Hermann Gradl

Hermann Gradl (born February 15, 1883 in Marktheidenfeld , † February 15, 1964 in Nuremberg ) was a German painter , draftsman and illustrator as well as a university lecturer.

Live and act

origin

Hermann Gradl was born on February 15, 1883 in Marktheidenfeld, Lower Franconia, as the second son of Jakob Gradl and his wife Theresia, née Tritschler. His father was a lawyer and at that time a district administrator (corresponds to the current function of a district administrator ) of the then independent district of Marktheidenfeld (today part of the district of Main-Spessart ). His parents owned an official apartment in the district office at Mitteltorstrasse 47, where Hermann Gradl was born. The early death of his wife in 1891 prompted his father to leave his sons in the care of his sister in Dillingen ad Donau. Gradl attended high school there , which he left with the "one-year-old".

Applied arts training in Munich

Supported by his cousins ​​Hermann Gradl the Elder and Max Joseph Gradl , who were already recognized as successful Art Nouveau artists, he was able to get his father trained as an artist. In 1899 he began this as a student at the municipal trade school in Munich . At that time he was already designing Art Nouveau decorations and shapes for the Nymphenburg Porcelain Manufactory . The then 17-year-old designed a fish platter from 1899. At the Paris World Exhibition , Gradl won a Grand Prix with his designs.

In 1901 he moved to the Munich School of Applied Arts , where he was accepted into the weaving class under Professor Theodor Spieß and, in 1905, was one of his master students. Even at this time Gradl felt his penchant for painting . In the Neue Pinakothek he studied the masters of the 19th century , especially the old German and Dutch, and tried his hand at making copies . He also worked as an artistic advisor to the Johann Lipp art pottery in Mering near Augsburg . In collaboration with his cousins Gradl worked as use graphic artist and designed bookplates , book decoration, wine and menus, designs of textiles and ceramics as well as for house and apartment facilities.

Teacher at the Nuremberg School of Applied Arts

In the summer of 1907 Gradl accepted an offer from the Royal School of Applied Arts in Nuremberg (today's Academy of Fine Arts Nuremberg ) and was appointed to teach weaving, ceramics and children's toys. The following year he moved to Nuremberg and married his wife Mary. A son was born to the couple on November 20, 1909. His workshop neighbor in the arts and crafts school was Rudolf Schiestl.

Landscape painter

In addition to his teaching profession, Gradl continued his self-taught training in painting and in 1909 won an artistic competition from the city of Nuremberg. From then on he worked as a landscape painter. The Städtische Galerie Nürnberg bought its first oil painting "Am Täubleinshof", which Gradl had shown in an exhibition of Franconian artists in the new Kunsthaus. With his first works he successfully participated in an exhibition in the Munich Glass Palace in 1913/14. When Nuremberg artists exhibited their works in Leipzig in 1918 , Gradl was able to sell all of his 12 paintings there within an hour.

Book publications and illustrations

As early as 1920 Velhagen & Klasing published a special issue by Heinrich Bingold on Gradl. The same author published the monograph "Hermann Gradl, a new German painter romantic" in the Hädecke publishing house in Stuttgart. Only one year later, the autodidact was included in Thieme-Becker 's lexicon of artists and was thus finally part of the circle of established artists. Gradl also devoted himself to book illustration during these years. He illustrated a Wilhelm Raabe trilogy, the “Märchenbuch Deutscher Dichter” and in 1924 Joseph Victor von Scheffel's “Ekkehard”. The works "Die Ahnen", "Soll und haben" and "Die verlorene Handschrift" by Gustav Freytag appeared in 1926 with Gradl's illustrations. Finally, he contributed the drawings for the children's book “The Sleepy Sunday” by Jella Lepmann, published in 1927.

In 1924 the Hädecke-Verlag published a book entitled "German Landscapes by Hermann Gradl", edited by H. Uhde-Bernay. Gradl continued to produce designs for the Lipp art pottery in Mering from 1925 to 1930. His Christmas plates became particularly well known.

In the period from 1924 to 1927, over 200 oil studies and drawings of the Rhine were made , which Gradl traveled as a passionate driver from the source to the mouth. 50 paintings executed in the studio based on the results of his search for a motif were exhibited in the Cologne Cathedral Gallery and other locations on the Rhine. However, the publication of an art volume, as well as a planned illustration of Gottfried Keller's works , for which 80 drawings were already available, failed due to the economic conditions in the wake of the global economic crisis of 1929.

