Dr. Gregory Maertz

Dr. Gregory Maertz


B.A., Northwestern University, Comparative Literature

A.M., Harvard University, Comparative Literature

A.M., Harvard University, English and American Literature and Language

Ph.D., Harvard University, Comparative Literature

Research Focus: Romanticism; the Novel; Fascism Studies; Aesthetic Theory; Twentieth-Century Art


Gregory Maertz received his graduate degrees from Harvard University, where he specialized in German and British Romanticism (theory, poetry, and fiction), and he wrote his dissertation at the University of Heidelberg as a Fulbright and a Sinclair Kennedy Fellow. Prior to his arrival at St. John’s he taught at Washington University in Saint Louis as a Mellon Faculty Fellow. More recently, he has held visiting appointments in the German Department at Duke University and in the Writer’s Centre at Yale University’s Singapore campus, where he gave lectures on his other areas of specialization, the visual arts of the Third Reich and intersections between Modernism and National Socialist cultural production. He has held fellowships from the ACLS, the NEH, the Institute for Advanced Study, the National Humanities Center, the Center for the Advanced Study of the Visual Arts, the Rockefeller Foundation, the Gerda Henkel Foundation, and the DAAD. His publications include the books Literature and the Cult of Personality and Cultural Interactions in the Romantic Age, an edition of George Eliot’s Middlemarch, articles in the collections 1650-1850, Art and Artistic Life During Two World Wars, Fascism and the New Man, Kunst und Propaganda in der Wehrmacht, Modernism, Christianity and the Apocalypse, Narrative Ironies, and Romantic Prose Fiction, and articles and reviews in Comparative Literature StudiesEighteenth-Century FictionEighteenth-Century StudiesEuropean Romantic ReviewGerman Studies Review, Michigan Germanic Studies, Modernism/modernityPapers on Language and LiteratureThe Pater Newsletter, Patterns of PrejudiceScottish Literary JournalStudies in Scottish LiteratureUniversity of Mississippi Studies in English, The Victorian Newsletter, Wiener Slawistisches Jahrbuch, and The Wordsworth Circle. Art exhibitions that he has co-curated include Kunst und Propaganda im Streit der Nationen 1930-1945 [Art and Propaganda in the Conflict of Nations] at the Deutsches Historisches Museum in Berlin (January-April 2007) and Kunst I Kamp [Art in Battle] at KODE: Art Museums in Bergen, Norway (September 2015-February 2016). His current projects include a monograph, Nostalgia for the Future: Modernist Idioms in the Art of Nazi Germany, and a new edition of Friedrich Nietzsche’s On the Genealogy of Morals. At St. John’s he has been recognized as a finalist for Student Government Teacher of the Year (1998) and received multiple Faculty Recognition Awards, Summer Research Grants, and Seed Grants.


“Literature and the Cult of Personality,” Yale-NUS College, Singapore, March 2, 2017.

Keynote Speaker, “Eugenic Art: Representations of the ‘New Man’ in Nazi Germany from the Seizure of Power to Hitler’s Suicide,” Colloquium on the “New Man,” Centre for Fascist, Anti-Fascist and Post-Fascist Studies, Teesside University, School of Arts and Media, United Kingdom, September 26, 2014.

“War Art/Art War: Wehrmacht Modernism in the Context of Official German Norwegian Art Policies in World War II,” Art in Battle Conference, KODE, Bergen, Norway, August 14, 2014.

Keynote Speaker, “Nazi Aesthetics and the Appropriation of the Past,” Conference on “Unattended Moments: The Medieval Presence in the Modernist Tradition,” Department of English, University of Otago, New Zealand, April 2-4, 2014.

Keynote Speaker, “Modernist Art in the Service of Nazi Culture: Baldur von Schirach and the Junge Deutsche Kunst Exhibition of 1943,” Conference on Ideologues of the Extreme Right, Past and Present, Teeside Univeristy, United Kingdom, July 4, 2013.

Keynote Speaker, “Nazi Modernism and the Mobilization of Christian Artists in the Third Reich,” Conference on Modernism, Christianity and Apocalypse, University of Bergen, Norway, July 19, 2012.

“The German War Art Collection as a Challenge to Traditional Art History,” College Art Association, Los Angeles, February 22, 2012.

“Nostalgia for the Future: Anticipatory Representation in Nazi Art,” German Department and the Lamar Dodd School of Art, University of Georgia, Athens, October 6, 2011.

