Before and After the “Holocaust”: Jewish Population Numbers in 1933 and 1948

by Rebel of Oz 

For over a century, the Jewish World Almanac has been widely regarded as the most authentic source for the world’s Jewish population numbers. Academics all over the world, including the editors of the Encyclopedia Britannica, used to rely on the accuracy of those numbers. Here is what the World Alamanacs of 1933 and 1948 had to say about the world population of Jews.

World Almanac 1933


World Almanac 1948


In other words, according to the World Almanac the world population of Jews increased (!) between 1933 and 1948 from 15,315,000 to 15,753,000. If the German government under Adolf Hitler had – as alleged – murdered six million Jews those losses should have been reflected in the Jewish population numbers quoted in the World Almanac.

The suspicions raised by above numbers concerning the veracity of the allegations made against the Hitler government are confirmed by the official three-volume report by the International Committee of the Red Cross, released 1948 in Geneva, according to which 272,000 concentration camp inmates died in German custody, about half of them Jews. The following article elaborates.

A Factual Appraisal of the ‘Holocaust’ by the Red Cross

The Jews and the Concentration Camps: No Evidence of Genocide

There is one survey of the Jewish question in Europe during World War Two and the conditions of Germany’s concentration camps which is almost unique in its honesty and objectivity, the three-volume Report of the International Committee of the Red Cross on its Activities during the Second World War, Geneva, 1948.

This comprehensive account from an entirely neutral source incorporated and expanded the findings of two previous works: Documents sur l’activité du CICR en faveur des civils détenus dans les camps de concentration en Allemagne 1939-1945 (Geneva, 1946), and Inter Arma Caritas: the Work of the ICRC during the Second World War (Geneva, 1947). The team of authors, headed by Frédéric Siordet, explained in the opening pages of the Report that their object, in the tradition of the Red Cross, had been strict political neutrality, and herein lies its great value.

The ICRC successfully applied the 1929 Geneva military convention in order to gain access to civilian internees held in Central and Western Europe by the Germany authorities. By contrast, the ICRC was unable to gain any access to the Soviet Union, which had failed to ratify the Convention. The millions of civilian and military internees held in the USSR, whose conditions were known to be by far the worst, were completely cut off from any international contact or supervision.

The Red Cross Report is of value in that it first clarifies the legitimate circumstances under which Jews were detained in concentration camps, i.e. as enemy aliens. In describing the two categories of civilian internees, the Report distinguishes the second type as “Civilians deported on administrative grounds (in German, “Schutzhäftlinge”), who were arrested for political or racial motives because their presence was considered a danger to the State or the occupation forces” (Vol. 111, p. 73). These persons, it continues, “were placed on the same footing as persons arrested or imprisoned under common law for security reasons.” (P.74).

The Report admits that the Germans were at first reluctant to permit supervision by the Red Cross of people detained on grounds relating to security, but by the latter part of 1942, the ICRC obtained important concessions from Germany. They were permitted to distribute food parcels to major concentration camps in Germany from August 1942, and “from February 1943 onwards this concession was extended to all other camps and prisons” (Vol. 111, p. 78). The ICRC soon established contact with camp commandants and launched a food relief programme which continued to function until the last months of 1945, letters of thanks for which came pouring in from Jewish internees.

Red Cross Recipients Were Jews

The Report states that “As many as 9,000 parcels were packed daily. >From the autumn of 1943 until May 1945, about 1,112,000 parcels with a total weight of 4,500 tons were sent off to the concentration camps” (Vol. III, p. 80). In addition to food, these contained clothing and pharmaceutical supplies. “Parcels were sent to Dachau, Buchenwald, Sangerhausen, Sachsenhausen, Oranienburg, Flossenburg, Landsberg-am-Lech, Flöha, Ravensbrück, Hamburg-Neuengamme, Mauthausen, Theresienstadt, Auschwitz, Bergen-Belsen, to camps near Vienna and in Central and Southern Germany. The principal recipients were Belgians, Dutch, French, Greeks, Italians, Norwegians, Poles and stateless Jews” (Vol. III, p. 83).

