In Nazi Germany, atonal music was attacked as "Bolshevik" and labeled as degenerate (Entartete Musik) along with other music produced by enemies of the Nazi regime.
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Modern artworks, particularly those influenced by primitivism, were considered Entartete Kunst (degenerate art) by the Nazi regime, and Freundlich's sculpture was withdrawn from display soon after the Nazis gained power in Germany in 1933.
The National Socialist Party considered Hoetger's Expressionist work degenerate but in 1937 they nevertheless listed Böttcherstraße for cultural heritage protection as an example of degenerate art.
He also prevented the destruction of works of "degenerate art" (entartete Kunst) by Carry Hauser, Oskar Kokoschka, Egon Schiele and others, which he caused to be stored in the mine workings at Altaussee.
Amedeo's godfather Peter Vanderwaal, who directs an art center is preparing to host a traveling exhibition of Degenerate Art, a selection from the 1937 exhibition Entartete Kunst in Munich, the heart of Nazi Germany.
This style was particularly exemplified by the grandiose Siegesallee, lampooned by Berliners as the Puppenallee (“street of the dolls”), and was given official status by Wilhelm’s so-called “Rinnsteinrede“ (“gutter speech”) on what he considered modernist degenerate art at the inauguration of the extravagant boulevard on December 18, 1901.
The mischievous nudity particularly aroused the ire of Ernst "Putzi" Hanfstängel, Hitler’s musical advisor, and was later cited by the Nazis as evidence that the "degenerate art" of the "cultural bolshevist" Hindemith should be excluded from Germany.