesse’s anti-fascist views. As such, the book is an example of how literature and freedom of expression were restricted during the era. It also shows how strong government control was in the arts.

In Stahlgewittern (1920) by Ernst Jünger, memoir, translated as “Storm of Steel”

The book is effectively a memoir based on Jünger’s journal entries during his time as a soldier in World War I. However, the book stands in sharp contrast to other works published on World War I in that it does not refer to Jünger’s personal life or feelings, rather taking a chronological and objective approach. As such, the book has been said to glorify war and nationalism, a fact that becomes significant when considering Jünger’s later military involvement in World War II. Thus, this book provides evidence of the growth of fascist and nationalist ideals that were a result of the war and which the Nazi party took advantage of.

The Three Pieces for Orchestra, Opus 6 by Alban Berg (3 Orchesterstücke op. 6), first performed in 1923 in Berlin

A titular expressionistic orchestra, Three Pieces features some exaggerated extremes of musical expression and complex composition. Through these musical techniques, the symphony has been thought to represent the lingering anxiety and tension that remained after the end of World War I. In particular, the Three Pieces appears to mirror the final moments of imperial splendor experienced by the Austro-Hungarian Empire before its collapse. As such, the orchestra expresses a perspective of regret and concern toward the political climate after World War I. Both of these feelings could serve as motivation for people to support a powerful, nationalist regime such as the later fascist Nazis.

The Miraculous Mandarin by Béla Bartók, a one-act pantomime ballet

Composed in late 1918 through 1919 and performed in 1926, The Miraculous Mandarin is a one-act pantomime ballet by Béla Bartók depicting a lurid, supernatural narrative of kidnapping and murder. The ballet mirrors Bartók’s living conditions as the defeat of Austria-Hungary in World War I and its subsequent fragmentation translated into hardships for central and southeastern Europe in the years after the war. The Miraculous Mandarin was withdrawn after its premiere due to Konrad Adenauer's demands, stating that it was a work of filth.

Sturmtruppe geht unter Gas vor (Shock Troops Advance Under Gas) Etching and Aquatint by Otto Dix (From his collection Der Krieg (The War))

Otto Dix’s collection Der Krieg (The War) features an etching and aquatint known as Sturmtruppe geht unter Gas vor (Shock Troops Advance Under Gas). The horrors that soldiers faced in war are depicted through the soldiers, who are shown as menacing ghouls whose depravity is emphasized by terrifying gas masks. Dix portrays the destructive effects of war, including rotting corpses and bombed cities and landscapes, as well as its dehumanizing impact. The corruption and social apathy of German society after World War I is displayed with the harsh, critical realism of Sturmtruppe geht unter Gas vor (Shock Troops Advance Under Gas).

1920s, various kabarett performances in Berlin

One of the earliest forms of popular music and entertainment in the Weimar Republic was Kabarett, based on the French cabaret, which was invented in the 1880s. Reminiscent of Vaudeville-style variety shows, Kabarett entertainment was defined by its use of a variety of entertainment styles including comedy, dance, singing, and acrobatics. Due to its adult themes and performances, Kabarett was criticized by both sides of the political spectrum with the Left-Wing groups claiming it represented “the wastefulness of Capitalism” and the Right-Wing claiming it was evidence of “a weak government promoting moral decay and corruption.” In the 1920s, Kabarrett commonly had themes of humor, satire, and political commentary, openly questioning government policy at the time.

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“View of the Old City” photographic print by August Sanders from the Menschen des 20 Jahrhunderts (People of the 20th Century) collection (1924)

As part of a collection of photographs, “View of the Old City” features a street perspective of the Cologne Cathedral, one of the largest Catholic cathedrals in Northern Europe. The purpose of the photo collection was to provide a comprehensive photographic index of seven German social types: the Farmer, the Skilled Tradesman, the Woman, the Artists, the City, and the Last People. Following its style of realism, the collection stands as a representative archive of the German people. Notably, some of his works incurred disapproval from the Nazi party for including the more marginal aspects of German society, such as gypsies and the unemployed. As such, the photos provide a window into understanding the people of the era.

Article from popular 1920s german fashion Magazine “Die Dame”

This item is an article written by renowned fashion editor Johanna Thal, published in the popular fashion magazine of the time entitled Die Dame. The magazine was established in 1912 but was at its peak in the early 1920s. The magazine was targeted towards independent and career-driven women and discussed fashion styles and trends with a broader cultural and historical context. At the time, Die Dame mostly included articles and photographs taken by female authors, designers, and photographers. Following the conclusion of World War I, Germany was dealing with extreme hyperinflation and other economic-related issues. Due to the political instability in the government at the time however, many Germans did not believe that the government would not remain as it was for very long, and therefore they lived in feigned excess, looking to have a good time while it lasted. This sentiment was reflected in the fashions of the time, with skirt lengths growing shorter, and styles more excessive and progressive.

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Weimar Germany 1919 - 1926: Culture