فترة سيطرة حكم الحزب النازي وهتلر علي ألمانيا وتمجيد الحزب النازي وهتلر

يحي الشاعر

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تميزت فترة سيطرة حكم الحزب النازي وهتلر علي ألمانيا ... بنوع غريب من التمجيد ... للحزب النازي ... و بالذات لزعيمه هتلر ... DER FUEHRER

إنعكس ذلك علي العديد من نواحي الحياة ... ليس فقط .. الصناعة الحربية القوية ... أو الهندسة المعمارية الضخمة ذات الخطوط الواضحة ... NAZI ARCHITEKTUR ... "لاحظ الأعمدة في صورة متحف بيت الفن في ميونخ " أو الموسيقي العنيفة القوية مثلا "ريشارد واجنر" ... أو الطرق السريعة المعروفة ب AUTOBAHN ."الأوتوبان" ... أو ... أو .. أو ...

بل أنعكس ذلك ايضا علي جميع نواحي الفن والنحت والتصوير ... فكان متحف "بيت الفن" في ميونخ إلي جانب متاحف برلين ، أفضل الأماكن التي كان يعرض فيها الفن النازي

أدناه ... بعض الأمثلة ... فن رسم هتلر نفسه ... أو الحياة الألمانية


د. يحي الشاعر

اقتباس:

Haus der Deutschen Kunst, Munich
Adolf Hitler was a genuine patron of the arts, with a love for painting and architecture, but only a patron of those arts of which he approved. Having been a painter in his youth, Hitler considered himself the supreme critic of what was, and was not, proper art. Modern "degenerate" art was definitely out. To promote "proper" art Hitler had the Haus der Deutschen Kunst (House of German Art) built in Munich, to be the scene of special yearly exhibits. Hitler placed his photographer Heinrich Hoffmann, along with director Karl Kolb, in charge of choosing the art works for these annual exhibitions.
The annual exhibitions featured military scenes, portraits of the Führer and other Nazi leaders, German landscapes and places associated with Hitler's youth, nudes, and scenes promoting German traditions, particularly "folk-art" agricultural views. Favored artists included sculptors Josef Thorak, Arno Breker, and Fritz Klimsch, and painters Sepp Hilz, Karl Truppe, Elk Eber, Wilhelm Hempfing, Ernst Liebermann, and Adolf Ziegler. The first exhibit was in 1937, at the opening of the building, and the annual shows continued through 1944.
Many of the following illustrations come from catalogs of the annual exhibits, published by Heinrich Hoffmann and others. Other illustrations come from period postcards, based on Hoffmann's photos and art reproductions. In many cases, these illustrations are all that survive of the artwork produced during the Third Reich, many of the works themselves having been lost or destroyed (click here to read an informative article on the fates and whereabouts of some of this artwork). The American military authorities confiscated much of this art at the end of World War II. Many works were returned to Germany in the 1980s, where they remain in storage, not accessible to the general public. The U.S. Army War Art collection in Washington retains several of the confiscated works, principally those showing portraits of Hitler and other Nazi leaders, and Nazi party subjects. A very few former HDK works are in private hands today.
This page is divided into four parts: this part features portraits of the Führer and his homeland, and other approved themes, Part 2 shows portraits of other Nazi leaders and Party themes, Part 3 features artwork with military themes, and Part 4 covers sculptures.



The Haus der Deutschen Kunst was built in 1933-37 to replace the Munich Art Gallery which had burned in 1931. Designed by architect Paul Ludwig Troost in the neo-classical Third Reich style, the building still serves Munich today as an art museum. (author's collection)
Hitler and Himmler inspect ceremonial troops uniformed as Bavarian infantry, at the opening of the Haus der Deutschen Kunst on July 18, 1937. (National Archives RG242)




The view on the left shows the grand opening exhibition in July 1937. In the center of the photo, Hitler is seen talking to (third from the left) Heinrich Hoffmann, director Karl Kolb, and architect Paul Troost's widow Gerdy. In the background can be seen Arno Breker's "Anmut." The photo on the right shows Frau Prof. Troost talking to Rudolf Hess during the 1940 exhibit (in the background is Adolf Wamper's "Genius des Sieges" - Genius of Victory).



