The Art Competition
General Preparations
The insertion of an art competition
into the programme of the Olympic Games-a special wish of their reviver,
Baron Pierre de Coubertin—has placed upon the Organizing Committees of
the different festivals the mission of emphasizing to an increasing degree
the intellectual and cultural aspects in addition to the physical and sporting
in making their preparations. A considerable period of time was required,
however, before the artists of the world could be convinced of the necessity
and the object of such a mission, or before they recognized the close connections
between art and sport clearly enough to find in sport a suitable inspiration
for their creations and artistic forms.
Following the Stockholm Olympic Games
of 1912, at which the first art competition was held, the organizers of
each Festival endeavoured to fulfil their obligations in this field in
a satisfactory manner, and the Organizing Committee for the Eleventh Olympic
Games, Berlin, 1936 was confronted with the task of continuing this development
and of arranging an art competition and exhibition which would be in keeping
with the significance of the Games. The preliminary questions pertaining
to this project were considered immediately after the close of the Los
Angeles Games, and preparatory work of a general nature was begun. It was
necessary first of all to find capable and influential personages for the
Olympic Art Committee, and the former Reich Inspector of Art was called
upon to head the Committee, the other members being selected with his assistance
from the different art circles in Germany. The National Socialist Revolution
necessitated many changes in this entire field, however, and indicated
the lines of development to be followed in the final formation of the Olympic
Art Committee.
At the wish of the Reich Minister
of Propaganda, a representative of this Ministry was appointed Chairman
of the Art Committee. Herr Weidemann held this post temporarily from November,
1933 till March, 1934, after which he was replaced by Government Councillor
Kurt Biebrach, who accepted the post in August, 1934. For purposes of efficiency
an attempt was made from the very beginning to limit the membership in
the main and sub-committees as much as possible. The principal committee
was composed of representatives of the different departments, members of
the various individual groups in the Reich Chamber of Fine Arts, outstanding
German artists, representatives from the museums and delegates from the
Organizing Committee. The technical supervision of the Art Department,
and in this connection also of the Olympic Art Competition and Exhibition,
was placed in the hands of Frau Lobeck, and the members of the active committees
for the different fields of art were selected upon the recommendation of
the respective branches of the Reich Chamber of Culture. The principal
committee, which in the course of time underwent several changes, was finally
composed of the following personages:
Government Councillor Kurt Biebrach, Chairman, Reich Ministry of Propaganda
Dr. Theodor Lewald, President of the Organizing Committee
Professor Adolf Ziegler, President of the Reich Chamber of Plastic and
Graphic Arts
State Councillor Hanns Johst, President of the Reich Literary Chamber
General Music Director Peter Raabe, President of the Reich Chamber of Music
Dr. Carl Diem, Secretary-General of the Organizing Committee
Dr. Eberhard Hanfstaengl, Director of the National Gallery
Ministerial Councillor Robert Hiecke, Reich and Prussian Ministry for Science
and Education
Frau Edith Lobeck, Representative of the Organizing Committee
Werner March, Architect
Hans Schweitzer, Reich Commissioner for Artistic Arrangements
Professor Theodor Wiegand, President of the German Archaeological Institute
Since the members of the active committees
would also be called upon to serve as German judges on the international
jury, they had to be selected with this end in view. The members generously
contributed their time and ability to this none too simple task in spite
of the numerous other matters demanding their attention.
The first task was the compilation
of the general regulations for the Olympic Art Competition, these in their
original form having undergone several fundamental and textual revisions,
At the special wish of the German representatives in Section II (painting),
this department was divided into two subsections, painting and graphic
arts, while Group D (commercial art), consisting of placards, diplomas,
stamps and signets, was added to Group C (graphic arts) comprising wood-cuts,
copperplate engravings, etchings and lithographs. Section III (sculpture)
was also given a new sub-section through the removal of reliefs from Group
B and medals from Group C. Since this extension involved the awarding of
an increased number of victors’ medals, the approval of the International
Olympic Committee had to be obtained. This was granted in connection with
the Congress of the International Olympic Committee at Oslo in February,
1935, when the Executive Committee of the International Olympic Committee
approved the regulations without making any changes.
Source document: Official
Report 1936, Vol. 2, page 1106 ff |