Bibliography for HART30035: German Expressionism

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R. Lenman, ‘Introduction: painting and society in Germany 1850-1914’, in Artists and society in Germany, 1850-1914, Manchester: Manchester University Press, 1997.

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P. Paret, ‘Expressionism in Imperial Germany’, in German Expressionism: art and society, 1st ed., England: Thames and Hudson, pp. 29–34.

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F. Forster-Hahn, ‘How Modern is Modern? Max Liebermann and the Discourses of Modernism’, in Max Liebermann and international modernism: an artist’s career from empire to Third Reich, First edition., vol. v. 14, M. F. Deshmukh, F. Forster-Hahn, and B. Gaehtgens, Eds. New York: Berghahn Books, 2011, pp. 143–156.

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M. Eberle, ‘Criticism, Conflict and Controversy’, in Max Liebermann and international modernism: an artist’s career from empire to Third Reich, First edition., vol. v. 14, M. F. Deshmukh, F. Forster-Hahn, and B. Gaehtgens, Eds. New York: Berghahn Books, 2011, pp. 127–141.

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P. Paret, ‘The Berlin Secession’, in Berlin metropolis: Jews and the new culture, 1890-1918, Berkeley, CA: University of California Press.

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B. I. Lewis, ‘Modern Art for an Elite Public’, in Art for all?: the collision of modern art and the public in late-nineteenth-century Germany, Princeton, N.J.: Princeton University Press, pp. 28–92.

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H. Bachert, ‘Collecting the Art of Käthe Kollwitz’, in Kathe Kollwitz, New Haven: Yale University Press, 1992, pp. 117–136.

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R. Heller, ‘Observations, in the form of a survey, on the history of print cycles in German Art from the fifteenth to the nineteenth century’, in The German print portfolio, 1890-1930: serials for a private sphere, R. A. Born and S. D’Alessandro, Eds. London: Philip Wilson Publishers, in association with the David and Alfred Smart Museum of Art, the University of Chicago, 1992, pp. 9–31.

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H. Kets de Vries, ‘Mother’s Arms: Käthe Kollwitz’s Women and War’, in Käthe Kollwitz and the women of war: femininity, identity, and art in Germany during World Wars I and II, C. C. Whitner, Ed. Wellesley, MA: Davis Museum at Wellesley College, 2016, pp. 11–19.

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P. Modersohn-Becker, J. Manley, G. Garner, E. Volk, and L. Rennison, Paula Modersohn-Becker. [Humlebaek]: Louisiana Museum of Modern Art, 2014.

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J. Jenkins, ‘Heimat Art, Modernism, Modernity’, in Localism, landscape, and the ambiguities of place: German-speaking central Europe, 1860-1930, Toronto: University of Toronto Press, 2007, pp. 60–75 [Online]. Available: https://www.jstor.org/stable/10.3138/9781442684522.6?seq=1#metadata_info_tab_contents

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N. Lübbren, ‘Painting Place Myths’, in Rural artists’ colonies in Europe, 1870-1910, New Brunswick, NJ: Rutgers University Press, 2001, pp. 115–136.

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M. Vangen, ‘Left and Right: Politics and Images of Motherhood in Weimar Germany’, Woman’s Art Journal, vol. 30, no. 2, 2009 [Online]. Available: https://www.jstor.org/stable/40605296?seq=1#metadata_info_tab_contents

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M. J. Strauss, ‘Helen Serger’s Galerie La Boetie: Paula Modersohn Becker on Madison Avenue’, Woman’s Art Journal, vol. 30, no. 2, 2009 [Online]. Available: https://www.jstor.org/stable/40605297?seq=1#metadata_info_tab_contents

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S. West, ‘Chapter 2’, in The visual arts in Germany, 1890-1937: utopia and despair, New Brunswick, N.J.: Rutgers University Press, 2001.

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J. Gaiger, ‘The Brücke’, in Art of the avant-gardes, vol. bk. 2, S. Edwards and P. Wood, Eds. New Haven: Yale University Press in association with the Open University, 2004, pp. 24–37.

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G. Perry, ‘The expressive and the Expressionist’, in Primitivism, cubism, abstraction: the early twentieth century, New Haven: Yale University Press, in association with the Open University, 1993, pp. 62–81.

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Neue Galerie New York, ‘Brücke in Dresden and Berlin, 1905-1913’, in Brücke: the birth of Expressionism in Dresden and Berlin, 1905-1913, R. Heller, Ed. Ostfildern: Hatje Cantz, 2009, pp. 13–57.

