B>The untold story of Hitler''s war on "degenerate" artists and the mentally ill that paved the way for the Holocaust./b>br>br>In the early days of the Weimar Republic, the doctor and aesthete Hans Prinzhorn began collecting artwork from psychiatric patients in asylums all over the German-speaking world. The men and women who created this material spent their lives cut off from society, but their art--flamboyant paintings, life-size dolls, tiny bread sculptures--was powerful and raw, as if it had "bubbled up from the depths of the human psyche," as one viewer put it. When Prinzhorn published a collection of the work, it so inspired a new generation of modern artists--Max Ernst, André Breton, and Salvador Dali among them--that they dubbed it the "Surrealists'' Bible" and hailed it as the turning point between two artistic epochs. But Prinzhorn''s collection also attracted attention of the wrong sort, from artistic conservatives and political extremists, including the Nazis. br>br>Modernism was in full swing when a young Adolf Hitler arrived in Vienna in 1907, hoping to forge a career as a great painter. Twice rejected from art school, he dropped out, joined the army, and gradually began his ascent to political power. He came to think of himself as the "artist-Fuhrer" and the "Sculptor of Germany," a messianic figure whose destiny it was to remodel the German race. In 1938, convinced that modern art had degraded the Aryan soul, he charged a team of Nazi officials with seizing so-called "degenerate" art from German museums and mocking it in the wildly popular "Entarte Kunst," or Degenerate Art shows.br>br>This cultural extermination campaign, engineered by the propaganda minister Joseph Goebbels, was a forerunner to Hitler''s human extermination campaign, and Prinzhorn''s artist-patients were caught up in both. Having sold off or destroyed the paintings Hitler deemed degenerate, the Nazis embarked on a program to eliminate the people he deemed degenerate--the residents of German psychiatric institutions. By 1941, 70,000 psychiatric patients had been taken from their institutions and gassed in a test run for the Final Solution. Dozens of Prinzhorn''s artists were among the victims.br>br>In The Gallery of Miracles and Madness, author and journalist Charlie English tells an eerie story of genius, madness, and the failure of empathy, and offers readers a fresh perspective on the insidious brutality of the Nazi regime.
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''A riveting tale, brilliantly told'' Philippe Sands The little-known story of Hitler''s war on modern art and the mentally ill.
In the first years of the Weimar Republic, the German psychiatrist Hans Prinzhorn gathered a remarkable collection of works byschizophrenic patients that would astonish and delight the world.
The Prinzhorn collection, as it was called, inspired a new generation of artists, including Paul Klee, Max Ernst and Salvador Dali. What the doctor could not have known, however, was that these works would later be used to prepare the ground for mass-murder.
Soon after his rise to power, Hitler-a failed artist of the old school-declared war on modern art. The Nazis staged giant ''Degenerate Art'' shows to ridicule the avant-garde, and seized and destroyed the cream of Germany''s modern art collections. This action was mere preparation, however, for the even more sinister campaign Hitler would later wage against so-called "degenerate" people, and Prinzhorn''s artists were caught upin both.
Bringing together inspirational art history, genius and madness, and the wanton cruelty of the fanatical "artist-Fuhrer", this astonishing story lays bare the culture war that paved the way for Hitler''s first extermination programme, the psychiatric Holocaust.
This is the astonishing story of the ten million books that US intelligence smuggled across the Iron Curtain during the Cold War.
From copies of Orwell to Agatha Christie, the Western effort was to undermine the censorship of the Soviet bloc, offer different visions of thought and culture to the people, and build relationships with real readers in the East.
Historian Charlie English follows the characters of the era, with Bucharest-born George Minden at the narrative''s heart. Tasked with masterminding the effort, Minden understood both sides of the story: he was opposed to the intellectual straightjacket created by the communist system, but he also resented the Americans'' patronising tone - the people weren''t fooled by what their puppet governments were saying, but they did need culture, diversity of thought, entertainment, art, reassurance and solidarity. This is how the perilous mission to bring books as beacons of hope played out, told in riveting detail.
