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Notable Notes

Christian Schad and Dr Haustein: An Example of Art and Dermatology Under the Nazi Regime

Christian Schad, who was born in 1894 in Miesbach, Germany, played an important role
in the Dadaist movement in Zurich, Switzerland. Between 1915 and 1920, he developed
“schadographics.” Although he was not included in the 1925 Mannheim exhibition of
New Objectivity, German artists’ farewell to expressionism, he is strongly associated with
this movement.1 Due to the cold precision of Schad’s portraits, they seem to have been
made with a scalpel rather than painted with a brush. Medicine played a vital role in the
“schadiane” conception of art.
The entomologist Felix Bryk introduced Schad to Hans Haustein, MD, in Berlin-
Charlottenburg, Germany, perhaps at the well-known literary and political salon hosted
by Haustein’s wife on Bregenzer Street. Haustein, a Jewish dermatologist, was a leading
expert on the epidemiology of venereal diseases and had a private practice in the Kur-
fürstendamm. Some 40% of dermatologists in Germany and 70% to 80% in Austria were
Jews, which subjected them to scrutiny by the Nazis.2
In the portrait painted by Schad in 1928 in Berlin (Figure), Haustein is sitting with
his hands entwined, and the only distinctive sign of his profession, a urethral probe, is in
his pocket. His eyes seem to be far away, as if pondering his tragic ending only 5 years
later. Behind him looms the menacing shadow of his mistress, Sonja, smoking a cigarette.
In 1931, his wife committed suicide.
In 1933, Jewish physicians were practically forbidden to treat public insurance pa- Figure. Christian Schad (1894-1982).
tients.3 Schad reported that after being arrested and ill treated by the Gestapo in 1933, Haus- Portrait of Dr Haustein, 1928. Oil on
tein committed suicide by taking potassium cyanide.4 However, the German dermatologist canvas, 80.5⫻ 55 cm. Museo
Thyssen-Bornemisza, Madrid, Spain.
Alfred Hollander reported that after being released, Haustein fled to the Soviet Union where
he died as a result of Stalin’s persecution against Jews. About 3% of Jewish dermatologists, including Ernst Kromayer (1862-
1933) and Carl Bruck (1879-1944), killed themselves as a consequence of Nazi persecution. About 60% of Jewish dermatolo-
gists fled, and 13% were murdered in concentration camps.5
When the Nazis came to power in 1933, those participating in artistic movements were persecuted; thus, in 1937, the
“Degenerate Art” exhibition was itinerant. In 1939, The People’s Observer published an anonymous article titled “The Jewish
to Whom We Do Not Forget.” Egon Erwin Kisch, “the vertiginous reporter,” was criticized for being a Jew, and a portrait of
him signed by Schad was mentioned. Schad realized that he was in danger, and he began a new life as a middle-class trader.
Although his Berlin studio was destroyed in 1942, Shad never gave up painting. He died in Stuttgart in 1982.
Pablo Coto-Segura, MD
Covadonga Coto-Segura
Jorge Santos-Juanes, PhD
1. Barilan YM. Medicine through the artist’s eyes: before, during, and after the holocaust. Perspect Biol Med. 2004;47(1):110-134.
2. Elias PM. Death of medicine in Nazi Germany: dermatology and dermapathology under the swastika [book review]. Arch Dermatol. 1999;135(9):1132-
1135.
3. Eppinger S, Meurer M, Scholtz A. The emigration of the Germany’s Jewish dermatologists in the period of National Socialism. J Eur Acad Dermatol
Venereol. 2003;17(5):525-530.
4. Scholz A. Der Suizid von Dermatologen in Abhängigkeit von politischen Veränderungen. Hautarzt. 1997;48(12):929-935.
5. Scholz A, Eppinger S. The fate of the Germany’s Jewish dermatologists in the period of National Socialism. Int J Dermatol. 1999;38(9):716-719.

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