In the course of the war, “The Committee was in a position to transfer and distribute in the form of relief supplies over twenty million Swiss francs collected by Jewish welfare organisations throughout the world, in particular by the American Joint Distribution Committee of New York” (Vol. I, p. 644). This latter organisation was permitted by the German Government to maintain offices in Berlin until the American entry into the war. The ICRC complained that obstruction of their vast relief operation for Jewish internees came not from the Germans but from the tight Allied blockade of Europe. Most of their purchases of relief food were made in Rumania, Hungary and Slovakia.

The ICRC had special praise for the liberal conditions which prevailed at Theresienstadt up to the time of their last visits there in April 1945. This camp, “where there were about 40,000 Jews deported from various countries was a relatively privileged ghetto” (Vol. III, p. 75). According to the Report, “‘The Committee’s delegates were able to visit the camp at Theresienstadt (Terezin) which was used exclusively for Jews and was governed by special conditions. From information gathered by the Committee, this camp had been started as an experiment by certain leaders of the Reich … These men wished to give the Jews the means of setting up a communal life in a town under their own administration and possessing almost complete autonomy. . . two delegates were able to visit the camp on April 6th, 1945. They confirmed the favourable impression gained on the first visit” (Vol. I, p . 642).

The ICRC also had praise for the regime of Ion Antonescu of Fascist Rumania where the Committee was able to extend special relief to 183,000 Rumanian Jews until the time of the Soviet occupation. The aid then ceased, and the ICRC complained bitterly that it never succeeded “in sending anything whatsoever to Russia” (Vol. II, p. 62). The same situation applied to many of the German camps after their “liberation” by the Russians. The ICRC received a voluminous flow of mail from Auschwitz until the period of the Soviet occupation, when many of the internees were evacuated westward. But the efforts of the Red Cross to send relief to internees remaining at Auschwitz under Soviet control were futile. However, food parcels continued to be sent to former Auschwitz inmates transferred west to such camps as Buchenwald and Oranienburg.

No Evidence of Genocide

One of the most important aspects of the Red Cross Report is that it clarifies the true cause of those deaths that undoubtedly occurred in the camps toward the end of the war. Says the Report: “In the chaotic condition of Germany after the invasion during the final months of the war, the camps received no food supplies at all and starvation claimed an increasing number of victims. Itself alarmed by this situation, the German Government at last informed the ICRC on February 1st, 1945 … In March 1945, discussions between the President of the ICRC and General of the SS Kaltenbrunner gave even more decisive results. Relief could henceforth be distributed by the ICRC, and one delegate was authorised to stay in each camp …” (Vol. III, p. 83).

Clearly, the German authorities were at pains to relieve the dire situation as far as they were able. The Red Cross are quite explicit in stating that food supplies ceased at this time due to the Allied bombing of German transportation, and in the interests of interned Jews they had protested on March 15th, 1944 against “the barbarous aerial warfare of the Allies” (Inter Arma Caritas, p. 78). By October 2nd, 1944, the ICRC warned the German Foreign Office of the impending collapse of the German transportation system, declaring that starvation conditions for people throughout Germany were becoming inevitable.

In dealing with this comprehensive, three-volume Report, it is important to stress that the delegates of the International Red Cross found no evidence whatever at the camps in Axis occupied Europe of a deliberate policy to exterminate the Jews. In all its 1,600 pages the Report does not even mention such a thing as a gas chamber. It admits that Jews, like many other wartime nationalities, suffered rigours and privations, but its complete silence on the subject of planned extermination is ample refutation of the Six Million legend. Like the Vatican representatives with whom they worked, the Red Cross found itself unable to indulge in the irresponsible charges of genocide which had become the order of the day. So far as the genuine mortality rate is concerned, the Report points out that most of the Jewish doctors from the camps were being used to combat typhus on the eastern front, so that they were unavailable when the typhus epidemics of 1945 broke out in the camps (Vol. I, p. 204 ff) – Incidentally, it is frequently claimed that mass executions were carried out in gas chambers cunningly disguised as shower facilities. Again the Report makes nonsense of this allegation. “Not only the washing places, but installations for baths, showers and laundry were inspected by the delegates. They had often to take action to have fixtures made less primitive, and to get them repaired or enlarged” (Vol. III, p. 594).