Professor of Applied Drawing

In 1926 Gradl was promoted to full professor for the arts and crafts drawing of fabric, wallpaper and inlays.

In 1933 he took a trip to the Mediterranean. Another book with works from the period from 1927 to 1933 was published in 1936 under the title “The beautiful German South” and with a text by L. Ankenbrand, again by Hädecke-Verlag.

In National Socialism

With his romantic landscape paintings Gradl did not run the risk of contradicting the views of the National Socialist art policy that were valid in the meantime , so that, unlike many painters of modern styles, whose works were disqualified as " degenerate ", he was not subject to any restrictions. His painting style and his works were only now experiencing the major breakthrough, as they corresponded exactly to the art style propagated in the National Socialist German Reich , which was based on the naturalism of the 19th century and made functionalistically useful for communicating ideology. Just as vehemently as in architecture, modernism was not only rejected, but also banned from public art life by the inquisitorial act.

In 1934 Gradl joined the National Socialist Teachers' Association (NSLB) with membership no. 291047 at.

The "best landscaper"

During one of his numerous stays in Nuremberg in 1937 , Adolf Hitler noticed several paintings by Gradl in the studio of the architect Franz Ruff and aroused his interest. Ruff had the construction management for the congress hall at the Nazi Party Rally Grounds held and was the godson Gradl. Hitler was immediately taken with the pictures and said: “Anyone who paints such pictures must be a decent guy!” Gradl describes the subsequent visit to Gradl's studio in his autobiography as follows:

“(I) was waiting for the Führer at my door. Lord Mayor Liebel introduced me, a piercing look examined me. The guide entered the studio, and I accompanied him with mixed feelings. All the pictures that were hanging and standing were examined closely, not a word spoken. The gentlemen of his company stood at a respectful distance, an embarrassing calm. The guide sits down on my divan and is still looking around the studio. I stand alone across from him at the window. Suddenly he gets up, walks up to me, I am very frightened, he looks so wild, and says: I will destroy Bolshevik art in a very short time, you can rely on that, my dear professor. "

Hitler selected eight of Gradl's works for the exhibition in the Haus der Deutschen Kunst in Munich. Gradl was represented at all art exhibitions there until 1943.

In a letter dated October 19, 1937 to the Lord Mayor of Nuremberg, Willy Liebel , Gradl commented on Hitler's visit to his studio:

“… I had the undeserved luck to experience the highest distinction that a German man can think of and hope for: To be received by the Führer, to be able to spend a few hours next to the Führer. This gorgeous u. I owe an unforgettable experience, this highlight of my life, to your benevolence, dear Lord Mayor. I believe that I can best express my thanks for this, also in your interests, by using all my might to create the wonderful third realm and the like created by our Führer. especially to glorify our Franconian homeland in pictures in order to bring it even closer to the German people. Heil the Führer! "

After Hitler's public recognition, Gradl was pleased to state:

"My adversaries left me alone now, I was no longer bothered, on the contrary, all the gentlemen who had previously treated me very arrogantly and badly, were now looking for my friendship ... Through the intervention of the Fuehrer I became ... the most shown artist, ( and) many of the high-ranking gentlemen from the party and state suddenly wanted to have a graduate degree, because the Führer had repeatedly stated that I was by far the best German landscapist!

A new group of buyers from the National Socialist leadership were interested in Gradl, who had been ennobled in this way, so that he could sell pictures to top functionaries such as Speer and Goebbels . His previous annual income as well as his salary have doubled compared to previous years.

In a letter dated August 1, 1946 to the Bavarian State Ministry for Education and Art, Gradl explained the increased interest in demand:

“Up until 1937, my pictures were bought by wealthy merchants, industrialists and high officials, from 1937–1945 the buyers of my pictures were mainly the National Socialists, who had become rich in the meantime, and now wealthy merchants, industrialists, high officials and American officers are buying my German landscapes again; so always those who are currently the strongest economically. "

Professor of landscape painting

At Hitler's behest, Gradl took over a class for landscape painting at the State School for Applied Arts in Nuremberg in 1938. Gradl:

