Overview
- Brief Narrative
- German antisemitic propaganda poster encouraging Germans to fight against unfair Jewish business practices, designed by Philipp Rupprecht (Fips). The poster features a German businessman with a Jewish money lender (that he likely owes money to) on his mind. The Nazis used propaganda to push the narrative that Jewish greed was a burden to society. The image uses the antisemitic trope of the Jewish usurer; a moneylender who charges excessive interest, which originated in the Middle Ages. In many areas of medieval Europe, Jews were barred from many occupations and from owning land. In turn, they had to rely on interest from moneylending to earn income. During this time, the Catholic Church regarded moneylending for interest as immoral, and prohibited Catholics from the practice. Because of this stigma, Jewish moneylenders were seen as immoral and predatory by their Catholic counterparts. These ideas evolved into the antisemitic concept of the fraudulent, parasitic, Jewish businessman who worshipped money. Nazi propaganda used this trope to promote the narrative that Jews were bad for German (Aryan) business and created an atmosphere that tolerated violence against Jews. The Nazis communicated their propaganda through art, music, film, radio, books, posters, and other published materials. Philipp Rupprecht, who used the penname Fips, was one of the Nazi’s preeminent propaganda creators. Rupprecht was an artist for Julius Streicher’s Der Stürmer, an antisemitic newspaper that prominently displayed Rupprecht’s work. His illustrations portrayed Jews as heartless and cruel, and featured discriminatory images of Jews with exaggerated facial features, and misshapen bodies. Rupprecht also illustrated the antisemitic children’s book Der Giftpilz (The Poisonous Mushroom).
- Title
- Kampf gegen Judengeist und Volksbetrug
- Alternate Title
- Fight against the Jews and their fraudulent ways
- Date
-
publication/distribution:
approximately 1936-1937
- Geography
-
publication:
Germany
- Credit Line
- United States Holocaust Memorial Museum Collection, Gift of the Alex and Boots Kertesz Family
- Markings
- front, top, right, black ink : Ein / übler / Zeitgenosse [A bad contemporary]
front, top, center, yellow ink : Jüdische Wucher- / Preise [Jewish usury rates]
front, top, right, black ink : Arisches Geschäft [Aryan Business]
front, bottom, center, white and yellow ink : Kampf / gegen / Judengeist / und Volksbetrug [Fight against the Jews and their fraudulent ways]
front, center, bottom margin, black ink : WALDHEIM [W overtop horizontal E] EBERLE - Signature
- front, bottom right : Fips
- Contributor
-
Artist:
Fips
Subject: Fips
Publisher: Waldheim und Eberle
- Biography
-
Phillipp Rupprecht (1900-1975) was born in Nuremberg, Germany. He served in the German Navy during World War I. In 1920, he left Germany for Argentina, where he worked as a waiter and cowboy for several years. In the mid-1920s, he returned to Germany and worked as a cartoonist for the Fränkischen Tagespost, a Socialist newspaper. After drawing a cartoon of the Lord Mayor of Nuremberg, Hermann Luppe, Rupprecht was hired as an illustrator for the antisemitic newspaper Der Stürmer, by Julius Streicher, publisher of the paper and a regional leader of the Nazi party. While there, Rupprecht worked under the pen name Fips and became known for his variations on the antisemitic stereotype of the bearded, bulging eyed, large-nosed Jew. In 1938, he illustrated the antisemitic children's book, Der Giftpilz (The Poison Mushroom), published by the Stürmer publishing house. He joined the German Navy in 1939, but was released to create propaganda for the Nazi party. Rupprecht stayed at the paper until the last issue was published on February 22, 1945, and his career ended with the defeat of Germany in May. After the war, Rupprecht was captured by the United States Army and held in the 7th Army Internee Camp #74 in Ludwigsburg, Germany. He was put on trial as part of the de-Nazification process and sentenced to six years hard labor. Rupprecht was released from Eichstätt prison on October 23, 1950. He married twice, had four children, and worked in Munich as a painter and decorator until his death.
Physical Details
- Language
- German
- Classification
-
Posters
- Category
-
Anti-Jewish propaganda
- Object Type
-
Posters, German (lcsh)
- Genre/Form
- Posters.
- Physical Description
- Color, offset lithographic poster printed on off-white paper and adhered to a white linen backing. It features a stern-looking man shown from the chest up, dressed in a black suit and tie adorned with a yellow swastika, a thin mustache, and a pencil in his ear. The top of his head is open, and inside is a caricatured Jewish man wearing a black suit and a tie decorated with a Star of David. The Jewish man’s hand motions toward a black banner with yellow German text. To the man’s right is a canted, yellow rectangle with two white swastikas and two lines of small black text. To the left is a vertical yellow banner with 3 lines of black text. The bottom has a thick, black banner with large white-and-yellow text.
- Dimensions
- overall: Height: 51.125 inches (129.858 cm) | Width: 38.875 inches (98.743 cm)
- Materials
- overall : paper, ink, adhesive, linen
Rights & Restrictions
- Conditions on Access
- No restrictions on access
- Conditions on Use
- No restrictions on use
Keywords & Subjects
- Topical Term
- Anti-Jewish propaganda--Germany. Antisemitism--Economic aspects. Antisemitism--usury. Jews--Caricatures and cartoons. Lithography, German--20th century. Nazi Propaganda--Germany.
- Geographic Name
- Germany.
- Personal Name
- Fips, 1900-1975.
Administrative Notes
- Legal Status
- Permanent Collection
- Provenance
- The poster was donated to the United States Holocaust Memorial Museum in 1993 by Alex Kertesz.
- Record last modified:
- 2022-07-28 17:51:44
- This page:
- https://collections.ushmm.org/search/catalog/irn8223
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Also in Alex and Boots Kertesz family collection
The collection consists of five antisemitic posters published in Nazi Germany.
