Expressionist Art and Drama Before, During, and After the Weimar Republic
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Der Blaue Reiter (London, 25-26 Nov 11)
Der Blaue Reiter (London, 25-26 Nov 11) Tate Modern, London, Nov 25–26, 2011 Deadline: Feb 28, 2011 Amber McClory Der Blaue Reiter - Call for papers 25 - 26 November 2011 This conference celebrates the centenary of the first exhibition of Der Blaue Reiter. This occasion presents a perfect opportunity to review and extend existing scholarship in the field of German Expressionist studies. The formation of what is commonly, though erroneously, referred to as the German Expressionist ‘artists’ group’ Der Blaue Reiter, was signalled on 18 December 1911 at the Galerie Thannhauser in Munich via an exhibition enigmatically entitled ‘The First Exhibition of the Editors of the Blaue Reiter’. This was the first of what turned out to be only two exhibitions held by an emergent group of avant-garde artists organised by Wassily Kandinsky and Franz Marc. The title of the first exhibition pointed towards what was to be one of the artists’ most significant group achievements, the production of the almanac Der Blaue Reiter, published in Munich in 1912 by avant-garde supporter and publisher, Reinhard Piper. Der Blaue Reiter was a global project encompassing a variety of art forms and essays on an inter- national scale, including work as diverse as Japanese art, Russian folk art, children’s drawings, Bavarian glass painting and artworks by contemporary European artists, musicians and writers. Such diverse content suggests a number of related research questions that remain important to scholars, but that have not been previously addressed together. The conference will seek to estab- lish the divergent as well as related patterns of intention, outcome and influence presented under the name Der Blaue Reiter and explore its legacies for today. -
Cultural Acceptance of Digitalization and Growth of an Economy: a Comparison of East and West Germany Everett Benner Skidmore College
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Skidmore College: Creative Matter Skidmore College Creative Matter Economics Student Theses and Capstone Projects Economics 2017 Cultural Acceptance of Digitalization and Growth of an Economy: A Comparison of East and West Germany Everett Benner Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/econ_studt_schol Part of the Economics Commons Recommended Citation Benner, Everett, "Cultural Acceptance of Digitalization and Growth of an Economy: A Comparison of East and West Germany" (2017). Economics Student Theses and Capstone Projects. 53. https://creativematter.skidmore.edu/econ_studt_schol/53 This Thesis is brought to you for free and open access by the Economics at Creative Matter. It has been accepted for inclusion in Economics Student Theses and Capstone Projects by an authorized administrator of Creative Matter. For more information, please contact [email protected]. Brooks Benner Cultural Acceptance of Digitalization and Growth of an Economy: A Comparison of East and West Germany By Brooks Benner This thesis is submitted in partial fulfillment of the requirements for the course Senior Seminar (EC 375), during the Spring semester of 2017 Name: _______________________ Signature: ____________________ 1 Brooks Benner Abstract In the following paper aims to analyze the significance and relevance that change in cultural acceptance of digitalization has on the output gap (in terms of GDP) between East and West Germany based on the borders that existed between WWII and reunification in 1989. Culture will be measured by taking Google Trend data for the search term “Facebook,” broken down by State (16) between the years 2004 and 2014. -
Erich Heckel (Döbeln 1883 - Radolfzell 1970)
Erich Heckel (Döbeln 1883 - Radolfzell 1970) Selfportrait,1968 Artist description: Erich Heckel began studying architecture in 1904 at the Technical University in Dresden, but left the university again one year later. Heckel prepared the ground for Expressionism when he founded the artist group "Die Brücke" together with his friends Karl Schmidt-Rottluff, Fritz Bleyl and Ernst Ludwig Kirchner in 1905. The artist now concentrated on various printing techniques such as woodcut, lithograph and engraving. He produced landscapes in dazzling colours. In the autumn of 1911 Heckel moved to Berlin. He was acquainted with Max Pechstein, Emil Nolde and Otto Mueller who had joined the "Brücke" artists and now met Franz Marc, August Macke and Lyonel Feininger. In 1912 Erich Heckel painted the murals for the chapel of the "Sonderbund Exhibition" in Cologne together with Ernst Ludwig Kirchner. "Die Brücke" was dissolved in the following year and Gurlitt arranged Heckel's first one-man-exhibition in Berlin. Erich Heckel spent the years 1915 - 1918 in Flanders as a male nurse with the Red Cross and then returned to Berlin where he remained until the beginning of 1944. Heckel spent most summers on the Flensburger Förde while his many travels took him to the Alps, Southern France, Northern Spain and Northern Italy. 