ILLiad TN: 453217 Call#: NXSSO.A1 T68 2016 ~ 1111111111111111111111111111111111111111 1-c .,.0 ...... Borrower: FHM Location: Atlanta Library North 4 N PROCESS DATE: 1-c -0.> Lending String: 20161003 -+-> *GSU,DLM,TEU,AMH,CSL,EZC,SUS ~~ Patron: ARIEL IFMCharge ...... 0 Journal Title: The total work of art : r:/). Maxcost: 25.001FM 1-c foundations, articulations, inspirations I 0.> ~ Volume: Shipping Address: ...... > Interlibrary Loans ~ Issue: MonthNear: 2016 University of South Florida ~ Pages: 157-182, 259-272 4202 East Fowler Avenue LIB 121 0.> Tampa, Florida 33620 ~ Article Title: The "Translucent (Not: United States -+-> Transparent)" Gesamtglaswerk r./J. Fax: ::r: ro Imprint: New York: Berghahn Books, 2016. (<: ...... NOTICE: THIS MATERIAL MAY BE PROTECTED Ariel: ody or article exchange {_~ BY COPYRIGHT LAW (TITLE 17, U.S. CODE) 0 0.> d ILL Number: 172025970 Or ship via: ARIEL 1111111111111111111111111111111111111111111111111111111 CHAPTERS (""-••.."" The 11T ranslucent (Not: Transparent)" Gesamtglaswerk

JENNY ANGER

runo Taut's Glashaus (Glass house, 1914, Figure 8.1) stood on the east­ Bern bank of the Rhine River, across from the monumental cathedral of Cologne, for just two years. It was accessible to the public for shorter still: a few weeks in the summer of 1914. The outbreak of war-and the need to gar­ rison soldiers on the German Werkbund's exhibition grounds-might have darkened this temple of light forever. 1 Despite its brief existence, however, the Glashaus contributed to an ideal that aspired to be as enduring and inspi­ rational as those of its sister temple on the far shore. Following the German tradition of constructing utopian neologisms out of constitutive parts-the Glashaus, for example, or Richard Wagner's Gesamtkunstwerk (total work of art)- I call this ideal the Gesamtglaswerk (total work of glass). As one might expect, the Gesamtglaswerk is a sort of Gesamtkunstwerk made of glass. Its less obvious, though more significant feature is that its glass is translucent. Yet its purview extends far beyond that which the eye can see. t Wait; should that not read transparency? That would seem to make more sense. Transparency, after all, is highly valued in modernist discourse; even its meaning is thought to be clear-that is, transparent. One sees straight through glass and gains complete "insight" into everything visible on the other side. The value and meaning of translucence, however, are less immediately clear, perhaps even opaque. Light filters through, but translucent glass halts the gaze, even as it engages it. Therein may lie the power of translucence, but we cannot know this right away. Translucence makes us pause. So let us approach the Gesamtglaswerk from another direction. Transparency-not translucence-and the Gesamtkunstwerk are more ubiquitous associations with modernism. The former surfaces most commonly in architectural discourse; the latter appears in all of the splintered discourses of the various art forms that the Gesamtkunstwerk had sought to unite. The .

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beyond the entrance of the park. If a surviving plan of the exhibit is reliable, him in this space. After this rich, sensory experience, one ascended to the one entered and saw the stepped entrance to Taut's pavilion directly ahead.9 light of day and the everyday. Looking left (west), one would see the Rhine, which flows south to north and, It seems that when visitors left the Glashaus, their recollections lost the at that time, paralleled the axial orientation of Taut's pavilion. As noted above, specificity that I have just endeavored to provide. Nonetheless, their accounts Cologne's great cathedral rose considerably higher just across the river. But are striking not only for their jubilation bur also for their collectively imprecise the Glashaus's more immediate neighbor, just to the right of the exhibition's descriptions. "The sight that opens above you is overwhelmingly beautiful entrance, was the amusement park, which offered the latest electric rides and ... The warm, mild waves of light surge through the dome and spread an thrills.10 It is tempting to read the Glashaus as the union of these two worlds, indescribable fantasy mood throughout the space;· reads one of many similar the sacred and profane, the ancient and the modern, the solid and the electric. accounts.16 Architecture critic Adolf Behne gives more descriptive detail, but The flow of the river and the flows within and between the structures-water, even his more sober accounr includes the following: "Anyone who enters the electricity, people, even cash-brought them into an ever rushing and shifting cupola and has any receptivity for beauty at all will be excited by this wonderful counterpoint.11 impression. That is a space that has never existed before: in irs purity and ease What did the Glashaus look like?12 According to photographic and written and in this glorious unity of lighr:'' 7 Taut himsel£ years later, offered a telling records, Taut's pavilion gleamed at night, as any glass structure might, but its sociological impression: "For the most part the puzzled men tried to find glow emanated through two layers of glass: the outer, larger panes, which by crutches for their understanding, but women and children, without exception, day reflected the surrounding atmosphere, and an inner layer of small, colorful gave themselves over to the effect:'18 "Luxfer prisms:' The latter were semi-translucent, colored tiles whose interior Whether the gendered interpretation holds or not, these quotations, taken ridges increased illumination through refraction.13 Visiting by day, one climbed together, suggest that experiencing the Glashaus was something like the oft­ the steps that rose in the direction of (and parallel to) the neighboring Rhine's reported experience of the Gesamtkunstwerk: an overwhelming flow and mix­ current. After paying a nominal fee, one was directed due right or left, up one ture of colors and sensations all resolving in perfect unity. Critically, such an of two sets of gracefully curving, glass brick steps rising to the cupola. Daylight experience requires that one give oneself over to it. (This, of course, is one of 19 filtered through its blue, green, and yellow prismatic ceiling. As darkness began Theodor Adorno's objections to Wagner. ) To be fair, however, there is no reli­ to fall, multicolored, electric bulbs radiated man-made light. Thus, both natu­ able record of actual music played or sung at the Glashaus, so does it make any ral and artificial light entered from beyond the structure, yet from within one sense to consider it in the context of the Gesamtkunsrwerk?20 I contend that could not see outside. evidence requires us to do so. After soaking in the atmosphere of the dome, one could look down For starters, the flyer circulated on site recorded Taut's (and Scheer bart's) through the oculus to a somewhat darker, mysterious space below. Following conviction that "The Gothic cathedral is the prelude to glass architecture ;·n Not another set of stairs down to this room, one discovered a glass tile atrium only did the cathedral across the river literally precede the Glashaus's construc­ with a cascade of water streaming still further down. It flowed south, tion, but it preceded it in visitors' consciousness, its soaring rhythms remaining reversing and symbolically counterbalancing the great stream of the Rhine with them as a prelude or an overture does while experiencing an opera. ]he just beyond. Now one joined the flow of the water (metaphorically); the musical allusion is reinforced in a text Taut published in the Berlin journal, carefully orchestrated itinerary led one down steps alongside the waterfall. 14 Der Sturm (The Storm), in February 1914, mere months before the Werkbund Then one came, finally, to the darkest space, a niche lined in purple velvet. exhibition opened. In "Eine Notwendigkeit" (A Necessity), he wrote: Perhaps most surprising of all, one heard the whirring and clicking of a The Gothic cathedral is the sum of all of its artists; filled with a wondrous sense machine behind a translucent glass screen. It was a kaleidoscope. According of union, they achieved an all-encompassing rhythm that rang through the to rhe prospectus, artists Adolf Hoelzel, Franz Mutzenbecher, and "others" architecture of the building ... Let us [today J work on a magnificent building! had selected the colored glass fragments that appeared in an infinite number One that is not architecture alone but in which everything-painting, sculpture, 15 of random, yet symmetrical, combinations over time. The viewer perceived all together-forms a greater architecture, and in which architecture is once more this ever-changing and blending symphony of colors both in its projection subsumed into the other arts ... The whole will ring with a single, magnificent on the two-dimensional screen that separated him from the machine, and in harmony." his own (metaphorical) melting and mixing with the colors as they enveloped Architecture, in this representation, makes music. 162 .-.: Jenny Anger The "Translucent (Not: Transparent)" Gesamtglaswerk :"' 163

