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Journal articles on the topic 'German Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Gramer, Jennifer. "“Monuments of German Baseness”? Confiscated Nazi war art and American occupation in the United States and postwar Germany." International Journal of Cultural Property 28, no. 3 (2021): 425–46. http://dx.doi.org/10.1017/s094073912100031x.

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AbstractUnder the postwar American occupation of Germany, art produced by the Staffel der bildenden Künstler (German Combat Artist Unit) of Nazi Germany was sent to US military sites for storage under the direction of Captain Gordon Gilkey. Gilkey was head of the German War Art Project, the arm of the Historical Division of the US army tasked with confiscating German “propaganda and war art.” This art, considered a dangerous instrument of Nazi revival, was not protected by laws prohibiting art looting. Yet American officers were sympathetic to many of the paintings created by combat artists, a

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2

Russell, Mark A. "Picturing the Imperator: Passenger Shipping as Art and National Symbol in the German Empire." Central European History 44, no. 2 (2011): 227–56. http://dx.doi.org/10.1017/s0008938911000021.

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The morning of May 23, 1912, witnessed the christening of a new German icon. For many Germans, it was a wonder of the modern age, a powerful symbol of the nation's achievements in industry, engineering, and technology. For others, it was the embodiment of all the evils wrought by political, social, and cultural transformation. Some said it expressed the character of the German people, in a manner similar to Cologne Cathedral and Sanssouci, the palace of Frederick the Great. But there were those who thought it “appeared as a typical manifestation of the new Germany, with its huckstering and obt

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3

Schulte-Wülwer, Ulrich. "Deutsch-dänische Kunstbeziehungen 1820 bis 1920." Nordelbingen: Beiträge zur Geschichte der Kunst und Kultur, Literatur und Musik in Schleswig-Holstein, no. 89 (December 2023): 115–68. http://dx.doi.org/10.38072/2941-3362/p6.

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In the last decade of the 18th century, the Danish state experienced a period of prosperity, which was characterized by a German-Danish cultural transfer in all intellectual fields. The first clouds were cast by the rise of an artistic self-confidence. Asmus Jacob Carstens from Schleswig and Ernst Meyer from Altona, who felt disadvantaged in the awarding of medals and protested vehemently, were expelled from the art academy in Copenhagen in 1781 and 1821. Nevertheless, the Copenhagen Art Academy had a strong attraction for numerous artists from northern Germany. In this respect, Caspar David F

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4

Mehring, Frank. "Advancing American Art and Intercultural Confrontations in Germany, 1945–1948." International Journal for History, Culture and Modernity 7, no. 1 (2019): 971–90. http://dx.doi.org/10.18352/hcm.594.

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This article critically addresses the multivalent function of American art exhibitions in the period of de-Nazification and re-democratization. What kind of cultural and political parameters shaped the perception of American Art in Germany during the early post-war years? I investigate intercultural confrontations surrounding the project of advancing American art and the critical response of German audiences by first looking at the exhibition Advancing American Art from 1947. I then analyze the role of the transatlantic cultural mediator Hilla von Rebay to understand developments in the German

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Chrysovitsanou, Vasiliki, and Christina Palaiologou. "German Art of the 19th Century through the Lens of The Greek Literary Magazine Kleiō (Clio): Academic Formalism Versus Modernism." International Journal of Arts, Humanities & Social Science 05, no. 07 (2024): 5–16. http://dx.doi.org/10.56734/ijahss.v5n7a2.

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We examine the work of 19th-century German painters as presented in the Greek-language magazine Kleiō published in Germany in the late 19th century. Through an extensive catalogue of paintings, the article highlights the themes that preoccupied German painters during this period. It places particular emphasis on their approach, aesthetic preferences, the decisive role played by the Academies of Fine Arts, and their attitudes towards the modern movements developing in France during the 19th century. It explores the reasons for which Kleiō magazine promoted academic German painting to its Greek

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6

Frank, Mitchell. "Writing German Art History." Oxford Art Journal 29, no. 2 (2006): 299–303. http://dx.doi.org/10.1093/oxartj/kcl009.

