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송혜영 서양미술사학회 2008 서양미술사학회논문집 Vol.29 No.-
본 논문은 나치시대의 미술사와 박물관이 어떤 성향으로 전개되고 어떤 정책을 추진해나갔는지를 다음의 세 가지 관점에서 조명한다. 즉, ‘민족’과 ‘인종’이 가장 중요한 핵심어로 등장하는 나치시대 미술사의 학문적 성향, 나치시대의 박물관이 주요 정책으로 내세운 민중교육운동의 대표적 예인《독일미술대전》과《퇴폐미술전》, 유럽의 모든 걸작을 소유하고자 했던 나치의 문화재약탈과 히틀러의 최종목표였던 ‘린츠박물관’을 고찰한다. The purpose of this study is to research which tendencies art history and museums in the Nazi period were unfolded in and which policies they promoted. Nazi ideology results in racism to advocate Aryan superiority through suggesting anti-Semitism and anti-Bolshevism. Like reflecting this fact, art history in the Nazi period represented as the key words of 'nation' and 'race' was developed in the tendency to harmonize with Nazi ideology from a viewpoints of nationalism out of the objectivity of pure study, and, mainly, concentrated on German art from the Middle Ages to the Baroque period. Therefore, A great number of scholars in art history had to leave Germany, and, as a result, the center of art history to have originated from the German area was extended to Courtauld Institute in London and American famous universities as the English area. The art in the early 20th century to position currently itself as the classic of modern art was regarded as decadent art by the Nazis, and relevant works in all museums and galleries were confiscated. Especially, the works of Die Bruecke were severely suppressed through 'decadent art' exhibition, but, on the contrary, German expressionism happened to well known to the international world of artists on this opportunity in the late 1930's. In addition, the New York painting circles positively accepted the modern art the Nazis suppressed, so to get the chance to lead postwar modernism. Even though the nazis established museums and art galleries with the justification of popular educational movements on purpose to enlighten the mass of people, they actually intended to propagate Nazi ideology as 'Great exhibition of German art' and 'decadent art' exhibition. Nazi Germany, that started a war, tried to possess the whole great works of the occupying nation, and, especially, Hitler promoted to establish Linz museum on a international scale. But, despite of Hitler's ambitious plan, leaning to German art, the large limits of Linz museum are found in the collection lists to have denied the experimental art of contemporary. After Nazi defeat, the universities and the museums in Germany had to make all efforts to recover self-regulation, and all the museums and art galleries in Europe, to return to the condition prior to a war. The Nazi period in which the ideology ruled everything left an instruction that only freedom is an absolute condition of all scholarship and arts in the end.
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