Although Taut did not publish his theatrical production, Der Weltbaumeister Translucence is essential here. Pondering the utopian potential of glass (Builder of the World), until1920, its subtitle alone affirms the direction that I while traversing the space of the pavilion might lead one to think expansively am attributing to his work: "Architektur-Schauspiel fur symphonische Musik'' about the world. Precisely because one could not see outside, the visitor might (Architecture-Play for Symphonic Music).23 Indeed, Angelika Thiekiitter has be more likely to relinquish control of time and space, to allow the charged identified many parallels between the guided tour of the Glashaus and the atmosphere to work its magic. (Taut's statement notwithstanding, women and development of the very abstract"plot" of Der Weltbaumeister. 24 The Glashaus children were not the only ones to submit to this marvelous effect.) Thus, the may have inspired this visual opera, the central figure of which was, as we might Glashaus activated a power traditionally attributed to theater, a darkened space now expect, a cathedral. 25 explicitly shut off from the outside world. Here one might engage in the fantasy Thus, although the Glashaus was in all likelihood silent-aside from the of people the world over coming together in peaceful harmony, just as the color­ murmurs of delight and the whir of the hidden kaleidoscope-it calls out to fullight pervaded the space and the lovely rush of the cascade. It would remain be understood as a Gesamtkunstwerk. Other historians have already heard a fantasy, of course, but it could be far more profound than an experience with this call. 26 Perhaps most significantly, architectural historian Kai Gutschow clear glass might have been. Imagine the Glashaus with transparent glass: from recognizes that a close "antecedent of Taut's work can be found in the wide within one could have watched the people lining up outside, wondered why array of Gesamtkunstwerk theory and experiments that blossomed amidst this particular pavilion was so close to the front gate, considered whether to go eighteenth- and nineteenth-century Romanticism, as well as the turn-of­ to the amusement park before or after attending to the more serious architec­ the-century applied arts movements that influenced Taut's early training:'27 ture in the distance-that is, one could have remained anchored in daily life. He foregrounds the "immersive, theatrical, and experiential" aspects of Even more, if the glass had been transparent, the controlling personality might the exhibition building; these, he argues, render it a forerunner of today's not just look around, but, rather, survey all of the territory-the people, their "installations:' Gutschow concentrates on the Glashaus as "among the first movements, the layout of the grounds, the quickest route from the entrance to exhibition buildings designed primarily as a mechanism to create vivid the river or the railroad-and might have experienced the powerful fantasy of experiences throughout, from exclusively optic to partly haptic:' Finally, he, surveillance. Translucence, it appears, lends itself better to utopia. too, cites visitors who "frequently remarked on the profound emotions they Scheerbart's pacifist aphorisms introduce yet another critical aspect of the encountered, not merely the experiences of the five senses, but of the psychic Gesamtkunstwerk: collaboration. Once we bring collaboration into the mix, and often visceral reactions they had:'28 this Gesamtglaswerk opens far beyond its temporary site in Cologne to Berlin; Gutschow's research contributes to our understanding of visitors' to other participants; and to other moments of synthesis. Its realization metaphysical, if not spiritual, responses to this aesthetic environment. In their far exceeded the summer of 1914. The nexus of this expanded network is recent anthology on the aesthetics of the Gesamtkunstwerk, Anke Finger and Herwarth Walden (1878-1941), the director of Der Sturm enterprise, a Danielle Follett argue that the total work of art usually fulfills three purposes: journal, a gallery, a performance space, an art school, and a press in Berlin from aesthetic, metaphysical, and political.29 I want to build on Gutschow's 1910 to 1932. Walden's world of mixed media also opens the Gesamtglaswerk scholarship to argue that the Glashaus fulfills not only the aesthetic and to projects that are not literally made of glass. 31 I Walden wanted so much for the Glashaus to succeed that he sent the Swedish metaphysical but also the political purpose of a Gesamtkunstwerk. The Glashaus did not wear its politics on its sleeve, so to speak, but it materialized painter Giista Adrian-Nilsson to Cologne to give guided tours of the pavilion, f a radical utopian vision to improve humankind. Receptive visitors experienced as well as to sell copies ofScheerbart's book, Glasarchitektur (Glass Architecture), I a glorious aesthetic unity together; since Wagner's Art and Revolution (1849), a which was fresh off Der Sturm's own press.32 We will return to that book below, Wagnerian hope had been that such shared aesthetic pleasure would translate but first we must trace the long-standing creative bond between Scheerbart into a harmonious people. Much more concretely, this structure provided a ring and Walden; it provides another prelude to the collaborative Gesamtglaswerk of sayings around its architrave to help visitors make the connection between in Cologne. ~ the structure and its politics. Scheerbart, a committed pacifist, provided the Scheerbart (1863-1915), fifteen years Walden's senior, nevertheless be­ 11 i. witty aphorisms, including "Das bunte Glas zerstiirt den Hafl" (colored glass longed to the latter's longest-standing set of artistic friends in Berlin. Although destroys hatred), which one read overhead upon entering the pavilion. 30 This earlier meetings have been postulated, the earliest surviving correspondence mixture oflanguage, color, and architecture underscores the Gesamtkunstwerk between them dates to 1903.03 The very first letter, from Scheerbart and writer ideal of unifying the arts for a whole greater than the sum of its parts. Erich Miihsam to Walden, is an invitation to collaborate with them on a pro------~