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7

Koepnick, Lutz. "German Art Cinema Now." German Studies Review 36, no. 3 (2013): 651–60. http://dx.doi.org/10.1353/gsr.2013.0152.

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8

Goldmann, K. "The treasure of the Berlin State museums and its allied capture: remarks and questions." International Journal of Cultural Property 7, no. 2 (1998): 308–41. http://dx.doi.org/10.1017/s0940739198770377.

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Following the disclosure of archives in the former Soviet Union detailing art works taken from Germany at the end of World War II, it is now possible to reconstruct more accurately a history of those objects removed from Germany but never returned. Inconsistencies in the documentary evidence concerning both the location of objects sent West from Berlin and other repositories (particularly in the last few months of the war) and the number of objects returned to Germany indicate that the United States may have been involved in an unofficial policy of claiming as war booty art treasures form the

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9

Vasileva, Svetlana. "COUNTER-REFORMATION IN GERMANY." Studia Humanitatis 16, no. 3 (2020): 28–37. http://dx.doi.org/10.15393/j12.art.2020.3621.

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The article studies the Counter-Reformation process in Germany and the neighboring European ter-ritories in a wider context as a complex of geopolitical, social and religious problems growing in Europe in the 15th and the 16th centuries. The study aims at finding connections between the Reformation processes launched by Martin Luther and the subsequent course of German history during the Counter-Reformation. The article focuses on the situation in Germany against a wider background of the developments in the Holy Roman Empire of the German Nation. This paper con-tinues the author’s previous ar

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Kharitonova, Natalya Stepanovna. "Silver Age. Interference of the Russian and German Cultures." Journal of Flm Arts and Film Studies 6, no. 4 (2014): 86–95. http://dx.doi.org/10.17816/vgik6486-95.

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The author explores the specific interaction of Russian and German art, their differences, forces of attraction and direct contact. Only conscious and meaningful differences could have reveal the strength and true value of each culture and, most importantly, become a pretext for new and creative quest for ones own way in art. Two-sided interest of Russian and German cultures implies a two-way process mutually contributed and enriched on both parts. The fact that Russian and German art at the turn of the 19th-20th centuries was developing under different conditions does not mean that the exchan

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11

Druxes, Helga, Christopher Thomas Goodwin, Catriona Corke, et al. "Book Reviews." German Politics and Society 36, no. 3 (2018): 111–30. http://dx.doi.org/10.3167/gps.2018.360306.

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David D. Kim, Cosmopolitan Parables: Trauma and Responsibility in Contemporary Germany (Evanston: Northwestern University Press, 2017) Johann Chapoutot, Greeks, Romans, Germans: How the Nazis Usurped Europe’s Classical Past, trans. Richard R. Nybakken (Oakland: University of California Press, 2016) Kimberly Mair, Guerrilla Aesthetics: Art, Memory, and the West German Urban Guerrilla (Montreal: McGill-Queen’s University Press, 2016) David B. Audretsch and Erik E. Lehmann, The Seven Secrets of Germany: Economic Resilience in an Era of Global Turbulence (Oxford: Oxford University Press, 2015) Cra

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12

Holden, Gerard. "The state of the art in German IR." Review of International Studies 30, no. 3 (2004): 451–58. http://dx.doi.org/10.1017/s0260210504006163.

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Gunther Hellmann, Klaus Dieter Wolf, and Michael Zürn (eds.), Die neuen Internationalen Beziehungen. Forschungsstand und Perspektiven in Deutschland (Baden-Baden: Nomos Verlagsgesellschaft, 2003), pp. 614.The intensification in recent years of interest in the history and sociology of IR (as a discipline) has been manifested in a growing number of publications dealing with aspects of different IR communities. The appearance of a weighty and semi-official volume summarising the state of the art in German IR is therefore a noteworthy development, and one that merits attention beyond the German-sp

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13

Eisman, April A. "Denying Difference to the Post-Socialist Other: Bernhard Heisig and the Changing Reception of an East German Artist." Contemporaneity: Historical Presence in Visual Culture 2 (July 11, 2012): 45–74. http://dx.doi.org/10.5195/contemp.2012.45.

