This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Primitivism versus modernity: the expressionist dilemma - Politics of primitivism - Brucke bathers: back to nature - Max Pechstein's visionary ideas - Emil Nolded.

Over 100 works by Beckmann, Feininger, Kirchner, Kollwitz, Nolde, Marc, and others. Distorted, stylized forms embody revolutionary mood of the early 20th century. Introduction. Captions. Notes on artists.

German Post-Expressionism is the first study to reconstruct historically the evolution of Die neue Sachlichkeit, the slogan coined as a designation for the Post-Expressionist figural art that developed throughout Germany following the failed revolution of 1919. Rather than starting with the moment this Post-Expressionist movement was christened with a slogan (1923), Crockett investigates the sources and precepts of Post-Expressionism beginning with the anti-Expressionist stance of Dada in 1918 and the loss of faith in Expressionism on the part of some of its chief supporters during 1919-20.

"An indispensable anthology that immediately renders its predecessors obsolete. With its gathering of public and private documents, it carries us through the rise and fall of one of the great upheavals of modern art."—Robert Rosenblum, New York University "These essays, including many previously unavailable in English, are rich with startling new insights into the German Expressionist psyche. Elucidating the artists' view of government, the role of women in modern society, and their own ambivalence about the effectiveness of abstract art, this anthology is essential reading for all scholars and students of twentieth-century art."—Joan Marter, author of Alexander Calder

This wordless graphic novel tells its socially charged story through 188 stark, arresting images. Open to endless interpretations, the tragic, often violent, story of a young girl unfolds through 17 chapters.

Published in 1957, German Expressionist Painting was the first comprehensive study of one of the most pivotal movements in the art of this century. When it was written, however, German Expressionism seemed like an eccentric manifestation far removed from what was then considered the mainstream of modern art. But as historians well know, each generation alters the concept of mainstream to encompass those aspects of the past which seem most relevant to the present. The impact of German Expressionism on the art and thought of later generations could never have been anticipated at the time of the original writing of this book. During the subsequent years an enormous body of scholarly research and an even larger number of popular books on German expressionist art has been printed. Numerous monographs and detailed studies on most of the artists exist now and countless exhibitions with accompanying catalogues have taken place. Much of this new research could have been incorporated in a revised edition and the bibliography certainly could have been greatly expanded to include the important writings which have been published in Germany, the United States and elsewhere since this book was originally issued. The author, however, was faced with the choice of reprinting the original text with only the most necessary alterations-such as updating the captions to indicate present locations of the paintings-or the preparation of a revised text and bibliography. Desirable as a revision appeared, present printing costs would have priced the paperback out of reach for students. It is for this reason that I decided to reissue the original text which stands on its own as a primary investigation of German Expressionist Painting.

In Expressionism and Poster Design in Germany 1905–1925, Kathleen Chapman re-defines Expressionism by situating it in relation to the most common type of picture in public space during the Wilhelmine twentieth century, the commercial poster. Focusing equally on visual material and contemporaneous debates surrounding art, posters, and the image in general, this study reveals that conceptions of a “modern” image were characterized not so much by style or mode of production and distribution, but by a visual rhetoric designed to communicate more directly than words. As instances of such rhetoric, Expressionist art and posters emerge as equally significant examples of this modern image, demonstrating the interconnectedness of the aesthetic, the utilitarian, and the commercial in European modernism.

"In the past, the various categories of Expressionism have usually been treated separately. The [title] is the first comprehensive publication ever to examine the remarkable interplay of --and parallel developments in-- art, film, literautre, theater, dance, and architecture in the years 1905 to 1925. The Exhibition and the catalogue bring together the masterpieces of Expressionist film such as 'The Cabinet of Dr. Caligari' and 'Genuine', architectural models, set designs, stage photographs, poster art, dance masks, paintings, drawings, prints, and sculptures to present a unique panorama of the Expressionist period. Addressing a disastrous war, a revolution, urban modernity, and the reinvention of the world, this is the first book in which renowned authors, key works, and source texts from all disciplines come together to allow the reader to thoroughly experience the ways in which the various areas of activity mutually influenced each other, as well as the equally dramatic and fascinating fruits of Expressionism's networks." --Jacket.

Expressionist graphic art represents as it were the conscious outcome of what German artists have generally mastered almost as a matter of course since the days of Albrecht Dürer, or indeed, since the earliest days of printing: that is, the ability to find in black and white the language of heightened expression, to create in terms of line and space, with a peculiar earnestness and reflective power, often renouncing beauty in the process. Centuries later this still applies in a real sense to the graphic art of Expressionism. - p. [1].