A Glimpse into Extravagance and Art in 1920s Berlin

Wolfgang Gurlitt portrayed by Edvard Munch in 1912. Albertina, Austria.
The image is in the public domain. Source: Wikimedia Commons.

After World War I, those who hoped for peace and stability were quickly disappointed. The Weimar Republic was far from a haven of security. Economic hardship, political instability, and social unrest characterized this tumultuous period.

The economy was in shambles, with hyperinflation wreaking havoc. By late 1923, the currency had become virtually worthless, and everyday items cost astronomical sums. This economic chaos fueled political extremes, leading to violent clashes and a fragile democracy.

Amid this turmoil, Berlin's art scene thrived, reflecting the social upheavals and aspirations of the time. Artists became increasingly politicized, using their work to support social revolution. The Novembergruppe , founded in December 1918, epitomized this movement. They advocated for art to be accessible to the masses and to play a role in societal change.

My grandfather, Wolfgang Gurlitt , played a significant role during this era. Despite the economic hardships and political turmoil, he led an extravagant lifestyle that mirrored the excesses of the time. Living in a stylish villa, he was untouched by common hardships, managing to secure food and luxuries through the black market.

One of Wolfgang's most ambitious projects was transforming his gallery and his villa into an expressionist Gesamtkunstwerk with the help of architect Walter Würzbach . Despite interruptions caused by material shortages and the war, the project was completed and unveiled in June 1918. It showcased his commitment to modern art and his flair for the dramatic.

Wolfgang's ventures were not without controversy. In 1920, several of his publications were confiscated for obscenity, leading to a trial that highlighted the tension between artistic freedom and societal norms. Financial struggles persisted, exacerbated by his lavish lifestyle and the economic conditions of the time. By the late 1920s, mounting debts forced Wolfgang to make difficult decisions, including selling artworks to the National Gallery. Despite these challenges, he remained deeply engaged in the art world, continually organizing exhibitions and exploring new ventures.

This vibrant yet volatile period in Berlin's history is the backdrop for my upcoming book, The Gallery at Potsdamer Platz. The novel explores how art can serve as both a refuge and a form of resistance in times of oppression. Through the story, readers will witness the beauty and darkness of Berlin's golden art era, experiencing the city's highs and lows.