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The image shows an invitation to two lectures hosted by the Fogg Art Museum. The lectures are titled "The Politics of German Art, 1919-1945: From Weimar Dreams of Revolution to Nazi Nightmares of the New Order" and are to be presented by Richard McMasters Hunt, Associate Dean of the Graduate School of Arts and Sciences. The lectures are scheduled for February 11 and February 18 at 4 o'clock in the Charles Elliot Norton Lecture Hall at the Fogg Art Museum.

The invitation includes two quotes:

1. A 1919 quote from Walter Gropius stating that the political revolution should lead to a spiritual one, which will unite people in creating a new art.
2. A 1937 quote from Adolf Hitler discussing the encouragement of art and the creation of a new order.

The lectures are divided into two parts:

Lecture I: Weimar Art and Politics: The Taming of the Revolution

• The early years: effects of war, defeat, and revolution; the artist as revolutionary; utopian schemes and political battles; Expressionism runs its course; the First Bauhaus.
• The middle years: art and politics call a truce; government patronage; the New Objectivity; functionalism; the second Bauhaus.
• The last years: the return to art styles; architecture, art education, and criticism; political attacks on art as decadent, insane, materialistic, foreign, Bolshevist, Jewish; the first Nazi views.
• The weariness with innovation and the search for a myth of pure German art.

Lecture II: Nazi Art and Politics: Repression Realized

• The first stage of "coordination," 1933-1937: Hitler's experiments and reorganizations; the racial purity of the artist and Nordic Art; The Reich Chamber of Culture; Nazi art education.
• The second stage, 1937-1939: the 1937 Exhibition of "Degenerate Art" in Munich; the establishment of total control; neo-Classicism and photographic realism.
• The third stage, 1939-1945: art at war; militarization of art; Himmler's Ahnenerbe Foundation; art vandalism by Hitler and Goering in the East and West.
• Problems in interpretation and evaluation.

The image is of an invitation or informational flyer from the Fogg Art Museum, inviting people to attend two lectures on the topic of "The Politics of German Art, 1919 - 1945: From Weimar Dreams of Revolution to Nazi Nightmares of the New Order."

Lecturer:
Richard McMasters Hunt, Associate Dean of the Graduate School of Arts and Sciences.

Lecture Dates and Time:
February 11 and February 18 at 4 o'clock.

Location:
Charles Eliot Norton Lecture Hall, Fogg Art Museum.

Quotes on the Flyer:

• In 1919, Walter Gropius wrote: "Not until the political revolution is perfected in the spiritual revolution can we become free. ... Only after the spiritual revolution will the people again join together in building the great art work of their time ... the freedom cathedral of the future."
• On July 18, 1937, Adolf Hitler stated: "It is the present state alone that has laid the basis for a new and mighty flowering of German art ... I and my associates have provided vast sums for the encouragement of art; we have set before art itself great new tasks ... for the making of history and the creation of a New Order."

Lecture I: Weimar Art and Politics: The Taming of the Revolution

• a. The early years: Impact of war, defeat, and revolution; artists as revolutionary utopians with schemes and political battles; Expressionism's initial prominence, the first Bauhaus.
• b. The middle years: A truce between art and politics; government patronage; the New Objectivity and functionalism in the second Bauhaus.
• c. The last years: New realism in art styles and architecture; political attacks on modern art as decadent, insane, materialistic, foreign, Bolshevist; Jewish influences.
• d. The weariness: Innovation declines as the search for a myth of pure German art begins.

Lecture II: Nazi Art and Politics: Repression Realized

• a. The first stage of "coordination" (1933 - 1937): Hitler’s experiments and reorganizations; the purity of the artist and Nordic Art; establishment of the Reich Chamber of Culture; Nazi art education.
• b. The second stage, 1937 - 1939: The 1937 Exhibition of "Degenerate Art" in Munich; total control, neo-Classicism, and photographic realism.
• c. The third stage, 1939 - 1945: Art at war; militarization of art; Himmler’s Ahnenerbe Foundation; art vandalism by Hitler and Goering in the East and West.
• d. Problems: Issues in interpretation and evaluation.

The image shows a flyer or program for two lectures titled "The Politics of German Art, 1919-1945: From Weimar Dreams of Revolution to Nazi Nightmares of the New Order" by Richard McMasters Hunt, Associate Dean of the Graduate School of Arts and Sciences.

The lectures were scheduled to take place on February 11 and February 18 at 4 o'clock in the Charles Elliot Norton Lecture Hall, located in the Fogg Art Museum.

The flyer includes two quotes:

1. From Walter Gropius in 1919: "Not until the political revolution is perfected in the spiritual revolution can we become free... Only after the spiritual revolution will the people again join together in building the great art work of their time... the free-dom cathedral of the future."

2. From Adolf Hitler in 1937: "It is the present state alone that has laid the basis for a new and mighty flowering of German art... I and my associates have provided vast sums for the encouragement of art; we have set before art itself great new tasks... for the making of history and the creation of a New Order."

The flyer outlines the content of each lecture:

Lecture I: Weimar Art and Politics: The Taming of the Revolution

• a. The early years: effects of the war, defeat, and revolution; the artist as revolutionary; utopian schemes and political battles; Expressionism runs its course; the first Bauhaus.
• b. The middle years: art and politics call a truce; government patronage; the New Objectivity; functionalism; the second Bauhaus.
• c. The last years: a new realism in art styles, architecture, art education and criticism; renewed political attacks on modern art as decadent, insane, materialistic, foreign, Bolshevist, Jewish; the first Nazi views.
• d. The weariness with innovation and the search for a myth of pure German art.

Lecture II: Nazi Art and Politics: Repression Realized

• a. The first stage of "coordination," 1933-1937: Hitler; experiments and reorganizations; the racial purity of the artist and Nordic Art; The Reich Chamber of Culture; Nazi art education.
• b. The second stage, 1937-1939: the 1937 Exhibition of "Degenerate Art" in Munich; the organization of total control; neo-Classicism and photographic realism.
• c. The third stage, 1939-1945: art at war; militarization of art; Himmler's Ahnenerbe Foundation; art vandalism by Hitler and Goering in the East and West.
• d. Problems in interpretation and evaluation.

The image displays a page from a document or a program, specifically an invitation to attend two lectures organized by The Fogg Art Museum. The lectures focus on the political aspects of German art from 1919 to 1945, titled "The Politics of German Art: From Weimar Dreams of Revolution to Nazi Nightmares of the New Order."

The lectures are given by Richard McMasters Hunt, who is the Associate Dean of the Graduate School of Arts and Sciences. The lectures are scheduled for February 11 and February 18 at 4 o'clock in the Charles Eliot Norton Lecture Hall at the Fogg Art Museum.

The page includes some introductory quotes:

1. A quote from Walter Gropius in 1919 about the political revolution and the need for spiritual revolution to free the people and build the future.
2. A quote from Adolf Hitler in 1937, discussing the basis for a new flowering of German art and the tasks set for art in the creation of a new order.

The lecture topics are divided into two sessions:

Lecture I: Weimar Art and Politics: The Taming of the Revolution

• a. Early years: Effects of the war, defeat, and revolution; artists as revolutionaries; utopian schemes and political battles; Expressionism and Bauhaus.
• b. Middle years: Art and politics call a truce; government patronage; New Objectivity; functionalism; the second Bauhaus.
• c. Last years: A new realism in art styles, architecture, art education, and criticism; renewed political attacks on modern art as decadent, insane, materialistic, for example, Bolshevism, Jewish, and the first Nazi views.
• d. The weariness with innovation and the search for a myth of pure German art.

Lecture II: Nazi Art and Politics: Repression Realized

• a. The first stage of "coordination," 1933-1937: Hitler's experiments and reorganizations; racial purity of the artist and Nordic Art; the Reich Chamber of Culture; Nazi art education.
• b. The second stage, 1937-1939: The 1937 Exhibition of "Degenerate Art" in Munich; organization of total control; neo-Classicism and photographic realism.
• c. The third stage, 1939-1945: Art at war; militarization of art; Himmler’s Ahnenerbe Foundation; art vandalism by Hitler and Goering in the East and West.
• d. Problems in interpretation and evaluation.

The image is a page from a booklet or program from The Fogg Art Museum. The document invites readers to attend two lectures titled "The Politics of German Art, 1919 - 1945: From Weimar Dreams of Revolution to Nazi Nightmares of the New Order," presented by Richard McMasters Hunt, Associate Dean of the Graduate School of Arts and Sciences.

The lectures are scheduled on February 11 and February 18, each at 4 o'clock in the Charles Elliot Norton Lecture Hall at the Fogg Art Museum.

The text on the page includes quotations from notable figures:

1. Walter Gropius (1919): "Not until the political revolution is perfected in the spiritual revolution can we become free... Only after the spiritual revolution will the people again join together in building the great art work of their time... the freedom cathedral of the future."

2. Adolf Hitler (1937): "It is the present state alone that has laid the basis for a new and mighty flowering of German art... I and my associates have provided vast sums for the encouragement of art; we have set before art itself great tasks... for the making of history and the creation of a New Order."

The program outlines two lectures:

Lecture I: Weimar Art and Politics: The Taming of the Revolution

a. Early years: Effects of war, defeat, and revolution; artist as revolutionary; utopian schemes and political battles; Expressionism; the first Bauhaus.

b. Middle years: Art and politics call a truce; government patronage; New Objectivity; functionalism; the second Bauhaus.

c. Last years: A new realism in art styles, architecture, art education, and criticism; renewed political attacks on modern art as decadent, insane, materialistic, foreign, Bolshevist, Jewish; the first Nazi views.

d. The weariness with innovation and the search for a myth of pure German art.

Lecture II: Nazi Art and Politics: Repression Realized

a. First stage of "coordination," 1933 - 1937: Hitler’s experiments and reorganizations; racial purity of the artist and Nordic Art; the Reich Chamber of Culture; Nazi art education.

b. Second stage, 1937 - 1939: The 1937 Exhibition of "Degenerate Art" in Munich; the organization of total control; neo-Classicism and photographic realism.

c. Third stage, 1939 - 1945: Art at war; militarization of art; Himmler's Ahnenerbe Foundation; art vandalism by Hitler and Goering in the East and West.

d. Problems in interpretation and evaluation.

THE FOGG ART MUSEUM cordially invites you to attend TWO LECTURES

THE POLITICS OF GERMAN ART, 1919 - 1945:
From Weimar Dreams of Revolution to Nazi Nightmares of the New Order

by Richard McMasters Hunt, Associate Dean of the Graduate School of Arts and Sciences

February 11 and February 18 at 4 o'clock in the
Charles Eliot Norton Lecture Hall, Fogg Art Museum

In 1919, Walter Gropius wrote, Not until the political revolution is perfected in the spiritual revolution can we become free. . . . Only after the spiritual revolution will the people again join together in building the great art work of their time . . . the free-dom cathedral of the future.

On July 18, 1937, Adolf Hitler said, It is the present state alone that has laid the basis for a new and mighty flowering of German art. . . . I and my associates have provided vast sums for the encouragement of art; we have set before art itself great new tasks . . . for the making of history and the creation of a New Order.

LECTURE I: Weimar Art and Politics: The Taming of the Revolution

a. The early years: the effects of the war, defeat, and revolution; the artist as revolutionary; utopian schemes and political battles; Expressionism runs its course; the first Bauhaus.
b. The middle years: art and politics call a truce; government patronage; the New Objectivity; functionalism; the second Bauhaus.
c. The last years: a new realism in art styles, architecture, art education and criticism; renewed political attacks on modern art as decadent, insane, materialistic, foreign, Bolshevist, Jewish; the first Nazi views.
d. The search for innovation and the search for a myth of pure German art.

LECTURE II: Nazi Art and Politics: Repression Realized

a. The first stage of “coordination,” 1933 - 1937: Hitler; experiments and reorganizations; the racial purity of the artist and Nordic Art; The Reich Chamber of Culture; Nazi art education.
b. The second stage, 1937 - 1939: the 1937 Exhibition of “Degenerate Art,” in Munich; the organization of total control; neo-Classicism and photographic realism.
c. The third stage, 1939 - 1945: art at war; militarization of art; Himmler’s Ahnenerbe Foundation; art vandalism by Hitler and Goering in the East and West.
d. Problems in interpretation and evaluation.

This image displays an open booklet or pamphlet lying on a flat surface with a dark backdrop on the left side and a light brownish surface on the right. The page that is visible to us contains text outlining an invitation to attend two lectures.

The header at the top of the page reads "THE FOG ART MUSEUM cordially invites you to attend TWO LECTURES". Below the header is the title of the lecture series "THE POLITICS OF GERMAN ART 1919 - 1945: From Weimar Dreams of Revolution to Nazi Nightmares of the New Order", attributed to a speaker named Richard McMasters Hunt, who is titled the Associate Dean of the Graduate School of Arts and Sciences.

The lectures were scheduled for February 11 and February 18 at 4 o'clock in the Charles Elliot Norton Lecture Hall, Fog Art Museum. Two quotes follow, one from Walter Gropius dated 1919 and another from Adolf Hitler dated 1937, which contrast the opposite visions of art and politics in Germany during the given periods.

The page then lists the specific topics that will be covered within the two lectures: "LECTURE I: Weimar Art and Politics: The Taming of the Revolution", with bullet points on subtopics ranging from the early years, the influential Bauhaus, to the realist years and the Nazi views, and "LECTURE II: Nazi Art and Politics: Repression Realized", which further subdivides into stages of art and politics under Nazi rule, and issues under the third stage from 1939 to 1945.

The text appears well-organized, using a combination of uppercase and italicized font to emphasize titles and headers, with a clean and academic presentation. The pamphlet itself is older, as indicated by the slight yellowing of the paper and the typographic style used, which gives a vintage look.

The image shows a printed invitation or announcement for two lectures hosted by The Fogg Art Museum. The lectures are titled "The Politics of German Art, 1919-1945: From Weimar Dreams of Revolution to Nazi Nightmares of the New Order," presented by Richard McMasters Hunt, Associate Dean of the Graduate School of Arts and Sciences. The lectures are scheduled for February 11 and February 18 at 4 o'clock in the Charles Elliot Norton Lecture Hall at the Fogg Art Museum.

The text includes two quotes:

• One from Walter Gropius in 1919 emphasizing the connection between political and spiritual revolution in art.
• Another from Adolf Hitler in 1937 highlighting the state's role in supporting a new flourishing of German art under the new order.

The content of the lectures is outlined as follows:

LECTURE I: Weimar Art and Politics: The Taming of the Revolution
a. The early years: Effects of war, defeat, revolution; artist as revolutionary; utopian schemes; Expressionism and the first Bauhaus.
b. The middle years: Art and politics truce; government patronage; New Objectivity; second Bauhaus.
c. The last years: New realism, art education and criticism, political attacks on modern art as decadent, insane, materialistic, foreign, Bolshevist, Jewish; first Nazi views.
d. The weariness with innovation and search for pure German art myth.

LECTURE II: Nazi Art and Politics: Repression Realized
a. The first stage of "coordination," 1933-1937: Hitler's experiments, racial purity of artist and Nordic Art; Reich Chamber of Culture; Nazi art education.
b. The second stage, 1937-1939: 1937 Exhibition of “Degenerate Art” in Munich; total control organization; neo-Classicism and photographic realism.
c. The third stage, 1939-1945: Art at war; militarization; Himmler’s Ahnenerbe Foundation; art vandalism by Hitler and Goering in East and West.
d. Problems in interpretation and evaluation.

The image shows the inside of an open book, specifically a page from an invitation or announcement for a lecture series. The page is titled "THE POLITICS OF GERMAN ART, 1919-1945: From Weimar Dreams of Revolution to Nazi Nightmares of the New Order" and is presented by Richard McMasters Hunt, Associate Dean of the Graduate School of Arts and Sciences. The lectures are scheduled for February 11 and February 18 at 4 o'clock in the Charles Eliot Norton Lecture Hall, Fogg Art Museum.

Key Details:

1. Title and Theme:
   The lecture series explores the intersection of German art and politics from 1919 to 1945, covering the Weimar era, the rise of the Nazi regime, and its impact on art.

2. Lecturer:
   Richard McMasters Hunt, a prominent academic, is delivering the lectures.

3. Date and Time:

   • Lecture I: February 11
   • Lecture II: February 18
     Both lectures are at 4 o'clock in the Charles Eliot Norton Lecture Hall at the Fogg Art Museum.

4. Lecture Topics:
   The page outlines the structure of the two lectures:

   • LECTURE I: Weimar Art and Politics: The Taming of the Revolution

     • a. The early years: Effects of war, defeat, and revolution; the artist as revolutionary; utopian schemes and political battles; Expressionism; the First Bauhaus.
     • b. The middle years: Art and politics as a truce; government patronage; the New Objectivity; functionalism; the Second Bauhaus.
     • c. The last years: A new realism in art styles; architecture; art education and criticism; renewed political attacks on modern art; decadent, insane, materialistic, foreign, Bolshevik, Jewish; the first Nazi views.
     • d. The weariness with innovation and the search for a myth of pure German art.

   • LECTURE II: Nazi Art and Politics: Repression Realized

     • a. The first stage of “coordination,” 1933–1937: Hitler; experiments and reorganizations; the racial purity of the artist and Nordic Art; the Reich Chamber of Culture; Nazi art education.
     • b. The second stage, 1937–1939: The 1937 Exhibition of “Degenerate Art” in Munich; the organization of total control; neo-Classicism and photographic realism.
     • c. The third stage, 1939–1945: Art at war; militarization of art; Himmler’s Ahnenerbe Foundation; art vandalism by Hitler and Goering in the East and West.
     • d. Problems in interpretation and evaluation.

5. Quotes:
   The page includes two notable quotes to contextualize the themes:

   • Walter Gropius (1919): Emphasizes the need for a spiritual revolution to achieve freedom and great art.
   • Adolf Hitler (July 18, 1933): Discusses the role of art in supporting the Nazi state and the creation of a “New Order.”

Design and Layout:

• The page is clean and formal, with a centered title and clear headings for lectures and subtopics.
• The text is typed in a serif font, giving it a formal and academic appearance.
• The background of the book appears to have a light brown or beige color, typical of older printed materials.

This page serves as an invitation or announcement for an academic lecture series focusing on the complex relationship between art and politics in Germany during a tumultuous historical period.

The image shows an open book with a white page in the center. The page has a title at the top that reads "The Politics of German Art, 1919-1945: From Weimar Dreams of Revolution to Nazi Nightmares of the New Order." Below the title, there is a description of the lecture series, including the date, time, and location. The lecture series is described as being given by Richard McMasters Hunt, Associate Dean of the Graduate School of Arts and Sciences. The text is divided into two sections, with the first section discussing the Weimar period and the second section discussing the Nazi period. The page also includes a quote from Walter Gropius and a quote from Adolf Hitler.