Hitler the artist [Archives:2006/996/Culture]

Compiled by Nisreen Shadad
Using the name Adolf Hitler in conjunction with the title of artist obviously is an unusual combination and requires a short explanatory introduction. Hitler, of course, was a key historical figure and his artistic ambitions may be familiar to many, since his early attempts to establish himself as an artist at least are mentioned in all of his major biographies.

However, the real scope of these early activities is less well known. Most historians offer only a few samples of Hitler's art, if any, among the obligatory collection of historic photographs. An interesting and perhaps even decisive part of his life inevitably is overwhelmed by the sheer mass of other, historically more relevant, information.

The considerable volume of work produced over the years merits attention and precise analysis. The estimated total of between 2,000 and 3,000 drawings, sketches, watercolors and oil paintings certainly attests to the seriousness of his intentions. His art undoubtedly reflected his philosophy and his life, in turn, derived considerable substance from his art.

In October 1907, at age 18, Hitler applied for admission to the Vienna Academy of Fine Arts. Two days of examinations were required, with candidates choosing from groups of themes like “Expulsion from Paradise,” “Episode from the Deluge,” “The Hunt,” “Spring,” “Death,” “Joy,” “Music” and “Dance.” Surviving examination drawings include Nos. 44 and 46.

In the classification list for entrants, academy officials wrote the following entry after Hitler's name: “(Born in) Braunau-on-the-Inn, upper Austria, April 20, 1889, German, Catholic. Father civil servant. Four classes in Realschule. Few heads (drawn). Test drawing unsatisfactory.”

Hitler wasn't alone: 85 candidates failed the examination, 52 of whom had their records marked, “test drawing unsatisfactory.” Most others who failed received no comment. Of the total 115 candidates, only 28 were accepted for first-year studies.

Academy standards were high and selection criteria were vigorous: failure was neither uncommon nor proof of inability. However, academy acceptance virtually guaranteed recognition by the rather closed circle of artists in Austria and made critical and commercial success easier. Artistic careers outside academy circles also were possible, but considerably more difficult and unusual.

After his unsuccessful bid for admission, Hitler briefly took art lessons from a Viennese sculptor and attempted to enter the academy a second time the following year. Once again, he was rejected, this time on the grounds that his art exhibited more architectural than artistic skill. Although he admitted architecture was his great love, his lack of a secondary school diploma effectively barred his pursuing architectural studies at the technical institute.

He was bitter but undaunted by this rejection and determined to succeed as an artist on his own. During these years in Vienna, often in poverty, he read voraciously and attended lectures, concerts, the opera and the theater. To earn his living, he painted and sold his work both in various framemaker shops and on the street.

His intense fascination with architecture was reflected in his numerous drawings of houses, churches, public buildings and city scenes. Another of his loves – classical music and opera – also appeared as a frequent theme in his art and he often designed stage scenery and costumes for opera productions for his personal pleasure.

When one examines the body of Hitler's work, his profound debt to 19th century influences is readily apparent. Although he claimed that his concept of art wasn't the product of any single influence but rather the sum of all that came before him, his style consciously reflected works of earlier artists.

Hitler felt most at ease with the traditions of Greco-Roman Classicism, the Italian Renaissance and 19th century Neoclassicism. He was convinced that the essence of art was derived from the technical ability to show “clear” and “realistic” representations of life, as well as symbolic subjects.

Prominent late 19th century watercolorist Rudolf von Alt (1812-1905) was one of Hitler's favorites – “my teacher,” as he said. He adopted Alt's preference for realistic, detailed scenes done in delicate tones and precisely copied Alt's typically cloudy skies. Copies of Alt's work are represented in the catalog by No. 146 and No. 210. When he was Chancellor, Hitler discreetly arranged for Alt's family in Vienna to receive a state pension.

Hitler had an encounter in 1926 that decisively influenced his ideas about architecture. He met Munich architect Paul Ludwig Troost (1878-1934) and soon became a devoted disciple, even to the extent of adapting Troost's furniture designs for his apartment. He previously had selected the location and, together with Troost, quickly planned the future House of German Art, whose 1938 museum opening was marked by an elaborate celebration of Germany's cultural history.

Hitler commemorated the event by commissioning Professor Klaus Buchner to make a miniature set of the figures and floats, each painted in detail. Later, he also worked on plans for the House of German Architecture, which was to be built directly across the street from the art museum. After Troost's death in 1934, his style continued to flourish under Albert Speer and Hermann Giesler, master architects of the new government.

One common misconception that Hitler stopped painting after or even during World War I simply isn't true. As his political activities increased after 1919, his artistic output shifted toward urban planning, NSDAP matters and even technical subjects. Upon the outbreak of World War II, Hitler's artistic activities increasingly concentrated on technical or architectural topics.

Source: adolfhitler.ws
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