In his 1946 autobiography, German artist George Grosz recalls life in Berlin during the Golden Age of Weimar:
“The capital of our new German Republic was like a bubbling cauldron. You could not see who was heating the cauldron, but you could merely see it merrily bubbling, and you could feel the heat increasing. There were speakers on every street corner and songs of hatred everywhere. Everybody was hated: the Jews, the capitalists, the gentry, the communists, the military, the landlords, the workers, the unemployed, the Freikorps, the Allied control commissions, the politicians, the department stores, and again the Jews. It was a real orgy of incitement, and the Republic was so weak that you hardly took notice of it.
All this had to end with an awful crash. It was a completely negative world, with gaily-coloured froth on top that many people mistook for the true, the happy Germany before the eruption of the new barbarism. Foreigners who visited us at that time were easily fooled by the apparent light-hearted, whirring fun on the surface, by the nightlife and the so-called freedom and flowering of the arts. But that was really nothing more than froth. Right under that short-lived, lively surface of the shimmering swamp were fratricide and general discord, and regiments were being formed for the final reckoning. Germany seemed to be splitting into two parts that hated each other, as in the saga of the Nibelungs. And we knew all that – or at least we had forebodings.”