“Finally I was rid of the arts and crafts, which I had to drag along as uncomfortable ballast for a full three decades. Now, when I was 55, I could devote myself to my landscape painting "

Interior painter for the New Reich Chancellery

Although he has only appeared as a landscaper in small and medium formats so far, Hitler commissioned him to produce six monumental paintings for the dining room of the New Reich Chancellery in Berlin . Hitler, who described Gradl not only as the most important German landscape painter, but also as one of the “twelve indispensable artists of the Third Reich”, invited him to Berlin for his 50th birthday. On May 23, 1939, he received an advance payment of 70,000 Reichsmarks for the pictures he had ordered, which were to adorn the huge 48 m long, 10.50 m wide and 5 m high dining room . With the names “Hochgebirge”, “Bächlein”, “Seenlandschaft”, “Flaches Land” and “Flusslandschaft”, the paintings should reflect the “typical manifestations of the German land in its ties of nature and culture, from its diverse formations as the land of the German homeland “Represent. When the landscape paintings were finally acquired by the state on May 10, 1941, Gradl received the remainder of his fee totaling 120,000 Reichsmarks. It is not known whether the pictures were actually all made and where they may have gone. Hitler himself had also bought an oil painting entitled “Mainlandschaft” for 23,000 Reichsmarks.

Director of the Academy of Fine Arts

In 1939 Gradl moved into his own house with a studio at Teutonenstraße 45 on the Pulversee, designed by Fritz Mayer . In the same year he was appointed director of the state school. Allegedly this happened against his will:

"I only demanded complete rest for my artistic obligations and wanted to be exempt from all political and party obligations and events and made the condition that I was assigned a deputy who would take over the entire administrative work of the school for me."

On May 31, 1940, the state school was converted into the "Academy of Fine Arts in the city of the Nuremberg Rallies".

Party entry and exit from the church

On January 1st, 1941 Gradl joined the NSDAP and received membership no. 7848329. After the war, Gradl stated that Nuremberg's Lord Mayor Liebel had suggested this to him as Hitler's express wish. In the same year his wife died, whom he described as his "best comrade". A year later he resigned from the Catholic Church.

Honorary citizenship and esteem

The Marktheidenfeld market at that time made Gradl an honorary citizen on December 30, 1942. However, the corresponding certificate was only presented to him on the occasion of the 1100th anniversary of his home parish on August 13, 1955. The University of Erlangen also granted him honorary citizenship in 1943. In the same year he was awarded the Main Franconian Art Prize.

On his 60th birthday, the city of Nuremberg proposed that he be appointed Reich Culture Senator and be awarded the title of “President” for the Academy Director. The award of the " Goethe Medal ", an award for outstanding services in science and art, which usually only came into consideration on the 70th or 75th birthday, was proposed, although after a decree by Hitler during the war, titles and decorations were fundamental could only be awarded to a very limited extent. Just ignoring these stipulations in the proposed proposal shows the esteem Gradl enjoyed in the leading political circles. The fact that he ultimately received neither a title nor a medal, but “only” had to be content with a personal telegram from Hitler from the Führer headquarters, cannot change that.

Another book with 80 illustrations of his pictures was published in 1943 by Hädecke-Verlag with the title “Hermann Gradl. German landscape ”, commented by W. v. Scholz and Eberhard Lutze.

Gradl was also listed on the special list of the twelve most important visual artists of the so-called Gottbegnadeten list (leader list) created in 1944 .

Gradl's house was damaged several times during the Allied bombing raids on Nuremberg. After the occupation by the Americans on April 17, 1945 Gradl went to Marktheidenfeld for some time. He was removed from his post as director of the academy.

denazification

During the denazification Gradl, who like other artists also took a positive position for the Frankish Gauamtsleiter and Nuremberg city councilor Hans Bäselsöder, who was interned in Moosburg from 1945 to 1948, was removed from the on March 24, 1948 (Ref .: Gz. I / 206; G 240) Spruchkammer I of the Nuremberg district only classified as a fellow traveler and sentenced to a fine of 2,000 Reichsmarks. After completing the proceedings, he was reinstated as the Academy Director. Gradl retired that same year.

