DOCSLIB.ORG

1 Inhalt 1 5 New.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

TEMPO, TEMPO! jovis Elizabeth Otto TEMPO, TEMPO! Bauhaus -Photomontagen von The Bauhaus Photomontages of MARIANNE BRANDT jovis Dieses Buch erscheint anlässlich der Ausstellung: This book coincides with the exhibition: „Tempo, Tempo! Bauhaus-Photomontagen von Marianne Brandt“ Bauhaus-Archiv, Berlin: 12.10.2005 – 9. 01.2006 Busch-Reisinger Museum, Harvard University, Cambridge, Mass.: 11.03. – 21. 05.2006 International Center of Photography, New York: 9.06. – 27.08.2006 Kunstsammlungen Chemnitz Unser besonderer Dank gilt den Leihgebern, die zum Gelingen dieser Ausstellung beigetragen haben: Galerie Berinson, Berlin/ UBU Gallery, New York Galerie Kicken, Berlin Stiftung Bauhaus Dessau Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden Militärhistorisches Museum der Bundeswehr Dresden Bernd Freese, Frankfurt/Main Sammlung Gisela und Hans-Peter Schulz, Leipzig National Gallery of Art, Washington Klassik Stiftung Weimar Privatsammlung, über Galerie Ulrich Fiedler, Köln Konzeption von Ausstellung und Katalog Exhibition and catalogue concept: Elizabeth Otto Übersetzung Englisch-Deutsch Translation English-German: Stephanie Rupp, Berlin Übersetzung Deutsch-Englisch (falls nicht anders vermerkt) Translation German-Englisch (unless otherwise noted): Elizabeth Otto Gestaltung Design and Layout: Sven Schrape, Katrin Wenke, Susanne Rösler Satz Typesetting: Daniela Rust Lithographie Lithography: Bauhaus-Archiv Berlin, Galrev Druck- und Verlagsgesellschaft, Berlin Digitale Bildbearbeitung Digital Image Editing: Arno Dettmers, Markus Hawlik, Norbert Schropp, Werbeproduktion Bucher, Berlin Druck und Bindung Printing and Binding: GCC Grafisches Centrum Cuno, Calbe Bibliographische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliographie; detaillierte bibliographische Daten sind im Internet über http://dnb.ddb.de abrufbar. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliographie; detailed bibliographic data are available in the internet at http://dnb.ddb.de ISBN 3-936314-55-1 (Buchhandelsausgabe) ISBN 3-936314-78-0 (Museumsausgabe) © 2005 bei Elizabeth Otto, Bauhaus-Archiv, Jovis Verlag (Buchhandelsausgabe) © 2005 by Elizabeth Otto, Bauhaus-Archiv, Jovis Verlag (hard cover edition) Das Copyright für die Texte liegt bei den Autoren. Das Copyright für die Abbildungen liegt bei den Künstlern bzw. bei den Bildrechteinha- bern. Alle Rechte vorbehalten. Copyright for the texts by the authors. Copyright for the illustrations by the photographers and holders of the picture rights. All rights reserved. jovis Verlag Bauhaus-Archiv Museum für Gestaltung Kurfürstenstr. 15/16 Klingelhöferstr. 14 10785 Berlin 10785 Berlin INHALT CONTENTS 6 Vorwort und Dank Foreword and Acknowledgments 8 Über Photomontage, Tempo und Marianne Brandt On Photomontage, Tempo and Marianne Brandt 14 Katalog Catalogue 132 Tempo, Tempo! Das Leben der Marianne Brandt Tempo Tempo! A Life of Marianne Brandt 152 Anmerkungen Notes 168 Ausgewählte Literatur Select Literature 170 Werkverzeichnis Catalogue Raisonnée Katalog Catalogue 14 Montage I / Montage II 56 Dodge Sisters/ Alle müssen arbeiten 100 Die Turner Montage I / Montage II Dodge Sisters / Everyone Must Work The Gymnasts 18 Bulle – Esel – Affe / Idoles Modernes 59 Tempo-Tempo, Fortschritt, Kultur 102 Sport – Sport Bull – Ass – Monkey / Modern Idols Tempo-Tempo, Progress, Culture Sport – Sport 22 Kann der Mensch sein Schicksal… 62 Hinter den Kulissen 104 O.T. (mit Anna May Wong) Can One … His Fate Behind the Scenes Untitled (With Anna May Wong) 24 Pariser Impressionen 66 Cirque D’Hiver 106 Palucca tanzt Parisian Impressions Winter Circus Palucca Dances 28 Helfen sie mit! (Die Frauenbewegte) 68 Dabeisein ist alles 108 Guten Tag, Frau/ Help Out! (The Liberated Woman) BeingThere Is Everything Die Welt ist so 31 Miss Lola 70 Die Wiedergeburt der Schönheit Good Day, Lady/ Miss Lola The Rebirth of Beauty That’s the Way the World Is 34 Liebe im Urwald 73 Die neue Blume 111 Boxkampf Love in the Jungle The New Bloom Boxing Match 36 Kleiner Ederle 76 Japaner mit Zylinder und Globen 114 Mit allen zehn Fingern Little (Boy) Ederle Japanese Man with Top Hat and Globes With All Ten Fingers 38 Cirque/Zirkus 78 O.T. (Drei Frauen und Röntgenbild) 118 Der erste Schrei Circus Untitled (Three Women and X-ray) The First Cry 40 Ihre wirksame Mithilfe 80 Me (Metallwerkstatt) 120 O.T. (Flugzeug, Soldaten und Your Effective Assistance Me (Metal Workshop) Soldatenfriedhof) 43 Unsere irritierende Großstadt 84 Kontraste – Struktur, Textur, Faktur Untitled (Airplane, Soldiers and Our Unnerving City Contrasts – Structure, Texture, Facture Military Cementry) 46 Es ist Geschmackssache 88 Karussell 124 Er, Harold Lloyd It’s a Matter of Taste Carousel