164 ..-: Jenny Anger The "TratJslucetJt (Not: TratJsparetJt)" Gesamtglaswerk :~165 posed pacifist journal with an ironic tide, Das Vaterland (The Fatherland).34 Liszl6 Moholy-Nagy's light experiments at the Bauhaus and beyondY All of The journal did not come to pass, but that gesture opened a rich vein of col­ these experiments, I contend, contribute to the Gcsamtglaswerk, but there are laborative possibilities over the following years. In early 1904, Walden wrote more unexpected connections still to draw. that he was so taken by Scheerbart's play, Dschinnenschlacht (Genie Battle), that In 1910, Walden founded Der Sturm journal, and in 1912, to celebrate the he planned to compose music for it.35 The writer, in turn, was so enthusiastic hundredth issue, he began to host exhibitions of modern art. In a fortuitous about the possibility that he referred to the work as "our" Dschinnenschlacht in crossing of paths, Bruno Taut purportedly worked on a site at the very same subsequent correspondence.36 Neither the Dschinnenschlacht collaboration nor address (TiergartenstraBe 34A) as Walden's first two shows. But it is likely that another potential journal came to fruition, but Scheerbart became one of the Walden exhibited works in a villa that was scheduled for demolition or that first speakers at Walden's newly founded Verein fur Kunst (Society for Art) in Taut was associated with a replacement project.43 After that, Walden opened 1904. That lecture, too, became an opportunity to blend the arts: Walden and a permanent gallery at PotsdamerstraBe 134A, near Potsdamer Platz. In the Scheerbart conferred back and forth by mail before they decided on the proper fall of 1913, though, he rented another space large enough to hold the 366 timing, type, and amount of music to complement the verbal presentation.37 works that he included in the "Erster Deutscher Herbstsalon'' (First German Their working together was always a mixed-media affair. Autumn Salon) exhibition.44 Taut may have missed the first two shows, but The subject of glass appears in the correspondence for the first time in he gained familiarity with the new, regular gallery during 1913, and this 1905. Scheerbart wrote to Walden to consult about the stage set the latter extraordinary, international exhibition appears to have crystallized his ideas was preparing for a production of Scheerbart's: "The shiny paper seems just too about architecture. dangerous to me. Simple walls are supposed to be the 'background' behind the The Herbstsalon-ostensibly not about architecture-consisted actors; for that reason they can't be too intense-otherwise they don't stay in predominantly of painting and sculpture. Taut recorded his response in the background. I might experiment with a shiny backdrop (maybe with glass) the essay, "Eine Notwendigkeit;' introduced above. Here I quote at greater at some later date:'38 Scheerbart objected to Walden's apparent suggestion that length from what scholars have called the "first manifesto of Expressionist the stage backdrop shine; if it did so, the writer feared, it would overwhelm architecture:' This essay appeared, appropriately, in Der Sturm. It is a call for the play. Scheerbart indicated that he did want to consider a shiny set, perhaps the Gesamtglaswerk: even, specifically, a glass set, sometime in the future, but only if it could provide The Gothic cathedral too is the sum of all of its artists; filled with a wondrous the total effect that he desired.39 He did not want glass for its own sake but sense of union, they achieved an all-encompassing rhythm that rang through the to rather for its potential to contribute a total work. architecture of the building ... Let us (today) work on a magnificent building! Walden and Scheerbart must have had passionate discussions about the One that is not architecture alone bur in which everything-painting, sculp­ possibilities of modern theater. In the spring of 1908 they dreamed of founding ture, all together-forms a greater architecture, and in which architecture is their own theater (along with Rudolf Bluemner, an acting coach and another once more subsumed into the other arts ... The building must contain rooms long-time friend of Walden's ).40 That vision remained just that, but Scheerbart that incorporate the characteristic manifestations of the new art: the luminous recorded a possible version of it-or, at least, of his own vision-in 1910 in a compositions of (Robert) Delaunay in great stained-glass windows; on the walls short story tided, simply, "Das Glas-Theater" (The Glass Theater). In the tale, Cubist rhythms, the painting of a Franz Marc, and the art of Kandinsky. The the theater director muses: piers without and within must await the constructive sculptures of (Alexander J Archipenko; the ornament will be provided by [Heinrich) Campendonk ... The Just imagine so-called shadow plays with transparent and opaque glass sheets. whole will ring with a single, magnificent harmony. 46 On to these glass sheets, which can be in all colors, shadows fi:om colored glass can be projected ... Cannot extraordinary moods be achieved with these colored Taut aspires to combine all of the arts in a construction that would achieve the shadows/ Will this not give a whole new direction to theater art in which glass social and aesthetic union that he, like many of his contemporaries, projects plays the dominant role/'11 onto the Gothic past and into the utopian future.47 Each of the artists he names figured in the recently closed Erster Deutscher Herbstsalon. Robert Delaunay, Architectural historian Rosemary Haag Bletter recognized that Scheerbart's in fact, was represented there by the second largest collection of any other liv­ "proposed nonobjective color play" dates to the same period in which artists ing artist (his wife, Sonia, whose collection included decorative arts objects, such as Wassily Kandinsky were discovering pure color in painting, and that was the only one to have more).48 it also foreshadows the kaleidoscopic display in Taut's Glashaus of 1914 and 166 r-: Jenny Anger The "Translucent (Not: Transparent)" Gesamtglaswerk :..., 167

