[1]
Adam, P. 1992. The Nordic Myth: National Socialist Ideology. The arts of the Third Reich. Thames and Hudson. 23–27.
[2]
Adam, P. 1992. The Visualization of National Socialist Ideology. The arts of the Third Reich. Thames and Hudson. 129–173.
[3]
Ades, D. et al. Art and power: Europe under the dictators 1930-45. Thames and Hudson in association with Hayward Gallery.
[4]
Anne Higonnet 2009. Making Babies, Painting Bodies: Women, Art, and Paula Modersohn-Becker’s Productivity. Woman’s Art Journal. 30, 2 (2009).
[5]
Antliff, M. 2002. Fascism, Modernism, and Modernity. The Art Bulletin. 84, 1 (Mar. 2002). DOI:https://doi.org/10.2307/3177257.
[6]
Bachert, H. 1992. Collecting the Art of Käthe Kollwitz. Kathe Kollwitz. Yale University Press. 117–136.
[7]
Bahr, H. 1984. Expressionism (1916). ‘Primitivism’ in 20th century art: affinity of the tribal and the modern. W. Rubin, ed. Museum of Modern Art.
[8]
Behr, S. 2006. Kandinsky, Münter and Creative Partnership. Kandinsky: the path to abstraction. Tate. 76–100.
[9]
Behr, S. Künstlergruppe Brücke and the public sphere: bridging the gender divide. New perspectives on Brücke expressionism: bridging history. Ashgate. 99–123.
[10]
Behr, S. 1988. Women expressionists. Phaidon.
[11]
Betterton, R. 1996. Mother Figures: The Maternal Nude in the work of Käthe Kollwitz and Paula Modersohn-Becker. An intimate distance: women, artists, and the body. Routledge. 20–45.
[12]
Braun, E. 1991. Return of the Repressed. Art in America. Annual guide to galleries, museums, artists. 79, 10 (1991), 116–123.
[13]
Carl E. Schorske 1982. Mahler and Klimt: Social Experience and Artistic Evolution. Daedalus. 111, 3 (1982).
[14]
Clark, T. 1997. Art Propaganda and Fascism. Art and propaganda in the twentieth century: the political image in the age of mass culture. Weidenfeld and Nicolson. 47–71.
[15]
Crockett, D. 1992. The Most Famous Painting of the ‘Golden Twenties’? Otto Dix and the Trench Affair. Art Journal. 51, 1 (Spring 1992). DOI:https://doi.org/10.2307/777257.
[16]
Deshmukh, M. 1996. The Cultural Politics of Max Lieberman. Imagining modern German culture, 1889-1910. National Gallery of Art. 165–183.
[17]
Diane Radycki 2009. ‘Pictures of Flesh’: Modersohn-becker and the Nude. Woman’s Art Journal. 30, 2 (2009).
[18]
Duncan, C. 1982. Virility and domination in early twentieth century vanguard painting. Feminism and art history: questioning the litany. N. Broude and M.D. Garrard, eds. Westview Press.
[19]
van Dyke, J. 2009. Otto Dix’s Streetbattle and the Limits of Satire in Dusseldorf, 1928. Oxford Art Journal. 32, 1 (Mar. 2009), 37–65. DOI:https://doi.org/10.1093/oxartj/kcp005.
[20]
Eberle, M. 2011. Criticism, Conflict and Controversy. Max Liebermann and international modernism: an artist’s career from empire to Third Reich. M.F. Deshmukh et al., eds. Berghahn Books. 127–141.
[21]
Eberle, M. 1985. George Grosz: The Irate Dandy: Art as a Weapon in the Class Struggle. World War I and the Weimar artists: Dix, Grosz, Beckmann, Schlemmer. Yale University Press. 54–72.
[22]
Eberle, M. 1985. Otto Dix: Fighting for a Lost Cause. World War I and the Weimar artists: Dix, Grosz, Beckmann, Schlemmer. Yale University Press. 22–53.
[23]
Florman, L. 1990. Gustav Klimt and the Precedent of Ancient Greece. The Art Bulletin. 72, 2 (Jun. 1990). DOI:https://doi.org/10.2307/3045736.
