Allach Hitler Bust
Larger-than-life ceramic bust of Adolf Hitler manufactured by Allach Porcelain and marked O. Obermaier. Characterized by a solemn yet determined countenance and possesses a likeness to the Führer attained by but a few such sculptural renditions, emanating a certain mystical quality. Extremely rare specimen with only thirteen believed to have been manufactured in honor of outstanding Schutzstaffel (SS) regiments. The bust was originally designed by Ottmar Obermaier, employed from 1935 by the newly founded Allach Porcelain Manufactory and whose works were represented at the prestigious Große Deutsche Kunstausstellung (Great German Art Exhibition).
Porzellan Manufaktur Allach (Allach Porcelain Manufactory) was owned by the Allgemeine-SS (General SS) and was focused on producing works of art that were considered representative of Germanic culture. It operated out of Dachau concentration camp which housed its main production facilities. While their factories did utilize the slave labor available in abundance to them at the camp, the conditions its workers were met with were noted to be of a considerably higher standard than that of the average concentration camp inmate. Alongside ceramics, their factories also produced everyday amenities such as tableware and receptacles. However, Allach was not conceived as an economic enterprise unlike the activities of the rest of the camp system which operated under the oversight of the SS Main Economic and Administrative Office. Instead, the SS saw these porcelain artworks as a means to encourage the cultural development of German society along National Socialist principles.
Allach’s official production inventory lists over 240 variations of ceramic and porcelain models. Alongside these commercial offerings, there were unrecorded special designs lacking model numbers which were offered exclusively as commemorative gifts or prizes, amongst which was this bust. The former were marked with Allach’s trademark symbol of two overlapping sig runes, not dissimilar to the doppelte Siegrune of the SS. The latter, special models such as this award usually lacked such markings.
Obermaier’s masterful rendition captures the sentimental quality of Hitler’s impassioned devotion towards Germany and its people which drew so many to his cause. His transcendental quality is made apparent in Leni Riefenstahl’s groundbreaking film Triumph of the Will (1935), which documents the 1934 Nuremberg Rally. This divine mysticism is evident from the first sequences of the film, with Hitler descending from the clouds in an airplane. He was considered by many at the time as the messiah destined to lead Germany to glory. Hermann Göring said of the Führer that “There is something mystical, inexpressible, almost incomprehensible about this one man…We love Adolf Hitler because we believe, deeply and steadfastly, that he was sent to us by God to save Germany.” Similarly, Joseph Goebbels referred to him as “the Greater German, the Führer, the Prophet, the Fighter that last hope of the masses, the shining symbol of the German will to freedom.” Hitler himself stated “I believe I am an instrument of nature to liberate Germany.”
Despite his errors, Hitler was genuine beyond any doubt in his intentions and in the manner in which he presented himself. At his speech in Vienna on April 9th, 1938 commemorating the Anschluss that had just taken place, Hitler’s voice can be heard trembling and nearly fail as he is himself so deeply moved by the momentous jubilance of his homeland Austria joining Germany proper, witnessing the perennial dream of Großdeutschland (Greater Germany) come to fruition before his eyes. His speeches were no mere oratory performance but a voice that rose from the depths of his soul.
Carl Jung reached the metaphysical conclusion that Hitler was nothing other than his own unconscious, into which the German people projected their own selves; that is, he was but a vessel to carry out the collective, unconscious will of seventy-eight million Germans. He was the Gestalt manifestation of Germany itself. The visage of Obermaier’s sculpture captures this mystical energy embodied by Hitler’s person.
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Larger-than-life ceramic bust of Adolf Hitler manufactured by Allach Porcelain and marked O. Obermaier. Characterized by a solemn yet determined countenance and possesses a likeness to the Führer attained by but a few such sculptural renditions, emanating a certain mystical quality. Extremely rare specimen with only thirteen believed to have been manufactured in honor of outstanding Schutzstaffel (SS) regiments. The bust was originally designed by Ottmar Obermaier, employed from 1935 by the newly founded Allach Porcelain Manufactory and whose works were represented at the prestigious Große Deutsche Kunstausstellung (Great German Art Exhibition).
Porzellan Manufaktur Allach (Allach Porcelain Manufactory) was owned by the Allgemeine-SS (General SS) and was focused on producing works of art that were considered representative of Germanic culture. It operated out of Dachau concentration camp which housed its main production facilities. While their factories did utilize the slave labor available in abundance to them at the camp, the conditions its workers were met with were noted to be of a considerably higher standard than that of the average concentration camp inmate. Alongside ceramics, their factories also produced everyday amenities such as tableware and receptacles. However, Allach was not conceived as an economic enterprise unlike the activities of the rest of the camp system which operated under the oversight of the SS Main Economic and Administrative Office. Instead, the SS saw these porcelain artworks as a means to encourage the cultural development of German society along National Socialist principles.
Allach’s official production inventory lists over 240 variations of ceramic and porcelain models. Alongside these commercial offerings, there were unrecorded special designs lacking model numbers which were offered exclusively as commemorative gifts or prizes, amongst which was this bust. The former were marked with Allach’s trademark symbol of two overlapping sig runes, not dissimilar to the doppelte Siegrune of the SS. The latter, special models such as this award usually lacked such markings.
Obermaier’s masterful rendition captures the sentimental quality of Hitler’s impassioned devotion towards Germany and its people which drew so many to his cause. His transcendental quality is made apparent in Leni Riefenstahl’s groundbreaking film Triumph of the Will (1935), which documents the 1934 Nuremberg Rally. This divine mysticism is evident from the first sequences of the film, with Hitler descending from the clouds in an airplane. He was considered by many at the time as the messiah destined to lead Germany to glory. Hermann Göring said of the Führer that “There is something mystical, inexpressible, almost incomprehensible about this one man…We love Adolf Hitler because we believe, deeply and steadfastly, that he was sent to us by God to save Germany.” Similarly, Joseph Goebbels referred to him as “the Greater German, the Führer, the Prophet, the Fighter that last hope of the masses, the shining symbol of the German will to freedom.” Hitler himself stated “I believe I am an instrument of nature to liberate Germany.”
Despite his errors, Hitler was genuine beyond any doubt in his intentions and in the manner in which he presented himself. At his speech in Vienna on April 9th, 1938 commemorating the Anschluss that had just taken place, Hitler’s voice can be heard trembling and nearly fail as he is himself so deeply moved by the momentous jubilance of his homeland Austria joining Germany proper, witnessing the perennial dream of Großdeutschland (Greater Germany) come to fruition before his eyes. His speeches were no mere oratory performance but a voice that rose from the depths of his soul.
Carl Jung reached the metaphysical conclusion that Hitler was nothing other than his own unconscious, into which the German people projected their own selves; that is, he was but a vessel to carry out the collective, unconscious will of seventy-eight million Germans. He was the Gestalt manifestation of Germany itself. The visage of Obermaier’s sculpture captures this mystical energy embodied by Hitler’s person.
