The book cover of State of Deception: The Power of Nazi Propaganda by Museum curators Steven Luckert and Susan Bachrach. Kunstbibliothek Berlin/BPK, Berlin/Art Resource, New York More
This July 1932 election poster shows the German worker, enlightened through National Socialism, towering over his opponents.It reads "We Workers Have Awakened. We're Voting National Socialist." US Holocaust Memorial Museum More
Der ewige Jude (The Eternal or Wandering Jew) Mjölnir [Hans Schweitzer] poster for the film Der ewige Jude directed by Fritz Hippler, 1940. US Holocaust Memorial Museum, courtesy of Museum für Deutsche Geschichte More
Hermann Otto Hoyer, In the Beginning Was the Word, ca. 1937. German artist Hoyer depicted a quasi-messianic Hitler mesmerizing an audience with his oratory in the 1920s. US Holocaust Memorial Museum, courtesy of National Archives and Records Administration, College Park, MD More
National Recording Service Adolf Hitler—Our Leader! Address by Party Comrade Hinkel, Member of the Reichstag Berlin, undated. Nazi propagandists developed a keen appreciation for technology, including the gramophone. US Holocaust Memorial Museum, courtesy of Robert M. W. Kempner Papers More
Josef Berchtold, Hitler über Deutschland (Hitler over Germany), 1932. Cover image from Nazi Party political pamphlet that detailed Hitler’s 1932 election campaign for president. US Holocaust Memorial Museum, courtesy of Randall Bytwerk More
Hitler, Election poster, 1932. Modern techniques of propaganda—including strong images and simple messages—helped propel Austrian-born Adolf Hitler from being a little known extremist to one of the leading candidates for Germany’s presidency in 1932. US Holocaust Memorial Museum, courtesy of Heinrich Hoffmann More
Willi Engelhardt, “The People Vote Slate 1—National Socialists,” 1932. US Holocaust Memorial Museum, courtesy of Library of Congress, Prints and Photographs Division, Washington, DC More
Mjölnir [Hans Schweitzer], 1943.The Nazis sought to provoke hatred of Germany’s Jews by transforming the popular perception of them from ordinary neighbor into internal enemy guilty of warmongering and betraying Germany from within. Library of Congress, Prints and Photographs Division, Washington, DC . More
Hanisch, Behind the enemy powers: the Jew, ca. 1942. During World War II, Nazi propagandists frequently depicted “the Jew” as a conspirator plotting world domination by acting behind the scenes in nations at war with Germany. This caricature represents the “Jewish financier” manipulating the Allies, Great Britain, the United States, and the Soviet Union. U.S. Holocaust Memorial Museum, gift of Helmut Eschwege More
Unknown artist, VINNITSA, 1943. This poster, displayed in the German-occupied Soviet Union to foment both anti-Soviet and antisemitic fervor, uses the stereotype of the bloodthirsty “Jewish Bolshevik commissar” to associate “the Jew” with the murder of more than 9,000 Soviet citizens in Vinnitsa, Ukraine, an atrocity committed by Stalin’s secret police in 1937–38. US Holocaust Memorial Museum, Library of Congress, Prints and Photographs Division, Washington, DC More
Hubert Lanzinger’s Der Bannerträger (The Standard Bearer) is one of almost 10,000 works of German military and Nazi propaganda art the US Army seized after the war as part of the effort to denazify German society. US Army Center of Military History, Washington, DC More
The denazification program in Germany mandated the elimination of Nazi names from public squares, city streets, and other venues. US, Soviet, and British soldiers enthusiastically removed Nazi emblems and renamed public spaces. Krefeld, Germany, March 9, 1945. US Holocaust Memorial Museum, courtesy of National Archives and Records Administration, College Park, MD More
International Military Tribunal defendant Julius Streicher, the editor of Der Stürmer, during the Nuremberg trial. In its conviction, the IMT ruled that Streicher knew of the mass killings of Europe’s Jews and that his articles in Der Stürmer calling for the “annihilation of the Jewish race” was a direct incitement to murder and thus constituted a “crime against humanity.” US Holocaust Memorial Museum, courtesy of National Archives and Records Administration, College Park, MD More
State of Deception: The Power of Nazi Propaganda is a traveling exhibition produced by the United States Holocaust Memorial Museum. It examines how the Nazis used propaganda to win broad voter support in Germany’s young democracy after World War I, implement radical programs under the party’s dictatorship in the 1930s, and justify war and mass murder.
This most extreme case study emphasizes why the issue of propaganda matters and challenges citizens to actively question, analyze, and seek the truth.
View the current schedule for the traveling exhibition.
The images provided here are for the promotion of the United States Holocaust Memorial Museum only. Any reproduction of the images must include full caption and credit information. Images may not be cropped or altered in any way or superimposed with any printing.