Käthe Kollwitz: a Life in Art
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Galerie Thomas Spring 2021
SPRING 20 21 GALERIE THOMAS All works are for sale. Prices upon requesT. We refer To our sales and delivery condiTions. Dimensions: heighT by widTh by depTh. © Galerie Thomas 20 21 © VG Bild-KunsT, Bonn 20 21: Josef Albers, Hans Arp, STephan Balkenhol, Marc Chagall, Serge Charchoune, Tony Cragg, Jim Dine, OTTo Dix, Max ErnsT, HelmuT Federle, GünTher Förg, Sam Francis, RupprechT Geiger, GünTer Haese, Paul Jenkins, Yves Klein, Wifredo Lam, Fernand Léger, Roy LichTensTein, Markus LüperTz, Adolf LuTher, Marino Marini, François MorelleT, Gabriele MünTer, Louise Nevelson, Hermann NiTsch, Georg Karl Pfahler, Jaume Plensa, Serge Poliakoff, RoberT Rauschenberg, George Rickey, MarTin Spengler, GünTher Uecker, VicTor Vasarely, Bernd Zimmer © Fernando BoTero, 20 21 © Lucio FonTana by SIAE / VG Bild-KunsT, Bonn 20 21 © PeTer Halley, 20 21 © Nachlass Erich Heckel, Hemmenhofen 20 21 © Rebecca Horn / VG Bild-KunsT, Bonn 20 21 © Nachlass Jörg Immendorff 20 21 © Anselm Kiefer 20 21 © Successió Miró / VG Bild-KunsT, Bonn 20 21 © Nay – ElisabeTh Nay-Scheibler, Cologne / VG Bild-KunsT, Bonn 20 21 © STifTung Seebüll Ada und Emil Nolde 20 21 © Nam June Paik EsTaTe 20 21 © PechsTein – Hamburg/Tökendorf / VG Bild-KunsT, Bonn 20 21 © The EsTaTe of Sigmar Polke, Cologne / VG Bild-KunsT, Bonn 20 21 © Marc Quinn 20 21 © Ulrich Rückriem 20 21 © Succession Picasso / VG Bild-KunsT, Bonn 20 21 © Simon SchuberT 20 21 © The George and Helen Segal FoundaTion / VG Bild-KunsT, Bonn 20 21 © KaTja STrunz 2021 © The Andy Warhol FoundaTion for The Visual ArTs, Inc. / ArTisTs RighTs SocieTy (ARS), New York 20 21 © The EsTaTe of Tom Wesselmann / VG Bild-KunsT, Bonn 20 21 All oTher works: The arTisTs, Their esTaTes or foundaTions cover: ALEXEJ VON JAWLENSKY PorTraiT of a Girl KEES VAN DONGEN oil on cardboard, painTed on boTh sides – Farmhouse Garden, p. -
Crowds and Democracy
Crowds and Democracy THE IDEA AND IMAGE OF THE MASSES FROM REVOLUTION TO FASCISM Stefan Jonsson Columbia University Press yf New York CONTENTS List of Illustrations xi Preface xv 1. Introducing the Masses: Vienna, 15 July 1927 1 (ELIAS CANETTI—ALFRED VIERKANDT— HANMAH ARENDT — KARL KRAUS—HEIMITO VON DODERER) 1. Shooting Psychosis 1 2. Not a Word About the Bastille 6 3. Explaining the Crowd 16 4. Representing Social Passions 23 5. A Work of Madness 28 6. Invincibles 33 7. Mirror for Princes 37 8. Workers on the Run 41 9. Lashing 47 Vlll LVJINlLiNIO 2. Authority Versus Anarchy: Allegories of the Mass in Sociology and Literature 51 (GEORG SIMMEL— WERNER SOMBART— FRITZ LANG — LEOPOLD VON WIESE— WILHELM VLEUGELS— GERHARD COLM— MAX WEBER—THEODOR GEIGER—AUGUST SAWDER- HERMANN BROCH —ERNST TOLLER— RAINER MARIA RILKE) 10. The Missing Chapter 51 11. Georg Simmel's Masses 54 12. In Metropolis 61 13. The Architecture of Society 67 14. Steak Tartare 73 15. Delta Formations 80 16. Alarm Bells of History 84 17. Sleepwalkers 92 18.1 Am Mass 105 19. Rilke in the Revolution 115 3. The Revolving Nature of the Social: Primal Hordes and Crowds Without Qualities 119 (SIGMUND FREUD —HANS KELSEN—THEODOR ADORNO — WILHELM REICH —SIEGFRIED KRACAUER —BE11TOLT HRECHT — ALFRED DOBLIN —GEORG GROSZ—ROBERT Ml SIL) 20. Sigmund Freud Between Individual and Society 119 21. Masses Inside 122 22. In Love with Many 126 23. Primal Hordes 131 24. Masses and Myths 139 25. The Destruction of the Person 142 26. The Flaneur—Medium of Modernity 146 27. Ornaments of the People 152 28. -
Nachlässe Von Germanistinnen Und Germanisten Aus Derddr