More photos of the 1937 opening exhibition. On the left, Hitler (in center) speaks with Gerdy Troost. To the left of Hitler is Josef Goebbels, and to the right of Frau Troost is Heinrich Himmler (back to camera). The photo on the right shows the parade before the exhibition opening, seen here on Ludwigstraكe, in front of the Siegestor. The parade was titled "Two Thousand Years of German Culture," and featured floats depicting scenes from German history and culture from prehistory to the present. (author's collection)



Adolf Hitler visits the 1939 exhibit opening at the HDK. Also seen in the picture are Heinrich Himmler (far left), Josef Goebbels, Dino Alfieri (Italian Ambassador), and Frau Prof. Gerdy Troost (next to Hitler). The painting in the background is Johannes Beutner's "Erwachen." (Ullstein Photo Service, Berlin)
A young member of the Hitler Jugend (Hitler Youth) visits the 1943 exhibition. He is holding the exhibition catalog open to page 65, showing Paul Scheurle's "Najade."




A favored theme for Third Reich artists was portraits of the Führer. These became so numerous that Hitler finally decreed that only one would be displayed "officially" at each annual Greater German Art Exhibition (although this order was not followed every year). The portrait chosen for the grand opening in 1937 was Heinrich Knirr's "Adolf Hitler, der Schِpfer des Dritten Reiches und Erneuerer der deutschen Kunst" (Hitler, the Creator of the Third Reich and Renewer of German Art - this original painting is now in the Imperial War Museum in London). The 1938 portrait was Hubert Lanzinger's allegorical "Der Bannertrنger" (The Standard Bearer), showing Hitler as an armored knight. This painting became very popular in poster and postcard form.




"Der Führer" by Heinrich Knirr, 1937 (this painting was later displayed in the Führerbau in Munich)
"Der Führer" by Hugo Lehmann (this portrait was based on photos taken of Hitler the night he proclaimed the establishment of the Greater German Empire, 12 March 1938, at the Rathaus in Linz, Austria)




"Der Führer und Oberste Befehlshaber der Wehrmacht" by Conrad Hommel, 1940
"Bildnis des Führers" by Franz Triebsch, 1941




"Führerbildnis" by Hans Schachinger, 1942
"Bildnis des Führers" by Otto von Kursell, 1941




"Bildnis des Führers" by Rudolf Zill, 1942
"Bildnis des Führers" by Franz Triebsch, 1939




The 1943 portrait was "Der Führer" by Karl Truppe.
"Führer des Groكdeutschen Reiches" By Conrad Hommel, 1939.


 

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"Portrنt des Führers" by Fritz Erler, 1939. This work portrayed Hitler as the inspiration for German architecture and sculpture; the Haus der Deutschen Kunst is visible in the left background.
Hitler as he wished to be seen - as the chief patron of the arts. This Heinrich Hoffmann photo appeared as the frontispiece to several of the catalogs of the annual art exhibits in the Haus der Deutschen Kunst.




Braunau, Hitler's birthplace in Austria, was a favorite scene. "Braunau am Inn" by F. X. Weidinger, 1943
Another favorite subject was the village of Leonding near Linz, where Hitler lived as a child and where his parents were buried. "Elternhaus des Führers in Leonding" by F. X. Weidinger, 1943










"Das Geburtshaus des Führers in Braunau am Inn - Hofseite" by Paul Geiكler, 1943 (Hitler's birthplace - rear side courtyard)
"Das Schulhaus des Führers in Fischlham, Radierung" by Paul Geiكler, 1943 (school that Hitler attended)










"Blut und Boden" (Blood and Soil) by Erich Erler (1942) illustrated a common Nazi propaganda theme.
This poster promoted the new Autobahn highway system (based on a photo of the autobahn bridge at Hirschberg).










