Adolf Hitler, the infamous dictator of Nazi Germany, harboured a peculiar fascination with classical art, particularly ancient Greek sculptures. Among his many ambitions and desires, Hitler’s obsession with collecting these exquisite artifacts stands as a testament to his complex personality and twisted worldview. One such acquisition that garnered significant attention was his pursuit of the Discus Thrower, a renowned copy of the Greek statue, from an Italian family. In this article, we delve into the intriguing story behind Hitler’s obsession with Greek statues and the controversial acquisition of this masterpiece.
Hitler’s Fascination with Classical Art:
Adolf Hitler’s fascination with classical art can be traced back to his early years as a struggling artist in Vienna. While his dreams of becoming a renowned painter were never realized, his appreciation for classical aesthetics endured. Hitler often spoke of the alleged superiority of ancient Greek and Roman art, believing it exemplified the ideals of a racially pure and superior civilization.
His obsession with classical art was intertwined with his broader ideology of Aryan supremacy. Hitler envisioned himself as a modern-day Caesar, and he sought to establish a grand museum that would house the greatest works of classical art, serving as a testament to the supposed superiority of the Aryan race.
The Pursuit of the Discus Thrower:
One of Hitler’s most notable endeavours in acquiring classical art was his pursuit of the Discobolus of Myron, commonly known as the Discus Thrower. This ancient Greek sculpture, created by the renowned artist Myron in the 5th century BCE, is celebrated for its depiction of an athlete captured in the midst of a discus throw. The statue embodies the grace, athleticism, and idealized human form revered in ancient Greece.
The Discus Thrower was not just a work of art to Hitler; it symbolized his vision of an Aryan utopia. He believed that possessing such a masterpiece would underscore his claim to a superior civilization. The statue’s embodiment of physical prowess and idealized human form resonated deeply with Hitler’s vision of an Aryan master race.
The Acquisition:
Hitler’s pursuit of the Discus Thrower led to Italy, where a beautifully restored copy of Myron’s original bronze statue, now known as the Lancellotti Discobolus, had been in the possession of the Massimo family for generations. Originally found in the Massimo’s property on the Esquiline Hill in Rome.
While the family faced financial difficulties during the economically turbulent times of the 1930s, they were initially hesitant to part with their cherished family heirloom. However, under pressure from the Nazi regime and the promise of a substantial financial reward, they eventually agreed to sell the statue to Hitler’s Germany, for five million lira. Negotiations for the acquisition of the statue were carried out by Hitler’s chief art procurer, Hans Posse.
The Discus Thrower was transported to Germany and displayed in the Glyptothek Museum in Munich, a museum that showcased classical sculptures. Hitler’s dream of establishing a grand museum for his extensive art collection, known as the Führermuseum, never fully materialized due to the chaos of World War II. As a result, many of these acquired masterpieces, including the Discus Thrower, remained hidden from the world’s view.
It was eventually returned to Italy thanks to the tireless work of art historian Rodolfo Siviero and can be viewed in the Palazzo Massimo in Rome.
Conclusion:
Adolf Hitler’s obsession with classical art, particularly Greek statues like the Discus Thrower, sheds light on the intricate interplay between art, ideology, and power during the dark days of Nazi Germany. His quest to acquire such masterpieces not only reveals his skewed worldview but also the extent to which he was willing to go to achieve his ambitions.
The story of Hitler’s pursuit of the Discus Thrower serves as a chilling reminder of the role art played in his megalomaniacal vision for the world. It also highlights the moral complexities surrounding the ownership and acquisition of cultural treasures during times of political upheaval and tyranny. Today, the Discus Thrower stands as a symbol not only of ancient Greek athleticism but also of the enduring questions surrounding the ethics of art acquisition and ownership.