“Modernism and Nazi Painting: German Artists in Occupied Norway,” University of Bergen, Norway, November 22, 2010.

“Making Radioactive Art Safe: The De-Nazification of Cultural Collaborators in West Germany,” German Department, Duke University, October 21, 2010.

“Wehrmacht Modernism,” North Carolina State University, May 20, 2010.

Keynote Speaker, Symposium on Visualizing and Exhibiting Fascism, Whitworth Art Gallery, University of Manchester, United Kingdom, March 19, 2010.

“Modernism and Nazi Art,” University of Northampton, United Kingdom, March 18, 2010.

“Nostalgia for the Future: Modernism and Nazi Art,” Public Lecture, National Humanities Center, January 14, 2010.

Keynote Speaker, Symposium on Political Fascism and Cultural Modernity, University of Konstanz, Germany, November 14, 2009.

“Nazi Art in Museums? Canonization and Controversy,” German Studies Association Annual Conference, St. Paul, Minnesota, October 5, 2009.

“The American Confiscation of German Art in Post-War Germany,” Triangle Seminar for Jewish Studies, Research Triangle Park, North Carolina, May 11, 2009.

“House of Art: A Cultural History of Nazi Germany,” Social Science Research Seminar, Wake Forest University, April 20, 2009.

“Nostalgia for the Future: Tradition and Modernism in German Art, 1933-1945,” Department of Art, Art History, and Visual Studies, Duke University, March 18, 2009.

“Controlling the Legacy of Nazi Culture: Official U.S. Art Seizures in Occupied Germany,” College Art Association, Dallas, February 23, 2008.

“Nazi Art in Museums?” The Slought Foundation, University of Pennsylvania, Philadelphia, February 15, 2008.

Keynote Speaker, “The Wehrmacht and Official Modernism in the Third Reich,” German Department Graduate Student Conference, Rutgers University, February 23, 2007.

“The Invisible Museum: The Secret Postwar History of Nazi Art,” Department of Comparative Literature, Princeton University, October 11, 2006.

“Hitler’s List: New Canonical Documents,” Modernism-Fascism-Postmodernism Symposium, University of New Mexico, Albuquerque, September 21, 2006.


Books: Literary Studies

Critical edition, Friedrich Nietzsche’s On the Genealogy of Morals, ed. Gregory Maertz (under contract, Broadview Press).

Monograph, Literature and the Cult of Personality: Essays on Goethe and His Influence (Stuttgart: ibidem Verlag, 2017).

Critical edition, George Eliot’s Middlemarch, ed. Gregory Maertz (Peterborough: Broadview Editions, 2004).

Cultural Interactions in the Romantic Age: Critical Essays in Comparative Literature, ed. Gregory Maertz (Albany: SUNY Press, 1998).

Books: Visual Studies

Monograph, Nostalgia for the Future: Hitler’s Utopian Aesthetic and Other Modernist Idioms in the Art of Nazi Germany (under review, Bloomsbury UK).

Textbook, Art of the Third Reich: An Anthology of Texts, Images, and Documents (under contract, Palgrave Macmillan).

Articles in Books and Exhibition Catalogues (selected)

“Eugenic Art: Representations of the ‘New Man’ in Nazi Germany,” Fascism and the New Man, ed. Matthew Feldman (forthcoming).

“War Art/Art War: Wehrmacht Modernism in the Context of German and Norwegian Official Art Policies in World War II,” Kunst i Kamp/Art in Battle, ed. Frode Sandvik and Erik Tonning (Bergen: KODE, 2015), 200-223.

“Nazi Modernism and the Mobilization of Christian Artists in the Third Reich,” Modernism, Christianity, and Apocalypse, ed. Erik Tonning, Matthew Feldman, and David Addyman (Leiden/Boston: Brill, 2015), 166-186.

“The Last Taboo: The Rehabilitation of Nazi Artists in Post-War Germany,” Art and Artistic Life during the Two World Wars, ed. Giedré Jankeviciuté and Laime Lauckaité (Vilnius: Lithuanian Cultural Research Institute, 2012), pp. 387-411.

“The Romantic Idealization of the Artist,” Romantic Prose Fiction, ed. Gerald Gillespie with Manfred Engel and Bernhard Dieterle (Comparative History of Literatures in European Languages XXIII) (Amsterdam: John Benjamins, 2008), pp. 135-158.