The exhibitions also featured portraits from history, as well as rustic figures from the present. On the left is "Gِtz von Berlichingen" by Will Tschech, 1939 (Gِtz was a defiant Landsknecht knight made famous in a play by Goethe). On the right is "Bergführer" (Mountain Guide) by Georg Siebert, 1941.










"Der Führer Spricht" (The Führer Speaks) by Paul Matthias Padua, 1939 (the farmer family listens to a Hitler speech on their Volksempfنnger, an inexpensive radio introduced for the common people by Josef Goebbels)
"Die Kunstzeitschrift" (The Art Journal) by Udo Wendel, 1940 (the magazine page shows the Fritz Klimsch sculpture "Die Schauende"). Heinrich Hoffmann published regular art journals (making even more money from the HDK exhibits).





 

يحي الشاعر

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The Munich Putsch, 1923, by Schmitt (U.S. Army collections)
"So war SA" (Thus the SA) by Elk Eber, 1938










"Appell am 23. Februar 1933" (Assembly) by Elk Eber, 1937
"Deutsche Passion VI" by Richard Schwarzkopf, 1937




"Und ihr habt doch gesiegt" (Yet Victory is Yours) by Paul Hermann, 1942. This painting showed the annual Nazi memorial ceremony at the Feldherrnhalle in Munich, at the site where the 1923 putsch had been stopped by Bavarian police, resulting in 16 of the putschists shot dead. The title (which can be translated in several different ways) was from a speech by Adolf Hitler.
"Aufbruch" (Departure) by Willy Waldapfel, 1940










"HJ-Trommler" (Hitler Jugend Drummer) by Anni Spetzler-Proكchwitz, 1938
"Hoheitsadler" (National Eagle) by Hanns Goebl, 1941




"Der 30. Januar 1933" by Arthur Kampf, 1939 (parade through Berlin on the night Hitler was named German Chancellor)
"Feier des 9. November an der Feldherrnhalle in München" By Paul Hermann, 1941




"Heimkehr der Ostmark" (Homecoming of Austria) by Rudolf Eisenmenger, 1941 (an allegorical painting showing Austria liberated from its shackles by Nazi Germany)
"High Nazi Morale Amid the Rubble" by Will Tschech, 1944




"Reichsmarschall Hermann Gِring" by Conrad Hommel, 1941
"SS-Wache" (SS Guard) by Ferdinand Staeger





 

يحي الشاعر

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اقتباس:
Haus der Deutschen Kunst, Munich
Part 3 -- Military Themes

Military themes were popular in the Greater German Art Exhibitions, even before the beginning of World War II. As the war went on, military artwork gained more prominence, and even began to show the war's wearying effects on soldiers.





"Die letzte Handgranate" (The Last Hand Grenade) by Elk Eber, 1937. This work was commissioned by Hitler himself, and became part of his personal collection.
"ـbergang am Oberrhein" (Crossing the Upper Rhine) by Wilhelm Sauter, 1942 (initial attack on the Western Front on 10 May 1940; see other works below)










U-boat art by Richard Schreiber - "Gegen Engeland" (Against England), 1942
"Wasserbomben" (Depth Charges) by Richard Schreiber, 1944










"Beschieكung der Westerplatte" (Bombardment of the Westerplatte) by Klaus Bergen, 1940. (These were the first shots of World War II, when the battleship "Schleswig-Holstein" opened fire on Polish military positions at the Westerplatte peninsula, Danzig, at 4:47 a.m. on September 1, 1939.)
"ـbergang über den Oberrhein" (Crossing the Upper Rhine) by Georg Lebrecht, 1941










U-boat art by Klaus Bergen - on the left, "Im Atlantik," 1942; on the right, "Von Feindfahrt Zurück" (Return from Enemy Patrol), 1941




"Im Kampfgebiet das Atlantik" (In Battle Area Atlantic) by Klaus Bergen, 1941
"U-boot" by Adolf Bock, 1941







"Schlachtschiff Bismarck" by Claus Bergen, 1941





"Bomben über Engeland" (Bombs over England) by Georg Lebrecht, 1941
"Nach der Geleitzugschlacht" (After the Escorts Battle) by Richard Schreiber, 1943