Turning to these artists' non-architectural works brings us, surprisingly, still From this perspective, Hughes opens up what is otherwise a very flat, opaque closer to the Gesamtglaswerk ideal. Earlier in 1913, Delaunay had enjoyed his first painting, despite its titular claim to represent a window. If one looks closely, solo exhibition at Der Sturm. The paintings that won him wide acclaim belong though, opacity becomes translucence, and our eyes accustom themselves to to his colorful, abstract, Window series. The most famous of these, Simultaneous the depth that Delaunay sought to achieve in this Gesamtglaswerk without Windows (1st Part, 2nd Motif, 1st Replica) (1912, Figure 8.2), features as the only glass.51 As Hughes explains, Delaunay's tide, Simultaneous Windows, fore­ color reproduction in the Album that Robert and Sonia conceived together and grounds simultaneity, so we know that the prismatic colors that we see are what that served as the catalogue for that show. Art historian Gordon Hughes has they appear to be precisely because of their placement adjacent to each other, recently paid close attention to this long-admired, yet never well understood, their "simultaneity:' The colors painted on the canvas and the attached wooden painting.49 He argues persuasively that the work replicates the process by which frame read at first as flat pattern, yet they awaken our tactile sensitivity as we we learn to see-that is, to make sense cognitively of the flat color on our retinas recognize their different texture on the separate, though contiguous, supports. (as nineteenth-century science had explained the process). Although other Surmising from the tide that we are supposed to be seeing through a window, Cubists prioritized form over color, inferring from modern optical theory that despite the obvious materiality of the actual work, we most easily identify the vision cannot be trusted, Delaunay prioritized color, building on the "realization elongated green triangle in the center of the painting as a view of the Eiffel that infantile vision is initially experienced as pure optical sensation prior to Tower in the distance.5 2 the learned perception of form and space;' a learning process that depends on Viewers typically stop there, but Hughes encourages us to keep looking. He memory of other things seen and touched in the past.5 ° identifies two broadly brushed, intentional marks in the center of the bottom of the frame as other "windows" seen in the distance. Then he points out something that has long gone unnoticed-miraculously so, because it is one of those things that you cannot not see after you have seen it once. Hughes identifies "a face in the yellow field of the viewer's right-hand side of the painting. The dark green patch of paint, two-thirds of the way down the right­ hand side, functions as lips, while the quarter-circle of yellow beneath it forms the chin. The ear nestles in the right-hand corner of the base of the tower:'53 It represents a reflection, of course: vague enough to be our own, which we know from experience, and vague enough also to be a record of Delaunay's own view of the "window" long ago, as Hughes suggests. With remarkable acuity, Hughes proceeds to identify an overlay of an aerial view of the Eiffel Tower as well as intersecting support beams that one might 4 see from beneath and within the tower. 5 His invitation to look closely at the painting, though, leads me to another startling revelation: there is a second face. It materializes out of the orange facets near the top of the viewer's left­ hand side of the painted canvas. Just as the right side of Robert's face is nearly contiguous with one side of the Eiffel Tower, the curve of the left side of the second face echoes the slope of the other side of the tower, with the important difference that the second profile, however parallel to the tower's curve it may be, is an inch or two removed from it. Thus, this "face" is higher on the canvas and smaller, too, than his, suggesting that "she" stands a bit behind "him" and off to the side. A horizontal bar of deep orange, overlapping strokes, parallel to the frame just above it, forms her left eye; her nose emanates from the lighter orange that descends close to the vertical edge of the frame (on the viewer's Fig 8.2. Robert Delaunay. Simultaneous Windows (1st Part, 2nd Motif, 1st Replica), 1912. left-hand side); the suggestion of her dark orange lips seems to emerge from Oil on canvas, 46 x 40 em. Photo Credit: bpk, Berlin I Hamburger Kunsthalle I Elke behind some otherwise inexplicable green marks (below and to the right of Walford I Art Resource, NY 168 ,..; jenny Anger The "Translucent (Not: Transparent)" Gesamtglaswerk :~169 which her chin gently curves). I have used "she;' for who is this if not a spec­ It is impossible to know how much of this Taut might have recognized, but ter of Sonia Delaunay, looking over the painter's shoulder, while "her" colors the fact remains that conscientious, carefully considered vision-what might and shapes simultaneously provide the colorful sweep of curtain drawn to the seem like a clear, metaphorically "transparent" view of our perception of the

(viewer's) left side of the painting~And is it not, after all, double vision; does world-emerges here from the most opaque of "windows:' Taut's words do she appear again, a little higher~What had been "eye" in the first Sonia "face" not register the collaborative nature of this or any work by Delaunay, but it suddenly transforms itself into her "mouth" in the second, overlapping face. Is is this sort of simultaneously flat and deep, visually arresting and cognitively she simultaneously in two places, or is one or both a memory~She is certainly challenging painting that he proposes as the model for the actual windows "there" -wherever that is-and as soon as one looks at and for her. in his utopian building. Indeed, scholars believe that Taut chose the yellows, Sonia and Robert both identified with their work. 55 Analyzing a photo of blues, and greens of the interior prisms of the Glashaus in overt emulation Robert in front of another painting. the First Disk-the photo is inscribed, in of Delaunay's paintings of windows.61 His decision to do so would have been part, "Expose a Berlin 1914 (sic] au Herbstsalon" (exhibited in Berlin 1914 reinforced by the critical reception of these paintings as musical. For example, (sic] at the Herbstsalon)-Hughes argues convincingly for its simultaneous the critic Behne wrote the following in late 1913: "With a determination like representation of the artist and his work, both of which were "exposed" at the that of no other artist before, Delaunay has turned color into the expressive Herbstsalon.56 Following that logic, it makes good sense that in the window means of his art, and he has achieved results that one can compare only with painting. the edge of the orange face is contiguous with what can only refer to musical effects!"62 a drawn curtain, for Sonia also made "simultaneous curtains;' some of which Whatever Taut actually saw at the Sturm gallery and at the Erster Deutscher were also shown at the Herbstsalon. They were tided Profondeur Mouvement Herbstsalon, he was enmeshed in its network during the early months of 1914, Vorhange (Depth Movement Curtains, 1912).57 The tide's combination of during which he planned and executed the Glashaus in Cologne. Behne, who French and German, the source of which could be either Sonia or Walden, had identified the musicality of Delaunay's Window paintings earlier that win­ combines the languages of two countries as the words appear simultaneously ter, published a glowing review ofT aut's building projects in the Sturm issue im­ together.58 Walden's exhibits have always been known for their internation­ mediately following the one with his own essay, "Eine Notwendigkeit;'63 Taut alism; the potential to unite peoples across a border is achieved here, if only and Scheerbart were introduced and they built a fast friendship. Taut much metaphorically. admired Scheerbart's architectural fantasies, which appeared regularly in Der After learning to see all of these layers, prompted by Hughes, I wonder why Sturm, and Scheerbart recognized the man who might bring his glass dreams he did not recognize Sonia in the painting. Presumably he was not looking for to fruition. Taut invited Scheerbart to write the aphorisms for the Glashaus, her, because in his text he emphasizes Robert's "increasingly evident individual­ and Scheerbart gladly complied. Walden wanted to publish all of the maxims ism:'59 In this sense, Hughes follows the traditional, modernist narrative of the in Der Sturm but for some reason Scheerbart said no. The older man may have solitary, male, genius artist. But we opened our analysis here with the fact of disappointed Walden with this refusal. If so, it was tempered by the offer of a collaboration: Sonia and Robert designed the Album together, and, as Whitney different opportunity: Scheerbart asked Walden if Der Sturm might publish Chadwick has shown, their lives and their work from the period are closely his book, Glasarchitektur.64 Within a week, their correspondence reveals that intertwined. Now, with their simultaneous creativity in mind, something else Walden said yes; the two old friends would collaborate again. It was March in the painting suddenly appears, light as day. Those two daubs of paint on 1914; Scheerbart was eager for the book to appear in May 1914, when the the bottom of the frame-the ones that Hughes identifies as "windows" in the Werkbund exhibition would open. With remarkable speed, the team nearly distance-transform themselves into the backs of Sonia's and Robert's heads made its deadline, such that Walden could dispatch Adrian-Nilsson to peddle as they stand at ground level gazing together at the Eiffel Tower in the distance. the book at the exhibition in Cologne in July 1914.65 That is, now they"stand" not in the space of the"window" and their own"reflec­ However, before we look closely at that book, there is another exhibition at tions;' but out of doors, on the Champs de Mars, in the area around the tower Der Sturm that warrants our attention. As Hodonyi has reported, the exhibit at itsel£ Memory, we recall, shapes the many layers of visual perception in this the gallery in April1914 included a model (1:15) of Taut's Glashaus.66 He also simultaneously singular and retrospectively collective work. Expectations do as notes that the headline show at the time was Paul Klee's first solo show at this well. This painting is a Gesamtglaswerk in that sustained attention to its initial Berlin venue. Presumably because Klee was not widely known, Walden printed non-transparency leads us forward and backward in time to a simultaneously only a flyer for the show, rather than a longer catalogue. Previous scholars had multi-layered and clear vision of a world and a life of collaborative production. missed this record, likely due to its flimsy and transitory natureY But as Hod-

