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