Not All Were Interned

Volume III of the Red Cross Report, Chapter 3 (I. Jewish Civilian Population) deals with the “aid given to the Jewish section of the free population,” and this chapter makes it quite plain that by no means all of the European Jews were placed in internment camps, but remained, subject to certain restrictions, as part of the free civilian population. This conflicts directly with the “thoroughness” of the supposed “extermination programme”, and with the claim in the forged Höss memoirs that Eichmann was obsessed with seizing “every single Jew he could lay his hands on.”

In Slovakia, for example, where Eichmann’s assistant Dieter Wisliceny was in charge, the Report states that “A large proportion of the Jewish minority had permission to stay in the country, and at certain periods Slovakia was looked upon as a comparative haven of refuge for Jews, especially for those coming from Poland. Those who remained in Slovakia seem to have been in comparative safety until the end of August 1944, when a rising against the German forces took place. While it is true that the law of May 15th, 1942 had brought about the internment of several thousand Jews, these people were held in camps where the conditions of food and lodging were tolerable, and where the internees were allowed to do paid work on terms almost equal to those of the free labour market” (Vol. I, p. 646).

Not only did large numbers of the three million or so European Jews avoid internment altogether, but the emigration of Jews continued throughout the war, generally by way of Hungary, Rumania and Turkey. Ironically, post-war Jewish emigration from German-occupied territories was also facilitated by the Reich, as in the case of the Polish Jews who had escaped to France before its occupation. “The Jews from Poland who, whilst in France, had obtained entrance permits to the United States were held to be American citizens by the German occupying authorities, who further agreed to recognize the validity of about three thousand passports issued to Jews by the consulates of South American countries” (Vol. I, p. 645).

As future U.S. citizens, these Jews were held at the Vittel camp in southern France for American aliens. The emigration of European Jews from Hungary in particular proceeded during the war unhindered by the German authorities. “Until March 1944,” says the. Red Cross Report, “Jews who had the privilege of visas for Palestine were free to leave Hungary” (Vol. I, p. 648). Even after the replacement of the Horthy Government in 1944 (following its attempted armistice with the Soviet Union) with a government more dependent on German authority, the emigration of Jews continued.

The Committee secured the pledges of both Britain and the United States “to give support by every means to the emigration of Jews from Hungary,” and from the U.S. Government the ICRC received a message stating that “The Government of the United States … now specifically repeats its assurance that arrangements will be made by it for the care of all Jews who in the present circumstances are allowed to leave” (Vol. I, p . 649).

Biedermann agreed that in the nineteen instances that “Did Six Million Really Die?” quoted from the Report of the International Committee of the Red Cross on its Activities during the Second World War and Inter Arma Caritas (this includes the above material), it did so accurately.

A quote from Charles Biedermann (a delegate of the International Committee of the Red Cross and Director of the Red Cross’ International Tracing Service) under oath at the Zündel Trial (February 9, 10, 11 and 12, 1988).

The above is chapter nine from the book “Did Six Million Really Die?”.

Source: The Truth Seeker

Munich, Gathering of the SA


Speech of November 9, 1921

On November 9, 1921–just five days after the Battle of the Hall (Saalschlacht) where fewer than fifty SA Men had beaten back more than 400 communists and Jews who had tried to disrupt Hitler’s speech in the Festival Hall of the Hofbrauhaus–Adolf Hitler addressed a gathering of SA Men. The following is what he told them:

For us there are only two possiblities: either we remain German or we come under the thumb of the Jews. This latter must not occur; even if we are small, we are a force. A well-organized group can conquer a strong enemy. If you stick close together and keep bringing in new people, we will be victorious over the Jews.

Source: Hitler Historical Museum

Plebiscites in National-Socialist Germany

Hitler was not afraid to ask the opinion of the people. In National-Socialist Germany in case of important political decisions the administration asked the opinion of the people about the decision. On the plebiscites usually over 90% of the people took part, and most of the voting people agreed with the politics of the National-Socialist administration. The ballot papers’ text was easily understandable, and one could vote either with yes or with no.