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aspects aspects 172 172 174 <"'! Jenny Anger The "Translucent (Not: Transparent)" Gesamtglaswerk ;..... 175

Fig. 8.3. Anna Scheerbart. Front endpapers to Paul Scheerbart, Glasarchitektur(Berlin: Fig. 8.4. Anna Scheerbart. Back endpapers to Paul Scheerbart, Glasarchitektur(Berlin: Der Der Sturm, 1914). Photo Credit: bpk, Berlin/Staatsbibliothek z;u Berlin-PK/ Art Sturm, 1914). Photo Credit: bpk, Berlin/Staatsbibliothek z;u Berlin-PK/ Art Resource, Resource, NY NY wife demonstrate that he found her handmade paper "exquisite" (kostlich).97 That is a space that has never existed before: in its purity and ease and in this He dedicated Glasarchitektur to Taut, but his contemporary novel about glass glorious unity of light. This hall is radiant and shining like a jewel, yet full of architecture, Das Graue Tuch und Zehn Prozent Weiss (The Gray Cloth and Ten gentleness and expanse. Of course it is not meant to be a lookout or observation Percent White, 1914), reveals his debt to his wife's inspiration, in art and life: room! The appeal is not that we can now see everything that goes by outside; the walls, rather, are non-transparent. So why doesn't one just stick with brick, "To my dear bear, Frau Anna Scheerbart:'98 and what is glass for, if it is in fact not transparent? Yes, the value of glass is If the Gesamtglaswerk is translucent, as I have argued, we may wonder is 99 not exhausted by the fact that one can see through it. That just one, purely why modernist architecture largely came to fetishize transparency. The practical quality of glass, the one that we have put to our service. But over and Gesamtglaswerk promises transformation or transcendence; in that way it above that, glass is in and of itself a material of unique beauty, and even when provides metaphorical transparency. But part of its point seems not to position we cannot see through it, it has an inestimable significance as wall, as enclosure the viewer as omniscient and omnipotent. The way to greater spiritual and of a space.UJO intellectual growth-and potential communion with humankind, if not the universe-appears to call for very close looking and experience of something Reminding us of the musical model with which we began, Behne then builds that we cannot see through. Adolf Behne, finally, may have tried to communicate on a quotation from the Glashaus brochure: "The Gothic cathedral is the 101 this principle when he reflected, after the Werkbund exhibition had closed, on prelude to glass architecture: A glorious prelude!" However, the "inestimable the Glashaus that he had personally experienced. After declaring, as we have significance'' that Behne ascribes to the Gesamtglaswerk-its potential seen, that the Glashaus would appeal to anyone who had any receptivity to for cognitive and spiritual clarity and transcendence thanks in part to the beauty at all, he continued: "translucent (not: transparent)" quality of its glass-has remained opaque for a

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added.

July.

the

a

that

Prism

a

river

the

patiently,

und

the

to

ed.

Scheerbarts

no

would

Werkbund

Thiekotter,

for

no.1

Die

for

Birgit

for

of

for

to

the

until

in

and

...

and

Strauber

Avant-Garde,

Thiekotter

48,

Paul

pay

Columbia

references

to

more

Scheerhart

The

original

Luxfer

but

placement,

Notes

emphasis

to

Architecture:

25n6. all

ready

suggesting

the

26-28,

1993).

Behne

19-20,

inside

Paul

appear

The diss.,

the

Susan

45,

Studies

volume

Raum:

and

1972).

potential

not

by

relation

Angelika

15-16.

by

closely,

Stalinism:

158-59.

and

Glasarchitektur,

is

"Glaser:o:eugung

salvaged,

himself

in

Adolf

this

of

ridges window-glass

(PhD

was

Time however,

(Basel,

York,

Raum;'

be

of

intervene,

structure

mine.

Art

more

Neumann,

Lighting':

glaserne

proximity.

Taut,

Taut

Germanic

to

utopian

source

plain

in

the

are

of

dismayed

glass

Space,

(New

Kristallisationen,

Architecture

Reynolds,

Total

pavilion

10.

"Der

of

Kristallisationen,

the

Criticism:

editors

exhibition

prismatic

Kristallisationen,

park's

its

Scheerbart,

glaserne

tried

Bruno

indicated,

chapter.

Glashaus

attend

493.

more

of

of

The

1910-1914"

required

the

the

Kristallisationen,

Glass

1992).

Kristallisationen,

Sharp

journal

that

to Dietrich

we

with

Paul

Plans

this

Taut's

Daniel

initially

Triumph

"Der

Anger

exhaustive

of

Giedion,

to

A

Hilbersheimer,"Glasarchitektur," or

If

Tauts

of

2008),

all,

Schuet:;:e,

but

Thiekotter,

Osthaus

Groys,

was

Culture

glass

plan

Thiekotter,

most

Thiekotter,

otherwise

Lyon,

amusement

envision

Jenny

in

Dennis

Germany,

time.

drafts

grateful

.-.:

10,

(conciliatory). Kristallisationen,

the

See According 1914, Glashaus.

dow See illumination

Century's Boris The noted, translations

translation: (Princeton, Taut

ed. Ludwig

Seminar:

Schuet:o:e, in

Above "The

less Ernst

bridge,

Andre Thiekotter,

Bruno

Siegfried

The practice

government

Thiekotter,

not

am

9.

5.

6. 7.

3. 4. 8. 1.

2.

10.

11.

12.

13.