Erschienen in: Mitteilungen des Deutschen Germanistenverbandes Jg. 64 (2017) H. 2, S. 171-180. Nachlässe von Germanistinnen und Germanisten aus der DDR: eine Beständeübersicht Simone Waidmann / Frederike Teweleit / Ruth Doersing Die nachfolgende Beständeübersicht ist als heuristisches Arbeitsinstrument zu verstehen, das keinerlei Anspruch auf Vollständigkeit erhebt. Sie beruht auf Re cherchen in öffentlich zugänglichen Nachweisinstrumenten und Selbstauskünften bestandshaltender Institutionen. Neben Literaturwissenschaftlerinnen und Literaturwissenschaftlern wurden in Auswahl auch germanistische Linguistinnen und Linguisten berücksichtigt. Auf nahme in die Übersicht fanden nur Bestände (Nachlässe und Vorlässe), die von den genannten Personen bzw. deren Erben gebildet wurden. Instituts- und Gremien unterlagen, Promotions- und Habilitationsakten, Personalakten von Arbeitgebern und andere durch Dritte gebildete Bestände, u. a. Stasiakten, bleiben unberück sichtigt. Die Heterogenität der Angaben ist auf die sehr unterschiedlichen Er schließungsstände in den jeweiligen Archiven zurückzuführen. Becker, Henrik (1902-1984) Universitäts rchiv Jena Nachlass(5,25 lfm, erschlossen, Findbuch) Inhalt:Lehrtätigkeit, hier Unterlagen über die Tätigkeit an der Volkshochschule und der ABF in Leipzig sowie am Germanistischen Institut und dem Institut für Sprachpflege und Wortforschung der FSU Jena. Mitarbeit in Arbeitsgemein schaften und Kommissionen, hauptsächlich Sprachlehrbücher des Sprachlehr- buchausschusses der Gewerkschaft der Lehrer und Erzieher -
Berger ENG Einseitig Künstlerisch
„One-sidedly Artistic“ Georg Kolbe in the Nazi Era By Ursel Berger 0 One of the most discussed topics concerning Georg Kolbe involves his work and his stance during the Nazi era. These questions have also been at the core of all my research on Kolbe and I have frequently dealt with them in a variety of publications 1 and lectures. Kolbe’s early work and his artistic output from the nineteen twenties are admired and respected. Today, however, a widely held position asserts that his later works lack their innovative power. This view, which I also ascribe to, was not held by most of Kolbe’s contemporaries. In order to comprehend the position of this sculptor as well as his overall historical legacy, it is necessary, indeed crucial, to examine his œuvre from the Nazi era. It is an issue that also extends over and beyond the scope of a single artistic existence and poses the overriding question concerning the role of the artist in a dictatorship. Georg Kolbe was born in 1877 and died in 1947. He lived through 70 years of German history, a time characterized by the gravest of political developments, catastrophes and turning points. He grew up in the German Empire, celebrating his first artistic successes around 1910. While still quite young, he was active (with an artistic mission) in World War I. He enjoyed his greatest successes in the Weimar Republic, especially in the latter half of the nineteen twenties—between hyperinflation and the Great Depression. He was 56 years old when the Nazis came to power in 1933 and 68 years old when World War II ended in 1945. -
Otto Nagel Wird Am 27.9. Im Berliner Stadtbezirk Wedding Geboren
Biografie Otto Nagel (von Peter Michel jW 28.09.2019) 1894: Otto Nagel wird am 27.9. im Berliner Stadtbezirk Wedding geboren 1900–08: Besuch der Volksschule, erste künstlerische Versuche, Lehre als Glasmaler, Mitglied der Arbeiterjugend 1908–10: Teilnahme an Kundgebungen und Bildungsabenden der Arbeiterjugend, Nagel hört Reden von August Bebel, Paul Singer und Rosa Luxemburg. Er wird wegen der Teilnahme an einer 1.