"Meine Kameraden in Polen, 1939" (My Comrades in Poland) by Georg Siebert, 1940
"Vormarsch im Westen" (Advance in the West) by Wilhelm Sauter, 1941










"Der 10. Mai 1940" by Paul Matthias Padua, 1941 (showing the initial attack on the Western Front)
"Artillerie von Ost nach West" (Artillery from East to West) by Eduard Thِny, 1940




"Panzerspنhmann" (Armor Reconnaissance Crewman) by Ernst Kretschmann, 1941
"Kampf in Warschau Vorstadt" (Battle in Warsaw Suburb) by Elk Eber, 1940






 

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"Pak im Kampf gegen Panzer" (Anti-tank Gun in Action Against Tanks) by Herbert Schnürpel, 1941
"Panzer im Kampf" (Tanks in Battle) by Rudplf Lipus, 1941










"Auf Wacht für Europa" (On Guard for Europe) by Franz Gebhardt-Westerbuchberg, 1942
"Abwehr" (Defence) by Rudolf Lipus, 1943











"Wacht im Osten" (Guard in the East) by Emil Dielmann, 1943
"Grenadiere" by Will Tschech, 1943
"Scharfschütze" (Sniper) by Willy Hermann, 1943










"Deutsche Artillerie auf dem Vormarsch" (German Artillery in the Advance) by Rudolf Lipus
"Sie fahren den Tod" (They Carry Death) by Oskar Martin-Amorbach, 1942










"Artillerie am Front" (Artillery to the Front) by Eduard von Handel-Mazzetti, 1942
"Vorm feindlichen Angriff" (Before the Enemy Attack) by Rudolf G. Werner, 1944




"Kameraden" (Comrades) by Richard Rudolph, 1943 (the soldier on the right is an Italian)
"Kameraden" (Comrades) by Will Tschech, 1940











Three works featuring soldiers of the Waffen-SS ... on the left is "Panzerbesatzung der Waffen-SS" (Waffen-SS Tank Crew) by Ernst Krause (1943); center, "Gebirgsjنger der Waffen-SS" (Mountain Trooper) by Paul Roloff (1944); right, "Grenadiere" by Will Tschech (1943).










"Kنmpfer" (Warriors) by Rudolf Lipus, 1943
"Ein Meldegنnger" (A Messenger) by Elk Eber, 1939





 

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"Leutnant Matl" by Adolf Lamprecht, 1944
"Kameradschaft" by Helmut Ullrich, 1941











"Der ewige Musketier" (The Eternal Musketeer) by Wilhelm Sauter, 1940
"Kampfpause" (Rest from Battle) by Rudolf Werner, 1942 (from the triptychon "Infanterie")
"Errinerung an Stalingrad" (Memory of Stalingrad) by Franz Eichhorst, 1943







"Heimkehr" (Homecoming) by Hans Adolf Bühler, 1940
 

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Thorak's works were often monumental, particularly those meant to grace the autobahns and the Nazi Party Rally Grounds in Nürnberg, so his studio had to be very large. The photo on the left shows Thorak working on an autobahn sculpture called "Monument to Work." The drawing on the right, from a 1938 issue of the Berliner Illustrierte Zeitung newspaper, shows the inside of Thorak's studio. The huge scale can be seen from the minute size of the actual man and horse in the center foreground. The monuments under work were meant for the Mنrzfeld military demonstration area in Nürnberg (the figure on the right is "Siegesgِttin" (Goddess of Victory). A model of this collection, which was never installed, is shown below. Thorak's "Fahnentrنger" and "Lanzentrنger" were also meant for the Mنrzfeld. Click here to see then-and-now views of Thorak's studio.







On the left, a view taken on the opening day of the 1938 art exhibit; in the background is a model of Thorak's "Siegesgِttin." On the right, another view of Thorak at work on "Denkmal der Arbeit" (Monument to Work).





On the left, a model of Thorak's "Denkmal der Arbeit" (Monument to Work), with an artist's conception of the work in place - this work was to be placed in the median at the southern entrance to the autobahn system, at the Austria border near Salzburg. See the pictures above of Thorak working on the full-size sculpture (which was never finished).