I

Vanessa vious

176

some

we

I I

to to

R. R.

by by

and and

gal­

179 179

Der Der

15-

black black

91. 91.

six. six.

1913): 1913):

source. source.

:~ :~

in in

Kunstge· Kunstge·

architec­

with with

Schuster, Schuster,

Socialism, Socialism,

work work

Significant Significant

Object Object

and and

Berlin Berlin

Delaunay's Delaunay's

282-83. 282-83.

913-14. 913-14.

mechanical mechanical

this this

perception, perception,

Courtivron Courtivron

242,256. 242,256.

in in

simultaneity, simultaneity,

first first

Experimental Experimental

a a

1975): 1975):

developed developed

my my

Architectural Architectural

the the

182-83. 182-83.

de de

Expressionism: Expressionism:

for for

Deutscher, Deutscher,

about about

of of

four four

Kunst: Kunst:

in in

at at

see see

visual visual

"From "From

261. 261.

with with

well well

1983), 1983),

(December (December

Robert Robert

1910): 1910):

National National

(May (May

Utopias, Utopias,

about about

connected connected

510. 510.

of of

is is

2 2

do do

ouly ouly

Erster Erster

1914): 1914):

of of

Peter-Klaus Peter-Klaus

of of

Jensen Jensen

Isabelle Isabelle

Delaunay;' Delaunay;'

journal journal

months months

German German

to to

in in

infants infants

no. no.

1912. 1912.

exhibits exhibits

Gesamtglaswerk Gesamtglaswerk

Kunst Kunst

otherwise otherwise

Scheerbart's Scheerbart's

Rise Rise

exist exist

and and

talking talking

in in

(Leipzig. (Leipzig.

David David

has has

34, 34,

Gutschow, Gutschow,

"I "I

solo solo

1913). 1913).

not not

ofC,.iticism, ofC,.iticism,

Delaunay, Delaunay,

the the

Robert Robert

eventually eventually

it it

neue neue

Walden, Walden,

1912, 1912,

November November

Marc, Marc,

Infants;' Infants;'

not not

perception perception

Dr. Dr.

(February (February

is is

"Paul "Paul

between between

Expressionist Expressionist

expressionistische expressionistische

known, known,

to to

development development

to to

124; 124;

to to

and and

polyglots. polyglots.

See See

three three

Die Die

Sturm" Sturm"

am am

Simultaneity Simultaneity

(12 (12

were were

die die

wrote, wrote,

the the

498. 498.

color color

1990). 1990).

well well

(Berlin, (Berlin,

Culture Culture

Chadwick Chadwick

"I "I

Historians Historians

306-32. 306-32.

Transpal'ent)" Transpal'ent)"

because because

78 78

Bletter, Bletter,

Schuster, Schuster,

Human Human

in in

were were

is is

und und

The The

appears appears

"Der "Der

Sonia Sonia

Empire Empire

Benson, Benson,

develops develops

ed. ed.

December December

1993), 1993),

in in

artists artists

in in

grateful grateful

Architecture," Architecture,"

their their

enjoyed enjoyed

As As

one, one,

Delaunay Delaunay

no.198-99 no.198-99

1985), 1985),

Marc, Marc,

(Not: (Not:

und und

14 14

Haag Haag

am am

2007): 2007):

Delaunay Delaunay

from from

Gotik Gotik

4, 4,

article article

I I

(Munich, (Munich,

that that

both both

each each

these these

Walden Walden

memory memory

313. 313.

Gutschow, Gutschow,

twenty-seven. twenty-seven.

Herbstsalon," Herbstsalon,"

end:' end:'

Herbstsalon Herbstsalon

314. 314.

309. 309.

326. 326.

235-36. 235-36.

der der

after after

of of

Franz Franz

Fixation Fixation

Gegenwart Gegenwart

of of

this this

Architectural Architectural

227-28. 227-28.

(June (June

(Berkeley. (Berkeley.

perception perception

Marc, Marc,

Walden Walden

my my

Wilhelmine Wilhelmine

Sturm Sturm

Pa..tnership, Pa..tnership,

Abstraction: Abstraction:

had had

to to

harmonic harmonic

of of

2 2

All All

(Cologne, (Cologne,

to to

role role

Geist Geist

a a

133-50. 133-50.

suggests suggests

Rosemary Rosemary

841-43, 841-43,

the the

Marc, Marc, 43-47; 43-47;

Simultaneously: Simultaneously:

"Translucent "Translucent

Der Der

translation translation

no. no.

91. 91.

"Expressionist "Expressionist

which which

from from

Herwarth Herwarth

Long Long

depth depth

17. 17.

Deutsche Deutsche

the the

of of

to to

Deutscher Deutscher

1911-1925 1911-1925

Criticism, Criticism,

letter letter

Sonia Sonia

Walden, Walden,

Der Der

in in

Society Society

89, 89,

Binocular Binocular

The The

a a

letter letter

from from

of of

about about

Abstraction," Abstraction,"

Intimate Intimate

Moholy-Nagy Moholy-Nagy

Herwarth Herwarth

and and

Abstraction;' Abstraction;'

Abstraction;' Abstraction;'

Abstraction;' Abstraction;'

Taut;' Taut;'

of of

Britt's Britt's

their their

(1977): (1977):

End End

the the

(1913): (1913):

in in

erste erste

research research

means means

Erster Erster

8 8

Glas-Theater;' Glas-Theater;'

Bletter, Bletter,

and and

of of

Deutschland Deutschland

and and

"Envisioning "Envisioning

Sturm Sturm

31-49. 31-49.

the the

123 123

Washton Washton

my my

rather rather

Bulletin Bulletin

Bushart, Bushart,

Briihl, Briihl,

Delaunay Delaunay

Deutscher, Deutscher,

Culture Culture

Tat Tat

Herwarth Herwarth

David David

"Der "Der

und und

wrote wrote

Scheerbart's;· Scheerbart's;·

foregrounds foregrounds

66. 66.

Der Der

whereas whereas

twenty-one; twenty-one;

"Das "Das

Kunsttheorie, Kunsttheorie,

Delaunay Delaunay

Art Art

Kristallisationen, Kristallisationen,

but but

translation translation

Haag Haag

from from

Current Current

Die Die

Walden, Walden,

journal journal

1993), 1993),

of of

Chadwick,"Living Chadwick,"Living

Erster Erster

"Envisioning "Envisioning

Hughes, Hughes,

"Envisioning "Envisioning

"Envisioning "Envisioning

"Envisioning "Envisioning

also also

Georg Georg

Briihl, Briihl,

Creativity Creativity

had had

the the

und und

depth:' depth:'

separate separate

"Paul "Paul

four, four,

aforementioned aforementioned

Kandinsky Kandinsky

Behne, Behne,

borrow borrow

and and

"Development "Development

Psychology Psychology

Sonia Sonia

Disk;' Disk;'

I I

is, is,

issue issue

See See

white. white.

