Degenerate Art: How the Nazis attacked modernism

"Degenerate Art" is the term Adolf Hitler and his henchmen used to describe works they simply did not like. The Nazis are long gone. Much of the art they denounced has survived, and is now on view. Here's Erin Moriarty of "48 Hours":

In the cultural capital that was Berlin in the early 1930s, art and politics often clashed, with modern artists like George Grosz leading the charge.

A weapon to lampoon those in power, through political cartoons and graphic, sometimes grotesque, paintings. Grosz even dared to caricature lampoon Adolf Hitler.

"George Grosz poked fun at almost everyone, but especially the Nazis," Petropoulos said. "He threatened the Nazis in a way that -- well, they were never going to forgive him."

Grosz' youngest son, Marty -- now 84 -- recalls a story his father told about Nazi thugs coming to his studio: "They're banging on the door: 'Where is that pig Grosz? We want him. We'll take care of him.' And [Grosz] said, 'Oh gee, I'm sorry, he's not here. I'm just the guy who cleans up.' They believed him! And he got out of it that way."

So it's no surprise that when Adolph Hitler decided to wage war against modern art, George Grosz became enemy number one.

His art -- and the works of other contemporary artists, including Paul Klee, Otto Dix, Max Beckmann, Ernst Kirchner, Wassily Kandinsky and others -- were denounced, confiscated from museums, and then put on public display as examples of "Degenerate Art."

The exhibit, Petropoulos said, was clearly "very ideological. It was a way of articulating the Nazi worldview."

A worldview that saw modern art as vulgar and a threat to the German identity.

The original Degenerate Art show opened in Munich on July 19, 1937, and was seen by an estimated two million Germans.

Now some of that art has been brought together again, at the Neue Galerie in New York City.

"It is like a condensed form of what was the historical moment in Munich in the summer of 1937," said the exhibition's curator, professor Olaf Peters.

What makes this new exhibit so unusual is that, for the first time, both the condemned art and art sanctioned by the Nazi Party are on display, side by side.

Even artists who were members of the Nazi Party, like Emil Nolde, weren't spared.

In the case of Nolde's painting of a young girl, explained Peters, what was considered degenerate was "the intense color. It is more the portrait of a girl, not showing us the accurate physiognomy of a girl, but more interpreting her by color."

Also considered to have a "negative influence": A painting of cows, which "in the eyes of the Nazis, was sort of ridiculing what was going on," said Peters.