From 1937 to 1944 the National Socialist regime organised a series of art exhibitions, Grosse Deutsche Kuntstausstellung, in Munich. This book traces the history of the exhibitions, characterises the artists and artworks shown and investigates how the local Munich tradition of displaying art was reinvented for national purposes.

'Artists Under Hitler' closely examines cases of artists who failed in their attempts to find accommodation in the Nazi regime as well as others whose desire for official acceptance was realised. They illuminate the complex cultural history of this period and provide haunting portraits of people facing excruciating choices and grave moral questions.

Defying Hitler was written in 1939 and focuses on the year 1933, when, as Hitler assumed power, its author was a 25-year-old German law student, in training to join the German courts as a junior administrator. His book tries to answer two questions people have been asking since the end of World War II: “How were the Nazis possible?” and “Why did no one stop them?” Sebastian Haffner’s vivid first-person account, written in real time and only much later discovered by his son, makes the rise of the Nazis psychologically comprehensible. “An astonishing memoir... [a] masterpiece.” — Gabriel Schoenfeld, The New York Times Book Review “A short, stabbing, brilliant book... It is important, first, as evidence of what one intelligent German knew in the 1930s about the unspeakable nature of Nazism, at a time when the overwhelming majority of his countrymen claim to have know nothing at all. And, second, for its rare capacity to reawaken anger about those who made the Nazis possible.” — Max Hastings, The Sunday Telegraph “Defying Hitler communicates one of the most profound and absolute feelings of exile that any writer has gotten between covers.” — Charles Taylor, Salon “Sebastian Haffner was Germany’s political conscience, but it is only now that we can read how he experienced the Nazi terror himself — that is a memoir of frightening relevance today.” — Heinrich Jaenicke, Stern “The prophetic insights of a fairly young man... help us understand the plight, as Haffner refers to it, of the non-Nazi German.” — The Denver Post “Sebastian Haffner’s Defying Hitler is a most brilliant and imaginative book — one of the most important books we have ever published.” — Lord Weidenfeld

Lisa Pine's Hitler's 'National Community' explores German culture and society during the Nazi era and analyses how this impacted upon the Germany that followed this fateful regime. Drawing on a range of significant scholarly works on the subject, Pine informs us as to the major historiographical debates surrounding the subject whilst establishing her own original, interpretative arc. The book is divided into four parts. The first section explores the attempts of the Nazi regime to create a Volksgemeinschaft ('national community'). The second part examines men, women, the family, the churches and religion. The third section analyses the fate of those groups that were excluded from the Volksgemeinschaft. The final section of the book considers the impact of the Nazi government upon German culture, in particular focusing on the radio and press, cinema and theatre, art and architecture, music and literature. This new edition includes historiographical updates throughout, an additional chapter on the early Nazi movement and brand new primary source excerpt boxes and illustrations. There is also expanded material on key topics like resistance, women and family, men and masculinity and religion. A crucial text for all students of Nazi Germany, this book provides a sophisticated window into the social and cultural aspects of life under Hitler's rule.

In Hitler's Face Claudia Schmölders reverses the normal protocol of biography: instead of using visual representations as illustrations of a life, she takes visuality as her point of departure to track Adolf Hitler from his first arrival in Munich as a nattily dressed young man to his end in a Berlin bunker—and beyond. Perhaps never before had the image of a political leader been so carefully engineered and manipulated, so broadly disseminated as was Hitler's in a new age of mechanical reproduction. There are no extant photographs of him visiting a concentration camp, or standing next to a corpse, or even with a gun in his hand. If contemporary caricatures spoke to the calamitous thoughts, projects, and actions of the man, officially sanctioned photographs, paintings, sculptures, and film overwhelmingly projected him as an impassioned orator or heroically isolated figure. Schmölders demonstrates how the adulation of Hitler's face stands at the conjunction of one line stretching back to the eighteenth-century belief that character could be read in the contours of the head and another dating back to the late nineteenth-century quest to sanctify German greatness in a gallery of national heroes. In Nazi ideology, nationalism was conjoined to a forceful belief in the determinative power of physiognomy . The mad veneration of the idealized German face in all its various aspects, and the fanatical devotion to Hitler's face in particular, was but one component of a project that also encouraged the ceaseless contemplation of supposedly degenerate "Jewish" physical traits to advance its goals.

"Up to the last moment, his overwhelming, despotic authority aroused false hopes and deceived his people and his entourage. Only at the end, when I watched the inglorious collapse and the obstinacy of his final downfall, was I able suddenly to fit together the bits of mosaic I had been amassing for twelve years into a complete picture of his opaque and sphinx-like personality." - Otto Dietrich When Otto Dietrich was invited in 1933 to become Adolf Hitler's press chief, he accepted with the simple, uncritical conviction that Adolf Hitler was a great man, dedicated to promoting peace and the welfare for the German people. At the end of the war, imprisoned and disillusioned, Dietrich sat down to write what he had seen and heard in twelve years of the closest association with Hitler, requesting that it be published after his death. Dietrich's role placed him in a privileged position. He was hired by Hitler in 1933, and was a confidant until 1945, and he worked and clashed with Joseph Goebbels. His direct, personal experience of life at the heart in the Reich makes for compelling reading.

Adolf Hitler's obsession with art not only fueled his vision of a purified Nazi state--it was the core of his fascist ideology. Its aftermath lives on to this day. Nazism ascended by brute force and by cultural tyranny. Weimar Germany was a society in turmoil, and Hitler's rise was achieved not only by harnessing the military but also by restricting artistic expression. Hitler, an artist himself, promised the dejected citizens of postwar Germany a purified Reich, purged of "degenerate" influences. When Hitler came to power in 1933, he removed so-called "degenerate" art from German society and promoted artists whom he considered the embodiment of the "Aryan ideal." Artists who had produced challenging and provocative work fled the country. Curators and art dealers organized their stock. Thousands of great artworks disappeared--and only a fraction of them were rediscovered after World War II. In 2013, the German government confiscated roughly 1,300 works by Henri Matisse, George Grosz, Claude Monet, and other masters from the apartment of Cornelius Gurlitt, the reclusive son of one of Hitler's primary art dealers. For two years, the government kept the discovery a secret. In Hitler's Last Hostages, Mary M. Lane reveals the fate of those works and tells the definitive story of art in the Third Reich and Germany's ongoing struggle to right the wrongs of the past.