Exhibitions and honors

Between 1949 and 1954 Gradl traveled through the Upper Palatinate , the Rhineland , southern Germany and Main Franconia . A trip to Italy followed. In 1955 he went on a study trip to the Moselle and took part in the opening of the first Gradl exhibition after the war in the Otto Richter Halle in Würzburg on July 7, 1955 as part of the “Franconian Days 1955”. From August 13 to 21 of the same year, an exhibition organized by Gradl himself was shown on the occasion of the 1100 year celebration in Marktheidenfeld. The city unveiled a bronze plaque on the house where he was born. At the same time he was presented with the certificate of honorary citizenship, which had already been awarded in 1942. Gradl proudly noted in his autobiography:

“… Opening of the exhibition on August 13th. In nine days this exhibition was visited by 3,500 people,… a huge success. ... After wonderful days in Marktheidenfeld, return to Nuremberg on August 22nd '"

On July 3, 1957, the town council of Marktheidenfeld finally decided to name a street to Gradl in the northern development area. On his 80th birthday, a delegation surprised its honorary citizen with gifts from his place of birth.

Almost 1,000 more paintings had been created since his retirement. His oeuvre includes over 8,000 drawings, almost 2,100 oil paintings and hundreds of illustrations. In 1963 Gradl awarded 300 of his hand drawings and 50 oil paintings to the city of Würzburg . In an addendum of July 22, 1963 to his will, he decreed that Marktheidenfeld should also receive 45 pictures and 20 graphic sheets for a planned Gradl gallery, linked to the condition that these should be accommodated in "dignified" rooms.

On February 15, 1964, his 81st birthday, Hermann Gradl died of a heart attack in Nuremberg . He was buried in the Westfriedhof there.

Work and effect

As a trained artisan, Gradl came to painting relatively late at the age of 25, which he appropriated autodidactically . The old Germans, the Dutch minor masters, the German painters of the 19th century and, above all, those of naturalism served him as models . He was particularly oriented towards Hans Thoma . Based on his studies of the older painting techniques, Gradl created genre pictures of small town and architectural motifs. In addition, there were landscapes in the style of romanticizing realism . His orientation to Spitzweg's small town idylls is clear when he humorously decorated motifs from Nuremberg and the surrounding area with philistines. Different formative influences of Old German painting, Romanticism and Art Nouveau prevented Gradl's early work from developing an independent handwriting. However, this was increasingly evident in his pure landscape paintings, insofar as they dispensed with epigonal decorations. Gradl made his small and medium-sized oil paintings in the studio based on the sketches he made on site.

A very essential characteristic of his romanticizing landscapes is the absence of all contemporary infrastructure and technical elements. In almost all of his pictures, there are no railway lines, telephone poles, motorways, power lines, factories, etc. In the 20th century, he painted pictures from the 19th century that reproduced an undisturbed, intact landscape and were intended to meet the need for an unproblematic and harmonious world . The price for such an antagonistic representation of reality was a smoothed, standardized and almost interchangeable genre painting that no longer had any real relationship to reality. With his well-composed landscapes he met a widespread desire of the time, which was characterized by the avant-garde art business of the 20s of the last century, (and which often overwhelmed a conservative audience with impressionistic, abstract and non-representational painting) for easily understandable and pleasing art.

Functionalization and participation

According to the National Socialist conception of art, this had to serve to convey the Nazi ideology and thus to help secure rule. This was true in general and therefore also and especially ostensibly non-political pictorial themes, such as B. landscape painting. Therefore, a formal aesthetic image analysis falls short. A functional analysis must also be carried out to clarify which political goals these paintings were made to serve.

With the end of the independent art business at the beginning of the “ Third Reich ”, Gradl's style of painting was ideologically appropriated. The art policy of National Socialism rejected modern art as an invention of the “Jewish-Bolshevik racial enemy” and qualified it as “degenerate”. The so defamed modernism was countered by the National Socialist art theory with ideas that, instead of the uncertainty caused by “destructive-Marxist-Jewish elements” , linked to a secure existence with terms such as people, home, family, blood and soil . The traditional genre painting was favored again. In accordance with the blood and soil myth, landscape painting was of great importance. With the emphasis on an idealized concept of home, the will to fight should be strengthened. Landscape images of a pre-industrial society should evoke associations with rural and village life without social conflicts and without the destruction of nature. The city preferred by the modern age, with all its negative phenomena, was contrasted with the image of a healthy and socially intact village life and an undisturbed landscape.

