Even today, more than sixty years after the German surrender in 1945, accounts of the transatlant... more Even today, more than sixty years after the German surrender in 1945, accounts of the transatlantic interchange between Germany and the United States about Hitler’s artists in exile inaccurately dramatize them as representatives of all the victims of the Third Reich. Undoubtedly, the experience of exile and emigration changed the path of artists’ lives significantly. Many encountered the geopolitical displacement as double loss: they felt exiled from Nazi Germany and as outsiders in the United States. Although their traumatic experiences unify them as a social group, their reasons for emigration and exile vary greatly These include political and racial persecution, individual decisions to pursue life in a democracy and the simple fact of better career opportunities in the New World. Similarly, to follow their aesthetic endeavors means to follow individual creators rather than to identify collective goals and a unified artistic voice.1
The story has been told many times over, largely following one and the same model. An aspiring mo... more The story has been told many times over, largely following one and the same model. An aspiring modernist artist gets caught in the web of Nazi persecution, not because of his or her political convictions but because of the Nazis’ hostility toward modernist experimentation and aesthetic self-reflexivity. In order to avoid the censorship of modernism, our artist either adapts a rather moderate artistic style or chooses the path of exile to escape future violence. The streams of forced and voluntary dislocation are manifold: they crisscross the maps of unoccupied Europe as much as those of the New World, Asia, and even Australia. Repeatedly, however, we find our artist stranded at either coast of North America, a nation that was initially largely ignorant of what happened on the other side of the Atlantic, yet later became one of the principle powers in overthrowing Hitler’s reign of terror.
The exile of artists in the 1930s and ’40s was first discovered, alongside the Third Reich and th... more The exile of artists in the 1930s and ’40s was first discovered, alongside the Third Reich and the Holocaust, as a subject of research in the humanities, including art history, in the late 1960s. Apart from debates over the significance of political or nonpolitical works of art produced in exile and their role in establishing a positive German national identity during the Third Reich, many of the interpretive approaches since then have been determined largely by biographical accounts. It should be noted, however, that some artists were inscribed into art history (or the so-called canon) because of their personal fates as Jews or the politically persecuted. Consequently, the work of art is often treated as a direct document of the individual’s biography.
L01 Art-Arch 106 First-Year Seminar: Van Gogh and the Avant-Garde This first-year seminar focuses... more L01 Art-Arch 106 First-Year Seminar: Van Gogh and the Avant-Garde This first-year seminar focuses on the art and career of Vincent Van Gogh and his relationship to artists of the 1880s in France. We explore his art in connection with the movements of Immpressionism, Japonism and Symbolism. We examine the avant-garde world of Paris as well as Van Gogh's relationship to such figures as Gauguin, Bernard, and Toulouse-Lautrec. The larger current of fin-de-siecle nostalgia for the countryside informs our study of Van Gogh's work in the south of France. Van Gogh's life and the critical reception of his art offer an excellent opportunity to study how the legends of modern art are formed. Visits to the Saint Louis Art Museum will complement our study. Readings include the artist's letters, critical studies, and biographies of Van Gogh and key figures in his circle. There are no prerequisites for this course, but completion of L01 113 or co-enrollment in L01 215 is recommende...
Famed for her painted portraits, Elizabeth Peyton (born 1965) has also created a wide range of pr... more Famed for her painted portraits, Elizabeth Peyton (born 1965) has also created a wide range of prints over the past two decades, including monotypes, lithographs, woodcuts and etchings. Experimenting with different techniques, she uses a variety of diverse paper stocks and handmade papers as well as various colored and monochromatic inks. In comparison to the diminutiveness of her paintings, the relatively large scale of these prints--in particular of the lithographs and monotypes--is remarkable. Her portrayed subjects here include historical figures such as William Shakespeare, Oscar Wilde and his lover Lord Alfred Douglas (Bosie) and Richard Wagner; visual artists such as Frida Kahlo, David Hockney, Andy Warhol and Robert Mapplethorpe; pop stars such as Eminem and Kurt Cobain; as well as her friends. More recently, Peyton has turned to the genre of the still life to explore and renew its contemporary relevance. This monograph of Peyton's prints is the first in-depth exploratio...