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This article traces the reception of East German artist Bernhard Heisig’s life and art—first in East Germany and then in the Federal Republic of Germany before and after the Wall. Drawing on post-colonial and post-socialist scholarship, it argues that Heisig’s reception exemplifies a western tendency to deny cultural and ideological difference in what the post-socialist scholar Piotr Piotrowski calls the “close Other.” This denial of difference to artists from the eastern bloc has shaped western understandings of Heisig’s life and art since reunification. Once perceived as an intellectually en

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14

Mahony, Emma. "When Art Becomes Life: Socially Engaged German Art." Circa, no. 88 (1999): 32. http://dx.doi.org/10.2307/25563395.

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15

Garner, Sarah. "ART OF THE POSSIBLE?" International Journal of Technology Assessment in Health Care 30, no. 1 (2014): 1–2. http://dx.doi.org/10.1017/s0266462313000743.

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It is very fitting that the strap line for the article on reassessment (1) is derived from the quote “politics is the art of the possible” attributed to Otto von Bismarck. Bismarck was the first chancellor of the unified German Empire that preserved peace in Europe until 1914. Politically deft, he persuaded the southern German states to join with his North German Confederation by provoking hostilities with France.

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16

ROCHE, HELEN. "THE PECULIARITIES OF GERMAN PHILHELLENISM." Historical Journal 61, no. 2 (2017): 541–60. http://dx.doi.org/10.1017/s0018246x17000322.

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AbstractStudies of German philhellenism have often focused upon the idealization of Greece by German intellectuals, rather than considering the very real, at times reciprocal, at times ambivalent or even brutal, relationship which existed between contemporary Germans and the Greek state from the Greek War of Independence onwards. This review essay surveys historiographical developments in the literature on German philhellenism which have emerged in the past dozen years (2004–16), drawing on research in German studies, classical philology and reception studies, Modern Greek studies, intellectua

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17

Li, Shao Hong. "Study on Architectural Art of the Former German Governor’s Residence in Qingdao." Advanced Materials Research 450-451 (January 2012): 310–14. http://dx.doi.org/10.4028/www.scientific.net/amr.450-451.310.

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The Former German Governor’s Residence in Qingdao was by far the most spectacular building in residential architectures on the German Colonial period. This article studied architectural art of the Former German Governor’s Residence from architectural plan layout, building facades decorating, building structures and materials, and made these three respects compare with the Chinese traditional residential architecture. The architectural plan layout was in common about separate house on the German Colonial period, it inherited the German romantic style of the traditional residential buildings sin

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18

Mayer, Sigrid, and Gert Schiff. "German Essays on Art History." Die Unterrichtspraxis / Teaching German 22, no. 1 (1989): 101. http://dx.doi.org/10.2307/3530069.

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19

Jeon, Hanho. "‘Weibermacht’ in German Renaissance Art." Journal of the Association of Western Art History 54 (February 28, 2021): 43–60. http://dx.doi.org/10.16901/jawah.2021.02.54.043.

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20

Taškāne, Alise. "ENVIRONMENT AND ECOLOGY ISSUES IN WORKS OF GERMAN STREET ART." Culture Crossroads 13 (November 9, 2022): 48–64. http://dx.doi.org/10.55877/cc.vol13.114.

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This article deals with the development of environmental and ecological issues in Germany since the 1970s, and how these issues are represented in works of street art since the beginning of the development of modern graffiti, and later street art, in Germany. The purpose of this research is to identify differences in the ecological and environmental issues in works of graffiti and street art from the 1970s to present day in Germany. This has been done by examining general themes of environmental and ecological issues in graffiti and street art and by studying some of the specific examples of a

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21

Bochmann, Minari. "Zur Rezeption deutscher Musik in der japanischen Musikpublizistik während des Pazifischen Krieges - eine Zwischenbilanz." Die Musikforschung 73, no. 1 (2021): 31–46. http://dx.doi.org/10.52412/mf.2020.h1.29.