With his landscape and village idylls, Gradl was one of the painters who already fully complied with the demands of National Socialist art theory and politics without being aware of it. Not because Gradl painted National Socialist (a "style" that is just as impossible as a communist one), but because the results of his art production precisely matched the ideological requirements and could therefore be perfectly functionalized. Gradl's pictures are not negative in themselves, but rather their political charge, which they received through the functionalist use in the sense of Nazi ideology. Of course, the National Socialist art policy also appropriated the works of many other artists for their own purposes. But in contrast to painters, who were no longer alive in 1933, Gradl was responsible for the use of his works by those in power at the time. He also took a clear position in that, as professor and director of the Academy of Fine Arts in Nuremberg, he put himself fully at the service of the ideologically regulated art business and firmly committed himself to Nazi ideology. It was only on the wave of the National Socialist conception and promotion of art that Gradl achieved the importance that made him one of the best-known exponents of state-official painting at the time. He expressed his satisfaction with the appreciation of his works by Hitler and the leadership of the system not only in exuberant eulogies. In 1943 he said as a thank you on the occasion of the congratulations on his 60th birthday:

"But I want to pay my devotion and thanks to the Führer, to whom I owe my ascent for the most part, that I will continue to put all my skills, my full strength and energy into the service of German art."

Even in his biographical notes in 1948 he stuck to his view. He put himself actively and with full conviction in the service of the National Socialist rulers. This went so far that he resigned from the Church in 1941; an act that was expected of SS members, but was very unusual for artists.

Reception after 1945

Just as bluntly as Gradl had made himself subservient to the National Socialist art business, he presented his role in the “Third Reich” as completely apolitical and self-evident. All functions and honors were more or less forced upon him. He didn't change the slightest thing about his painting style. This view also entered the public evaluation of his work after the war. His pictures were now released from their functionalization and thus politically neutralized. What remains for the inexperienced observer are harmless landscape and genre images . Gradl's popularity was not damaged, as the demand for his pictures showed.

To the Gradl picture in his place of birth

In Gradl's place of birth, his honorary citizenship from 1943 was confirmed as early as 1946 on the grounds that this was exclusively for the artist Gradl and that political aspects did not play a role. At the latest after the denazification and the classification of Gradl as a “fellow traveler”, he was again considered an unencumbered landscape painter, who had no responsibility for his involvement in the National Socialist art business, nor was he to blame. On the occasion of the city's 1100th anniversary and on Gradl's 72nd birthday, he was officially presented with the award certificate for his honorary citizenship. For his birthday the following year, a delegation from Marktheidenfeld brought a case of wine. A Gradl gallery was not set up in the house where he was born, as it was demolished in 1973.

On the occasion of the 100th birthday, a catalog accompanying the exhibition “Hermann Gradl - Marktheidenfeld his hometown” was published in 1983 with the pictures that Gradl had bequeathed to the city, supplemented by private loans. In the foreword of the catalog, Gradl was showered with praise. A permanent exhibition of Gradl pictures, which was then to be set up in the attic of the Old Town Hall, was abandoned because the city council chamber was housed there for a few years. Today the adult education center uses the rooms as classrooms.

The resident writer Peter Roos, who grew up and lived in Marktheidenfeld, turned out to be a disruptor of an uncritical and shortened Gradl reception in his hometown . In several publications in national magazines and above all through his "Novel of a Disease" with the title "Love Hitler" from 1998 he got to grips with the official Gradl image.

Since 2000 there has been a documentation room in the municipal cultural center Franck-Haus, in which Gradl's work is critically classified in art history. The space for dealing with the topic of "Art under National Socialism" is offered. For a few weeks at the opening, a selection of Gradl pictures owned by the town of Marktheidenfeld was shown, which are otherwise kept in a magazine that is not publicly accessible.