Him, Harold Lloyd 50 So leben wir 1926 90 Archiv für Menschenkunde 127 O.T. (Luftschiffe und Dietrich) This is How We Live 1926 Archive for Anthropology Untitled (Airships and Dietrich) 52 Nos Sœurs D’Amerique/ 92 … und sie lacht 130 O.T. (Fesselballon) Unsere amerikanischen Schwestern … and She Laughs Untitled (Captive Balloon) Nos Sœurs D’Amerique/ 94 L’homme qui porte la morte Our American Sisters The Man Who Brings Death 54 Auf Wiedersehen 96 Es wird marschiert Farewell On the March VORWORT UND DANK FOREWORD AND ACKNOWLEDGMENTS Erst in den 1960er Jahren, im Zusammenhang mit der in It was only in the 1960s, in the context of the slowly devel- Ost- und Westdeutschland langsam einsetzenden Bauhaus- oping field of Bauhaus research in East and West Germa- Forschung, machte Marianne Brandt auf eine noch gänz- ny, that Marianne Brandt revealed a previously unknown lich unbekannte Werkgruppe von Arbeiten aufmerksam, group of works created during her time at the Bauhaus die sie während ihrer Zeit am Bauhaus zwischen 1924 from 1924 and 1930: photomontages, which she herself und 1930 schuf: Photomontagen, die sie selbst offenbar had apparently not found worthy of exhibition. This was nie als ausstellungswürdig empfunden hat. Die Gründe surely due in part to the personal nature of these works, in hierfür liegen sicher im teilweise persönlichen Charakter which Marianne Brandt often confronted her position as a dieser Arbeiten, in denen sich Marianne Brandt auch mit woman in a world dominated by men. ihrer Stellung als Frau in einer von Männern dominierten From the abundance of visual material provided by the modernen Welt auseinandersetzte. illustrated press, Marianne Brandt selected the spectacu- Aus dem überbordenden Bildmaterial der illustrierten lar – sport, film, vaudeville, dance, circus and fascinating Presse wählte Marianne Brandt das Spektakuläre – Sport, foreign places – certainly in order to celebrate the glamour Film, Revue, Tanz, Zirkus und faszinierende fremde Wel- of the entertainment industry, but also to refract this illusory ten – , durchaus um den schönen Glanz der Unterhaltungs- world through the defamiliarizing technique of montage. industrie zu feiern, aber auch um diese Scheinwelt mittels While she achieved this with a light touch, a strong sense der verfremdenden Schnitttechnik der Montage zur Bre- of design and tongue-in-cheek humor, these works also in- chung zu bringen. Dies geschieht mit leichter Hand und si- spire deeper reflection. cherem Formgefühl, mit Humor und Augenzwinkern, doch The particular appeal of these photomontages comes regen die Arbeiten auch zum Nachdenken an. from both their rootedness in their own time and their uni- Der besondere Reiz dieser Photomontagen liegt zu- versality. Thus Marianne Brandt makes use of numerous gleich in ihrer Zeitgebundenheit und Allgemeingültigkeit. clichés from the Roaring ‘Twenties but, through confron- So bedient Marianne Brandt sämtliche Klischees der Gol- tational recombinations, puts them into a timeless context denen zwanziger Jahre, stellt sie aber in konfrontierender of enduring relevance. The wonders of engineering, the Neuzusammenstellung in einen überzeitlichen Kontext von blessing of progress, the intoxication of speed and the dy- bleibender Aktualität. Die Wunder der Technik, die Seg- namism of the city are juxtaposed with rearmament and nungen des Fortschritts, der Rausch der Geschwindigkeit war. Amidst the fascination with modern life is a warning und die Dynamik der Großstadt werden mit Aufrüstung against the negative aspects of unbridled technology. und Krieg in Zusammenhang gebracht und warnen – bei For the first time ever, all of the nearly 50 works that aller Faszination für das moderne Leben – vor den negati- make up Brandt’s montage oeuvre are presented and ana- ven Seiten einer grenzenlosen Technik. lyzed in this publication. We were delighted to be able to Die knapp 50 Arbeiten zählende Werkgruppe der work with Elizabeth Otto, Assistant Professor at the State Photomontagen wird in dieser Publikation erstmals in toto University of New York at Buffalo and an expert on the top- vorgestellt und einer eigenen Untersuchung zugeführt. Mit ic of photomontage in the Weimar Republic, who served Elizabeth Otto, Junior-Professorin an der State University as author of this book and guest curator for the exhibi- of New York in Buffalo, konnten wir eine ausgewiesene tion. As a German Chancellor Fellow of the Alexander von Kennerin zum Thema der Photomontage in der Weimarer Humboldt Foundation, she spent a year at the Bauhaus- Republik als Autorin dieses Buches und als Gastkuratorin Archiv preparing this project. der Ausstellung gewinnen. Als Bundeskanzler-Stipendiatin I am particularly
Recommended publications
  • Download File