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J. Lloyd, ‘Brücke: National Identity and International Style’, in Brücke: the birth of Expressionism in Dresden and Berlin, 1905-1913, R. Heller, Ed. Ostfildern: Hatje Cantz, 2009, pp. 59–77.

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C. Duncan, ‘Virility and domination in early twentieth century vanguard painting’, in Feminism and art history: questioning the litany, N. Broude and M. D. Garrard, Eds. Boulder, CO.: Westview Press, 1982 [Online]. Available: https://www-taylorfrancis-com.bris.idm.oclc.org/books/e/9780429500534/chapters/10.4324/9780429500534-16

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J. Lloyd, German expressionism: primitivism and modernity. New Haven, Conn: Yale University Press, 1991.

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S. Behr, ‘Künstlergruppe Brücke and the public sphere: bridging the gender divide’, in New perspectives on Brücke expressionism: bridging history, Farnham, Surrey: Ashgate, pp. 99–123.

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L. D. Ettlinger, ‘German Expressionism and Primitive Art’, The Burlington Magazine, vol. 110, no. 781, 1968 [Online]. Available: https://www.jstor.org/stable/875584?seq=1#metadata_info_tab_contents

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Jill Lloyd, ‘Emil Nolde’s Still Lifes, 1911-1912: Modernism, Myth, and Gesture’, RES: Anthropology and Aesthetics, no. 9, 1985 [Online]. Available: https://www.jstor.org/stable/20166722?seq=1#metadata_info_tab_contents

[46]
T. Pirsig-Marshall, ‘Otto Mueller and the Brücke’, in New perspectives on Brücke expressionism: bridging history, Farnham, Surrey: Ashgate.

[47]
A. Soika, ‘Max Pechstein: outsider or trailblazer?’, in New perspectives on Brücke expressionism: bridging history, Farnham, Surrey: Ashgate.

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D. E. Gordon, Expressionism: art and idea. New Haven: Yale University Press.

[49]
S. Simmons, ‘Ernst Kirchner’s Streetwalkers: Art, Luxury, and Immorality in Berlin, 1913-16’, The Art Bulletin, vol. 82, no. 1, Mar. 2000, doi: 10.2307/3051367.

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C. W. Haxthausen, ‘"A New Beauty”: Ernst Ludwig Kirchner’s Images of Berlin’, in Berlin: culture and metropolis, University of Minnesota Press, 1990, pp. 58–94 [Online]. Available: https://www.jstor.org/stable/10.5749/j.ctttv05x.8?refreqid=excelsior%3Ad1695b2380890b308da62920e3e3c3bf

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H. Bahr, ‘Expressionism (1916)’, in ‘Primitivism’ in 20th century art: affinity of the tribal and the modern, W. Rubin, Ed. New York: Museum of Modern Art, 1984.

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P. Kort and Neue Galerie New York, Ernst Ludwig Kirchner: Berlin street scene. New York, NY: Neue Galerie New York, 2008.

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R.-C. Washton Long, ‘Die Brücke’, in German expressionism: documents from the end of the Wilhelmine Empire to the rise of National Socialism, Berkeley: University of California Press, 1995, pp. 21–36.

[57]
S. West, ‘The Spiritual in Art’, in The visual arts in Germany, 1890-1937: utopia and despair, New Brunswick, N.J.: Rutgers University Press, 2001.

[58]
J. Gaiger, ‘Der Blaue Reiter’, in Art of the avant-gardes, vol. bk. 2, S. Edwards and P. Wood, Eds. New Haven: Yale University Press in association with the Open University, 2004, pp. 48–56.

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B. Herbert, ‘Der Blaue Reiter’, in German expressionism: Die Brücke and Der Blaue Reiter, [New York]: Hippocrene Books, 1983, pp. 98–194.

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P. Lasko, ‘The Blaue Reiter’, in The expressionist roots of modernism, Manchester: Manchester University Press, 2003, pp. 83–97.

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F. S. Levine, ‘The Iconography of Franz Marc’s Fate of the Animals’, The Art Bulletin, vol. 58, no. 2, Jun. 1976, doi: 10.2307/3049502.

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M.-M. Goggin, ‘“Decent” vs. “Degenerate” Art: The National Socialist Case’, Art Journal, vol. 50, no. 4, Winter 1991, doi: 10.2307/777328.

Bibliography for HART30035: German Expressionism BETA