Relevant bibliographies by topics / German Expressionism (Art) Deutschland

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'German Expressionism (Art) Deutschland'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "German Expressionism (Art) Deutschland"

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Strobl, Andreas, and Dennis Crockett. "German Post-Expressionism. The Art of the Great Disorder 1918-1924." Zeitschrift für Kunstgeschichte 63, no. 1 (2000): 149. http://dx.doi.org/10.2307/1587431.

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Dempsey, Anna, and Dennis Crockett. "German Post-Expressionism: The Art of the Great Disorder 1918-1924." German Studies Review 23, no. 2 (2000): 356. http://dx.doi.org/10.2307/1432697.

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Stojanova, Christina. "German Cinematic Expressionism in Light of Jungian and Post-Jungian Approaches." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (2019): 35–58. http://dx.doi.org/10.2478/ausfm-2019-0003.

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Abstract Prerogative of what Jung calls visionary art, the aesthetics of German Expressionist cinema is “primarily expressive of the collective unconscious,” and – unlike the psychological art, whose goal is “to express the collective consciousness of a society” – they have succeeded not only to “compensate their culture for its biases” by bringing “to the consciousness what is ignored or repressed,” but also to “predict something of the future direction of a culture” (Rowland 2008, italics in the original, 189–90). After a theoretical introduction, the article develops this idea through the e
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Morgan, David. "The Enchantment of Art: Abstraction and Empathy from German Romanticism to Expressionism." Journal of the History of Ideas 57, no. 2 (1996): 317–41. http://dx.doi.org/10.1353/jhi.1996.0018.

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Golikova, Irina Sergeevna. "International aspect in the history of Russian contemporary graphics: problems of interpretation and identity." Культура и искусство, no. 11 (November 2020): 93–102. http://dx.doi.org/10.7256/2454-0625.2020.11.34375.

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This article analyzes the examples of formal compliance with global trends in Russian print design of the XX – early XXI centuries. The subject of this research is the comparative characteristics of Russian and world practice in the area of contemporary graphic art. In this context, the author highlights the stylistic characteristics of expressionism (1910 – 1920) and neo-expressionism (1960s – 1980s).  Comparative analysis allows determining the points of intersection of Russian examples to Western analogues, as well as their originalities outlying the f
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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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Schieder, Martin. "»Entartete Genialität« Guernica im geteilten Deutschland." Zeitschrift für Kunstgeschichte 82, no. 2 (2019): 234–48. http://dx.doi.org/10.1515/zkg-2019-2005.

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Abstract When in 1955/1956, for the first time in divided postwar Germany, a major Picasso exhibition took place in Munich, Cologne, and Hamburg, it came to be a cultural event that reached and emotionalized the German audience, media, and sciences to an unprecedented extent. The exhibition Picasso 1900 – 1955 contributed significantly to the popularization of Picasso at all levels of society and gave the German people access to modern art on a much wider scale than the first documenta held concurrently in Kassel. The undisputed eye-catcher of that spectacular exhibit was Guernica, on display
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Schaefer, Helma. "Paul Kersten. The Bookbinder’s Role in the Development of Decorative Paper." Acta Musei Nationalis Pragae – Historia litterarum 62, no. 1-2 (2017): 41–46. http://dx.doi.org/10.1515/amnpsc-2017-0005.

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In her article, the author discusses the merits of the German craft bookbinder Paul Kersten (1865-1943) in the development of modern decorative papers as an expression of artistic individuality in the field of applied arts. From the Middle Ages, decorative paper had been used in decoration and bookbinding. Bookbinding workshops had traditionally made starched marbled paper. The interest of Paul Kersten, coming from a bookbinding family, in these papers had already dated from his youth. During his travels abroad, he was aware of the poor state of the bookbinding craft, which was affected by the
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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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Drysdale, Graeme R. "Kaethe Kollwitz (1867-1945): the artist who may have suffered from Alice in Wonderland Syndrome." Journal of Medical Biography 17, no. 2 (2009): 106–10. http://dx.doi.org/10.1258/jmb.2008.008042.