729 of his works were confiscated in German museums in 1937 and his studio in Berlin was destroyed in an air raid in Berlin shortly before the end of the war, destroying all his printing blocks and many of his works. Heckel subsequently moved to Hemmenhofen on Lake Constance. In 1949 he was appointed professor at the "Akademie der Bildenden Künste" in Karlsruhe, a post that he held until 1955. -
Introduction
Introduction Cornelius Torp and Sven Oliver Müller I What sort of structure was the German state of 1871? What sort of powers and phenomena dominated it? What sort of potential for development did it possess? What inheritance did it leave behind? How did it shape the future course of German history? These questions have been at the heart of numerous historical controversies, in the course of which our understanding of Imperial Germany has fundamentally changed. Modern historical research on the German Empire was shaped by two important developments.1 The first was the Fischer controversy at the beginning of the 1960s, which put the question of the continuity of an aggressive German foreign policy from the First to the Second World War onto the agenda, thus providing one of the key impulses for research into the period before 1918.2 The second was a complex upheaval at almost exactly the same time in the historiography of modern Germany in which a particular interpretation of German history before World War I played a central role. The advocates of this interpretation immediately referred to it as a “paradigm change,” a concept then in fashion.3 Indeed, surprisingly quickly, a group of young historians were able to establish across a broad front a new interpretation of modern German history, which broke in many respects with old traditions. In their methodology, the representatives of the so-called “historical social science” (Historische Sozialwissenschaft) turned with verve against the interpretation which had dominated mainstream historiography up till then, which saw the dominant, most important historical actions and actors in politics and the state. -
Imaginary Travels 16 November 2018 to 3 March 2019
ERNST LUDWIG KIRCHNER Imaginary Travels 16 November 2018 to 3 March 2019 Media Conference: Thursday, 15 November 2018, 11 a.m. Content 1. General Information Page 2 2. Concept of the Exhibition Page 4 3. Exhibition Sections Page 6 4. Biography Page 13 5. Publication Page 15 6. Current and Upcoming Exhibitions Page 16 Head of Corporate Communications / Press Officer Sven Bergmann T +49 228 9171–204 F +49 228 9171–211 [email protected] General Information Exhibition 15 November 2018 to 3 March 2019 Director Rein Wolfs Managing Director Patrick Schmeing Curators Katharina Beisiegel Thorsten Sadowsky Head of Corporate Communications / Sven Bergmann Press Officer Catalogue / Press Copy € 35 / € 17 Opening Hours Tuesday and Wednesday: 10 a.m. to 9 p.m. Thursday to Sunday: 10 a.m. to 7 p.m. Public Holidays: 10 a.m. to 7 p.m. Closed on Mondays Admission standard / reduced / family ticket € 10 / € 6.50 / € 16 Free admission for all under 19s and for refugees Pay what you can afford for visitors under 26 Tuesday and Wednesday: 6 to 9 p.m. Happy Hour-Ticket € 7 Tuesday and Wednesday: 7 to 9 p.m. Thursday to Sunday: 5 to 7 p.m. (for individuals only) Guided Group Tours information T +49 228 9171–243 and registration F +49 228 9171–244 [email protected] Public Transport Underground lines 16, 63, 66 and bus lines 610, 611 and 630 to Heussallee / Museumsmeile Deutsche Bahn / UN-Campus: Lines RE 5 (Rhein-Express), RB 26 (MittelrheinBahn), RB 30 (Rhein-Ahr- Bahn) and RB 48 (Rhein-Wupper-Bahn) Parking There is a car and coach park on Emil- Nolde-Strae behind the Bundeskunsthalle. -
American Abstract Expressionism