Magdalena Magdalena

Delaunay Delaunay

Gutschow, Gutschow,

Rose-Carol Rose-Carol

and and

Delaunay Delaunay

the the

AdolfBehne,"Bruno AdolfBehne,"Bruno

Ibid. Ibid.

Hughes, Hughes,

223f., 223f.,

(London, (London,

Hughes, Hughes,

Both Both

Hughes, Hughes, Others: Others:

In In

First First Ibid. Ibid. Adolf Adolf

that that

movement, movement,

ed., ed.,

Whitney Whitney

Hughes Hughes

Walden, Walden,

311. 311.

Hughes, Hughes,

cannot cannot

17; 17; Child Child

Robert Robert

Thiekotter, Thiekotter, As As

Aslin, Aslin,

month month

and and

schichte schichte

Fantasies;' Fantasies;' Gordon Gordon

ture. ture.

See See

Installation;' Installation;'

Rosemary Rosemary

See See

ed. ed.

Herwarth Herwarth

Sturm. Sturm.

lery. lery.

borrow borrow Bletter, Bletter,

Documents Documents

The The

Scheerbart, Scheerbart,

54. 54. 63. 63.

53. 53.

62. 62.

52. 52.

61. 61.

60. 60.

59. 59.

58. 58.

57. 57.

56. 56.

55. 55.

50. 50.

51. 51.

49. 49.

48. 48.

47. 47.

46. 46.

45. 45.

43. 43.

42. 42.

41. 41.

44. 44.

of of

of of

of of

to to

des des

not not

Pa­

Die Die

Der Der

pre· pre·

544. 544.

Paul Paul

city;' city;'

Anal­

is is

ency­

of of

Mech­

but, but,

Danzig Danzig

journal journal

Scheer-

century, century,

Schwed­

Waldens Waldens

painting painting

the the

audience audience

his his

mentions mentions

originally originally

Hodonyi, Hodonyi,

especially especially

ed. ed.

Eine Eine

in in

Scheerbart, Scheerbart,

Pehnt, Pehnt,

Ahlstrand, Ahlstrand,

his his

of of

Von Von

Aesthetics Aesthetics

in in

Het·mansen Het·mansen

in in

he he

(Osnabriick, (Osnabriick,

new new see see

72. 72.

Tragodie, Tragodie,

assessment assessment

in in

Sturm-Archiv, Sturm-Archiv,

Exhibition Exhibition

a a

Berlin. Berlin.

303. 303.

348. 348.

Paul Paul

Scheerbart, Scheerbart,

network network

and and

The The

244-45. 244-45.

i i

but but

Glashaus Glashaus

Scheerbart, Scheerbart,

Manifestations Manifestations

abstract abstract

sources sources

added, added,

eta!. eta!.

the the

for for

Verwirklichung Verwirklichung

Herwarth Herwarth

eighteenth eighteenth

him him

fa~ades fa~ades

in in

Rausch, Rausch,

Paul Paul

2010), 2010),

1997), 1997),

ibid., ibid.,

in in

his his

Wolfgang Wolfgang

Taut's Taut's

correspondence correspondence

ibid., ibid.,

meetings meetings

63-64. 63-64.

Glashaus Glashaus

to to die die

4-5. 4-5.

Christian Christian

Architektur. Architektur.

with with

press, press,

the the

1889-1915, 1889-1915,

Sturm Sturm

Taut's Taut's

in in

of of

complete complete

in in

grey grey

the the

in in

die die

See See

of of

the the

fur fur

Erklarer;" Erklarer;"

Scheerbart, Scheerbart,

the the within

and and

appear appear

join join

Der Der

emphasis emphasis

Scheerbart, Scheerbart,

of of

Bruno Bruno

Modernity: Modernity:

to to

the the

earlier earlier

Ahlstrand Ahlstrand

located located

2006): 2006):

Hodonyi, Hodonyi,

2011), 2011),

Sturm Sturm

letters letters

Kammerdiener Kammerdiener

some some

und und

more more

Briefen Briefen

in in

1904, 1904,

republished republished

(Munich, (Munich,

in in

Mechthild Mechthild

(Bielefeld, (Bielefeld,

och och

Folge Folge of of

Paul Paul

to to

a a

and and

book. book.

original, original,

mores mores

anthology, anthology, their

are are

Scheerbart, Scheerbart,

half half

in in

See See

Der Der

1904, 1904,

would would

and and

Eine Eine

and and

103-6. 103-6.

pages pages

(May (May

in in

position position

lost. lost.

his his

For For

Eine Eine

Tracing Tracing

by by

Hvattum Hvattum

1903, 1903,

19. 19.

4 4

Torsten Torsten

us, us,

significance significance

"Sturm" "Sturm"

its its

other other

social social

August August

of of

1905. 1905.

in in

Berlin, Berlin,

four four

April April

1904 1904

Moderne Moderne

no. no.

been been

(Baltimore, (Baltimore,

Walden Walden

of of

the the

10-14. 10-14.

25 25

7 7

'kiinsclerischer 'kiinsclerischer

1998), 1998),

emphasis emphasis

Scheerbart's Scheerbart's

the the

Mari Mari

Installation Installation

alternative alternative

in in zu zu

Scheerbart, Scheerbart,

Biographie Biographie

to to

possibilities possibilities

Avant-garde Avant-garde

1963), 1963),

59, 59,

ed.Jan ed.Jan

has has

August August

(1863-1895) (1863-1895)

to to

definition definition

missed missed

ed. ed.

and and

in in

and and

section section

Kneetschke: Kneetschke:

architecture architecture

168-220. 168-220.

published published

Waldens Waldens

Friihlicht. Friihlicht.

"Der "Der

the the

with with

devotes devotes

25 25

Utopia;' Utopia;'

1905, 1905,

parody parody

Berliner Berliner

far far

register register

play play

December December

glass. glass.

a a

Expressionism Expressionism

this this

City, City,

Berlin, Berlin,

Fragments Fragments

1904 1904

1 1

Svenskt Svenskt

1904 1904

1908, 1908,

were were

(Berlin, (Berlin,

de,. de,.

Object Object

is is

the the

published published

Taut, Taut,

which which

in in

in in

along along

thus thus

(Ostfildern, (Ostfildern,

in in

Education Education

Pehnt Pehnt

des des

the the

or or

on on

tripartite tripartite

with with

in in

Scheerbart Scheerbart

reviews reviews

and and

(April1913): (April1913):

inspirational inspirational

in in

period period

us us

Herwarth Herwarth

Walden, Walden,

Unfortunately. Unfortunately.

was was

that that

170-71. 170-71.

