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Approaching Africa the Reception of African Visual Culture in Germany 1894-1915

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Approaching Africa the Reception of African Visual Culture in Germany 1894-1915 Approaching Africa The Reception of African Visual Culture in Germany 1894-1915 Manuela Husemann A Thesis submitted in partial fulfilment of the requirements of University of East Anglia for the degree of Doctor of Philosophy, Sainsbury Institute for Art – September 2015 I would like to dedicate this thesis to my father who has always been there for me. Abstract This thesis focuses on the approaches to African visual culture in German publications between 1894 and 1915. Considering the development from a purely ethnographic analysis towards an art historical and art scientific discourse, it brings together formerly unconnected fields of research. By introducing theories from translation studies this thesis will identify how scholars from different disciplines analysed and interpreted African art in order to mediate their function, meaning and formal aspects to a German audience. The main focus is on the changing convention from approaching African art with a developmental attitude towards discussing its stylistic peculiarities. By looking at ethnographic publications, art and popular culture this thesis investigates the role of art historical writing on African art in the wider academic and popular discourse. In particular four publications - Ernst Grosse Die Anfänge der Kunst (1894), Karl Woermann Die Geschichte der Kunst aller Zeiten und Völker (1900), Wilhelm Worringer Abstraktion und Einfühlung (1908) and Carl Eintein Negerplastik (1915) – are considered to give a historiographical insight into the development of intellectual thought of non-European art as well as art itself. Bringing together the theoretical framework of translation studies with published sources and archival material, this thesis considers the diverse descriptions of African art by a variety of different scholars. By presenting analyses of these publications this thesis aims to give a fuller picture of contemporary ideas that had a direct or indirect impact on the reception of African art. It comes to the conclusion that although each of the scholars approached African art in unique ways, their publications were an important step towards the integration of non-European art in general, and African art in particular, into a canon of art that is not solely defined and confined by the classical ideal of beauty. Content List of Figures .......................................................................................................7 Acknowledgements ...............................................................................................9 Introduction ........................................................................................................ 11 The Premise ........................................................................................................ 11 Chapter 1.1 The building of a nation ................................................................. 29 Chapter 1.2 Defining culture ............................................................................. 37 Chapter 1.3 The history and science of art ......................................................... 42 Chapter 1.4 The ethnographic project ................................................................ 50 Part 1 ...................................................................................................................... 64 The Discussion of the one Beginning or the Many Beginnings of Art .............. 65 Chapter 2.1 The context .................................................................................... 67 Chapter 2.2 Ernst Grosse and Die Anfänge der Kunst ........................................ 77 Chapter 2.4 The reception ............................................................................... 101 The Larger Discussion and African Art .......................................................... 109 Chapter 3.1 Frobenius ..................................................................................... 113 Chapter 3.2 Völkerschau ................................................................................. 121 Chapter 3.3 Haeckel and Social Darwinism ..................................................... 129 Chapter 3.4 Karl Woermann and Die Geschichte der Kunst aller Zeiten und Völker ............................................................................................................. 140 Chapter 3.5 The reception ............................................................................... 159 5 Part 2 .................................................................................................................... 163 The Psychology of Style .................................................................................... 164 Chapter 4.1 Making Collections ...................................................................... 167 Chapter 4.2 Felix von Luschan and Benin ....................................................... 173 Chapter 4.3 Alois Riegl and the Kunstwollen .................................................. 183 Chapter 4.4 Wilhelm Worringer and Abstraktion und Einfühlung .................... 188 Chapter 4.5 The reception ............................................................................... 204 Formal Responses to African Art .................................................................... 208 Chapter 5.1 German Expressionism ................................................................ 210 Chapter 5.2 Non-European art as a common comparison ................................. 223 Chapter 5.3 Carl Einstein and Negerplastik ..................................................... 232 Chapter 5.4 The reception ............................................................................... 251 Conclusion......................................................................................................... 256 Bibliography ..................................................................................................... 266 Appendix 279 6 List of Figures Figure 1 Illustration of "wooden bowls and a carving knive of the hottentots" from Ratzel's Völkerkunde, p.93. ............................................... 74 Figure 2 Illustration of "quiver and arrows of the Akka" from Ratzel's Völkerkunde, p. 126. ................................................................................... 74 Figure 3 Front page of Ernst Grosse Die Anfänge der Kunst, 1894. ........................... 83 Figure 4 Illustrations of "ornaments of the Karaya" from Ernst Grosse's Anfänge der Kunst, p. 116. .......................................................................... 95 Figure 5 Illustration of “petroglyphs from the Bushmen” from Ernst Grosse's Anfänge der Kunst, p. 175. ............................................................ 95 Figure 6 Certificate of Hans Meyer's honorary membership of the Nachtigal-Society for African Studies, 1890. IfLA, Mappe 21/4. ............... 111 Figure 7 Illustration of “ancestral poles and figures“ from Leo Frobenius‘, Die Kunst der Naturvölker, 1896, p. 598. .................................................. 115 Figure 8 Header used for the novellas in Westermann's Monatshefte. ...................... 117 Figure 9 Header of Leo Frobenius‘ Die Kunst der Naturvölker, 1895/6. .................. 117 Figure 10 South Sami or Laplanders at Hagenbecks Zoo, 1926. Hagenbeck Archive, Hamburg................................................................... 122 Figure 11 picture postcard of the Berliner Gewerbeausstellung in Treptow, 1896. .......................................................................................... 125 Figure 12 Illustrations of the "New-Guinea-Huts" at the colonial exhibition in Treptow, Pracht-Album, 1896, p. 40. .................................... 126 Figure 13 Illustration of “Stemtree of the human species or races” from Haeckel’s Natürliche Schöpfungsgeschichte, 1st ed., 1868. ....................... 132 Figure 14 Illustration of “the twelve human spieces” from Haeckel’s Natürliche Schöpfungsgeschichte, 2nd to 7th ed., 1870-79. ....................... 133 Figure 15 Illustration of “the twelve human spieces” from Haeckel’s Natürliche Schöpfungsgeschichte, 8th to 12th ed., 1889-1920. .................... 134 Figure 16 Front page of Karl Woermann Die Geschichte der Kunst aller Zeiten und Völker, 1900. ........................................................................... 142 Figure 17 illustration of a "female ancestral figure of the Bongo-Negroes" from Karl Woermann's Die Geschichte der Kunst, p. 70. ........................... 152 Figure 18 Illustration of "Door Panels from the palace in Eire" from Karl Woermann's Die Geschichte der Kunst, 1900, p. 71. .................................. 153 Figure 19 Illustration of a "Bronze plaque from Benin" from Karl Woermann's Die Geschichte der Kunst, p. 73. ........................................... 154 7 Figure 20 Close up of drawings on a letter from Webster to von Luschan. Staatliche Museen zu Berlin – Preußischer Kulturbesitz, Ethnologisches Museum Berlin. ................................................................ 167 Figure 21 Illustration of ‘Evolution of the Human Race’ taken from Ernst Haeckel’ Natürliche Schöpfungsgeschichte, 1870. ..................................... 175 Figure 22 Graphic renderings of “carvings on ivory tusks from Benin” from Felix von Luschan’s article on the Benin Bronzes, 1898, pp. 156/7. .................................................................................................. 177 Figure 23 Felix von Luschan, plate of bronze from Benin ......................................
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