Su suggerimento di @HugoFiala

Albert Speer fu il 474481esimo tedesco ad unirsi al Partito Nazista quando questo non era ancora andato al potere, nel 1931, l’unico dei processari di Norimberga ad ammettere le sue colpe, creandosi l’immagine di artista naïf che non capiva bene dove si trovasse, e l’architetto del Reich.
Questo articolo di New Criterion ne ripercorre la storia professionale e umana.

An artist may work for a tyrant, even a tyrant astride a mountain of skulls, without discrediting the art. Sergei Eisenstein and Dmitri Shostakovich both served Stalin, whose death toll exceeded Hitler’s, and yet their works are monuments of twentieth-century art. To create on a lavish scale requires working for men of power, who did not necessarily achieve that power through their moral punctiliousness. And even the most ideologically self-righteous artists are likely to say, like Groucho Marx, “these are my principles, and if you don’t like them—I have other ones.” Thus the Communist sympathizer Le Corbusier could work for Stalin but later seek work from Marshal Pétain. And a Jacobin like Jacques-Louis David could eagerly vote for the beheading of Louis XVI as an enemy of the people, and then go on to paint the most toadying portraits of Napoleon.

But somehow one senses that Speer falls in a different category, that one cannot excuse the opportunism of the artist in order to appreciate the integrity of the art.

Immagine da flickr.