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This article analyses the reception of German music in the music press of Japan during the Pacific War, against the bakdrop of the German-Japanese policy of alliance and a twofold centralization of the Japanese music press. In the first half of the 1940s the number of journals dealing with European music was reduced and an official cultural association, subordinated to the ministries for culture and propaganda, was founded. A close reading of Japanese music journals from between 1941 and 1944 establishes that German music was re-interpreted several times within a relatively short period of tim

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22

Soloshenko, V. "Looted Art in the Politics of Memory of the FRG." Problems of World History, no. 5 (March 15, 2018): 211–27. http://dx.doi.org/10.46869/2707-6776-2018-5-12.

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Memory and learning tragic pages of history, such as genocide and crimes against humanity, are of great importance for the future of the state. This article deals with the problem of the looted art, itsplace in the politics of memory of the Federal Republic of Germany. The problems of protection, preservation, and repatriation of the cultural heritage looted by the Nazi before and during World WarII have received new treatment in the German society. It is pointed out that Germany has extensive experience of addressing the burdensome past, it has been established how the FRG solves the problem

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23

Geymbukh, Nadezhda G. "CONSTITUTIONAL AND LEGAL DISCUSSIONS DURING THE ADOPTION OF THE BASIC LAW OF THE FRG OF 1949." Vestnik Tomskogo gosudarstvennogo universiteta. Pravo, no. 41 (2021): 29–37. http://dx.doi.org/10.17223/22253513/41/3.

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With the split of Germany in the Western Länder, the constitutional process of framing the new political and legal reality in the Basic Law of the Federal Republic of Germany of 1949 begins. In considering and discussing the draft Basic Law of the FRG, the Parliamentary Council chose the term "basic law" instead of "constitution". The choice of this expression was intended to emphasise that the task of the Parliamentary Council was not to create a legal regime for the whole of the united German state, but only for a particular part of it, which consisted of the eleven Western states. In line w

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24

Novikova, Marina V. "THE PROBLEM OF NATIONAL TRAUMA IN THE COLLECTIVE MEMORY OF GERMANS IN THE UNITED GERMANY." RSUH/RGGU Bulletin. Series Political Sciences. History. International Relations, no. 2 (2021): 117–26. http://dx.doi.org/10.28995/2073-6339-2021-2-117-126.

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The article attempts to characterize the state of historical con- sciousness of the Germans at the end of the 20th – beginning of the 21 st century. The article examines what factors influenced the formation of the “sacrificial narrative” in the collective memory of the Germans of the united Germany. The research is based on the publications in the German, Polish and Russian press, autobiographical works, interviews, diaries and memoirs of Gunther Grass, Gerhard Schroeder, etc., analyzes the works of art and filmography released at that time. Memories of the suffering of the German civilian po

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25

Tanyushina, Alexandra Alexandrovna. "German Dada photomontage as art of the “real”: on the path towards “new realism”." Культура и искусство, no. 6 (June 2020): 47–59. http://dx.doi.org/10.7256/2454-0625.2020.6.31742.

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The subject of this research is such artistic practiced of German Dadaism as photography and photomontage. Relevance of this topic is associated not just with the growing interest of art historians, cultural critics and writers to the culture of Weimar Germany, but also active study by modern scholars of the peculiarities of functioning of the various visual practices, which emergence is substantiated by constant shift and mutual integration of different artistic mediums, among which special place belongs to photography and related photo techniques. Research methodology is of complex nature an

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Märker, Oliver. "Studie: E-Partizipation in Deutschland." JeDEM - eJournal of eDemocracy and Open Government 1, no. 1 (2010): 45–54. http://dx.doi.org/10.29379/jedem.v1i1.11.

