Reich Chamber of Culture
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Through Nazi Germany, Nazism and Berlin
Every artist had to apply for membership on presentation of an Aryan certificate. A rejected inscription de facto resulted in an occupational ban.
Structure and organisation
The RKK was affiliated with the Reich Ministry of Public Enlightenment and Propaganda with its seat on Wilhelmplatz in Berlin. Headed by Goebbels himself, a state secretary of his ministry served as vice president:
- Walther Funk (1933–1938)
- Karl Hanke (1938–1941)
- Leopold Gutterer (1941–1944)
- Werner Naumann (1944–1945)
SS officer Hans Hinkel was one of the officers in charge of the chamber and Goebbels' special commissioner for the removal of Jews from German cultural life.
Different subdivisions of the RKK dealt with film, music, visual arts, theatre, literature, media, and radio, organized in seven departments:
- Reichsfilmkammer, headed by Carl Froelich from 1939
- Reichsmusikkammer, headed by Richard Strauss, from 1935 by Peter Raabe
- Reichskammer der bildenden Künste ("Reich Chamber of Fine Arts") (de), headed by Eugen Hönig from 1933, by Adolf Ziegler from 1936, and by Wilhelm Kreis from 1943
- Reichstheaterkammer, headed by Rainer Schlösser 1935–1938, by Paul Hartmann from 1942
- Reichsschrifttumskammer, headed by Hans-Friedrich Blunck, from 1935 by Hanns Johst
- Reichspressekammer, headed by Max Amann
- Reichsrundfunkkammer (tasks assigned to Reichs-Rundfunk-Gesellschaft in 1939)
The RKK was ultimately dissolved and its assets confiscated by Law no. 2 (October 10, 1945) of the Allied Control Council. Footage and archives material are kept by the German Federal Archives (Bundesarchiv) and the Berlin Document Center.
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Degenerate art
The RKK played a significant role in the Nazi oppression of Modern art, defamed as "Cultural Bolshevism". One notable project of the Bildende Künste (Fine Arts) division under Adolf Ziegler was the Entartete Kunst exhibition, of works deemed "degenerate." Opened in July 1937 at the Hofgarten in Munich, touring exhibitions were held from 1938 to 1941 in several major German cities such as Berlin, Leipzig, Düsseldorf, Salzburg, and Hamburg. Attendance was measured in the millions (perhaps largely because entrance was free), and the so-called degenerate art may have been more popular with the public than the Nazis anticipated. Goebbels had supported German expressionists until Hitler intervened and expressed his disgust at artists such as Max Liebermann and Emil Nolde. To raise cash for the Nazi war effort, certain art dealers were authorised to emigrate to New York to sell the art.