Date: 1936-1937
Antisemitic poster by Fips depicting a Jew banging his head in response to Nazi German business
Object
German antisemitic propaganda poster encouraging Germans to fight against unfair Jewish business practices, by Philipp Rupprecht (Fips). The poster features a Jewish peddler banging his head in frustration when he sees storefront signs saying German businesses will no longer engage in Jewish haggling. The peddler has stereotypically exaggerated features: a long nose, a beard, red eyes, and heavyset. He is portrayed in shadowy, charcoal and black colors to emphasize the antisemitic trope of his untrustworthy nature, and to contrast the lighter colored, purer, Aryan storefront. The Nazis used propaganda to push the narrative that haggling Jewish peddlers were bad for German business and society. Nazi propaganda won the support of millions of Germans, affirmed Nazi ideas of racial superiority, and created an atmosphere that tolerated violence against Jews. They communicated their propaganda through art, music, film, radio, books, posters, and other published materials. Philipp Rupprecht, who used the penname Fips, was one of the Nazi’s preeminent propaganda creators. Rupprecht was an artist for Julius Streicher’s Der Stürmer, an antisemitic newspaper that prominently displayed Rupprecht’s work. His illustrations portrayed Jews as heartless and cruel, and featured discriminatory images of Jews with exaggerated facial features, and misshapen bodies. Rupprecht also illustrated the antisemitic children’s book Der Giftpilz (The Poisonous Mushroom).
Antisemitic broadside by Fips claiming German business and Jews are incompatible
Object
German antisemitic propaganda poster featuring sales tags encouraging Germans to fight against unfair Jewish business practices, designed by Philipp Rupprecht (Fips). The Nazis used propaganda to push the narrative that Jewish greed was a burden to society. The poster uses the antisemitic trope of the Jewish usurer; a moneylender who charges excessive interest, which originated from the Middle Ages. In many areas of medieval Europe, Jews were barred from many occupations and from owning land. In turn, they had to rely on interest from moneylending to earn income. During this time, the Catholic Church regarded moneylending for interest as immoral, and prohibited Catholics from the practice. Because of this stigma, Jewish moneylenders were seen as immoral and predatory by their Catholic counterparts. These ideas evolved into the antisemitic concept of the fraudulent, parasitic, Jewish businessman who worshipped money. Nazi propaganda used this trope to promote the narrative that Jews were bad for German (Aryan) business and created an atmosphere that tolerated violence against Jews. The Nazis communicated their propaganda through art, music, film, radio, books, posters, and other published materials. Philipp Rupprecht, who used the pen name Fips, was one of the Nazi’s preeminent propaganda creators. Rupprecht was an artist for Julius Streicher’s Der Stürmer, an antisemitic newspaper that prominently displayed Rupprecht’s work. His illustrations portrayed Jews as heartless and cruel, and featured discriminatory images of Jews with exaggerated facial features, and misshapen bodies. Rupprecht also illustrated the antisemitic children’s book Der Giftpilz (The Poisonous Mushroom).
Antisemitic poster by Mjölnir depicting a German store owner kicking out a Jewish trader
Object
German antisemitic propaganda poster encouraging Germans to fight against unfair Jewish business practices, designed by Hans Schweitzer (Mjőlnir). The poster features an image of an Aryan businessman standing in the doorway of a storefront called “German Business” who has just kicked out a Jewish peddler, symbolizing that German businesses will longer deal with Jews. The peddler is dressed all in black with a stereotypical dark and curly beard, payot, and a hooked nose. He is portrayed with yellow skin, a symbol of cowardice, betrayal, and ill health, to emphasize the antisemitic trope of his untrustworthy nature. The Nazis used propaganda to push the narrative that haggling Jewish traders were bad for German business and society. Nazi propaganda won the support of millions of Germans, affirmed Nazi ideas of racial superiority, and created an atmosphere that tolerated violence against Jews. They communicated their propaganda through art, music, film, radio, books, posters, and other published materials. Hans Schweitzer, who used the pen name Mjőlnir, was friends with Reich Minister of Public Enlightenment and Propaganda, Joseph Goebbels, and created many posters for the Nazi Party. In 1935, he was appointed as Representative for Artistic Design and worked in conjunction with the Ministry of Propaganda for the creation of exhibitions, erection of monuments, and the development of insignia and national symbols. Later he worked with a commission to decide how to utilize artwork stolen from Nazi victims.
Antisemitic poster by Fips depicting a German shop being cheated by Jewish businessmen
Object
German antisemitic propaganda poster encouraging Germans to fight against unfair Jewish business practices, by Philipp Rupprecht (Fips). The poster features two heavyset Jewish businessmen at the entrance of a German store. As one enters, the other one exits, in an apparent attempt to swindle money or goods from the store. The image implies the antisemitic trope of the fraudulent, parasitic, Jewish businessman who worships money, and uses it to push the narrative that Jewish greed was a burden to society and German (Aryan) business. Nazi propaganda was used to win the support of millions of Germans, affirm Nazi ideas of racial superiority, and create an atmosphere that tolerated violence against Jews. They communicated their propaganda through art, music, film, radio, books, posters, and other published materials. Philipp Rupprecht, who used the penname Fips, was one of the Nazi’s preeminent propaganda creators. Rupprecht was an artist for Julius Streicher’s Der Stürmer, an antisemitic newspaper that prominently displayed Rupprecht’s work. His illustrations portrayed Jews as heartless and cruel, and featured discriminatory images of Jews with exaggerated facial features, and misshapen bodies. Rupprecht also illustrated the antisemitic children’s book Der Giftpilz (The Poisonous Mushroom).
