[1]
Apollonio, U. 1973. Futurist manifestos. Thames & Hudson.
[2]
Bachert, H. 1992. Collecting the Art of Käthe Kollwitz. Kathe Kollwitz. Yale University Press. 117–136.
[3]
Bann, S. 1974. The Tradition of Constructivism. Thames and Hudson.
[4]
Barron, S. et al. 1980. The Avant-garde in Russia, 1910-1930: new perspectives. Los Angeles County Museum of Art.
[5]
Baudelaire, C. 1863. The Painter of Modern Life. Modern art and modernism: a critical anthology. Harper & Row. 23–27.
[6]
Bergdoll, B. et al. 2009. Bauhaus 1919-1933: workshops for modernity. Museum of Modern Art.
[7]
Bergeret-Gourbin, A.-M. et al. 2014. Monet’s Impression sunrise: the biography of a painting. Hazan.
[8]
Berman, M. 2010. All that is solid melts into air: the experience of modernity. Verso.
[9]
Clark, T.J. 1984. Olympia’s Choice. The painting of modern life: Paris in the art of Manet and his followers. Thames and Hudson. 79–146.
[10]
Dickerman, L. et al. 2005. Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris. National Gallery of Art in association with D.A.P./ Distributed Art Publishers.
[11]
Doherty, B. 2005. Berlin Dada. Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris. National Gallery of Art in association with D.A.P./ Distributed Art Publishers. 87–112.
[12]
Druick, D.W. et al. 2001. Van Gogh and Gauguin: the studio of the south. Thames & Hudson.
[13]
F.T., M. 1909. The founding and manifesto of futurism. Futurist manifestos. Thames & Hudson. 19–131.
[14]
Gaughan, M. 2004. Narrating the Dada Game Plan. Art of the avant-gardes. Yale University Press in association with the Open University. 339–358.
[15]
Gemma, B. 2013. On stage: the new Viennese. Facing the modern: the portrait in Vienna 1900. National Gallery Company. 14–33.
[16]
Golding, J. 1994. Cubism. Concepts of modern art: from Fauvism to Postmodernism. Thames and Hudson. 50–78.
[17]
Gray, C. 1971. The Russian experiment in art, 1863-1922. Thames & Hudson.
[18]
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. Philip Wilson in assocation with the David and Alfred Smart Museum of Art, University of Chicago. 9–31.
[19]
Herbert, R.L. 1988. Impressionism: art, leisure, and Parisian society. Yale University Press.
[20]
House, J. 1979. The Legacy of Impressionism in France. Post-Impressionism: cross-currents in European painting. Royal Academy of Arts in association with Weidenfeld and Nicolson. 13–25.
[21]
Jason, G. 2004. Approaches to cubism. Art of the avant-gardes. Yale University Press in association with the Open University. 135–155.
[22]
J.M., N. 1980. The nature of cubism: a study in conflicting explanations. Art history. 5, 4 (1980).
[23]
Jones, A. 2004. Irrational modernism: a neurasthenic history of New York Dada. MIT Press.
[24]
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. The Davis Museum at Wellesley College. 11–19.
[25]
Krell, A. 1996. Manet and the painters of contemporary life. Thames and Hudson.
[26]
Kuenzli, R.E. 1987. Dada and surrealist film. Willis Locker & Owens.
[27]
Kunstmuseum Stuttgart and Staatliche Akademie der Bildenden Künste Stuttgart 2012. Otto Dix and the new objectivity. Hatje Cantz.
[28]
Kunstmuseum Stuttgart and Staatliche Akademie der Bildenden Künste Stuttgart 2012. Otto Dix and the new objectivity. Hatje Cantz.
[29]
Lajer-Burcharth, E. 1985. Modernity and the Condition of Disguise: Manet’s "Absinthe Drinker”. Art Journal. 45, 1 (Mar. 1985), 18–26. DOI:https://doi.org/10.1080/00043249.1985.10792272.
[30]
Leavens, I.B. 1983. From ‘291’ to Zurich: the birth of Dada. UMI Research.
[31]
Lodder, C. 1983. Russian Constructivism. Yale University Press.
[32]
Lodder, C. 2004. Soviet constructivism. Art of the avant-gardes. Yale University Press in association with the Open University. 359–393.
