Abstract

Stamps are so familiar to us as everyday objects that we – with the exception of philatelists – are not used to considering their aesthetic value or their place in a history of art. They have therefore seldom been systematically investigated in this light. Nevertheless, these issues have been treated by some scholars. Aby Warburg, for instance, was one of the first to identify the importance of stamps for political iconography; and Walter Benjamin has also made insightful observations in this regard. This article takes up earlier work on the cultural history of the iconography of German money. It investigates exemplarily the presentation of the Brandenburg Gate on stamps of the Weimar Republic, the Third Reich, the GDR, and the Federal Re- public of Germany, in order to elucidate more generally aesthetic forms of representation and their exploitation for purposes of propaganda.