Barcelona-based Jewish art collective Mozaika posted a trailer for their upcoming film “Verbannung: L’exili jueu a Barcelona (1933-1945).” It features a team of nocturnal sign posters sharing portraits of Jewish exiles who arrived in Spain during the Nazi occupation. David Oliver’s image is pasted up on the streets of Barcelona, honouring his arrival to the city in September1933. “Verbannung” deals with the unexplored lives and history of Oliver and nine other Jewish intellectuals, writers and film makers. Mozaika is a multidisciplinary organization celebrating Jewish culture.
A group of Jewish film professionals flee Nazi Germany for a new life in Spain. Determined to continue with their careers, David Oliver and director cum theatre manager Kurt-Louis Flatau form “Ibérica Films” in Barcelona, 1934. The expertise they bring with them will leave an indelible mark on Spanish Cinema.
A production still from the Ibérica Films production Doña Francisquita (1935). My grandmother (and production chief) Edith Oliver sits in the foreground . Having to work on shoestring budgets forced Ibérica Films to operate very much as a family affair. Directly behind her stands the film’s director, Hans Behrendt. Both are dressed in the ubiquitous UFA work uniform…a white lab coat.
“…..Not much warranted the slogan “Kunst des Dritten Reiches” in this first Grosse Deutsche Kunstausstellung. The subject matter that is usually associated with this period in German history – steely eyed, blond warriors, Hitler and his henchmen in uniform, muscular farmers and breast-feeding mothers – increasingly took over the inventory of subsequent exhibitions. Nazi propaganda art emerged as reputable artists, such as the sculptor Kolbe for instance, changed their style to suit Nazi ideology and as mediocre artists, but fanatic followers of the regime, got promoted […]
A few artists are testimony to the ongoing process of a developing National Socialist style and the abandonment by artists of their aesthetic principles. The sculptor Georg Kolbe was represented with his earlier work in the “Degenerate Art” show. As he altered his style to conform to the Third Reich’s aesthetic demands, his idealized men and women in heroic poses gained entrance into the annual shows at the Haus der Kunst.”
Ursula A. Ginder, The Development of Two Pivotal Art Exhibitions, Munich 1937