  1. 12 November 1933, Leaving the League of Nations. Result: 95.1% yes.
  2. 19-th August 1934, After Hindenburg’s death the chancellor and the president of the German Reich should be one person. Result: 89.9% yes.
  3. Saar-country, in German Saarland. 13-th of January, 1935, Saarland’s inhabitants 90.8%wanted to join Germany, 8.8% stand alone, 0.4% wanted to join France.
  4. 29-th March 1936, German military presence on the Rhine area, Result: 98.8% yes.
  5. April 10-th 1938 Unification with Austria, Result: Germany 99.01%, Austria 99.73%.
  6. December 2, 1938, Make elections of the Sudeta country, Result: 98.78% yes.

Volksabstimmung1933Ballot paper of leaving the League of Nations

Source: Metapedia

Degenerate Jewish “Art”

Compilation and comments by Sword Brethren


Wassily Kandinsky

01-Kandinsky_WWIComposition VII  (in his own words it was the most complicated piece he ever painted)

Pablo Picasso

02-Picasso_three_musicians_moma_2006Three Musicians

Egon Schiele


04-EgonSchieleSelfPortrait1Self-Portrait (the only thing honest about this Jew is that he portrays himself as the vile creature of rot and decay that he is)

05-EgonSchieleSelfPortrait2His next self-portrait (look at how he captures his inner essence, this is perhaps one of the few times he is honest, in how he captures his “inner beauty” because he shows himself to be what he is, a DEMONIC CHILD OF SATAN in human form. The Devil is a Jew and Jews are of their father the DEVIL and the LUSTS OF THEIR FATHER THEY WILL DO!)

06-SitzenderweiblicherAktSitzender weiblicher Akt  (this is how the filthy Jew, Egon Schiele, views his lover, this is his idealization of womanhood, the Jew only seeks to liberate a woman from the protection of her family and community so he can pollute and corrupt her)

07-TodundMadchenTod und Mädchen (Death and the Maiden) (Another “masterpiece” by Egon Schiele the stench of death and decay must pervade all their works, it must be vile, obscene, unnatural, hideous, vulgar, Paul declared that God is not the author of confusion, but of peace, these works, coming from Jewish minds, are clearly the results of the author of confusion, the father of all lies, Satan)

Ernst Ludwig Kirchner


09-MarzellaMarzella (two years in the making, this sums up the Jewish mentality towards womanhood, has anything even remotely neutral and non-offensive ever come from the minds of these creeps?)

10-Self-portraitasaSoldierErnst Ludwig Kirchner’s Self-portrait as a Soldier  (He was never wounded, he did not suffer any amputations, and there is no evidence he ever fired his rifle in combat or ever closed with the enemy, while he claims to have volunteered in September of 1914 it remains to be proven just how he came to wind up in military service. What is known is that he was discharged in early 1915 after he had a nervous break-down and a total mental collapse, at which time he was institutionalized. He like all Jews was a maniac and a neurotic fiend. His art-work must therefore gratify his decaying nerves. Once again he cannot pass up the chance to mock womanhood and show that the only ideals he holds to are perverse ideals, his view of woman is a view that could only form in the twisted mind of one of Satan’s disciples. This freak had been painting for only about thirty years and had come up with over SIX HUNDRED “works” which, when seized by the National-Socialists in 1938, caused him to commit suicide due to depression… He was forbidden from painting and his works were seized, so he killed himself because he was no longer able to push perversion on the West and thus he had no purpose left in life. You may ask yourself how any artist can come up with six hundred works, but the answer is simple… Real artists such as Michelangelo and Rembrandt spend a lifetime on perhaps a half-dozen true masterpieces, but the Jew simply masturbates on a canvas and calls it a masterpiece, so they can turn out filth at an alarming rate. It should be no surprise at all that Schiele had HUNDREDS of works that were seized by the police, who condemned them as pornographic and degenerate, and that Kirchner had almost ONE THOUSAND works).