    Download File

    Bergt 1 Siena Sofia Bergt Professor Insdorf Analysis of Film Language 26 February 2018 Colored Perspectives: Shading World War II Onscreen Films that deal with World War II—whether their narratives are concerned primarily with the war itself, the aura from which it emerged, or the ethos of its aftermath—have a particularly charged relationship to the presence or abjuration of color. As representations of a period that produced its own black-and-white archival footage, these worKs recKon with color not simply as an aesthetic choice, but also as a tool through which to define their own relationship to perspectival subjectivity and claims of historical authenticity. By examining the role of color in three vastly different World War II films— Andrzej Wajda’s black-and-white 1958 rendition of the war’s last 24 hours in “Ashes and Diamonds,” the Harlequin prewar chaos of Bob Fosse’s 1972 “Cabaret,” and the delicate balance of color and blacK-and-white characterizing the postwar divided Germany of Wim Wenders’ 1987 “Wings of Desire”—we may access a richer understanding, not simply of the films’ stylistic approaches, but also (and perhaps more significantly) of their relationship to both their origins and audience. Color, that is, acts in these three films as a chromatic guide by which to untangle each respective text’s taKe on both subjectivity and objectivity. Bergt 2 The best “entry point” into these stylistically and temporally distinct films’ chromatic motifs is through three strikingly analogous crowd scenes—each of which uses communal participation in a diegetically well-known song to highlight a moment of dramatic urgency or volatility.
  • Otto Dix, Letters, Vol.1