literature

• Robert Thoms: Great German Art Exhibition Munich 1937-1944 . Directory of artists in two volumes, Volume I: painter and graphic artist. Berlin, 2010, ISBN 978-3-937294-01-8
• Hermann Gradl. Marktheidenfeld, his hometown. Catalog for the city of Marktheidenfeld's exhibition of the century for its honorary citizen. Series of publications No. 6 of the historical association Marktheidenfeld und Umgebung eV, undated (1983).
• Horst Bröstler: Hermann Gradl, the romantic painter and landscape painter. Marktheidenfeld 1989.
• Heiner Dikreiter : Art and artists in Mainfranken. Mainfränkische Hefte No. 18, 1954.
• Peter Roos : love Hitler. Novel of a disease. Tübingen 1998, ISBN 3-931402-34-7 .
• Ernst Klee : “Hermann Gradl” entry in Ernst Klee: The cultural lexicon for the Third Reich. Who was what before and after 1945. S. Fischer, Frankfurt am Main 2007, ISBN 978-3-10-039326-5 .
• Angela Schönberger: Albert Speer's new Reich Chancellery. On the connection between National Socialist ideology and architecture. Berlin 1981, ISBN 3-7861-1263-0 .
• Sonja Günther: Design of Power. Furniture for representatives of the Third Reich. ISBN 3-926642-19-X .
• Reinhard Müller-Mehlis: Art in the Third Reich. Heyne-Stilkunde Volume 3, Munich 1976, ISBN 3-453-41173-0 .
• Hermann Gradl . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 60, Saur, Munich a. a. 2008, ISBN 978-3-598-22800-1 , p. 12.
• Gradl, Hermann . In: Ulrich Thieme , Fred. C. Willis (Ed.): General lexicon of visual artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 14 : Giddens-Gress . EA Seemann, Leipzig 1921, p. 472 ( Textarchiv - Internet Archive ).
• Hermann Gradl . In: Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. tape 2 : E-J . EA Seemann, Leipzig 1955, p. 286 .

Web links

• Literature by and about Hermann Gradl in the catalog of the German National Library
• formguide.de
• Rainer Kippe: Hermann Gradl - the immortal painter of the Führer (PDF; 28 kB)
• Stadt Marktheidenfeld - information space on the life and work of Hermann Gradl. The landscape painter Hermann Gradl
• Hermann Gradl , Website
• Gradl Pictures in the Great German Art Exhibitions 1937-1944 in Munich

Individual evidence

1. ↑ Archive link ( Memento of the original dated December 28, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. 
2. ↑ Autobiography “I tell from my life”, unpublished manuscript, quoted from Roos, s. Literature.
3. ↑ Autobiography, quoted from Roos, pp. 58/59.
4. ↑ Autobiography, quoted from Roos, p. 56.
5. ↑ Autobiography, Roos, p. 23.
6. ↑ Autobiography, quoted from Roos, p. 119.
7. ↑ Autobiography
8. ↑ Eberhard Lutze: "Symbols of the German Land", in "The Art in the German Reich" 3, 1939, p. 218.
9. ↑ See the list of the pictures acquired for the Reich Chancellery at the instigation of the General Building Inspector for the Reich capital, Bundesarchiv Koblenz R43II / 1062b, printed in Schönberger, p. 194 ff., See literature.
10. ↑ According to Günther, p. 67, the paintings “Seascape”, “River Landscape”, “Middle Mountains” and “High Mountains” were placed in the four middle niches of the dining room, which, incidentally, was not intended for representative purposes. No photographs are known.
    In the report on an “Exhibition of Living Franconian Artists” at the “Academy of Fine Arts” in Nuremberg in 1940, however, the exhibition contribution by the new Academy Director Gradl is described as follows: “The main room is dedicated to his work. Professor Hermann Gradl's large paintings, which were created to adorn the Reich Chancellery, form the focus of the entire exhibition. The works are already known to many people through the exhibition at the House of German Art. "(Dr. Hans Ludwig Zankl in" Kunst dem Volk ", monthly for the visual and performing arts, architecture and handicrafts, 11th year, volume 5, May 1940 , P. 50)
11. ↑ See the directory of the paintings, graphics and sculptures used in the Reich Chancellery extension building, insofar as they come from the purchases made by the Führer from the House of German Art, Bundesarchiv Koblenz R43II / 1054b, printed in Schönberger, p. 187 ff., See literature.
12. ^ Matthias Donath Nuremberg 1933–1945. City of the Nazi party rallies. Petersberg 2010, ISBN 978-3-86568-488-2 , pp. 133/134.
13. ↑ Roos, p. 31.
14. ↑ Klee 2007, p. 194, Federal Archives 55/20252/1.
15. ↑ State Archives Munich: Spruchkammern. Box 58.
16. ↑ Quoted from the catalog for the exhibition of the century, s. Literature.
17. ↑ Roos, p. 133.