American Abstract Expressionism Cross-Curricular – Art and Social Studies Grades 7–12 Lesson plan and artwork by Edwin Leary, Art Consultant, Florida Description Directions This project deals with the infusion between Art History Teacher preparation: and Art Making through American Abstract Expressionism. Gather examples of artists that dominated this movement, American Abstract Expressionism is truly a U.S. movement that display them in the Art Room with questions of: Who uses emphasizes the act of painting, inherent in the color, texture, organic forms? Dripped and splashed work? Why the highly action, style and the interaction of the artist. It may have been colored work of Kandinsky? Why the figurative aspects of inspired by Hans Hofmann, Arshile Gorky and further developed DeKooning? by the convergence of such artists as Jackson Pollack, William With the students: DeKooning, Franz Kline, Mark Rothko and Wassily Kandinsky. 1 Discuss the emotions, color and structure of the displayed Objectives artists’ work. Discuss why American Abstract Expressionism is less about • Students can interactively apply an art movement to an art 2 process-painting. style than attitude. • This art-infused activity strengthens their observation and 3 Discuss why these artists have such an attachment of self awareness of a specific artist’s expression. expression as found in their paintings yet not necessarily found in more academic work? Lesson Plan Extensions 4 Gather the materials and explain why the vivid colors of Apply this same concept of investigation, application and art Fluorescent Acrylics were used, and what they do within a making to other movements or schools of art. -
Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, som e thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Artxsr, Ml 48106-1346 USA 800-521-0600 UMI* NOTE TO USERS Page(s) missing in number only; text follows. Page(s) were microfilmed as received. 131,172 This reproduction is the best copy available UMI FRANK WEDEKIND’S FANTASY WORLD: A THEATER OF SEXUALITY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University Bv Stephanie E. -
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions
Oil Sketches and Paintings 1660 - 1930 Recent Acquisitions 2013 Kunsthandel Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com My special thanks go to Sabine Ratzenberger, Simone Brenner and Diek Groenewald, for their research and their work on the text. I am also grateful to them for so expertly supervising the production of the catalogue. We are much indebted to all those whose scholarship and expertise have helped in the preparation of this catalogue. In particular, our thanks go to: Sandrine Balan, Alexandra Bouillot-Chartier, Corinne Chorier, Sue Cubitt, Roland Dorn, Jürgen Ecker, Jean-Jacques Fernier, Matthias Fischer, Silke Francksen-Mansfeld, Claus Grimm, Jean- François Heim, Sigmar Holsten, Saskia Hüneke, Mathias Ary Jan, Gerhard Kehlenbeck, Michael Koch, Wolfgang Krug, Marit Lange, Thomas le Claire, Angelika and Bruce Livie, Mechthild Lucke, Verena Marschall, Wolfram Morath-Vogel, Claudia Nordhoff, Elisabeth Nüdling, Johan Olssen, Max Pinnau, Herbert Rott, John Schlichte Bergen, Eva Schmidbauer, Gerd Spitzer, Andreas Stolzenburg, Jesper Svenningsen, Rudolf Theilmann, Wolf Zech. his catalogue, Oil Sketches and Paintings nser diesjähriger Katalog 'Oil Sketches and Paintings 2013' erreicht T2013, will be with you in time for TEFAF, USie pünktlich zur TEFAF, the European Fine Art Fair in Maastricht, the European Fine Art Fair in Maastricht. 14. - 24. März 2013. TEFAF runs from 14-24 March 2013. Die in dem Katalog veröffentlichten Gemälde geben Ihnen einen The selection of paintings in this catalogue is Einblick in das aktuelle Angebot der Galerie. Ohne ein reiches Netzwerk an designed to provide insights into the current Beziehungen zu Sammlern, Wissenschaftlern, Museen, Kollegen, Käufern und focus of the gallery’s activities. -
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college. -
HS3693: Making Nazis: Propaganda and Persuasion in the Third Reich, 1933-1945 | Readinglists@Leicester