    Otto Dix, Letters, Vol.1

    8 Letters vol. 1 1904–1927 Translated by Mark Kanak Translation © 2016 Mark Kanak. .—ıst Contra Mundum Press Edition Otto Dix, Briefe © 2014 by 290 pp., 6x 9 in. Wienand Verlag GmbH isbn 9781940625188 First Contra Mundum Press Edition 2016. I. Dix, Otto. II. Title. All Rights Reserved under III. Kanak, Mark. International & Pan-American IV. Translator. Copyright Conventions. V. Ulrike Lorenz, Gudrun No part of this book may be Schmidt. reproduced in any form or by VI. Introduction. any electronic means, including information storage and retrieval 2016943764 systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review. Library of Congress Cataloguing-in-Publication Data Dix, Otto, 1891–1969 [Briefe. English.] Letters, Vol. 1, 1904–1927 / Otto Dix; translated from the original German by Mark Kanak ToC Introduction 0–xxvii About This Edition xxviii–xlv Letters 0–215 Object Shapes Form 218–220 8 Introduction Ulrike Lorenz An Artist’s Life in Letters “I’ve never written confessions since, as closer inspection will reveal, my paintings are confessions of the sincerest kind you will find, quite a rare thing in these times.” — Otto Dix to Hans Kinkel (March 29, 1948) An Artist without Manifestœs A man of words, this letter writer never was. In re- sponse to art critic Hans Kinkel’s request to contribute to a collection of self-testimonials of German painters, Dix gruffly rebuked him, surly calling such pieces noth- ing but “vanity, subjective chatter.”1 And this in the precarious postwar situation, as the 57-year-old —.
  • Aftermath: Art in the Wake of World War One (Pp

    Aftermath: Art in the Wake of World War One (Pp

    Price, D. (2018). Remaking Society. In E. Chambers (Ed.), Aftermath: Art in the Wake of World War One (pp. 96-121). Tate Publishing, London. Peer reviewed version Link to publication record in Explore Bristol Research PDF-document This is the author accepted manuscript (AAM). The final published version (version of record) is available online via Tate Publishing at https://shop.tate.org.uk/aftermath-art-in-the-wake-of-world-war-one/20188.html. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Aftermath: Art in the Wake of World War One ‘Remaking Society’ Dorothy Price ‘I wish those people who write so glibly about this being a holy war…could see a case of mustard gas - the poor things burnt and blistered all over with great mustard coloured suppurating blisters, with blind eyes, all sticky and stuck together, and always fighting for breath, with voices a mere whisper, saying their throats are closing and they know they will choke…’ Vera Brittain Testament of Youth, 1933 Vera Brittain’s poignant memoir, her witness to war and to the lives of a generation of young men lost to it, confronts us unequivocally with the physical horrors of trench warfare wrought on the bodies of young men during the First World War. Indeed, visual images of damaged and mutilated bodies proliferated in the aftermath of war, as many artists struggled to come to terms with the violence and brutality that they and their comrades had endured on the battlefields.
  • Muzikološki Z B O R N I K L