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This contribution presents the results of a study on “E-Participation – Electronic Participation of Citizens and Economy at E-Government” which was ordered by the German Ministry of the Interior in 2007. The authors of this article also co-authored the study. In the study, state of the art and chances of electronic participation in Germany are described and recommendations for action as well as proposals for projects and measures for the national program “E-Government 2.0” are given. This article describes the understanding of “e-participation” and the methodology of the study including result

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Lukas, Jan. "State-of-the-Art Molecular Genetics and Genomics in Germany." International Journal of Molecular Sciences 24, no. 18 (2023): 14096. http://dx.doi.org/10.3390/ijms241814096.

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The Special Issue State-of-the-Art Molecular Genetics and Genomics in Germany focuses on German researchers and their international peers, covering their recent advances in genetics, genomics, epigenetics, and cytogenetics/cytogenomics in relation to prokaryotic and eukaryotic multicellular to mammalian organisms in arras ranging from basic to medical research [...]

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Plumly, Vanessa D. "Auf den Spuren ihrer Geschichte: Black German Detectives and the Cases of Anäis Schmitz and Fatou Fall." Seminar: A Journal of Germanic Studies 57, no. 4 (2021): 402–23. http://dx.doi.org/10.3138/seminar.57.4.4.

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The various types of detective work that Black individuals and communities undertake enables them to collect evidence and knowledge and disseminate tactics for resistance. I first contextualize the advent of Black German detection in real life and then turn to fictional Black German detectives in literature and on television. In doing so, I explore the interconnectedness of Black German belonging—both real and imagined—through the act and art of detection. The earliest official, fictional Black German female detectives within these media, Anäis Schmitz and Fatou Fall, allow for an exploration

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Preston, John. "Art-Rap, German Idealism and Therapy." Philosophers' Magazine, no. 74 (2016): 66–69. http://dx.doi.org/10.5840/tpm201674101.

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30

McCloskey, Barbara. "Whither the Study of German Art?" German Studies Review 35, no. 3 (2012): 480–84. http://dx.doi.org/10.1353/gsr.2012.a488482.

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31

Merkel, Grischa. "Case Note - Retrospective Preventive Detention in Germany: A Comment on the ECHR Decision Haidn v. Germany of 13 January 2011." German Law Journal 12, no. 3 (2011): 968–77. http://dx.doi.org/10.1017/s207183220001717x.

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In four judgements of 13 January 2011 the European Court of Human Rights (ECHR) in Strasbourg returned to the issues raised in its earlier jurisprudence regarding preventive detention (“Sicherungsverwahrung”) under German criminal law. In its decision of 17 December 2009, M. v. Germany, the Court had held that the German Criminal Law's retroactive extension of confinement in preventive detention failed to meet the requirement of lawful detention “after conviction” under Art. 5 § 1 (a) of the Convention for the Protection of Human Rights and Fundamental Freedoms (hereinafter “the Convention”),

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Ehricke, Ulrich, Francois Ameli, Caroline De Baets, Geert van Haegenborgh, and René Verschuur. "Case C-398/92, Firma Mund & Fester v Firma Hatrex Internationaal Transport, 10 February 1994, [I994] ECR 1—467, European Court of Justice." European Review of Private Law 3, Issue 4 (1995): 613–48. http://dx.doi.org/10.54648/erpl1995046.

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Abstract. The defendant company had transported goods to Germany, but under conditions of transport that had damaged them. Mund & Fester was the assignee of the consignee, and claimed damages. To ensure that funds were available for enforcement purposes, it sought to have the vehicle seized while it was still in Germany, under § 917 of the German Code of Civil Procedure (ZPO). This provision permitted provisional seizure of goods if enforcement was likely to be impossible or markedly more difficult in the absence of such an order and specifically provided that the fact that enforcement wou

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Jaskot, Paul B., and Ivo van der Graaff. "Historical Journals as Digital Sources:." Journal of the Society of Architectural Historians 76, no. 4 (2017): 483–505. http://dx.doi.org/10.1525/jsah.2017.76.4.483.