Ephraim Goldberg


12-DancingHousePrague (Czech Republic)  Dancing House

13-GuggenheimMuseumBilbao (Spain) Guggenheim Museum

14-Seattle_EMPSeattle (Washington, USA) Experience Museum Project

15-Disney_Concert_HallWalt Disney Concert Hall


Degenerate Art

EntarteteKunstCover of the exhibition program: Degenerate Art exhibition, 1937. Note the word “Kunst”, meaning art, in scare quotes

Degenerate art (Entartete Kunst, in German) is a term used to describe pieces of art that are intended to perversion. Even Neanderthal cave paintings are far superior to degenerate art. While the origin of this term dates from the nineteenth century or even earlier, was popularized during the years of the Third Reich.

In 2005, ABCNews ran this test to bigwigs in the “art” industry to see if they could tell whether a piece was “modern art” or was just artwork by a toddler. The art bigwigs could not tell.[1] Even art by animals is of the same quality or superior to “modern art”. In another instance, toddler Freddie Linsky in 2007 did ketchup paintings and fooled the art world into thinking a famous adult degenerate artist made them.[2]

Degenerate art during the Third Reich

Hitler’s rise to power on January 31, 1933 was quickly followed by actions intended to cleanse the culture of degeneracy: book burnings were organized, artists and musicians were dismissed from teaching positions, and curators who had shown a partiality to degenerate art were replaced by Party members.[3] In September 1933 the Reichskulturkammer (Reich Culture Chamber) was established, with Dr. Joseph Goebbels, Hitler’s Reichminister für Volksaufklärung und Propaganda (Reich Minister for Public Enlightenment and Propaganda) in charge. Subchambers within the Culture Chamber, representing the individual arts (music, film, literature, architecture, and the visual arts) were created; these were membership groups consisting of “racially pure” artists supportive of the Party, or willing to be compliant. Dr. Goebbels made it clear: “In future only those who are members of a chamber are allowed to be productive in our cultural life. Membership is open only to those who fulfill the entrance condition. In this way all unwanted and damaging elements have been excluded.”[4] By 1935 the Reich Culture Chamber had 100,000 members.[5]

Nonetheless there was, during the period 1933-1934, some confusion within the Party on the question of Expressionism. Dr. Goebbels and some others believed that the forceful works of such artists as Emil Nolde, Ernst Barlach and Erich Heckel exemplified the Nordic spirit; as Dr. Goebbels explained, “We National-Socialists are not unmodern; we are the carrier of a new modernity, not only in politics and in social matters, but also in art and intellectual matters.”[6] However, a fraction led by Rosenberg despised the Expressionists, leading to a bitter ideological dispute which was settled only in September 1934, when Hitler declared that there would be no place for modernist experimentation in the Reich.[7]

Although books by Franz Kafka could no longer be bought by 1939, works by ideologically suspect authors such as Hermann Hesse and Hans Fallada were widely read.[8] Mass culture was less stringently regulated than high culture, possibly because the authorities feared the consequences of too heavy-handed interference in popular entertainment.[9] Thus, until the outbreak of the war, most Hollywood films could be screened, including It Happened One Night, San Francisco, and Gone with the Wind. While performance of atonal music was banned, the prohibition of jazz was less strictly enforced. Benny Goodman and Django Reinhardt were popular, and leading British and American jazz bands continued to perform in major cities until the war; thereafter, dance bands officially played “swing” rather than the banned jazz.[10]

421px-'The_Prophet',_woodcut_by_Emil_Nolde,_1912Membership in the NSDAP did not protect Emil Nolde, whose 1912 woodcut The Prophet is shown here, from being proscribed by Hitler. 1052 of Nolde’s paintings were removed from German museums, more than any other artist.

The Entartete Kunst exhibit

By 1937, the concept of degeneracy was firmly entrenched in National-Socialist policy. On June 30 of that year Dr. Goebbels put Adolf Ziegler, the head of the Reichskammer der Bildenden Künste (Reich Chamber of Visual Art), in charge of a six-man commission authorized to confiscate from museums and art collections throughout the Reich, any remaining art deemed modern, degenerate, or subversive. These works were then to be presented to the public in an exhibit intended to incite further revulsion against the “perverse Jewish spirit” penetrating German culture.[11]

Over 5,000 works were seized, including 1,052 by Nolde, 759 by Heckel, 639 by Ernst Ludwig Kirchner and 508 by Max Beckmann, as well as smaller numbers of works by such artists as Alexander Archipenko, Marc Chagall, James Ensor, Henri Matisse, Pablo Picasso and Vincent van Gogh.[12] The Entartete Kunst exhibit, featuring over 650 paintings, sculptures, prints, and books from the collections of thirty two German museums, premiered in Munich on July 19, 1937 and remained on view until November 30 before travelling to eleven other cities in Germany and Austria.

The exhibit was held on the second floor of a building formerly occupied by the Institute of Archaeology. Viewers had to reach the exhibit by means of a narrow staircase. The first sculpture was an oversized, theatrical portrait of Jesus, which purposely intimidated viewers as they literally bumped into it in order to enter. The rooms were made of temporary partitions and deliberately chaotic and overfilled. Pictures were crowded together, sometimes unframed, usually hung by cord.

The first three rooms were grouped thematically. The first room contained works considered demeaning of religion; the second featured works by Jewish artists in particular; the third contained works deemed insulting to the women, soldiers and farmers of Germany. The rest of the exhibit had no particular theme.

There were slogans painted on the walls. For example:

  • Insolent mockery of the Divine under Centrist rule
  • Revelation of the Jewish racial soul
  • An insult to German womanhood
  • The ideal—cretin and whore
  • Deliberate sabotage of national defense
  • German farmers—a Yiddish view
  • The Jewish longing for the wilderness reveals itself—in Germany the Negro becomes the racial ideal of a degenerate art
  • Madness becomes method
  • Nature as seen by sick minds
  • Even museum bigwigs called this the “art of the German people”[13]

Speeches of National-Socialist party leaders contrasted with artist manifestos from various art movements, such as Dada and Surrealism. Next to many paintings were labels indicating how much money a museum spent to acquire the artwork. In the case of paintings acquired during the post-war Weimar hyperinflation of the early 1920s, when the cost of a kilo loaf of bread reached 233 billion German marks,[14] the prices of the paintings were of course greatly exaggerated. The exhibit was designed to promote the idea that modernism was a conspiracy by people who hated German decency, frequently identified as Jewish-Bolshevist, although only six of the 112 artists included in the exhibition were in fact Jewish.[15]

A few weeks after the opening of the exhibition, Dr. Goebbels ordered a second and more thorough scouring of German art collections; inventory lists indicate that the artworks seized in this second round, combined with those gathered prior to the exhibition, amounted to some 16,558 works.[16]

Coinciding with the Entartete Kunst exhibition, the Grosse deutsche Kunstausstellung (Great German art exhibition) made its premiere amid much pageantry. This exhibition, held at the palatial Haus der deutschen Kunst (House of German Art), displayed the work of officially approved artists such as Arno Breker and Adolf Wissel. At the end of four months Entartete Kunst had attracted over two million visitors, nearly three and a half times the number that visited the nearby Grosse deutsche Kunstausstellung.[17]

800px-Degenerate-Hitler-ZieglerAdolf Hitler and Adolf Ziegler visit the Degenerate Art exhibition, 1937.

Ausstellung_entartete_kunst_1937Dr. Goebbels views the Degenerate Art exhibition

The fate of the artists and their work

Avant-garde German artists were now branded both enemies of the state and a threat to German culture. Many went into exile. Max Beckmann fled to Amsterdam on the opening day of the entartete Kunst exhibit.[19] Max Ernst emigrated to America with the assistance of Peggy Guggenheim. Ernst Ludwig Kirchner committed suicide in Switzerland in 1938. Paul Klee spent his years in exile in Switzerland, yet was unable to obtain Swiss citizenship because of his status as a degenerate artist.

