Bibliography for HART30035: German Expressionism

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---. ‘Künstlergruppe Brücke and the Public Sphere: Bridging the Gender Divide’. New Perspectives on Brücke Expressionism: Bridging History. Farnham, Surrey: Ashgate. 99–123. Print.

---. Women Expressionists. Oxford: Phaidon, 1988. Print.

Betterton, Rosemary. ‘Mother Figures: The Maternal Nude in the Work of Käthe Kollwitz and Paula Modersohn-Becker’. An Intimate Distance: Women, Artists, and the Body. London: Routledge, 1996. 20–45. Web. <https://www-taylorfrancis-com.bris.idm.oclc.org/books/9781315003931/chapters/10.4324/9781315003931-10>.

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Eberle, Matthias. ‘Criticism, Conflict and Controversy’. Max Liebermann and International Modernism: An Artist’s Career from Empire to Third Reich. Ed. Marion F. Deshmukh, Françoise Forster-Hahn, and Barbara Gaehtgens. First edition. v. 14. New York: Berghahn Books, 2011. 127–141. Print.

---. ‘George Grosz: The Irate Dandy: Art as a Weapon in the Class Struggle’. World War I and the Weimar Artists: Dix, Grosz, Beckmann, Schlemmer. New Haven: Yale University Press, 1985. 54–72. Print.

---. ‘Otto Dix: Fighting for a Lost Cause’. World War I and the Weimar Artists: Dix, Grosz, Beckmann, Schlemmer. New Haven: Yale University Press, 1985. 22–53. Print.

Florman, Lisa. ‘Gustav Klimt and the Precedent of Ancient Greece’. The Art Bulletin 72.2 (1990): n. pag. Web.

Forster-Hahn, Francoise. ‘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. Ed. Marion F. Deshmukh, Françoise Forster-Hahn, and Barbara Gaehtgens. First edition. v. 14. New York: Berghahn Books, 2011. 143–156. Print.

Franciscono, Marcel. ‘The Imagery of Max Beckmann’s The Night’. Art Journal 33.1 (1973): n. pag. Web.

Gaiger, Jason. ‘Der Blaue Reiter’. Art of the Avant-Gardes. Ed. Steve Edwards and Paul Wood. bk. 2. New Haven: Yale University Press in association with the Open University, 2004. 48–56. Print.

---. ‘The Brücke’. Art of the Avant-Gardes. Ed. Steve Edwards and Paul Wood. bk. 2. New Haven: Yale University Press in association with the Open University, 2004. 24–37. Print.

Gemma Blackshaw. ‘The Pathological Body: Modernist Strategising in Egon Schiele’s Self-Portraiture’. Oxford Art Journal 30.3 (2007): n. pag. Web. <https://www.jstor.org/stable/4500071?seq=1#metadata_info_tab_contents>.

Goggin, Mary-Margaret. ‘“Decent” vs. “Degenerate” Art: The National Socialist Case’. Art Journal 50.4 (1991): n. pag. Web.

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Guenther, Peter W., Los Angeles County Museum of Art, and Art Institute of Chicago. ‘1937: Modern Art and Politics in Prewar Germany’. ‘Degenerate Art’: The Fate of the Avant-Garde in Nazi Germany. Ed. Stephanie Barron. Los Angeles, Calif: Los Angeles County Museum of Art. 9–24. Web. <https://archive.org/stream/degenerateartfa00barr/degenerateartfa00barr#page/8/mode/2up>.

Haxthausen, Charles W. ‘"A New Beauty”: Ernst Ludwig Kirchner’s Images of Berlin’. Berlin: Culture and Metropolis. University of Minnesota Press, 1990. 58–94. Web. <https://www.jstor.org/stable/10.5749/j.ctttv05x.8?refreqid=excelsior%3Ad1695b2380890b308da62920e3e3c3bf>.

Heller, Reinhold. ‘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. Ed. Richard A. Born and Stephanie D’Alessandro. London: Philip Wilson Publishers, in association with the David and Alfred Smart Museum of Art, the University of Chicago, 1992. 9–31. Print.