    Muzikološki Z B O R N I K L

    MUZIKOLOŠKI ZBORNIK MUSICOLOGICAL ANNUAL L / 2 ZVEZEK/VOLUME L J U B L J A N A 2 0 1 4 Glasba kot sredstvo in predmet v procesih sakralizacije profanega in profanacije sakralnega Sacralization of the Profane and Profanation of the Sacred: Music as a Means and an Object Izdaja • Published by Oddelek za muzikologijo Filozofske fakultete Univerze v Ljubljani Urednik zvezka • Edited by Aleš Nagode (Ljubljana) Glavni in odgovorni urednik • Editor-in-chief Jernej Weiss (Ljubljana) Asistentka uredništva • Assistant Editor Tjaša Ribizel (Ljubljana) Uredniški odbor • Editorial Board Matjaž Barbo (Ljubljana) Aleš Nagode (Ljubljana) Svanibor Pettan (Ljubljana) Leon Stefanija (Ljubljana) Andrej Rijavec (Ljubljana), častni urednik • honorary editor Mednarodni uredniški svet • International Advisory Board Michael Beckermann (Columbia University, USA) Nikša Gligo (University of Zagreb, Croatia) Robert S. Hatten (Indiana University, USA) David Hiley (University of Regensburg, Germany) Thomas Hochradner (Mozarteum Salzburg, Austria) Bruno Nettl (University of Illinois, USA) Helmut Loos (University of Leipzig, Germany) Jim Samson (Royal Holloway University of London, UK) Lubomír Spurný (Masaryk University Brno, Czech Republic) Katarina Tomašević (Serbian Academy of Sciences and Arts, Serbia) John Tyrrell (Cardiff University, UK) Michael Walter (University of Graz, Austria) Uredništvo • Editorial Address Oddelek za muzikologijo Filozofska fakulteta Aškerčeva 2, SI-1000 Ljubljana, Slovenija e-mail: [email protected] http://revije.ff.uni-lj.si/MuzikoloskiZbornik Cena posamezne številke • Single issue price 10 EUR Letna naročnina • Annual subscription 20 EUR Založila • Published by Znanstvena založba Filozofske fakultete Univerze v Ljubljani Za založbo • For the publisher Branka Kalenić Ramšak, dekanja Filozofske fakultete Tisk • Printed by Birografika Bori d.o.o., Ljubljana Naklada 500 izvodov • Printed in 500 copies Rokopise, publikacije za recenzije, korespondenco in naročila pošljite na naslov izdajatelja.
  • Aesthetics, the Body, and Erotic Literature in the Age of Lessing

    Aesthetics, the Body, and Erotic Literature in the Age of Lessing

    HEAVING AND SWELLING: AESTHETICS, THE BODY, AND EROTIC LITERATURE IN THE AGE OF LESSING Derrick Ray Miller A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Germanic Languages and Literatures. Chapel Hill 2007 approved by: Eric Downing Jonathan Hess (advisor) Clayton Koelb Alice Kuzniar Richard Langston © 2007 Derrick Ray Miller ALL RIGHTS RESERVED ii ABSTRACT DERRICK RAY MILLER: Heaving and Swelling: Aesthetics, the Body, and Erotic Literature in the Age of Lessing (Under the direction of Jonathan Hess) In this dissertation, I explore how signs affect the body in German neoclassicism. This period constructs a particular body (the voluptuary’s body) that derives primarily sensual—as opposed to cognitive—pleasure from the signs of art. Erotic literature with its sensual appeal, then, becomes a special case of art, one that manifests this relationship between signs and the body the most clearly. By focusing on erotic literature as a paradigmatic rather than a marginal case of literature, I am able to reconsider our current understanding of German neoclassicism. Erotic literature exceeds the aesthetic and semiotic principles that scholars have come to expect to circumscribe the literature of this period. Erotic literature moves beyond such categories as vividness, veracity, and verisimilitude to achieve an aesthetic pleasure of virtuality. Its arousing signs produce voluptuous sensations and transformations in the reader’s body in addition to transmitting knowledge and manipulating affect. And as they strike—or stroke—the body, these signs appear less transparent than sticky.
  • 107 V Ariations on the Unexpected

    107 V Ariations on the Unexpected

    107 Variations on the Unexpected SURPRISE 107 Variations on the Unexpected Dedication and Prelude To Raine Daston In his essay “Of Travel,” Francis Bacon recommends that diaries be used to register the things “to be seen and observed.” Upon returning home, the traveler should not entirely leave the visited countries, but maintain a correspondence with those she met, and let her experi- ence appear in discourse rather than in “apparel or gesture.” Your itineraries through a vast expanse of the globe of knowledge seem to illustrate Bacon’s recommendations, and have inspired many to em- bark on the exploration of other regions—some adjacent, some dis- tant from the ones you began to clear. Yet not all have journeyed as well equipped as you with notebooks, nor assembled them into a trove apt to become, as Bacon put it, “a good key” to inquiry. As you begin new travels, you may add the present collection to yours, and adopt the individual booklets as amicable companions on the plane or the U-Bahn. Upon wishing you, on behalf of all its contributors, Gute Reise! and Bon voyage!, let us tell you something about its gen- esis and intention. Science depends on the unexpected. Yet surprise and its role in the process of scientific knowledge-making has hitherto received lit- tle attention, let alone systematic investigation. If such a study ex- isted, it would no doubt have been produced in your Department at the Max Planck Institute for the History of Science. The topic is a seamless match with your interest in examining ideals and practices of scientific and cultural rationality—ideals and practices often so fundamental that they appear to transcend history or are overlooked altogether.
  • Will the Real Otto Dix Please Stand Up?: Dix, Nietzsche, and Lacan