- Mai-Demonstration gemaßregelt, bricht die Lehre ab und verliert das Anrecht auf eine Freistelle an der Unterrichtsanstalt des Kunstgewerbemuseums, Arbeit als Lackierer 1910–12: Verschiedene Lohnarbeiten, Porträtstudien im Arbeitsamt, 1912 Mitglied der SPD 1913–15: Transportarbeiter, Besuch des Zeichenkurses der städtischen Abendschule, Zeichnen nach Gipsen, bald abgebrochen. Nagel bekennt sich als Kriegsgegner, nach Einberufung zum Armeedienst wegen schlechter körperlicher Konstitution wieder entlassen 1916–17: Erneute Einberufung; mit der Spartakus-Gruppe schließt Nagel sich der USPD an, wiederholte Zwangsrekrutierung; wegen Verweigerung des Fronteinsatzes Einweisung in das Straflager Wahn bei Köln 1918–19: Arbeitsunfall im Lager, Beteiligung an Demonstrationen, Mitglied eines Soldatenrats, Rückkehr nach Berlin, wieder Transportarbeiter, selbständige künstlerische Arbeiten. Der Kunsthistoriker Adolf Behne wählt erste Arbeiten Nagels für die Arbeiterkunstausstellung in Berlin aus 1920: Mitglied der KPD, Einreichung von Arbeiten für die Große Berliner Kunstausstellung, erstes Selbstbildnis 1921–23: Beteiligung am Berliner Märzstreik, -
Xerox University Microfilms 300 North Zaab Road Ann Arbor, Michigan 46106 I I
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. Thefollowing explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page ($)''. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. Whan an image on the film is obliterated with a large round black mark, it is an indication that die photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You w ill find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections w ith a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
List of Films Set in Berlin
LisListt of ffilmsilms sesett in Berlin From Wikipedia, the free encyclopedia This is a list of films whose setting is Berlin, Germany. Contents 1 1920s 2 1930s 3 1940s 4 1950s 5 1960s 6 1970s The world city Berlin is setting and filming location of 7 1980s numerous movies since the beginnings of the silent film 8 1990s era. 9 2000s 10 2010s 11 See also 1920s 1922 Dr. Mabuse the Gambler ( ( Dr Dr.. Mabuse, dederr SpielSpieler er ), 1922 - first (silent) film about the character Doctor Mabuse from the novels of Norbert Jacques, by Fritz Lang. 1924 The Last Laugh ( ( Der Letzte Mann), 1924 - The aging doorman at a Berlin hotel is demoted to washroom attendant but gets the last laugh, by F.W. Murnau. 1925 Varieté ( (Variety), 1925 - Circus melodrama set in Berlin, with the circus scenes in the Berlin Wintergarten, by EwEwalaldd AnAndrédré DDuupontpont.. Slums of Berlin ( ( Di Diee Verrufenen), 1925 - an engineer in Berlin is released from prison, but his father throws him out, his fiancée left him and there is no chance to find work. Directed by Gerhard Lamprecht. 1926 Di Diee letzte DrDroschkeoschke vvonon BeBerlirlinn, 1926 - showing the life of an old coachman in Berlin still driving the droshky during the time when the automobile arises. Directed by Carl Boese. 1927 Ber Berlin:lin: Symphony of a GGreatreat City ( ( Ber Berlin:lin: DiDiee Sinfonie der GroßsGroßstadt tadt ), 1927 - Expressionist documentary film of 1920s Berlin by Walter Ruttmann. Metropolis, 1927 - Berlin-inspired futuristic classic by Fritz Lang. 1928 Refuge ( ( Zuflucht ), 1928 - a lonely and tired man comes home after several years abroad, lives with a market-woman in Berlin and starts working for the Berlin U-Bahn. -
KARL SCHMIDT-ROTTLUFF German / Alemán, 1884–1976