10/02/21 HS3693: Making Nazis: Propaganda and Persuasion in the Third Reich, 1933-1945 | readinglists@leicester HS3693: Making Nazis: Propaganda and View Online Persuasion in the Third Reich, 1933-1945 [1] Aly, G. 2006. Hitler’s beneficiaries: plunder, race war, and the Nazi welfare state. Metropolitan Books. [2] Angela Schwarz British Visitors to National Socialist Germany: In a Familiar or in a Foreign Country. [3] Ayçoberry, P. 1981. The Nazi question: an essay on the interpretations of national socialism (1922-1975). Routledge & Kegan Paul. [4] Baird, J.W. 1974. The mythical world of Nazi war propaganda, 1939-1945. University of Minnesota Press. [5] Baird, J.W. To die for Germany: heroes in the Nazi pantheon. Bloomington. [6] Bankier, D. 1992. The Germans and the Final Solution: public opinion under Nazism. Blackwell. 1/9 10/02/21 HS3693: Making Nazis: Propaganda and Persuasion in the Third Reich, 1933-1945 | readinglists@leicester [7] Baranowski, S. 2007. Strength through joy: consumerism and mass tourism in the Third Reich. Cambridge University Press. [8] Barbian, J.-P. and Sturge, K. 2013. Politics of Literature in Nazi Germany. Turtleback Books. [9] Behrends, J. 2009. Back from the USSR: the Anti-Comintern’s publications on Soviet Russia in Nazi Germany (1935-41). 10, 3 (2009). [10] Bergen, D. Instrumentalization of Volksdeutschen in German propaganda in 1939: replacing/erasing poles, jews, and other victims. [11] Berghaus, G. 1995. Fascism and theatre: comparative studies on the aesthetics and politics of performance in Europe, 1925-1945. Berghahn Books. [12] Berkowitz, Michael, P. 2007. The Crime of My Very Existence: Nazism and the Myth of Jewish Criminality. -
The Plays in Translation
The Plays in Translation Almost all the Hauptmann plays discussed in this book exist in more or less acceptable English translations, though some are more easily available than others. Most of his plays up to 1925 are contained in Ludwig Lewisohn's 'authorized edition' of the Dramatic Works, in translations by different hands: its nine volumes appeared between 1912 and 1929 (New York: B.W. Huebsch; and London: M. Secker). Some of the translations in the Dramatic Works had been published separately beforehand or have been reprinted since: examples are Mary Morison's fine renderings of Lonely Lives (1898) and The Weavers (1899), and Charles Henry Meltzer's dated attempts at Hannele (1908) and The Sunken Bell (1899). More recent collections are Five Plays, translated by Theodore H. Lustig with an introduction by John Gassner (New York: Bantam, 1961), which includes The Beaver Coat, Drayman Henschel, Hannele, Rose Bernd and The Weavers; and Gerhart Hauptmann: Three Plays, translated by Horst Frenz and Miles Waggoner (New York: Ungar, 1951, 1980), which contains 150 The Plays in Translation renderings into not very idiomatic English of The Weavers, Hannele and The Beaver Coat. Recent translations are Peter Bauland's Be/ore Daybreak (Chapel HilI: University of North Carolina Press, 1978), which tends to 'improve' on the original, and Frank Marcus's The Weavers (London: Methuen, 1980, 1983), a straightforward rendering with little or no attempt to convey the linguistic range of the original. Wedekind's Spring Awakening can be read in two lively modem translations, one made by Tom Osbom for the Royal Court Theatre in 1963 (London: Calder and Boyars, 1969, 1977), the other by Edward Bond (London: Methuen, 1980). -
Fauvism and Expressionism
Level 3 NCEA Art History Fauvism and Expressionism Workbook Pages Fauvism and Expressionism What this is: Acknowledgements These pages are part of a framework for students studying This workbook was made possible: NCEA Level 3 Art History. It is by no means a definitive • by the suggestions of Art History students at Christchurch document, but a work in progress that is intended to sit Girls’ High School, alongside internet resources and all the other things we • in consultation with Diane Dacre normally do in class. • using the layout and printing skills of Chris Brodrick of Unfortunately, illustrations have had to be taken out in Verve Digital, Christchurch order to ensure that copyright is not infringed. Students could download and print their own images by doing a Google image search. While every attempt has been made to reference sources, many of the resources used in this workbook were assembled How to use it: as teaching notes and their original source has been difficult to All tasks and information are geared to the three external find. Should you become aware of any unacknowledged source, Achievement Standards. I have found that repeated use of the please contact me and I will happily rectify the situation. charts reinforces the skills required for the external standards Sylvia Dixon and gives students confidence in using the language. [email protected] It is up to you how you use what is here. You can print pages off as they are, or use the format idea and the templates to create your own pages. More information: You will find pages on: If you find this useful, you might be interested in the full • the Blaue Reiter workbook.