    Will the Real Otto Dix Please Stand Up?: Dix, Nietzsche, and Lacan

    WILL THE REAL OTTO DIX PLEASE STAND UP?: DIX, NIETZSCHE, AND LACAN A thesis submitted to the faculty of San Francisco State University In partial fulfillment of AS The Requirements for 5 6 The Degree <5- 0(5 m Master of Arts • W £ T In Art: Art History by Bryan Nathan Wurster San Francisco, California August 2015 CERTIFICATION OF APPROVAL I certify that I have read Will the Real Otto Dix Please Stand Up?: Dix, Nietzsche, and Lacan by Bryan Nathan Wurster and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Masters Of Art in Art History at San Francisco State University. 3 ^ ------------------- Gwen Allen, PhD. Professor of Art Santhi Kavuri-Bauer, PhD. Professor of Art WILL THE REAL OTTO DIX PLEASE STAND UP? DIX, NIETZSCHE, AND LACAN. Bryan Nathan Wurster San Francisco, California 2015 This thesis is an analysis of paintings created by the German modernist Otto Dix (1891- 1969) through the dual methodology of Nietzschean philosophy and Lacanian psychoanalysis. This thesis focuses on self-portraits made by Dix, but analyzes them as part of a larger output by the artist. The content of the self-portraits is studied and interpreted according to values and symbolism espoused in Nietzsche’s writings, with a particular focus on Thus Spoke Zarathustra. The self-portraits are also studied as representations that reflect Dix’s self-image as well as a desired public image that he projected through these works. By looking at Dix’s self-portraits through this two frameworks, this thesis argues that Dix’s self-portraits function not as social critique, but as a powerful form of self-identification that functions to present an idealized Dix.
  • Illinois Classical Studies

    Illinois Classical Studies

    UMVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN CLASSICS The person charging this material is re- sponsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN JUL i G !S:ig OCT 1 1 ?(05 L161—O-1096 L<(TL--VJA-<.\J^ ILLINOIS CLASSICAL STUDIES VOLUME IX. 1 SPRING 1984 J. K. Newman, Editor ISSN 0363-1923 1 1 ILLINOIS CLASSICAL STUDIES VOLUME IX. Spring 1 984 J. K. Newman, Editor Patet omnibus Veritas; nondum est occupata; multum ex ilia etiam futuris relictum est. Sen. Epp. 33. 1 SCHOLARS PRESS ^^-^ ISSN 0363-1923 ^9^^ 1 ILLINOIS CLASSICAL STUDIES VOLUME IX. ©1984 Scholars Press 101 Salem Street P.O. Box 2268 Chico, California 95927 Printed in the U.S.A. ADVISORY EDITORIAL COMMITTEE John J. Bateman Howard Jacobson Harold C. GotofF David Sansone Responsible Editor: J. K. Newman The Editor welcomes contributions, which should not normally exceed twenty double-spaced typed pages, on any topic relevant to the elucidation of classical antiquity, its transmission or influence. Con- sistent with the maintenance of scholarly rigor, contributions are especially appropriate which deal with major questions of interpre- tation, or which are likely to interest a wider academic audience. Care should be taken in presentation to avoid technical jargon, and the trans-rational use of acronyms. Homines cum hominibus loquimur. Contributions should be addressed to: The Editor, Illinois Classical Studies, Department of the Classics, 4072 Foreign Languages Building, 707 South Mathews Avenue, Urbana, Illinois 61801 Each contributor receives twenty-five offprints.
  • Alice Neel's American Portrait Gallery