[24]
Forster-Hahn, F. 2011. How Modern is Modern? Max Liebermann and the Discourses of Modernism. Max Liebermann and international modernism: an artist’s career from empire to Third Reich. M.F. Deshmukh et al., eds. Berghahn Books. 143–156.
[25]
Franciscono, M. 1973. The Imagery of Max Beckmann’s The Night. Art Journal. 33, 1 (Autumn 1973). DOI:https://doi.org/10.2307/775666.
[26]
Gaiger, J. 2004. Der Blaue Reiter. Art of the avant-gardes. S. Edwards and P. Wood, eds. Yale University Press in association with the Open University. 48–56.
[27]
Gaiger, J. 2004. The Brücke. Art of the avant-gardes. S. Edwards and P. Wood, eds. Yale University Press in association with the Open University. 24–37.
[28]
Gemma Blackshaw 2007. The Pathological Body: Modernist Strategising in Egon Schiele’s Self-Portraiture. Oxford Art Journal. 30, 3 (2007).
[29]
Goggin, M.-M. 1991. ‘Decent’ vs. ‘Degenerate’ Art: The National Socialist Case. Art Journal. 50, 4 (Winter 1991). DOI:https://doi.org/10.2307/777328.
[30]
Gordon, D.E. Expressionism: art and idea. Yale University Press.
[31]
Guenther, P.W. et al. 1937: Modern Art and Politics in Prewar Germany. ‘Degenerate art’: the fate of the avant-garde in Nazi Germany. S. Barron, ed. Los Angeles County Museum of Art. 9–24.
[32]
Haxthausen, C.W. 1990. "A New Beauty”: Ernst Ludwig Kirchner’s Images of Berlin. Berlin: culture and metropolis. University of Minnesota Press. 58–94.
[33]
Heller, R. et al. Gabriele Münter: the years of expressionism, 1903-1920. Prestel.
[34]
Heller, R. 1992. Observations, in the form of a survey, on the history of print cycles in German Art from the fifteenth to the nineteenth century. The German print portfolio, 1890-1930: serials for a private sphere. R.A. Born and S. D’Alessandro, eds. Philip Wilson Publishers, in association with the David and Alfred Smart Museum of Art, the University of Chicago. 9–31.
[35]
Heller, R. 1977. Recent Scholarship on Vienna’s ‘Golden Age,’ Gustav Klimt, and Egon Schiele. The Art Bulletin. 59, 1 (Mar. 1977). DOI:https://doi.org/10.2307/3049602.
[36]
Herbert, B. 1983. Der Blaue Reiter. German expressionism: Die Brücke and Der Blaue Reiter. Hippocrene Books. 98–194.
[37]
Jenkins, J. 2007. Heimat Art, Modernism, Modernity. Localism, landscape, and the ambiguities of place: German-speaking central Europe, 1860-1930. University of Toronto Press. 60–75.
[38]
Jill Lloyd 1985. Emil Nolde’s Still Lifes, 1911-1912: Modernism, Myth, and Gesture. RES: Anthropology and Aesthetics. 9 (1985).
[39]
Kandinsky, W. et al. 1974. The Blaue Reiter almanac. Thames and Hudson.
[40]
Kandinsky, W. and Sadleir, M. 2006. Concerning the spiritual in art. Tate.
[41]
Kets de Vries, H. 2016. Mother’s Arms: Käthe Kollwitz’s Women and War. Käthe Kollwitz and the women of war: femininity, identity, and art in Germany during World Wars I and II. C.C. Whitner, ed. Davis Museum at Wellesley College. 11–19.
[42]
Kirchner, E.L. et al. Ernst Ludwig Kirchner: the Dresden and Berlin years. Royal Academy of Arts.
[43]
Kort, P. and Neue Galerie New York 2008. Ernst Ludwig Kirchner: Berlin street scene. Neue Galerie New York.
[44]
L. D. Ettlinger 1968. German Expressionism and Primitive Art. The Burlington Magazine. 110, 781 (1968).
[45]
Lasko, P. 2003. The Blaue Reiter. The expressionist roots of modernism. Manchester University Press. 83–97.
[46]
Lenman, R. 1997. Introduction: painting and society in Germany 1850-1914. Artists and society in Germany, 1850-1914. Manchester University Press.