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Historical Journals as Digital Sources: Mapping Architecture in Germany, 1914–24 demonstrates how historical journals can provide information for digital mapping and how mapping can tell us something new about the German construction industry in a moment of crisis. Digital maps can expand the art historical research process and raise fundamental art historical research questions. Paul B. Jaskot and Ivo van der Graaff developed a database from all issues of the German journal Deutsche Bauzeitung published in the period 1914–24 and visualized the evidence they collected using geographic informat

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Stein, Volker. "Human Capital Management: The German Way." German Journal of Human Resource Management: Zeitschrift für Personalforschung 21, no. 3 (2007): 295–321. http://dx.doi.org/10.1177/239700220702100306.

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The German discourse on Human Capital Management (HCM) has a long history which resulted in the manifoldness of notions connected with HCM. The exact specification of the meaning of HCM basically depends on the frame of reference used: the frame of the past, of the present or of the future. The present article which concentrates on the German aspects of the HCM debate is aimed at systematizing this discourse by outlining the past and present HCM development in Germany as well as its future perspectives. It will result in a synoptic view, summing up the German state-of-the-art HCM.

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Fulk, Kirkland A. "Sounds German?: Popular Music in Postwar Germany at the Crossroads of the National and Transnational." German Politics and Society 35, no. 2 (2017): 1–6. http://dx.doi.org/10.3167/gps.2017.350201.

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A musical undercurrent has long permeated German culture and intellectual life. For more than a century, theories and practices of folk, art, and classical music—variously understood both in their mutual interrelation and as entirely distinct—have anchored definitions of German national identity and the German cultural heritage. More recently, musical styles such as jazz, rock and roll, and hip-hop have also played a key role in the emergence of new social movements and alternative sensibilities in Germany. Indeed, since the end of World War II, popular music practices in Germany have been alt

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Ehlers, Eckart. "German Geography of the Middle East: Trends and Prospects." Middle East Studies Association Bulletin 19, no. 2 (1985): 183–96. http://dx.doi.org/10.1017/s0026318400016138.

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In Recent Years and on several occasions Eugen Wirth (1977; 1983a; 1983b), probably the leading German geographer on the Near and Middle East, has given critical evaluations and assessments of German geography related to the Near and Middle East. One of his findings, published in a volume by the German Research Council (Deutsche Forschungsgemeinschaft), on the state of art of research in the Federal Republic of Germany reads as follows: “Thus one may possibly say that the geographical Middle East research of the Federal Republic of Germany in terms of number and breadth, as well as in terms of

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Eichwede, Wolfgang. "Trophy Art as Ambassadors: Reflections Beyond Diplomatic Deadlock in the German-Russian Dialogue." International Journal of Cultural Property 17, no. 2 (2010): 387–412. http://dx.doi.org/10.1017/s0940739110000159.

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AbstractThis article provides brief coverage of the Russian-German dialogue since 1991 and the search for solutions about looted art of German ownership seized at the end of the Second World War and still held in Russia. So far, while Russia and Germany regard themselves as partners and friends in political and economic realms, they have been unable to find agreement about the looted art. Germany seems no longer to retain Russian cultural goods plundered during the war, whereas Russia still possesses a significant amount of German cultural assets. On the basis of existing treaties and internat

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Kossowska, Irena. "Politicized Aesthetics: German Art in Warsaw of 1938." Art History & Criticism 13, no. 1 (2017): 29–41. http://dx.doi.org/10.1515/mik-2017-0003.

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Summary This paper focuses attention on the reception of the exhibition “Deutsche Bildhauer der Gegenwart”, which was inaugurated on April 23rd, 1938 at the Institute of Art Propaganda in Warsaw – an institution whose exhibition hall was considered a venue of crucial importance to the cultural policy of the Polish state. The presentation was organized in the framework of a cultural exchange between Poland and Germany which was initiated by an exhibition of Polish contemporary art mounted in 1935 at the Preußischen Akademie der Künste in Berlin. I will present the response of the Warsaw public

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Labuda, Adam. "Polska i niemiecka historia sztuki w polemicznym dyskursie - sympozjum w Rogalinie w roku 1973." Artium Quaestiones, no. 28 (May 22, 2018): 227–50. http://dx.doi.org/10.14746/aq.2017.28.9.