    Alice Neel's American Portrait Gallery

    Pictures of People Pictures of People Alice Neel’s American Portrait Gallery Pamela Allara Brandeis University Press Published by University Press of New England Hanover and London Brandeis University Press Published by University Press of New England, Hanover, NH 03755 © 1998 by the Trustees of Brandeis University All rights reserved Printed in the United States of America ISBN for paperback edition: 978–1–61168–513–8 ISBN for ebook edition: 978–1–61168–049–2 library of congress cataloging-in-publication data Allara, Pamela. Pictures of people : Alice Neel’s American portrait gallery / by Pamela Allara. p. cm. Includes bibliographical references and index. ISBN 0–87451–837–7 1. Neel, Alice, 1900– —Criticism and interpretation. 2. United States— Biography—Portraits. I. Neel, Alice, 1900– . II. Title. ND1329.N36A9 1998 97–18403 759.13—DC21 Throughout this book, “Estate of Alice Neel” includes works in the collections of Richard Neel, Hartley S. Neel, their respective families, and Neel Arts, Inc. 5432 NOTE TO EREADERS As electronic reproduction rights are unavailable for images appearing in this book’s print edition, no illustrations are included in this ebook. Readers interested in seeing the art referenced here should either consult this book’s print edition or visit an online resource such as aliceneel.com or artstor.org. vi CONTENTS illustrations included in the print edition ix acknowledgments xv Introduction: The Portrait Gallery xvii PART I: THE SUBJECTS OF THE ARTIST Chapter 1: The Creation (of a) Myth 3 Chapter 2: From Portraiture
  • Reading, Travel, and the Pedagogy of Growing up in Late Nineteenth-Century Germany M

    Reading, Travel, and the Pedagogy of Growing up in Late Nineteenth-Century Germany M

    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-23-2013 Reading, Travel, and the Pedagogy of Growing Up in Late Nineteenth-Century Germany M. Stanley Majors Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the German Language and Literature Commons Recommended Citation Majors, M. Stanley, "Reading, Travel, and the Pedagogy of Growing Up in Late Nineteenth-Century Germany" (2013). All Theses and Dissertations (ETDs). 1090. https://openscholarship.wustl.edu/etd/1090 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Germanic Languages and Literatures Dissertation Examination Committee: Lynne Tatlock, Chair Miriam Bailin Matt Erlin Lutz Koepnick Paul Michael Luetzeler William McKelvy Reading, Travel, and the Pedagogy of Growing Up in Late Nineteenth-Century Germany by Magdalen Stanley Majors A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © 2013, Magdalen Stanley Majors TABLE OF CONTENTS ACKNOWLEDGEMENTS…………………………...………………………...………...……iii
  • Left and Right: Politics and Images of Motherhood in Weimar Germany

    Left and Right: Politics and Images of Motherhood in Weimar Germany

    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2017 Left and Right: Politics and Images of Motherhood in Weimar Germany Michelle L. Vangen The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1858 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] LEFT AND RIGHT: POLITICS AND IMAGES OF MOTHERHOOD IN WEIMAR GERMANY by MICHELLE VANGEN A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 © 2017 MICHELLE VANGEN All rights reserved ii Left and Right: Politics and Images of Motherhood in Weimar Germany by Michelle Vangen This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Rose-Carol Washton Long Chair of Examining Committee Date Rachel Kousser Executive Officer Supervisory Committee: Rosemarie Haag Bletter John Maciuika Diane Radycki THE CITY UNIVERSITY OF NEW YORK iii Abstract LEFT AND RIGHT: POLITICS AND IMAGES OF MOTHERHOOD IN WEIMAR GERMANY by MICHELLE VANGEN Advisor: Professor Rose-Carol Washton Long Art historians and cultural critics have long debated the aesthetic and political implications of the stylistic shift in Germany from pre-war experimentations with abstraction and expressive distortion to more clear-cut figuration in their paintings during the years following World War I.
  • To Download the PDF File

    To Download the PDF File

    "Deficiently Differentiated": Visual Encounters with Weimar Germany's New Woman by Hayley Chown School for Studies in Art and Culture, Department of Art History A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfilment of the requirement for the degree of Master of Arts in Art History: Art and Its Institutions Faculty of Arts and Social Sciences Carleton University Ottawa, Canada ©2010, Hayley Chown Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington OttawaONK1A0N4 OttawaONK1A0N4 Canada Canada Your file Votre rtsterence ISBN: 978-0-494-71669-4 Our file Notre r6f6rence ISBN: 978-0-494-71669-4 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduce, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non­ support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation.