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This is the first general study in English on the German Expressionist writer Walter Hasenclever (1890-1940) and the first that draws upon new materials found in his collected works, which were completed in 1997. It draws additionally on the author's archival research in eastern Germany. Spreizer's work deals with the life and writings of this major figure in the Expressionist literary movement, first known for his volume of Expressionist poetry Der Jungling (1913), and best known today for his groundbreaking Expressionist drama Der Sohn (1914).
Traces the lives & work of 23 well known artists exiled from Germany, including Heartfield, Schwitters, Kokoschka & Beckmann.
"Expressionism reassesed focuses on the multi-disciplinary development of Expressionism, setting it in a cultural, political, and historical context. The international team of specialists cover painting, music, theatre, sculpture, film opera, architecture, and dance." -- Back cover.
Sawin's rich year-by-year narrative documents the cultural transfer that took place when the greater part of the prewar Surrealist group was transplanted to the Western Hemisphere.
A magisterial history of the artists and writers who left Weimar when the Nazis came to power In 1933 thousands of intellectuals, artists, writers, militants and other opponents of the Nazi regime fled Germany. They were, in the words of Heinrich Mann, “the best of Germany,” refusing to remain citizens in this new state that legalized terror and brutality. Exiled across the world, they continued the fight against Nazism in prose, poetry, painting, architecture, film and theater. Weimar in Exile follows these lives, from the rise of national socialism to their return to a ruined homeland, retracing their stories, struggles, setbacks and rare victories. The dignity in exile of Walter Benjamin, Ernst Bloch, Bertolt Brecht, Alfred Döblin, Hanns Eisler, Heinrich Mann, Thomas Mann, Anna Seghers, Ernst Toller, Stefan Zweig and many others provides a counterpoint to the story of Germany under the Nazis.
In contrast to the sometimes overly generous treatment of German writers forced into exile by Hitler's fascist regime, Anti-Nazi Writers in Exile applies the strict aesthetic and historical standards of literary criticism, putting aside any special pleading for their anti-Nazi political views. This critical approach leads to two important conclusions: that the emigrant writers' sacrifices and opposition to Hitler's Germany, however courageous, were ultimately futile and that the literature they produced was largely an aesthetic failure, due in part to the very nature of the exile experience. Anti-Nazi Writers in Exile includes a brief description of literary life in the Third Reich, but then concentrates on the United States as the scene of the exile's greatest activity after the outbreak of World War II. Krispyn concludes that the exiles' failure to achieve their political and artistic aims constitutes an important political case history within the larger history of Nazi Germany. Artistic and intellectual activities seem powerless to oppose terror, and the turn of the creative mind to political ends seemingly undermines the aesthetic force of creation.
In December 1950, the German Expressionist Max Beckmann set out from his Manhattan apartment to see his Self-Portrait in Blue Jacket, on view at The Met, when he suffered a fatal heart attack. Inspired by the poignant circumstances of the artist’s death, Max Beckmann in New York focuses on 40 beautifully illustrated works that Beckmann painted in the city during the last 16 months of his life, as well as earlier works in New York collections. An informative and accessible essay by art historian Sabine Rewald, as well as detailed catalogue entries for each work and generous excerpts from the artist’s letters, diaries, and ephemera, illuminate Beckmann’s difficult and tumultuous life and make this an essential volume for anyone interested in the artist.
Abstract Expressionist works on paper from the permanent collection of The Metropolitan Museum of Art are presented in this volume, which documents the wealth of the Museum's holdings in that area. Many of them are published here for the first time, and several are recent additions to the collection. All are illustrated in full-page color reproductions that show the nuances of each work in great detail. The Abstract Expressionists are best known for their paintings and sculptures, and virtually all of the many publications about these artists concentrate on those large-scale works. This unique catalogue deals exclusively with their smaller, more intimate works on paper, providing many new insights about the routes that led to the Abstract Expressionists' innovative artistic accomplishments. The nineteen artists included are William Baziotes, James Brooks, Elaine de Kooning, Willem de Kooning, Arshile Gorky, Adolph Gottlieb, Philip Guston, Gerome Kamrowski, Franz Kline, Robert Motherwell, Barnett Newman, Jackson Pollock, Richard Pousette-Dart, Theodore Roszak, Mark Rothko, Anne Ryan, David Smith, Theodoros Stamos, and Mark Tobey. Each of them is discussed in a separate essay, which encompasses information about the artist's background and development, commentary about the importance of drawing in his or her oeuvre, and an analysis of each work in the selection. Also included in the essays is technical information about a number of the individual works that enhances understanding of the variety and originality of these artists' media and techniques.
New essays examining the complex period of rich artistic ferment that was German literary Expressionism.
A beautifully illustrated examination of the women artists whose inspired search for artistic integrity and equality influenced Expressionist avant-garde culture Women Artists in Expressionism explores how women negotiated the competitive world of modern art during the late Wilhelmine and early Weimar periods in Germany. Their stories challenge predominantly male-oriented narratives of Expressionism and shed light on the divergent artistic responses of women to the dramatic events of the early twentieth century. Shulamith Behr shows how the posthumous critical reception of Paula Modersohn-Becker cast her as a prime agent of the feminization of the movement, and how Käthe Kollwitz used printmaking as a vehicle for technical innovation and sociopolitical commentary. She looks at the dynamic relationship between Marianne Werefkin and Gabriele Münter, whose different paths in life led them to the Blaue Reiter, a group of Expressionist artists that included Wassily Kandinsky and Paul Klee. Behr examines Nell Walden’s role as an influential art dealer, collector, and artist, who promoted women Expressionists during the First World War, and discusses how Dutch artist Jacoba van Heemskerck’s spiritual abstraction earned her the status of an honorary German Expressionist. She demonstrates how figures such as Rosa Schapire and Johanna Ey contributed to the development of the movement as spectators, critics, and collectors of male avant-gardism. Richly illustrated, Women Artists in Expressionism is a women-centered history that reveals the importance of emancipative ideals to the shaping of modernity and the avant-garde.