[47]
Levi, N. 1998. ‘Judge for Yourselves!’-The ‘Degenerate Art’ Exhibition as Political Spectacle. October. 85, (Summer 1998). DOI:https://doi.org/10.2307/779182.
[48]
Levine, F.S. 1979. The apocalyptic vision: the art of Franz Marc as German expressionism. Harper & Row.
[49]
Levine, F.S. 1976. The Iconography of Franz Marc’s Fate of the Animals. The Art Bulletin. 58, 2 (Jun. 1976). DOI:https://doi.org/10.2307/3049502.
[50]
Lewis, B.I. Modern Art for an Elite Public. Art for all?: the collision of modern art and the public in late-nineteenth-century Germany. Princeton University Press. 28–92.
[51]
Lloyd, J. 2009. Brücke: National Identity and International Style. Brücke: the birth of Expressionism in Dresden and Berlin, 1905-1913. R. Heller, ed. Hatje Cantz. 59–77.
[52]
Lloyd, J. 1991. German expressionism: primitivism and modernity. Yale University Press.
[53]
Long, R.-C.W. et al. 1995. German expressionism: documents from the end of the Wilhelmine Empire to the rise of National Socialism. University of California Press.
[54]
Lübbren, N. 2001. Painting Place Myths. Rural artists’ colonies in Europe, 1870-1910. Rutgers University Press. 115–136.
[55]
Malycheva, T. and Wünsche, I. eds. 2016. Marianne Werefkin and the women artists in her circle. Brill.
[56]
Marlowe-Storkovich, T. 2003. ‘Medicine’ by Gustav Klimt. Artibus et Historiae. 24, 47 (2003). DOI:https://doi.org/10.2307/1483769.
[57]
Mesch, C. 1992. The National Socialist ‘Degenerate Art’ Exhibition (1937) and the Subject of Hygienic Vision. Chicago art journal. (1992), 3–12.
[58]
Mittig, H.-E. 1991. Art and Oppression in Fascist Germany. The Divided heritage: themes and problems in German modernism. Cambridge University Press. 191–215.
[59]
Modersohn-Becker, P. et al. 2014. Paula Modersohn-Becker. Louisiana Museum of Modern Art.
[60]
Moffitt, J.F. 1985. ‘Fighting Forms: The Fate of the Animals.’ The Occultist Origins of Franz Marc’s ‘Farbentheorie’. Artibus et Historiae. 6, 12 (1985). DOI:https://doi.org/10.2307/1483239.
[61]
Moorjani, A. 1986. Kathe Kollwitz on Sacrifice, Mourning, and Reparation: An Essay in Psychoaesthetics. MLN. 101, 5 (Dec. 1986). DOI:https://doi.org/10.2307/2905713.
[62]
Neue Galerie New York 2009. Brücke in Dresden and Berlin, 1905-1913. Brücke: the birth of Expressionism in Dresden and Berlin, 1905-1913. R. Heller, ed. Hatje Cantz. 13–57.
[63]
Obler, B.K. 2014. The Matter of Geist. Intimate collaborations: Kandinsky & Münter, Arp & Taeuber. Yale University Press. 73–118.
[64]
Paret, P. Expressionism in Imperial Germany. German Expressionism: art and society. Thames and Hudson. 29–34.
[65]
Paret, P. 2001. Modernism and the Alien Element in German Art. German encounters with Modernism: 1840-1945. Cambridge University Press. 60–91.
[66]
Paret, P. The Berlin Secession. Berlin metropolis: Jews and the new culture, 1890-1918. University of California Press.
[67]
Paul Fox 2006. Confronting Postwar Shame in Weimar Germany: Trauma, Heroism and the War Art of Otto Dix. Oxford Art Journal. 29, 2 (2006).
[68]
Perry, G. 1993. The expressive and the Expressionist. Primitivism, cubism, abstraction: the early twentieth century. Yale University Press, in association with the Open University. 62–81.
[69]
Peter Vergo 1973. Gustav Klimt’s Beethoven Frieze. The Burlington Magazine. 115, 839 (1973).
[70]
Pirsig-Marshall, T. Otto Mueller and the Brücke. New perspectives on Brücke expressionism: bridging history. Ashgate.
[71]
Prelinger, E. 1992. Kollwitz Reconsidered. Kathe Kollwitz. Yale University Press. 13–88.