KARL SCHMIDT-ROTTLUFF German / Alemán, 1884–1976 Devotion Woodcut, 1912 Schmidt-Rotluff was one of the founding members ofDie Brücke (The Bridge) in Dresden in 1905, along with Erich Heckel, Ernst Ludwig Kirchner, and Fritz Bleyl, and joined by Emil Nolde and Max Pechstein. The group disbanded in 1913, largely due to their varying styles and independent moves to Berlin, but each remained true to their rejection of European academic painting and conventions in favor of exploring the vitality and directness of non-Western art forms, particularly West African masks and Oceanic art, as well as revitalization of the pre-Renaissance tradition of German woodcuts. Devoción Xilografía, 1912 Schmidt-Rottluff fue uno de los miembros fundadores de Die Brücke (El puente) en Dresde en 1905, junto con Erich Heckel, Ernst Ludwig Kirchner y Fritz Bleyl, grupo al que se unieron luego Emil Nolde y Max Pechstein. El grupo se disolvió en 1913, en gran parte debido a la evolución de sus estilos y a los traslados individuales de los artistas a Berlín, pero cada uno de ellos permaneció fiel al rechazo de la pintura y las convenciones academicistas europeas, en favor de la exploración de la vitalidad y la franqueza de formas artísticas no occidentales, especialmente las máscaras de África occidental y el arte de Oceanía, así como de la revitalización de la xilografía alemana de tradición prerrenacentista. Museum purchase through the Earle W. Grant Acquisition Fund, 1975.37 KARL SCHMIDT-ROTTLUFF German / Alemán, 1884–1976 Head of a Woman Woodcut, 1909 “I know that I have no program, only the unaccountable longing to grasp what I see and feel, and to find the purest means of expressing it.” Studying Japanese techniques of woodcuts, as well as the techniques of Albrecht Dürer, Paul Gauguin, and Edvard Munch, Schmidt-Rottluff produced powerful images, evoking intense psychological states through the flattening of form and retention of traces of roughly hewn wood blocks. -
Ernst Toller - Poems
Classic Poetry Series Ernst Toller - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Ernst Toller(1 December 1893 – 22 May 1939) Ernst Toller was a left-wing German playwright, best known for his Expressionist plays and serving as President of the short-lived Bavarian Soviet Republic, for six days. <b>Biography</b> Ernst Toller was born in Samotschin, Poland, on 1st December 1893. His father was a successful Jewish wholesale merchant. He was schooled in Bromberg where depsite describing it as a "school of miseducation and militarization", he was able to begin his literary career with the publication of a number of articles in the local newspaper and then poetry. In 1914 Toller moved to France in order to study law at the University of Grenoble. However, within six months the onset of the First World War meant he had returned home and signed up for the German army. Within a year he was fighting on the front lines, but by 1916 he was taken ill, suffering from "physical exhaustion and a complete nervous breakdown". In January 1917, now lacking his initial enthusiasm for the war and instead shocked by the high level of carnage, he was discharged from the army. Following this, Toller moved to Munich to return to his studies at Heidelberg University. Here he became friends with sociologist Max Weber. In May 1917 the pair took part in the first "Lauensteiner conference", where they cordially disagreed about the course of the war. Whilst Weber argued for the continuation of the war, Toller favoured a negotiated peace. -
Heinrich Zille's Berlin Selected Themes from 1900
"/v9 6a~ts1 HEINRICH ZILLE'S BERLIN SELECTED THEMES FROM 1900 TO 1914: THE TRIUMPH OF 'ART FROM THE GUTTER' THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Catherine Simke Nordstrom Denton, Texas May, 1985 Copyright by Catherine Simke Nordstrom 1985 Nordstrom, Catherine Simke, Heinrich Zille's Berlin Selected Themes from 1900 to 1914: The Trium of 'Art from the Gutter.' Master of Arts (Art History), May, 1985, 139 pp., 71 illustrations, bibliography, 64 titles. Heinrich Zille (1858-1929), an artist whose creative vision was concentrated on Berlin's working class, portrayed urban life with devastating accuracy and earthy humor. His direct and often crude rendering linked his drawings and prints with other