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Polish and German Art History in a Polemic. The Rogalin Symposium of 1973 Summary The paper recapitulates a discussion over the book, Das Kunstwerk zwischen Wissenschaft und Weltanschauung, ed. Martin Warnke, Köln 1970, which was an aftermath of a pungent statement made by critical German art historians at the Congress of German Art Historians held in Köln in 1970. The main idea of the book was showing the “work of art as an object of ideological interests, a victim of ideological interventions” (Warnke) – in this case, those of a nationalist, Nazi, and fascist origin. A critical impulse trigg

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Lizarazu, Maria Roca. "“Integration Ist Definitiv Nicht Unser Anliegen, Eher Schon Desintegration”. Postmigrant Renegotiations of Identity and Belonging in Contemporary Germany." Humanities 9, no. 2 (2020): 42. http://dx.doi.org/10.3390/h9020042.

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This article examines the notion of “Desintegration” (de-integration), as introduced by German Jewish authors Max Czollek and Sasha Marianna Salzmann, against the backdrop of ongoing re-negotiations of identity, belonging, and “Heimat” (sense of home) in contemporary Germany. While many artistic contributions to the debates around “Desintegration” have come from the realm of performance art, I will pay special attention to Salzmann’s prize-winning novel Außer Sich (Beyond Myself) (2017), as a literary approximation of the “Desintegration” paradigm, which showcases what I call a “non-authoritat

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Плошкина, Яна, and Yana Ploshkina. "SUSPICION IN THE GERMAN CRIMINAL PROCESS." Journal of Foreign Legislation and Comparative Law 5, no. 2 (2019): 1. http://dx.doi.org/10.12737/art.2019.2.12.

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Laučkaitė, Laima. "The Iconography of Jewish Vilna during the First World War." Colloquia 48 (December 30, 2021): 113–37. http://dx.doi.org/10.51554/coll.21.48.08.

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The aim of the article is to show the picture of Jewish Vilnius/ Vilna created by German artists during the First World War. The research is based on an analysis of works of art published in the press of the time, or stored in institutions in Lithuania, Germany and Belgium, and also on an analysis of writings in German periodicals of that time. The media in Ober Ost during the war took an anti-semitic stance, promoted by the top military leadership, but the author of the article argues that there also existed a different attitude towards the Jews of Vilnius and their heritage. The views and or

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Fujii, Takuma. "Integration of aspiring artists: Japanese music students in Germany." Asian and Pacific Migration Journal 29, no. 3 (2020): 358–80. http://dx.doi.org/10.1177/0117196820956519.

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The article examines how students from Japan who attend German music colleges become integrated into Germany’s art worlds while also maintaining connections to transnational art worlds. Although Japan is one of the major countries that sends young music talents to Germany, only a few studies have examined this migration. Drawing on semi-structured interviews with Japanese music students in Germany that were conducted as part of the Asian Educational Mobilities Project, the article shows that the reasons for such migration, as well as its effects on music practices, and that future perspectives

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Frank, Mitchell B. "New Romanticisms in Wilhelmine Germany." Romantik: Journal for the Study of Romanticisms 3, no. 1 (2016): 9. http://dx.doi.org/10.7146/rom.v3i1.23251.

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This essay examines and connects two related issues in the literature on the history of art of the Wilhelmine Period: the canonical shift in German romantic painting from the Nazarenes to Phillip Otto Runge and Caspar David Friedrich; and the attempt to position the work of contemporary German artists (often called new idealists) as a new romanticism. At this time, art historians like Richard Muther and Cornelius Gurlitt take on a romantic sensibility in their attempts to position contemporary German art on the international scene. With the development of new idealism in German artwriting, two

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Mellor, Larissa. "Collaged Culture." Anthropological Journal of European Cultures 26, no. 2 (2017): 79–89. http://dx.doi.org/10.3167/ajec.2017.260206.