[72]
Price, D.C. The Rise of Berlin in Imperial Germany. Representing Berlin: sexuality and the city in Imperial and Weimar Germany. Ashgate.
[73]
Regina Schulte and Pamela Selwyn 1996. Käthe Kollwitz’s Sacrifice. History Workshop Journal. 41 (1996).
[74]
Schubert, D. Death in the Trench: The Death of the Portrait: Otto Dix’s Wartime Self-Portraits 1915-1918. Otto Dix. Prestel. 33–55.
[75]
Schulz, C. Max Liebermann as a ‘Jewish’ painter. Berlin metropolis: Jews and the new culture, 1890-1918. University of California Press.
[76]
Selz, P. 1997. Max Beckmann: The Self Portraits. Beyond the mainstream: essays on modern and contemporary art. Cambridge University Press. 91–106.
[77]
Sharp, I. 2011. Kääthe Kollwitz’s Witness to War: Gender, Authority, and Reception. Women in German Yearbook. 27, (2011). DOI:https://doi.org/10.5250/womgeryearbook.27.2011.0087.
[78]
Short, C. The art theory of Wassily Kandinsky, 1909-1928: the quest for synthesis. Peter Lang.
[79]
Siebrecht, C. 2014. The aesthetics of loss: German women’s art of the First World War. Oxford University Press.
[80]
Simmel, G. 1992. The Metropolis and Mental Life. Art in theory 1900-1990: an anthology of changing ideas. Blackwell. 130–135.
[81]
Simmons, S. 2000. August Macke’s Shoppers: Commodity Aesthetics, Modernist Autonomy and the Inexhaustible Will of Kitsch. Zeitschrift für Kunstgeschichte. 63, 1 (2000). DOI:https://doi.org/10.2307/1587426.
[82]
Simmons, S. 2000. Ernst Kirchner’s Streetwalkers: Art, Luxury, and Immorality in Berlin, 1913-16. The Art Bulletin. 82, 1 (Mar. 2000). DOI:https://doi.org/10.2307/3051367.
[83]
Soika, A. Max Pechstein: outsider or trailblazer? New perspectives on Brücke expressionism: bridging history. Ashgate.
[84]
Stamm, R. 2009. Paula Modersohn-Becker and the Body in Art. Woman’s Art Journal. 30, 2 (2009).
[85]
Strauss, M.J. 2009. Helen Serger’s Galerie La Boetie: Paula Modersohn Becker on Madison Avenue. Woman’s Art Journal. 30, 2 (2009).
[86]
Vangen, M. 2009. Left and Right: Politics and Images of Motherhood in Weimar Germany. Woman’s Art Journal. 30, 2 (2009).
[87]
Vergo, P. 2013. Music, Kandinsky and the Idea of the Gesamtkunstwerk. Vasily Kandinsky: from Blaue Reiter to the Bauhaus, 1910-1925. Hatje Cantz. 49–63.
[88]
Vergo, P. 1993. Secession. Art in Vienna, 1898-1918: Klimt, Kokoschka, Schiele and their contemporaries. Phaidon. 18–85.
[89]
Washton Long, R.-C. 1995. Die Brücke. German expressionism: documents from the end of the Wilhelmine Empire to the rise of National Socialism. University of California Press. 21–36.
[90]
West, S. 2001. Chapter 2. The visual arts in Germany, 1890-1937: utopia and despair. Rutgers University Press.
[91]
West, S. 2001. Community and Personality: art on the left. The visual arts in Germany, 1890-1937: utopia and despair. Rutgers University Press.
[92]
West, S. 2001. Introduction. The visual arts in Germany, 1890-1937: utopia and despair. Rutgers University Press.
[93]
West, S. 2001. Reaction: degenerate art. The visual arts in Germany, 1890-1937: utopia and despair. Rutgers University Press.
[94]
West, S. 2001. The Spiritual in Art. The visual arts in Germany, 1890-1937: utopia and despair. Rutgers University Press.
[95]
Wood, P. 2004. The Spiritual in Art: Kandinsky. Art of the avant-gardes. S. Edwards and P. Wood, eds. Yale University Press in association with the Open University. 238–246.
[96]
Wye, D. and Kirchner, E.L. Kirchner and the Berlin Street. Museum of Modern Art.