Other artists remained in internal exile. Otto Dix retreated to the countryside to paint unpeopled landscapes in a meticulous style that would not provoke the authorities.[20] The Reichskulturkammer forbade artists such as Edgar Ende and Emil Nolde from purchasing painting materials. Those who remained in Germany were forbidden to work at universities and were subject to surprise raids by the Geheime Staatspolizei in order to ensure that they were not violating the ban on producing artwork; Nolde secretly carried on painting, but using only watercolors (so as not to be betrayed by the telltale odor of oil paint).[21] Although officially no artists were put to death because of their work, Jews who did not escape from Germany in time were sent to concentration camps.[22] Some, if mental ill, were handled in the Action T4 (see for example Elfriede Lohse-Wächtler).

After the exhibit, paintings were sorted out for sale and sold in Switzerland at auction; some pieces were acquired by museums, others by private collectors. National-Socialist officials took many for their private use: for example, Hermann Göring took fourteen valuable pieces, including a Van Gogh and a Cézanne. In March, 1939, the Berlin Fire Brigade burned approximately 4000 works which had little value on the international market.[23][24]

A large amount of ‘degenerate art’ by Picasso, Dalí, Ernst, Klee, Léger and Miró was destroyed in a bonfire on the night of July 27, 1942 in the gardens of the Galerie nationale du Jeu de Paume in Paris.[25]

After the collapse of Third Reich and the invasion of Berlin by the Red Army, some artwork from the exhibit was found buried underground. It is unclear how many of these then reappeared in the Hermitage Museum in Saint Petersburg where they still remain.

In 2010, as work began to extend an underground line from Alexanderplatz through the historic city centre to the Brandenburg Gate, a number of sculptures from the degenerate art exhibition were unearthed in the cellar of a private house close to the “Rote Rathaus”. These included, for example, the bronze cubist style statue of a female dancer by the artist Marg Moll, and are now on display at the Neues Museum.[26][27][28]

Degenerate-AuctionA confiscated self-portrait by Vincent van Gogh is auctioned at Gallerie Fisher, Lucerne, in 1939. The winning bid was $US 40.000 by Dr. Frankfurter.[18]

Artists in the 1937 Munich show

  • Jankel Adler
  • Ernst Barlach
  • Rudolf Bauer
  • Philipp Bauknecht
  • Otto Baum
  • Willi Baumeister
  • Herbert Bayer
  • Max Beckmann
  • Rudolf Belling
  • Paul Bindel
  • Theo Brün
  • Max Burchartz
  • Fritz Burger-Mühlfeld
  • Paul Camenisch
  • Heinrich Campendonk
  • Karl Caspar
  • Maria Caspar-Filser
  • Pol Cassel
  • Marc Chagall
  • Lovis Corinth
  • Heinrich Maria Davringhausen
  • Walter Dexel
  • Johannes Diesner
  • Otto Dix
  • Pranas Domšaitis
  • Hans Christoph Drexel
  • Johannes Driesch
  • Heinrich Eberhard
  • Max Ernst
  • Hans Feibusch
  • Lyonel Feininger
  • Conrad Felixmüller
  • Otto Freundlich
  • Xaver Fuhr
  • Ludwig Gies
  • Werner Gilles
  • Otto Gleichmann
  • Rudolph Grossmann
  • George Grosz
  • Hans Grundig
  • Rudolf Haizmann
  • Raoul Hausmann
  • Guido Hebert
  • Erich Heckel
  • Wilhelm Heckrott
  • Jacoba van Heemskerck
  • Hans Siebert von Heister
  • Oswald Herzog
  • Werner Heuser
  • Heinrich Hoerle
  • Karl Hofer
  • Eugen Hoffmann
  • Johannes Itten
  • Alexej von Jawlensky
  • Eric Johanson
  • Hans Jürgen Kallmann
  • Wassily Kandinsky
  • Hanns Katz
  • Ernst Ludwig Kirchner
  • Paul Klee
  • Cesar Klein
  • Paul Kleinschmidt
  • Oskar Kokoschka
  • Otto Lange
  • Wilhelm Lehmbruck
  • Elfriede Lohse-Wächtler
  • El Lissitzky
  • Oskar Lüthy
  • Franz Marc
  • Gerhard Marcks
  • Ewald Mataré
  • Ludwig Meidner
  • Jean Metzinger
  • Constantin von Mitschke-Collande
  • László Moholy-Nagy
  • Margarethe (Marg) Moll
  • Oskar Moll
  • Johannes Molzahn
  • Piet Mondrian
  • Georg Muche
  • Otto Meuller
  • Erich(?) Nagel
  • Heinrich Nauen
  • Ernst Wilhelm Nay
  • Karel Niestrath
  • Emil Nolde
  • Otto Pankok
  • Max Pechstein
  • Max Peiffer-Watenphul
  • Hans Purrmann
  • Max Rauh
  • Hans Richter
  • Emy Röder
  • Christian Rohlfs
  • Edwin Scharff
  • Oskar Schlemmer
  • Rudolf Schlichter
  • Karl Schmidt-Rottluff
  • Werner Scholz
  • Lothar Schreyer
  • Otto Schubert
  • Kurt Schwitters
  • Lasar Segall
  • Friedrich Skade
  • Friedrich (Fritz) Stuckenberg
  • Paul Thalheimer
  • Johannes Tietz
  • Arnold Topp
  • Friedrich Vordemberge-Gildewart
  • Karl Völker
  • Christoph Voll
  • William Wauer
  • Gert Heinrich Wollheim