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Kaethe Kollwitz was a 20th century German artist who grew to fame for her sociopolitical impressions of Germany during World Wars I and II. In her diary Kollwitz self-described symptoms of Alice in Wonderland Syndrome during her childhood. She complained of episodes where objects appeared to grow larger or smaller and perceptual distortions where she felt she was diminishing in size. This may explain why Kollwitz's artistic style appeared to shift from naturalism to expressionism, and why her artistic subjects are often shaped with large hands and faces. The distortion present in her visual ar
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Dissertations / Theses on the topic "German Expressionism (Art) Deutschland"

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Coffey, Roland M. "Expressionism and Ethnography: Max Pechstein in Nidden and Palau." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/4004.

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This thesis offers a new way to conceptualize Hermann Max Pechstein’s “primitivism” as a kind of ethnographic “primitivism.” By creating a constellation that connects Pechstein’s Nidden and Palau-based projects, Paul Gauguin’s “primitivist” aesthetic, and the research produced by German ethnographers, I argue that the “documentary” nature of Pechstein’s work paradoxically merges the “scientific” aspects of ethnography with his, and more generally, other Expressionists’ interest in the “primitive.” In addition, the following work demonstrates that the purportedly “scientific” representations an
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Bryan, Sarah M. "African Imagery and Blacks in German Expressionist Art from the Early Twentieth Century." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1353179467.

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Tomita, Midori. "Woodcuts 1946-1953 by Kosaka Gajin (1877-1953) the discovery of children's art in Japan an German expressionism /." Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=1054232744.

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TOMITA, MIDORI. "Woodcuts 1946-1953 BY Kōsaka Gajin (1877-1953): The Discovery of Children's Art in Japan and German Expressionism." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054232744.

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Kennedy, Shane Michael. "Expressionist Art and Drama Before, During, and After the Weimar Republic." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.

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Expressionism was the major literary and art form in Germany beginning in the early 20th century. It flourished before and during World War I and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist. This thesis examines the periodization and canonization of Expression in art, drama, and film and proves that Expressioni
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McKeon, Joseph Michael. "Constructuing the Category Entartete Kunst: The Degenerate Art Exhibition of 1937 and Postmodern Historiography." Ohio University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1142622901.

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Terjesen, Lori Ann Martin. "Collecting the Brücke: Their Prints in Three American Museums, A Case Study." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1291164225.

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Fegert, Elke. "Alexander Kanoldt und das Stillleben der Neuen Sachlichkeit /." Hamburg : Kovač, 2008. http://d-nb.info/989695808/04.

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Goetzmann, Sophie. "« Et les grands cris de l’Est » : Robert Delaunay à Berlin, 1912-1914." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040191.

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Robert Delaunay (1885-1941) est l’un des artistes français les plus présents à Berlin à l’aube de la Première guerre mondiale. Avec l’aide de Herwarth Walden (1878-1941), directeur de la revue et galerie Der Sturm, l’artiste acquiert rapidement une solide réputation dans la capitale allemande, où il expose une quarantaine de toiles au cours de la seule année 1913, tandis qu’il diffuse abondamment ses propres textes théoriques et ceux de ses amis Guillaume Apollinaire (1880-1918) et Blaise Cendrars (1887-1961). Le peintre français suscite bientôt l’engouement de certains artistes berlinois, nom
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Lopes, Vivian Caroline Fernandes. "Traços do expressionismo alemão em Mário de Andrade." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-09012014-122454/.

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O trabalho investiga a presença do expressionismo alemão em Mário de Andrade, a partir da análise de alguns momentos de sua atividade intelectual e artística sobretudo, sua crítica de arte, passagens de seus manifestos literários e os livros Losango cáqui e Amar, verbo intransitivo. A escolha desses momentos se deu após uma leitura abrangente da obra, em que foram identificadas três categorias igualmente essenciais ao expressionismo: o primitivismo, a deformação e a preocupação social, que, portanto, nos serviram de guia para o discurso crítico.<br>The dissertation investigates the presence o
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Books on the topic "German Expressionism (Art) Deutschland"

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Zürich, Kunsthaus, Los Angeles County Museum of Art, and Musée des beaux-arts de Montréal, eds. Expressionismus in Deutschland und Frankreich: Von Matisse zum Blauen Reiter. Prestel, 2014.