[33]
Meecham, P. and Sheldon, J. 2005. What, when and where was modernism? Modern art: a critical introduction. Routledge. 13–48.
[34]
Michalski, S. 2003. New objectivity: painting, graphic art and photography in Weimar Germany 1919-1933. Taschen.
[35]
Milner, J. 1996. Kazimir Malevich and the art of geometry. Yale University Press.
[36]
Milner, J. 1983. Vladimir Tatlin and the Russian avant-garde. Yale University Press.
[37]
Moorjani, A. 1986. Käthe Kollwitz on Sacrifice, Mourning, and Reparation: An Essay in Psychoaesthetics. MLN. Vol. 101, 5 (1986), 1110–1134.
[38]
Mundy, J. et al. 2008. Duchamp, Man Ray, Picabia. Tate Publishing.
[39]
Norbert, L. 1981. Futurism. Concepts of modern art. Penguin.
[40]
Nord, P. 1989. Manet and Radical Politics. Journal of Interdisciplinary History. 19, 3 (Winter 1989). DOI:https://doi.org/10.2307/204364.
[41]
P., T. 1986. The first impressionist exhibition in context. The New painting: impressionism 1874-1886. Phaidon. 93–117.
[42]
Paul, T. 1998. Making Sense of Edouard Manet’s ‘Le déjeuner sur l’herbe’. Manet’s Le déjeuner sur l’herbe. Cambridge University Press. 1–37.
[43]
Peters, O. ed. 2015. Berlin metropolis, 1918-1933. Prestel.
[44]
Prelinger, E. 1992. Kollwitz Reconsidered. Kathe Kollwitz. Yale University Press. 13–88.
[45]
Reff, T. 1976. Manet, ‘Olympia’. Allen Lane.
[46]
Rewald, S. et al. 2006. Glitter and doom: German portraits from the 1920s. Metropolitan Museum of Art.
[47]
Richter, H. 1965. Dada: art and anti-art. Thames and Hudson.
[48]
Rowe, D.C. 2013. After Dada: Marta Hegemann and the Cologne avant-garde. Manchester University Press.
[49]
Schmied, W. et al. 1978. Neue Sachlichkeit and German realism of the twenties: [exhibition] Hayward Gallery, London, 11 November 1978-14 January 1979. Arts Council of Great Britain.
[50]
Schulte, R. and Selwyn, P. 1996. Käthe Kollwitz’s Sacrifice. History Workshop Journal. 41, (1996), 193–221.
[51]
Sharp, I. 2011. Käthe Kollwitz’s Witness to War: Gender, Authority and Reception. Women in German yearbook: feminist studies in German literature & culture. 27, (2011), 87–107.
[52]
Smith, P.G. 1995. Impressionism: beneath the surface. Weidenfeld & Nicholson.
[53]
Solomon R. Guggenheim Museum (New York) 1992. The great Utopia: the Russian and Soviet avant-garde, 1915-1932. Solomon R. Guggenheim Museum.
[54]
Stephanie, B. 2015. New Objectivity: German expressionism after realism. New objectivity: modern German art in the Weimar Republic, 1919-1933. S. Barron and S. Eckmann, eds. DelMonico. 15–25.
[55]
Taylor, B. 1991. Art and literature under the Bolsheviks: Vol.1: The crisis of renewal, 1917-1924. Pluto Press.
[56]
Taylor, B. 1992. Art and literature under the Bolsheviks: Vol.2: Authority and Revolution, 1924-1932. Pluto Press.
[57]
Taylor, B. 1991. Revolution and civil war. Art and literature under the Bolsheviks: Vol.1: The crisis of renewal, 1917-1924. Pluto Press. 27–108.
[58]
Thomson, B. 1983. The Post-Impressionists. Chartwell.
[59]
Thomson, R. 1985. Chapter 6. Seurat. Phaidon. 97–126.
[60]
Tzara, T. 1977. Seven Dada manifestos and lampisteries. Calder.
[61]
Werkner, P. 2005. Art in Vienna Around 1900. Klimt, Schiele, Moser, Kokoschka: Vienna 1900. Lund Humphries. 35–43.