---. ‘Recent Scholarship on Vienna’s “Golden Age,” Gustav Klimt, and Egon Schiele’. The Art Bulletin 59.1 (1977): n. pag. Web.

Heller, Reinhold, Gabriele Münter, and Milwaukee Art Museum. Gabriele Münter: The Years of Expressionism, 1903-1920. Munich: Prestel. Print.

Herbert, Barry. ‘Der Blaue Reiter’. German Expressionism: Die Brücke and Der Blaue Reiter. [New York]: Hippocrene Books, 1983. 98–194. Print.

Jenkins, Jennifer. ‘Heimat Art, Modernism, Modernity’. Localism, Landscape, and the Ambiguities of Place: German-Speaking Central Europe, 1860-1930. Toronto: University of Toronto Press, 2007. 60–75. Web. <https://www.jstor.org/stable/10.3138/9781442684522.6?seq=1#metadata_info_tab_contents>.

Jill Lloyd. ‘Emil Nolde’s Still Lifes, 1911-1912: Modernism, Myth, and Gesture’. RES: Anthropology and Aesthetics 9 (1985): n. pag. Web. <https://www.jstor.org/stable/20166722?seq=1#metadata_info_tab_contents>.

Kandinsky, Wassily et al. The Blaue Reiter Almanac. New documentary ed. London: Thames and Hudson, 1974. Print.

Kandinsky, Wassily, and Michael Sadleir. Concerning the Spiritual in Art. [New ed. ]. London: Tate, 2006. Print.

Kets de Vries, Henriette. ‘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. Ed. Claire C. Whitner. Wellesley, MA: Davis Museum at Wellesley College, 2016. 11–19. Print.

Kirchner, Ernst Ludwig et al. Ernst Ludwig Kirchner: The Dresden and Berlin Years. London: Royal Academy of Arts. Print.

Kort, Pamela and Neue Galerie New York. Ernst Ludwig Kirchner: Berlin Street Scene. New York, NY: Neue Galerie New York, 2008. Print.

L. D. Ettlinger. ‘German Expressionism and Primitive Art’. The Burlington Magazine 110.781 (1968): n. pag. Web. <https://www.jstor.org/stable/875584?seq=1#metadata_info_tab_contents>.

Lasko, Peter. ‘The Blaue Reiter’. The Expressionist Roots of Modernism. Manchester: Manchester University Press, 2003. 83–97. Print.

Lenman, Robin. ‘Introduction: Painting and Society in Germany 1850-1914’. Artists and Society in Germany, 1850-1914. Manchester: Manchester University Press, 1997. Print.

Levi, Neil. ‘“Judge for Yourselves!”-The “Degenerate Art” Exhibition as Political Spectacle’. October 85 (1998): n. pag. Web.

Levine, Frederick S. The Apocalyptic Vision: The Art of Franz Marc as German Expressionism. First edition. New York: Harper & Row, 1979. Print.

---. ‘The Iconography of Franz Marc’s Fate of the Animals’. The Art Bulletin 58.2 (1976): n. pag. Web.

Lewis, Beth Irwin. ‘Modern Art for an Elite Public’. Art for All?: The Collision of Modern Art and the Public in Late-Nineteenth-Century Germany. Princeton, N.J.: Princeton University Press. 28–92. Print.

Lloyd, Jill. ‘Brücke: National Identity and International Style’. Brücke: The Birth of Expressionism in Dresden and Berlin, 1905-1913. Ed. Reinhold Heller. Ostfildern: Hatje Cantz, 2009. 59–77. Print.

---. German Expressionism: Primitivism and Modernity. New Haven, Conn: Yale University Press, 1991. Print.

Long, Rose-Carol Washton et al. German Expressionism: Documents from the End of the Wilhelmine Empire to the Rise of National Socialism. Berkeley: University of California Press, 1995. Print.

