The image of a man in a monumental German plastic of 1930 - 1940-ies

Despite the characteristic for the first half of the twentieth century radical renewal of art, sculpted by the German school of this period has maintained a commitment to the figurative visual language. Monumental sculpture in the Third Reich was assigned to one of the main role that was the most effective link of the cultural policy. Imperial style and ideal image were signified in the plastic. This style was corresponding to the ideology and spirit of the dictatorial regime. Demonstration ariosophy myths manifests itself as the desire for power Aryan perfection and beauty on a degenerative non-Aryan peoples. Hitler was well aware of the ability of art to influence the souls of men and to transform their consciousness, to manipulate him. Thus, addressed to the mass audience, the monumental sculpture has become the main “weapon” in Imperial cultural politics. The second and third task was to demonstrate to the world the enormous power of the German nation and to create the cultural standard of the true Aryan (spiritual, intellectual, physical). Bringing a sculptural male figure to the stage of the absolute, masters of the Imperial chamber meanwhile were forming a new image of Superman. A Peacefully standing male figure in a classical opposite, was the epitome of a perfect representative of the Nordic race.

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