artists who avoided sentimentality and idealization in their works. In fact, Zille first exhibited with the Berlin Secession in 1901, only months after Kaiser Wilhelm II denounced such art as Rinnsteinkunst, or 'art from the gutter.' Zille chose such themes as the resultant effects of over-crowded, unhealthy living conditions, the dissolution of the family, loss of personal dignity and economic exploi tation endured by the working class. But Zille also showed their entertainments, their diversions, their excesses. In so doing, Zille laid bare the grim and the droll realities of urban life, perceived with a steady, unflinching gaze. TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS . S S S . vi CHRONOLOGY . xi Chapter I. INTRODUCTION . 5 . 1 II. AN OVERVIEW: BERLIN, ART AND ZILLE . 8 III. "ART FROM THE GUTTER:" ZILLE'S THEMATIC CHOICES . -
An Artist Against the Third Reich Ernst Barlach, 1933–1938
CY132/Paret-FM CY132/Paret 0 5218213 8 November 21, 2002 12:21 Char Count= 0 An Artist against the Third Reich Ernst Barlach, 1933–1938 PETER PARET Institute for Advanced Study, Princeton iii CY132/Paret-FM CY132/Paret 0 5218213 8 November 21, 2002 12:21 Char Count= 0 published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru, uk 40 West 20th Street, New York, ny 10011-4211, usa 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http: // www.cambridge.org C Peter Paret 2003 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printed in the United States of America Typefaces Janson Text 11/16 pt. and Berliner Grotesk System LATEX 2ε [tb] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data Paret, Peter. An artist against the Third Reich : Ernst Barlach, 1933–1938 / Peter Paret. p. cm. Includes bibliographical references and index. isbn 0-521-82138-x (hardback) 1. Barlach, Ernst, 1870–1938. 2. Nationalsocialismand art. 3. Germany – Politics and government – 1933–1945. 4. Modernism (Art) – Germany. i. Title. n6888.b35 p37 2002 700.92–dc21 2002073616 isbn 0 521 82138 x hardback iv CY132/Paret-FM CY132/Paret 0 5218213 8 November 21, 2002 12:21 Char Count= 0 Contents List of Illustrations page ix Acknowledgments xv Introduction 1 1 Hitler 5 2 Barlach 23 3 Nordic Modernism 51 4 The Hounding of Barlach 77 5 German and Un-German Art 109 6 After the Fact 139 A Note on the Literature 155 Notes 167 Documents and Works Cited 183 Index 189 vii CY132/Paret-FM CY132/Paret 0 5218213 8 November 21, 2002 12:21 Char Count= 0 Illustrations The illustrations follow p. -
Downloaded for Personal Non-Commercial Research Or Study, Without Prior Permission Or Charge
Hobbs, Mark (2010) Visual representations of working-class Berlin, 1924–1930. PhD thesis. http://theses.gla.ac.uk/2182/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Visual representations of working-class Berlin, 1924–1930 Mark Hobbs BA (Hons), MA Submitted in fulfillment of the requirements for the Degree of PhD Department of History of Art Faculty of Arts University of Glasgow February 2010 Abstract This thesis examines the urban topography of Berlin’s working-class districts, as seen in the art, architecture and other images produced in the city between 1924 and 1930. During the 1920s, Berlin flourished as centre of modern culture. Yet this flourishing did not exist exclusively amongst the intellectual elites that occupied the city centre and affluent western suburbs. It also extended into the proletarian districts to the north and east of the city. Within these areas existed a complex urban landscape that was rich with cultural tradition and artistic expression. This thesis seeks to redress the bias towards the centre of Berlin and its recognised cultural currents, by exploring the art and architecture found in the city’s working-class districts.