Anfangsjahre Anfangsjahre

do do

itself itself

Ahlstrand, Ahlstrand,

and and

March March

have have

this this

an an

March March

November November

August August

"From "From

to to

the the

Bruno Bruno

Staatsbibliothek Staatsbibliothek

Sturm Sturm

Sturm Sturm

to to

from from

Weltgrusse-Eine Weltgrusse-Eine

Kunst Kunst

Kammerdiener Kammerdiener

play play

Expressionist Expressionist

18 18

17 17

12 12

Sturm;' Sturm;'

Kunste Kunste

23 23

see see

of of

journal journal

in in

book, book,

play play

Borders Borders

Glasarchitektur;' Glasarchitektur;'

1920-1922 1920-1922

234-35. 234-35.

Der Der

156-57 156-57

Der Der

Wolfgang Wolfgang

Hodonyi Hodonyi

fur fur

aphorisms aphorisms

the the

Architektur Architektur

de,. de,.

der der

"Sturm," "Sturm,"

surmises surmises

On On

provide provide

Architectural Architectural

Herr Herr

letters letters

The The

''The ''The

cole, cole,

produce produce

260-62. 260-62.

no. no.

literally literally

und und

nor nor

Sturm Sturm

the the

Scheerbarts Scheerbarts

of of

that that

Die Die

Gutschow, Gutschow,

Expressionism Expressionism

knowledge, knowledge,

und und

Architecture Architecture

to to

Trillionen Trillionen

4, 4,

Walden, Walden,

Scheerbart Scheerbart

Walden, Walden,

Walden, Walden,

Walden, Walden,

Verein Verein

histories histories

excellent excellent

(Berlin,1991). (Berlin,1991).

extant. extant.

play. play.

Kiinste. Kiinste.

Der Der

in in

Gesamtkunstwerk Gesamtkunstwerk

des des

to to

to to

to to

to to

Paul Paul

example, example,

Follett Follett

70 70

my my

Rausch Rausch

reproduced reproduced

White, White,

known known

be be

the the

Scheerbart, Scheerbart,

Waldens Waldens

2004), 2004),

a a

Anger Anger

and and

notes notes

in in

174-75. 174-75.

Artwork: Artwork:

study, study,

der der

nothing nothing

of of

Nilsson's Nilsson's

Walden Walden

Journal Journal

Berlin Berlin

at at

to to

Sturm Sturm

Konvergenz Konvergenz

For For

29-49. 29-49.

of of

and and

the the

Baugedankens, Baugedankens,

66. 66.

published published

Rausch Rausch

Paul Paul

Avantgarde Avantgarde

Boyd Boyd

has has

sculpture sculpture

Konstanty Konstanty

of of

Jenny Jenny

best best

We/tall. We/tall.

Modern Modern

Total Total

zur zur

Der Der

Hodonyi's Hodonyi's

; ;

......

Hodonyi Hodonyi "Stul'm," "Stul'm,"

Miihsam Miihsam

In In

thild thild

and and

miered miered

in in

Handschriftenabteilung. Handschriftenabteilung.

bart, bart, Architektur Architektur

Herwarth Herwarth

ische ische

Scheerbart's Scheerbart's Mechthild Mechthild

Scheerbart Scheerbart

221. 221. iHs iHs

Scheerbart Scheerbart

neither neither

known known

Scheerbart Scheerbart

Scheerbart: Scheerbart:

All All appeared appeared

the the

Scheerbart Scheerbart

(London, (London,

the the

2000), 2000), neuen neuen Friihlicht, Friihlicht,

Adrian-

Finger Finger

vilions;' vilions;'

the the

Ibid., Ibid.,

Kai Kai "GAN, "GAN,

"Dialog "Dialog Sturm. Sturm.

Architectural Architectural

lain lain clopedic clopedic

and and

Sturm, Sturm,

Taut Taut

yse yse

34. 34.

39. 39.

38. 38.

37. 37.

36. 36.

35. 35.

32. 32.

33. 33. 31. 31.

40. 40.

27. 27.

178 178

29. 29.

30. 30. 28. 28. 180 .-.: jenny Anger The "Translucent (Not: Transparent)" Gesamtglaswerk :"' 181

64. According to Scheerbart's letters to Taut, he had already (unsuccessfully) sought out ment of modernist architecture understood as tran.

lOl.Behne mistakenly attributes the quotation to Scheerbart's Glasarchitektur, in which a CHAPTER9 similar formulation can be found (Glass Architecture, 61). To my mind, the mistake highlights the collaborative nature of the entire project. Behne, "Glashaus;' 28, empha­ " ..""""" sis original. ••

Jenny Anger is professor of art history at Grinnell College in Grinnell, Iowa. Quiet Audience, Roaring Crowd She has published widely on Paul Klee, abstraction, the decorative, gender, and The Aesthetics of Sound and the Traces of Bayreuth modern art. Anger's second book, tentatively titled"Metaphors of Modernism: Der Sturm and the Societe Anonyme;' is expected to appear in 2016. in Kuhle Wampe and Triumph of the Will

THEODORE F. RIPPEY

n the Zurich essays of 1849-50, Richard Wagner formed an amorphous I concept of an aesthetic event that would unify the three sister arts of poetry, music, and dance and form an organic link between artist, artwork, and audience. This Wagnerian notion of Gesamtkunstwerk was a utopian idea: its value lay in the fact that it was impossible yet imaginable as an artwork of the future. Yet, Wagner kept imagining and aspiring to realize the idea in some form. Some twenty-eight years later at Bayreuth, the inaugural performances of the Ring cycle presented an unprecedented audiovisual artwork whose creative impulses were manifestly rooted in Wagner's mid-century dream of an artwork that would transform art itself and all who experienced it. Wagner did not originate the notion of Gesamtkunstwerk, but as Juliet Koss argues, his idea represented a "complete and mutual overlap of aesthetic and political radicalism" that was absent from earlier conceptualizations. Radicalism, in the literal sense of a return to the roots, was a large part of Wagner's project: taking a (highly stylized) vision of the audience of ancient Greek drama as his ideal, he sought an artwork that, in performance and reception, would not only serve but create an audience, returning a fragmented, distracted public to a more attentive, self-aware state of unity, and generating creative communion between audience and artist. In Wagner's thought, this new art was thus not merely a symptom but a critical vehicle for transforming German society, of its re-becoming a Yolk.' This aesthetic radicalism involved a melting at the peripheries of the individual arts, coupled with a drive to their respective cores. Above all, Wagner's fusion of the arts sought not to dissolve those components but to set them in a relation that would foster their natural interactiviry and amplify each art's individual essence as well. 2

l