 

يحي الشاعر

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Arno Breker's works were also widely used to decorate government buildings. These two statues flanked the entrance to the New Reichs Chancellory in Berlin. On the left is "Die Partei" (1939) and on the right is "Die Wehrmacht" (1939). (Center photo from Das Bauen im neuen Reich by Gerdy Troost, Bayreuth, 1938 ed.)



Honor Guard of the Leibstandarte-SS Adolf Hitler (Hitler's Body Guards)
in front of "Die Wehrmacht" in the Reichskanzlei Ehrenhof (Court of Honor)





Military and government themes were favorites at all the exhibitions. On the left is "HJ-Trommler" (Hitler Jugend Drummer) by Anni Spetzler-Proكchwitz, 1938; on the right is "Hoheitsadler" (National Eagle) by Hanns Goebl, 1941.




"LMG-Schütze" (Light Machinegun Gunner) by Bernd Hartmann-Wiedenbrück, 1941
"Aufstürmender Grenadier" (Assaulting Grenadier) by Bernd Hartmann-Wiedenbrück, 1943




"Nach dem Kampf" (After the Battle) by Hans Bühler, 1943
"In Memoriam" by Paul Bronisch, 1941





Some artists portrayed animals. On the left is Fritz Behn's "Adler" (Eagle), 1939; in the center is Emil Manz's "Tiger," 1938; on the right is Josef Thorak's "Pferd" (Horse), 1939. Two of Thorak's bronze horses graced the garden entrance to Hitler's Reichskanzlei in Berlin.




Thorak's "Pferd" in the garden of the Reichskanzlei in Berlin.





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"Fahnentrنger" (Standard Bearer) by Josef Thorak, 1937 (another work meant for the Mنrzfeld in Nürnberg)

"Drachentِter" (Dragon Slayer) by Franz Josef Mikorey







-






Bust of Hitler, by Ferdinand Liebermann, 1937
Bust of Field Marshall Rommel, by
Fritz Berberich, 1943




 

Tunguska

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السلام عليكم.
اخي العزيز نشكرك على المواضيعالتاريخية التي تضعها.
لدي سؤال, مذا كان دور الشبان النازيين او الذين يعرفون ب"شبيبة هتلر", فهل تم تجنيدهم لترويج افكار النازية للاجيال القادمة????
 

يحي الشاعر

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السلام عليكم.
اخي العزيز نشكرك على المواضيعالتاريخية التي تضعها.
لدي سؤال, مذا كان دور الشبان النازيين او الذين يعرفون ب"شبيبة هتلر", فهل تم تجنيدهم لترويج افكار النازية للاجيال القادمة????
كانت هذه هي البداية ، وعندما إقتربت الحرب علي نهايتها ولم يكن عند هتلر ما يكفي لمقاومة الروس والأمريكان ، إضطر لإستخدامهم في الدفاع عن الوطن ...

في الواقع ... أصبحوا طعاما للمدافع ... كما نقول في ألمانيا Kannonenfutter


د. يحي الشاعر
 

Tunguska

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نعم لاحظت ذلك في فيلم الماني اسمه Der Undergang.

اتمنى ان تكون قد رايته

و شاهدت فيلما عن هتلر اسمه Die Geburt des Bösen
 
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عظيمة هي النازية و قوي هو هتلر لكن اخطا التقدير فكانت ضربته على يد وحوش العالم الروس .وكما نقول في الجزائر لا توجد شجرة لم يزها ريح ولكن الواضح ان شجرة هتلر اقتلعت وتركت بعض البذور التي بدات تظهر في المانيا والمجر على شكل عصابات تسمى عصابات حالقي الرؤوس .
 

KAMIKAZ

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موضوع كامل وشامل بارك الله فيك أستاذ يحيا
 

" بناء على توجيهات الادارة لتحسين محتوى المنتدى. فنأمل منكم الالتزام بالقوانين و عدم نشر الصور الحساسة و الدموية.
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