“The German War Art Collection,” Kunst und Propaganda im Streit der Nationen 1930-1945, ed. Hans-Jörg Czech and Nikola Doll (Berlin: Deutsches Historisches Museum, 2007), pp. 238-245.

“Die Sammlung deutscher Kriegskunst der US-Armee: Kunst im NS-Staat und Nachkriegspolitik,” Kunst und Propaganda in der Wehrmacht: Gemälde und Grafiken aus dem Russlandkrieg, ed. Veit Veltzke (Kerber Verlag, 2005), pp. 10-16.

“Exhibiting Nazi Artifacts and Challenging Traditional Museum Culture: A Conversation with Mitchell Wolfson, Jr.,” Acts of Possession: Collecting in America, ed. Leah Dilworth (Rutgers UP, 2003), pp. 267-285.

“Reviewing Kant’s Early Reception in Britain: The Leading Role of Henry Crabb Robinson,” Cultural Interactions in the Romantic Age: Critical Essays in Comparative Literature, ed. Gregory Maertz (Albany: SUNY Press, 1998), pp. 209-226.

“Generic Diversity and the Romantic Travel Novel: Godwin’s St. Leon: A Tale of the Sixteenth Century,” Narrative Ironies, ed. Raymond A. Prier and Gerald Gillespie (Amsterdam and Atlanta, GA: Rodopi, 1997), pp. 267-282.

Articles in Journals (selected)

“Modernist Art in the Service of Nazi Culture: Baldur von Schirach and the Junge Kunst im Deutschen Reich Exhibition,” Patterns of Prejudice 50 (2016) 4-5: 337-358.

“The Invisible Museum: Unearthing the Lost Modernist Art of the Third Reich,” Modernism/modernity: Special Fascism Issue Volume XV: 1 (January 2008): 63-85.

“The Invisible Museum: The Secret Postwar History of Nazi Art,” Center 23 (National Gallery of Art, Center for Advanced Study in the Visual Arts, Washington, D.C. 2003): 96-100.

“Carlyle’s Mediation of Goethe in its European Context,” Scottish Literary Journal 24: 2 (1997): 59-78.

“The Importation of German and Dissenting Voices in British Culture: Thomas Holcroft and the Godwin Circle,” 1650-1850: Ideas, Aesthetics, and Inquiries in the Early Modern Era, Vol. III (1997): 271-300.

“Carlyle’s Critique of Goethe: Literature and the Cult of Personality,” Studies in Scottish Literature, Vol. XXIX (1996): 205-226.

“German Paradigms and American Cultural Institutions: The Mediation of German Literature in New England,” The European Legacy, Vol. I, No. 3 (1996): 1064-1070.

“Generic Fusion and Appropriation in Godwin’s St. Leon,” European Romantic Review, Vol. 5, No. 1 (Winter 1995): 214-229.

“The Eclipse of the Text in Carlyle’s Critical Discourse,” The Victorian Newsletter, Vol. 87 (Spring 1995): 14-20.

“Family Resemblances: Intertextual Dialogue between Father and Daughter Novelists in Godwin’s St. Leon and Shelley’s Frankenstein,” University of Mississippi Studies in English, New Series, Volumes XI-XII (1993-95): 303-320.

“To Criticize the Critic: George Saintsbury on Goethe,” Papers on Language and Literature, Vol. 30, No. 2 (Spring 1994): 115-131.

“Elective Affinities: Tolstoy and Schopenhauer,” Wiener Slawistisches Jahrbuch, Vol. 40 (1994): 53-62.

“Henry Crabb Robinson’s 1802-03 Translations of Goethe’s Lyric Poems and Epigrams,” Michigan Germanic Studies, Vol. XIX, No.1 (Spring 1993): 19-45.

Contributions to Reference Works (selected)

Articles on “Nazi Modernism” and “Fascist Modernism” in The Routledge Encyclopedia of Modernism, edited by Isabel Wünsche (forthcoming).

Articles on Wilhelm Meister’s Apprenticeship, German Romance, Wotton Reinfred, Novalis, Fichte, Richter, Eckermann, Heyne, Werner and others in The Carlyle Encyclopedia, ed. Mark Cumming (Fairleigh Dickinson University Press, 2005).

Article on Gustave Masson, The New Dictionary of National Biography, ed. Brian Harrison (Oxford University Press, 2004).

Monograph article on William Godwin in The Concise Dictionary of Literary Biography: English Romantic Prose Writers, 1789-1832 (Detroit and London: Gale Research Inc., 1992), pp. 228-245.