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Stadel, Stefanie. Studien zur expressionistischen Graphik der Zwanzigerjahre in Deutschland: Willy Jaeckel und seine Zyklen zu Dantes "Göttlicher Kommödie" (1923) und zu Goethes "Faust" (1925). Shaker, 1999.

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Expressionismus in Dresden: Zentrenbildung der literarischen Avantgarde zu Beginn des 20. Jahrhunderts in Deutschland. Thelem bei w.e.b., 2005.

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Ewers-Schultz, Martina. Die französischen Grundlagen des "rheinischen Expressionismus" 1905 bis 1914: Stellenwert und Bedeutung der französischen Kunst in Deutschland und ihre Rezeption in den Werken der Bonner Ausstellungsgemeinschaft von 1913. Lit, 1996.

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Idee und Wirklichkeit: Gehalt und Bedeutung des urbanen Expressionismus in Deutschland, dargestellt am Werk Ludwig Meidners. P. Lang, 1986.

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Expressionism. Cambridge University Press, 1999.

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German expressionism: Primitivism and modernity. Yale University Press, 1991.

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Karlen, Roy. Expressionism and realism. Lafayette Park Gallery, 1990.

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Elger, Dietmar. Expressionism: A revolution in German art. Benedikt Taschen, 1991.

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F, Walther Ingo, ed. Expressionism: A revolution in German art. Taschen, 1998.

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Book chapters on the topic "German Expressionism (Art) Deutschland"

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Comini, Alessandra. "Gender or Genius? The Women Artists of German Expressionism." In Feminism and Art History. Routledge, 2018. http://dx.doi.org/10.4324/9780429500534-15.

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"Illustration, Abstraction, Advertising: Wilhelm Worringer and the Continuities of German Art." In Expressionism and Poster Design in Germany 1905-1922. BRILL, 2018. http://dx.doi.org/10.1163/9789004380998_003.

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"Hieroglyphic Appeal: the Visual Rhetoric of the German Object Poster, Werkbund Style, and Expressionist Art." In Expressionism and Poster Design in Germany 1905-1922. BRILL, 2018. http://dx.doi.org/10.1163/9789004380998_004.

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Maciuika, John V. "The Politics of Art and Architecture at the Bauhaus, 1919–1933." In Weimar Thought. Princeton University Press, 2013. http://dx.doi.org/10.23943/princeton/9780691135106.003.0015.

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This chapter presents a wide-ranging survey of the politics and aesthetics of developments in interwar German architecture, with special attention to the key institution of Weimar architectural modernism, the Bauhaus. Artists at Walter Gropius's experimental Bauhaus school and in such diverse avant-garde art movements as Expressionism, Cubism, Dada, and Constructivism reflected a broad consensus that the pre-war empire had proved an absolute failure. The Kaiser, the government, the aristocracy, the military, big business, and the bourgeoisie were all seen as complicit in a corrupt system unable to cope with the many challenges of industrial modernity. Like a shifting kaleidoscope, artistic production during the Weimar era dazzled with unexpected forms, ever-shifting conceptual variety, and ideological diversity.
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Carson, Diane. "The Power of Stillness: John Barrymore’s Performance in Svengali." In Hamlet Lives in Hollywood. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474411394.003.0008.

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This essay examines the verbal and nonverbal characteristics of Barrymore’s performance as Svengali in the 1931 film of the same name. German Expressionism influences the art direction and the acting flourishes, but Barrymore’s performance controls and anchors the film. Svengali’s hypnotic manipulation of Trilby, and her singing and interaction with others, offers a fruitful area for analysis of performance’s relation to gender politics.
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Redmond, Sean. "Narrative." In Blade Runner. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781911325093.003.0003.

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This chapter discusses the narrative of Ridley Scott's Blade Runner in terms of the way it functions, like the anti-narrative film found in a great deal of European art cinema. It discusses German Expressionism as the reference point for Blade Runner. It also analyses the dislocated and open-ended nature of Blade Runner's narrative that suggests a challenging art aesthetic that was borrowed from film movements, such as the French New Wave. The chapter explores Blade Runner's narrative, which is marked by gaps and enigmas that are never fully cohered or resolved. It addresses arguments made about contemporary science fiction that is predominately driven by a desire to be always visually spectacular.
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