weimar period

My Drawings expressed my despair, hate and disillusionment, I drew drunkards; puking men; men with clenched fists cursing at the moon. … I drew a man, face filled with fright, washing blood from his hands … I drew lonely little men fleeing madly through empty streets. I drew a cross-section of tenement house: through one window could be seen a man attacking his wife; through another, two people making love; from a third hung a suicide with body covered by swarming flies. I drew soldiers without noses; war cripples with crustacean-like steel arms; two medical soldiers putting a violent infantryman into a strait-jacket made of a horse blanket … I drew a skeleton dressed as a recruit being examined for military duty. I also wrote poetry. —Grosz

Die Gummibärchen are a popular candy in Germany, along with licorice and other gummy candies. The bears originated in Germany. Hans Riegel, a confectioner from Bonn in Nordrhein-Westfalen, Northwestern Germany, started the Haribo company in 1920, and started producing gummy bears in 1922. Even during Weimar Germany’s hyperinflation period that wreaked havoc on the country, their gummy bears remained affordably-priced for a mere 1 Pfennig, in pairs, at kiosks. In 1967 they took the shape they have now and were called Goldbären. Haribo is one of the biggest manufacturers of gummy and jelly sweets in the world. The company has 5 factories in Germany, 13 throughout the rest of Europe, and sales offices in almost every country in Europe, as well as in the USA and Australia.

I’m surprised that so many of these “Punch a Nazi”/AntiFa activists don’t even see their own parallels to the actions of the Sturmabteilung. Create chaos in the streets in attempt to strike fear of those that would dare ‘step out of line’, disrupt meetings & gatherings of groups they oppose, use of intimidation in order to sway political outcome, and even the design of propaganda that misrepresents events in attempt to gain sympathy. No one else sees the connections to the Tax Day rally in Berkley, with the AntiFa woman picturing herself as some Native American warrior stereotype that’s going to bring back “100 Nazi scalps” only to be punched in the face when she attacks, and the following? 

“In the Nazi campaigns, propaganda and terror were closely linked. In Berlin, Nazi Party leader Joseph Goebbels intentionally provoked Communist and Social Democratic actions by marching SA [Brownshirt] storm troopers into working-class neighborhoods where those parties had strongholds. Then he invoked the heroism of the Nazi "martyrs” who were injured or killed in these battles to garner greater public attention. Nazi newspapers, photographs, films, and later paintings dramatized the exploits of these fighters. The “Horst Wessel Song,” bearing the name of the twenty-three-year-old storm trooper and protege of Goebbels who was killed in 1930, became the Nazi hymn. The well-publicized image of the SA-man with a bandaged head, a stirring reminder of his combat against the “Marxists” (along with other portrayals of muscular, oversized storm troopers), became standard in party propaganda. In the first eight months of 1932, the Nazis claimed that seventy “martyrs” had fallen in battle against the enemy. Such heroic depictions – set against the grim realities of chronic unemployment and underemployment for young people during the Weimar period – no doubt helped increase membership in the SA units, which expanded in Berlin from 450 men in 1926 to some 32,000 by January 1933.“

From State of Deception: The Power of Nazi Propaganda, by Steven Luckert and Susan Bachrach, pp. 48-50:

Marianne Brandt, Tea infuser (MT 49), 1924

Sphere, circle and cross: this is one of the best-known works produced at the Bauhaus.

Marianne Brandt already created this tea infuser at the end of her first year of studies in the Metals Workshop. In programmatic terms, it is constructed from elementary shapes typical of the Weimar period: the body of the vessel consists of a hemisphere, and the handle is a segment of a circle. Instead of the traditional ringed base, it sits on a cross, which emphasizes the pot’s main axes and also gives it a certain quality of weightlessness.

The pot, only 7.5 cm high, thus looks like a sculptural implementation of compositions by László Moholy-Nagy, who headed the Metals Workshop at the Bauhaus from 1923 to 1928. His aim was to make the former ‘Gold-, Silver- and Coppersmiths’ Workshop’ more industrial and he was open to materials such as nickel and glass, which did not traditionally belong in the field. This made possible, for example, the creation of the legendary Bauhaus Lamp by Carl Jakob Jucker and Wilhelm Wagenfeld. Like several other products of the Weimar period, however, it was to remain an expensive hand-made item. In Dessau, the Metals Workshop then became a regular design laboratory for new lighting fixtures. After several lamp manufacturers had put the models into serial production, the Metals Workshop ultimately became one of the most productive and successful workshops at the Bauhaus.

Hannah Höch (November 1, 1889 – May 31, 1978) was a German Dada artist. She is best known for her work of the Weimar period, when she was one of the originators of photomontage.

Höch was a pioneer of the art form that became known as photomontage. Many of her pieces sardonically critique the mass culture beauty industry at the time gaining significant momentum in mass media through the rise of fashion and advertising photography. Many of her political works from the Dada period equated women’s liberation with social and political revolution.[9] In particular, her photomontages often critically addressed the Weimar New Woman, collating images from contemporary magazines.[10] Her works from 1926 to 1935 often depicted same sex couples, and women were once again a central theme in her work from 1963 to 1973. Höch also made strong statements on racial discrimination. Her most famous piece is Schnitt mit dem Küchenmesser DADA durch die letzte weimarer Bierbauchkulturepoche Deutschlands (“Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany”), a critique of Weimar Germany in 1919. This piece combines images from newspapers of the time mixed and re-created to make a new statement about life and art in the Dada movement.

‘Femme Universelle’ - Model: Katlin Aas as German cabaret dancer & artist Anita Berber (1899-1928) of the Weimar period | Photographer: Giampaolo Sgura | Stylist: Christian Aarp | Make-up: Jessica Nedza | Hair: James Rowe | Vogue Germany February 2014