Schmitz-Wiedenbruck, Hans

Born January 3, 1907 in Lippstadt . ^[2]

In 1923 he became a student, and then an employee in the workshop of the famous church artist Heinrich Röpke .

In 1940, with the filing of Joseph Goebbels, he became a professor at the Düsseldorf Academy of Arts . ^{[3] [4]}

The most famous work of the artist is the triptych "One People - One Nation" (1941) also known as "Workers, Peasants and Soldiers." ^{[2] [5] [6] [7] [8]} After the end of the Second World War, the work was taken out of Germany to the USA as a Nazi propaganda picture. There it was divided into three separate parts, considered to be "harmless" in themselves. In 2000, the side panels of the triptych were returned to Germany and kept in the vault of the German Historical Museum in Berlin, while the central part remained in the United States. In 2007, at the exhibition “Art and Propaganda in Conflict Countries: 1930–1945” (in German Kunst und Propaganda im Streit der Nationen 1930–1945 ) , which took place in the German Historical Museum in Berlin, all three parts were reunited for the time being. ^{[9] [10]}

Art historian I. M. Golomshk noted: ^[11]

““ The triad from the worker, the peasant and the soldier as equal participants in social production is a private topic (in art), and it could be defined as almost topos the ideology of National Socialism, ”notes B. Ginz . The term "national socialism" in this definition can rightly be replaced by a more comprehensive - "totalitarianism." One of the most frequently reproduced works in the Third Reich was the triptych by G. Schmitz-Wiedenbrück "Workers, Peasants and Soldiers" (1941); in Soviet painting, less prone to plastic symbolism, this slogan theme was often embodied in decorative paintings and panels : in the pavilions of the All-Union Exhibition of Achievements of the National Economy , the post-war stations of the Moscow metro , etc. ”

According to historian Richard Overy , the “ all three pillars of the state are elevated to the status of an icon, following the national-socialist message of Aryan unity and sacrifice ” ^[12]

In turn, the candidate of historical sciences, associate professor of ISTU, I. A. Kovrigina, wrote: ^[13]

If we consider the hierarchy of social types in the visual arts of the Nazi time, it is difficult to find any other painting that would directly express the sociopolitical priorities of the Nazi ideology like the triptych by Hans Schmitz Wiedenbrück “Workers, Peasants and Soldiers”, first demonstrated at Bolshoi the exhibition of German art in Munich in 1940. The symbolism of the triptych of Hans Schmitz-Wiedenbrück is completely clear: all social forces are subordinated to the war: the military orientation of the fascist economy and work orientation for the purpose of war. In this regard, the picture was almost the direct pictorial embodiment of the political program of the Nazis.

in Russian

• Genis A. A. Degenerative Art in New York // Novaya Gazeta . - 05/16/2014. - No. 52 .
• Golomshtok I. M. Totalitarian art . - M .: Galart, 1994. - 296 p. - 5000 copies - ISBN 5-296-0712-6.
• Zhukov D., Kovtun I. National Socialist Realism // Top Secret . - 01/05/2015. - No. 34/329 .
• Kovrigina I. A. Cultural life in the Third Reich on the example of mass cultural events, literature and art: 1933-1945. . - Abstract dis. ... candidate of historical sciences: 24.00.01. - Ulan-Ude: Inst. Of Mongolian Studies , Buddhology and Tibetology SB RAS , 2004. - 22 p.

in other languages

• Antliff A. . Bobstrism and anarchy: Herbert Read's Modernism // Biocentrism and Modernism / Oliver Arpad Istvan Botar, Isabel Wünsche. - Ashgate Publishing , 2011. - P. 153-160. - 266 p.
• Ketter H. Zum Bild der Frau in der Malerei des Nationalsozialismus: Eine Analyze von Kunstzeitschriften aus der Zeit des Nationalsozialismus . - Münster: LIT Verlag 2002. - 306 p.
• Kitchen M. . The Third Reich: Charisma and Community . - Routledge , 2014. - 424 p.
• Loch T. . Das Gesicht der Bundeswehr: Kommunikationsstrategien in der Freiwilligenwerbung der Bundeswehr 1956 bis 1989 . - Oldenbourg Verlag , 2008. - 380 p.
• Overy R. The Oxford Illustrated History of World War Two . - Oxford: Oxford University Press , 2015. - 504 p.
• Papenbrock M. Frauen- und Munnerbilder in der Kunst des Nationalsozialismus // Genderaspekte in der Aufarbeitung der Vergangenheit / August H. Leugers-Scherzberg, Lucia Scherzberg (Hg.). - Saarbrücken: universaar, 2014. - P. 97-120.
• Renders H. Homo sustentabilis: considerações na base dos discursos novo sero humano durante o século 20 e na epístola aos Efésios // Caminhando. - 2013. - Vol. 18, No. 2 . - P. 55-66. - DOI : 10.15603 / 2176-3828 / caminhando.v18n2p55-66 .
• Sarkowicz H. . Hitlers Künstler: die Kultur im Dienst des Nationalsozialismus. - Insel, 2004. - 453 p.
• Szlezak K. "Religiöse" Malerei: über die Vereinnahmung der Christlichen Malerei zur Erschaffung einer "Nationalsozialistischen Malerei" . - Vienna: University of Vienna , 2009. - 148 p.
• Van Dyke JA Franz Radziwill and the Contradictions of German Art History, 1919-45 . - Ann Arbor: University of Michigan Press , 2011. - 272 p.
• Westheim P. . Kunstkritik aus dem Exil . - Müller & Kiepenheuer, 1985. - 344 p.