Garmisch-Partenkirchen 1936

Ludwig Hohlwein’s 1936 poster captures the spirit of the games with a powerful, almost monumental image of a skier. The athlete, clad in a sleek navy suit with a red skullcap and scarf, holds his skis high in one hand while raising the other in a triumphant gesture. His bib prominently displays the Olympic rings, reinforcing the international prestige of the event. The backdrop features the towering, snow-covered peaks of the Wetterstein mountain range, including Germany’s highest peak, the Zugspitze. The text, set in bold red and white, announces: “Deutschland 1936. IV Olympische Winterspiele, Garmisch-Partenkirchen, 6-16 Februar 1936.”

The composition is classic Hohlwein: dramatic lighting, asymmetrical framing, and a high contrast between deep shadows and bright highlights. These elements, combined with his mastery of color, create an image that exudes strength, determination, and national pride. The skier is not just an athlete but an almost heroic figure, embodying the ideals of victory and perseverance.

The 1936 poster is a prime example of how Hohlwein used the Sachplakat to create an instantly recognizable image. The bold contrasts and limited color palette ensure that even from a distance, the message is clear: Germany is hosting an event of strength and prestige. His ability to merge aesthetics with strong messaging made him one of the most sought-after designers of his time.

Despite his undeniable talent, Hohlwein’s legacy is complicated by his alignment with the Nazi regime. By the late 1930s, he became one of the preferred artists of the Third Reich, producing propaganda posters that carried the same visual power as his commercial work. His ability to create compelling imagery was repurposed to serve a much darker agenda, glorifying the nationalist and militaristic ideals of the Nazi party.

This association raises questions about how we evaluate the work of artists whose careers become intertwined with oppressive regimes. Can we separate the art from the artist? In the case of the 1936 Winter Olympics poster, its purpose was to promote an international sporting event, but it was also created under a regime that would soon use the Olympics as a stage for propaganda.