Lübbren, Nina. ‘Painting Place Myths’. Rural Artists’ Colonies in Europe, 1870-1910. New Brunswick, NJ: Rutgers University Press, 2001. 115–136. Print.

Malycheva, Tanja, and Isabel Wünsche, eds. Marianne Werefkin and the Women Artists in Her Circle. volume 33. Boston: Brill, 2016. Web. <https://www.jstor.org/stable/10.1163/j.ctt1w8h0q1>.

Marlowe-Storkovich, Tina. ‘“Medicine” by Gustav Klimt’. Artibus et Historiae 24.47 (2003): n. pag. Web.

Mesch, Claudia. ‘The National Socialist “Degenerate Art” Exhibition (1937) and the Subject of Hygienic Vision’. Chicago art journal (1992): 3–12. Print.

Mittig, Hans-Ernst. ‘Art and Oppression in Fascist Germany’. The Divided Heritage: Themes and Problems in German Modernism. Cambridge [England]: Cambridge University Press, 1991. 191–215. Print.

Modersohn-Becker, Paula et al. Paula Modersohn-Becker. Ed. Michael Juul Holm, Tine Colstrup, and Lærke Rydal Jørgensen. [Humlebaek]: Louisiana Museum of Modern Art, 2014. Print.

Moffitt, John F. ‘“Fighting Forms: The Fate of the Animals.” The Occultist Origins of Franz Marc’s “Farbentheorie”’. Artibus et Historiae 6.12 (1985): n. pag. Web.

Moorjani, Angela. ‘Kathe Kollwitz on Sacrifice, Mourning, and Reparation: An Essay in Psychoaesthetics’. MLN 101.5 (1986): n. pag. Web.

Neue Galerie New York. ‘Brücke in Dresden and Berlin, 1905-1913’. Brücke: The Birth of Expressionism in Dresden and Berlin, 1905-1913. Ed. Reinhold Heller. Ostfildern: Hatje Cantz, 2009. 13–57. Print.

Obler, Bibiana K. ‘The Matter of Geist’. Intimate Collaborations: Kandinsky & Münter, Arp & Taeuber. New Haven: Yale University Press, 2014. 73–118. Print.

Paret, Peter. ‘Expressionism in Imperial Germany’. German Expressionism: Art and Society. 1st ed. England: Thames and Hudson. 29–34. Print.

---. ‘Modernism and the Alien Element in German Art’. German Encounters with Modernism: 1840-1945. New York: Cambridge University Press, 2001. 60–91. Print.

---. ‘The Berlin Secession’. Berlin Metropolis: Jews and the New Culture, 1890-1918. Berkeley, CA: University of California Press. Print.

Paul Fox. ‘Confronting Postwar Shame in Weimar Germany: Trauma, Heroism and the War Art of Otto Dix’. Oxford Art Journal 29.2 (2006): n. pag. Web. <https://www.jstor.org/stable/3841015?seq=1#metadata_info_tab_contents>.

Perry, Gill. ‘The Expressive and the Expressionist’. Primitivism, Cubism, Abstraction: The Early Twentieth Century. New Haven: Yale University Press, in association with the Open University, 1993. 62–81. Print.

Peter Vergo. ‘Gustav Klimt’s Beethoven Frieze’. The Burlington Magazine 115.839 (1973): n. pag. Web. <https://www.jstor.org/stable/877280?seq=1#metadata_info_tab_contents>.

Pirsig-Marshall, Tania. ‘Otto Mueller and the Brücke’. New Perspectives on Brücke Expressionism: Bridging History. Farnham, Surrey: Ashgate. Print.

Prelinger, Elizabeth. ‘Kollwitz Reconsidered’. Kathe Kollwitz. New Haven: Yale University Press, 1992. 13–88. Print.

Price, Dorothy C. ‘The Rise of Berlin in Imperial Germany’. Representing Berlin: Sexuality and the City in Imperial and Weimar Germany. Aldershot, Hants, England: Ashgate. Print.