Status Today

Degenerate art has become far worse today from people making “art” with urine, period blood, and feces to women shoving objects up their bodily cavities, dropping them on a canvas and calling it art. Often urine and excrement are put on Christian religious symbols (e.g. the Piss Christ degenerate “art”) but put them on a Muslim or Jewish art piece and it’s not allowed. This is often done as performance art too.[29]

In 2014, 27-year-old jewish artist Lana Newstrom invented a scam called “invisible art” where gullible goyim pay millions of dollars to buy “invisible art” which is really just absolutely nothing at all.[30]

Artistic movements of degenerate art

  • Bauhaus
  • Cubism
  • Dada
  • Expressionism
  • Fauvism
  • Impressionism
  • New Objectivity
  • Performance art
  • Surrealism
  • Parasitic art

Degenerate artists

Main article: List of degenerate artists


What we are seeing are sick products of madness, impertinence and lack of talent. I would need Several freight trains to clean our galleries of this trash.” (Adolf Ziegler, House of Culture of the Third Reich, Munich 1937).

Commentaries on degenerate art: 

  1. You Call That Art?
  2. originally from but the current version lost the photos. Screencap of daily mail with photos
  3. Adam 1992, p.52
  4. Adam 1992, p.53
  5. Adam 1992, p. 53
  6. Adam 1992, p.56
  7. Grosshans 1983, p. 73-74
  8. Laqueur 1996, p. 74.
  9. Laqueur 1996, p. 73.
  10. Laqueur 1996, pp. 73-5.
  11. Adam 1992, p.123, quoting Goebbels, November 26, 1937, in Von der Grossmacht zur Weltmacht.
  12. Adam 1992, pp. 121-122
  13. Barron 1991, p.46
  14. Evans 2004, p. 106.
  15. Barron 1991, p.9.
  16. Barron 1991, pp.47-48
  17. Adam 1992, pp.124-125
  18. Hammerstingl, Werner (1998). “Entartete Kunst”, Retrieved December 31, 2007.
  19. Schulz-Hoffmann and Weiss 1984, p. 461
  20. Karcher 1988, p. 206
  21. Bradley 1986, p. 115.
  22. Petropoulos 2000, p. 217.
  23. Grosshans 1983, p. 113
  24. Entartete Kunst. (1937-07-19). Retrieved on 2010-08-12.
  25. Hellman, Mallory, Let’s Go Paris, page 84
  26. Hickley, Catherine (1946-09-27). ‘Degenerate’ Art Unearthed From Berlin Bomb Rubble. Bloomberg. Retrieved on 2010-11-10.
  27. Rescued pre-WWII ‘degenerate art’ on display in the Neues Museum in Berlin. Retrieved on 2010-11-10.
  28. Charles Hawley (11/08/2010). “Nazi Degenerate Art Rediscovered in Berlin”. Der Spiegel.


Source: Metapedia