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This article explores the relationship between my cultural inheritance and its impact on my work as a visual artist. Questions in the work related to language and geography are tied to my lived experience. These themes led me to explore the contemporary context of German clubs in the United States. I found the art process of collage – cutting and pasting to rearrange parts on a surface – to be an apt visual for the position of the German clubs today, arriving at the term ‘collaged culture’. Similarities between visual art and life reveal that both carry histories. By investigating the relation

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Kay, Carolyn. "German children’s art during World War I." Global Studies of Childhood 11, no. 2 (2021): 195–212. http://dx.doi.org/10.1177/20436106211015694.

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My article considers German wartime propaganda and pedagogy from 1914 to 1916, which influenced young schoolchildren (aged 5–14) to create drawings and paintings of Germany’s military in World War I. In this art, the children drew bodies of German soldiers as tough, heroic, on the move, armed with powerful weapons, and part of a superior military movement; their enemies (French, Russian, British soldiers) embodied disorder, backwardness, ineptitude, and deadly weakness. The artwork by these schoolchildren thus reveals the intense propaganda of the war years, and the children’s tendency to see

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Lidtke, Vernon L. "Abstract Art and Left-Wing Politics in the Weimar Republic." Central European History 37, no. 1 (2004): 49–90. http://dx.doi.org/10.1163/156916104322888998.

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In the midst of the upheaval created by military defeat, the collapse of the Hohenzollern and other German monarchies, and the threat of radical social revolution, a movement that had been taking shape for some time became a visible presence in German public life. Intellectuals, writers, visual artists, and numerous others declared that they would no longer remain aloof from the world of politics, social reform, and even revolution. On the contrary, they would seek to merge the arts and politics into a synthesis that would help to mold a new and greatly improved society. They issued manifestos

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Konik, Roman. "Leonardo północy. O estetyce Albrechta Dürera." Studia Philosophica Wratislaviensia 15, no. 1 (2020): 61–69. http://dx.doi.org/10.19195/1895-8001.15.1.5.

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Albrecht Dürer was German, but it was Italy he loved and followed the example of. Along with Erasmus of Rotterdam, he was one of the first to instil the ideas of Italian humanism in northern Europe, paying attention to the study of ancient culture, and thus fighting for the renewal of art in the spirit of the Renaissance. Dürer believed that using the patterns developed in Florence, the art of imaging would achieve unprecedented narrative power. The uniqueness of the artist from Nuremberg was also that he was able not only to assimilate and synthesise German Gothic art with the achievements of

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Kämpf, Tobias. "Leitbild Lebensreform. Harry Graf Kessler und Karl Ernst Osthaus als Museumsgründer." Zeitschrift für Kunstgeschichte 83, no. 1 (2020): 49–90. http://dx.doi.org/10.1515/zkg-2020-1003.

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AbstractAt the beginning of the twentieth century, Germany moved to the institutional forefront of the art world. Through the creation of two museums, in Hagen and in Weimar, dedicated to contemporary avant-gardes in art, architecture, and design, the recently united nation propagated its claim for international leadership in the cultural sphere. Both establishments were the result of private initiatives of collectors who possessed great literary talent and artistic distinction and who were strongly opposed to the aesthetic ideals of the main arbiter of German taste, Emperor William II. This e

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Bäumler, Jelena. "Germany’s Supply Chain Due Diligence Act: Is It Compatible with WTO Obligations?" Zeitschrift für europarechtliche Studien 25, no. 2 (2022): 265–86. http://dx.doi.org/10.5771/1435-439x-2022-2-265.

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Regulations that aim at the observance of certain human rights and environmental standards by companies along the value chain have gained momentum. A recent example is the German Supply Chain Due Diligence Act that obliges German companies to adhere to due diligence obligations vis-à-vis human rights and, to a lesser extent, the environment when making use of global supply chains. Germany, as other WTO members, must at the same time ensure compliance with WTO law when adopting such measures. This article will argue that due diligence laws may have a bearing on WTO obligations, but can be justi

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