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Schubert, Dietrich. ‘Death in the Trench: The Death of the Portrait: Otto Dix’s Wartime Self-Portraits 1915-1918’. Otto Dix. Munich: Prestel. 33–55. Print.

Schulz, Chana. ‘Max Liebermann as a “Jewish” Painter’. Berlin Metropolis: Jews and the New Culture, 1890-1918. Berkeley, CA: University of California Press. Print.

Selz, Peter. ‘Max Beckmann: The Self Portraits’. Beyond the Mainstream: Essays on Modern and Contemporary Art. Cambridge [England]: Cambridge University Press, 1997. 91–106. Print.

Sharp, Ingrid. ‘Kääthe Kollwitz’s Witness to War: Gender, Authority, and Reception’. Women in German Yearbook 27 (2011): n. pag. Web.

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Simmel, Georg. ‘The Metropolis and Mental Life’. Art in Theory 1900-1990: An Anthology of Changing Ideas. Oxford: Blackwell, 1992. 130–135. Print.

Simmons, Sherwin. ‘August Macke’s Shoppers: Commodity Aesthetics, Modernist Autonomy and the Inexhaustible Will of Kitsch’. Zeitschrift für Kunstgeschichte 63.1 (2000): n. pag. Web.

---. ‘Ernst Kirchner’s Streetwalkers: Art, Luxury, and Immorality in Berlin, 1913-16’. The Art Bulletin 82.1 (2000): n. pag. Web.

Soika, Aya. ‘Max Pechstein: Outsider or Trailblazer?’ New Perspectives on Brücke Expressionism: Bridging History. Farnham, Surrey: Ashgate. Print.

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Strauss, Monica J. ‘Helen Serger’s Galerie La Boetie: Paula Modersohn Becker on Madison Avenue’. Woman’s Art Journal 30.2 (2009): n. pag. Web. <https://www.jstor.org/stable/40605297?seq=1#metadata_info_tab_contents>.

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Vangen, Michelle. ‘Left and Right: Politics and Images of Motherhood in Weimar Germany’. Woman’s Art Journal 30.2 (2009): n. pag. Web. <https://www.jstor.org/stable/40605296?seq=1#metadata_info_tab_contents>.

Vergo, Peter. ‘Music, Kandinsky and the Idea of the Gesamtkunstwerk’. Vasily Kandinsky: From Blaue Reiter to the Bauhaus, 1910-1925. Ostfildern: Hatje Cantz, 2013. 49–63. Print.

---. ‘Secession’. Art in Vienna, 1898-1918: Klimt, Kokoschka, Schiele and Their Contemporaries. 3rd ed. London: Phaidon, 1993. 18–85. Print.

Washton Long, Rose-Carol. ‘Die Brücke’. German Expressionism: Documents from the End of the Wilhelmine Empire to the Rise of National Socialism. Berkeley: University of California Press, 1995. 21–36. Print.

West, Shearer. ‘Chapter 2’. The Visual Arts in Germany, 1890-1937: Utopia and Despair. New Brunswick, N.J.: Rutgers University Press, 2001. Print.

---. ‘Community and Personality: Art on the Left’. The Visual Arts in Germany, 1890-1937: Utopia and Despair. New Brunswick, N.J.: Rutgers University Press, 2001. Print.

---. ‘Introduction’. The Visual Arts in Germany, 1890-1937: Utopia and Despair. New Brunswick, N.J.: Rutgers University Press, 2001. Print.

---. ‘Reaction: Degenerate Art’. The Visual Arts in Germany, 1890-1937: Utopia and Despair. New Brunswick, N.J.: Rutgers University Press, 2001. Print.

---. ‘The Spiritual in Art’. The Visual Arts in Germany, 1890-1937: Utopia and Despair. New Brunswick, N.J.: Rutgers University Press, 2001. Print.

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Wye, Deborah, and Ernst Ludwig Kirchner. Kirchner and the Berlin Street. New York: Museum of Modern Art. Print.

Bibliography for HART30035: German Expressionism BETA