Typescript of Milada Součková’s “Testimony. Diary from 1939” – pp. 35

“Karl Spitzweg (1808-85). In kleinen Bildern gibt er das Bayerische Spiessbürgerleben, -. Einen deutscheren Meister, nächst Schwind und Ludwig Richter, als Spitzweg gibt es aber nicht. Motive wie der arme Poet im Dachstübchen und die Einsiedler in München, die Touristen im Gebirge und der alte Herr auf der Terrasse in Hamburg, der Kirchgang bei Dachau in Dresden, die Mädchen auf der Alm in Leipzig und der fischende Franziskanerpater in Frankfurt kennzeichnen seine Richtung. Spitzweg ist ein Vollvertreter der Biedermeierzeit.”
I underscore the words Spiessbürger and Biedermeierzeit. And just mechanically: Munich, Dachau. You see, it is not difficult to combine an admiration for Spitzweg’s bourgeois and good-natured art with an admiration for the concentration camps, where Jews and anyone daring to cry out 'Freedom!' are herded.
Tell me what paintings you give as gifts, and I will tell you who you are.
Richter’s drawings influenced Mánes, and Mánes, in turn, influenced Aleš. The same entity can be used for both virtuous and malevolent ends. ‘Integral nationalisms, including the German and the Czech kinds, have much in common,’ remarked one editor. Therefore, patriots, think carefully before you raise your voices.”
Subject: A Woman in the Pantheon
Author: Součková, Milada
Title: Typescript of Milada Součková’s “Testimony. Diary from 1939” – pp. 35
Licence: Free license

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