In a divided Germany after World War II, artists in both East and West reacted to the war's p... more In a divided Germany after World War II, artists in both East and West reacted to the war's political legacies by reviving pre-war artistic traditions. Newly energized, these traditions - including expressionism, abstraction and realism - gave birth to a wide range of powerful and meaningful contemporary artworks during the Cold War years.This substantial and profusely illustrated book, with sixteen important essays by major art historians and cultural critics, is the first comprehensive look at the full extent of post-war Germant art. It includes work in a variety of mediums by Georg Baselitz, Willi Baumeister, Bernd and Hilla Becher, Joseph Beuys, Hermann Glockner, Hannah Hoch, Jorg Immendorff, Anselm Kiefer, Blinky Palermo, A. R. Penck, Sigmar Polke, Gerhard Richter, Werner Tubke and many others."The Art of the Two Germanys" is the catalogue for a groundbreaking international exhibition that reveals for the first time the contribution of both Germanys to the growth ...
... 1887. HENRY A. MONROE, 1310 Parrish Street, Philadelphia, Pa. 1887. BENJAMIN M. ADAMS, Bethel... more ... 1887. HENRY A. MONROE, 1310 Parrish Street, Philadelphia, Pa. 1887. BENJAMIN M. ADAMS, Bethel, Conn. 1890. ... 1895. EZRA S. TIPPLE, 1981 Madison Avenue, Manhattan, New York City. 1896. HERBERT WELCH, Middletown, Conn. 1896. ...
Even today, more than sixty years after the German surrender in 1945, accounts of the transatlant... more Even today, more than sixty years after the German surrender in 1945, accounts of the transatlantic interchange between Germany and the United States about Hitler’s artists in exile inaccurately dramatize them as representatives of all the victims of the Third Reich. Undoubtedly, the experience of exile and emigration changed the path of artists’ lives significantly. Many encountered the geopolitical displacement as double loss: they felt exiled from Nazi Germany and as outsiders in the United States. Although their traumatic experiences unify them as a social group, their reasons for emigration and exile vary greatly These include political and racial persecution, individual decisions to pursue life in a democracy and the simple fact of better career opportunities in the New World. Similarly, to follow their aesthetic endeavors means to follow individual creators rather than to identify collective goals and a unified artistic voice.1
The story has been told many times over, largely following one and the same model. An aspiring mo... more The story has been told many times over, largely following one and the same model. An aspiring modernist artist gets caught in the web of Nazi persecution, not because of his or her political convictions but because of the Nazis’ hostility toward modernist experimentation and aesthetic self-reflexivity. In order to avoid the censorship of modernism, our artist either adapts a rather moderate artistic style or chooses the path of exile to escape future violence. The streams of forced and voluntary dislocation are manifold: they crisscross the maps of unoccupied Europe as much as those of the New World, Asia, and even Australia. Repeatedly, however, we find our artist stranded at either coast of North America, a nation that was initially largely ignorant of what happened on the other side of the Atlantic, yet later became one of the principle powers in overthrowing Hitler’s reign of terror.
The exile of artists in the 1930s and ’40s was first discovered, alongside the Third Reich and th... more The exile of artists in the 1930s and ’40s was first discovered, alongside the Third Reich and the Holocaust, as a subject of research in the humanities, including art history, in the late 1960s. Apart from debates over the significance of political or nonpolitical works of art produced in exile and their role in establishing a positive German national identity during the Third Reich, many of the interpretive approaches since then have been determined largely by biographical accounts. It should be noted, however, that some artists were inscribed into art history (or the so-called canon) because of their personal fates as Jews or the politically persecuted. Consequently, the work of art is often treated as a direct document of the individual’s biography.
L01 Art-Arch 106 First-Year Seminar: Van Gogh and the Avant-Garde This first-year seminar focuses... more L01 Art-Arch 106 First-Year Seminar: Van Gogh and the Avant-Garde This first-year seminar focuses on the art and career of Vincent Van Gogh and his relationship to artists of the 1880s in France. We explore his art in connection with the movements of Immpressionism, Japonism and Symbolism. We examine the avant-garde world of Paris as well as Van Gogh's relationship to such figures as Gauguin, Bernard, and Toulouse-Lautrec. The larger current of fin-de-siecle nostalgia for the countryside informs our study of Van Gogh's work in the south of France. Van Gogh's life and the critical reception of his art offer an excellent opportunity to study how the legends of modern art are formed. Visits to the Saint Louis Art Museum will complement our study. Readings include the artist's letters, critical studies, and biographies of Van Gogh and key figures in his circle. There are no prerequisites for this course, but completion of L01 113 or co-enrollment in L01 215 is recommende...
Famed for her painted portraits, Elizabeth Peyton (born 1965) has also created a wide range of pr... more Famed for her painted portraits, Elizabeth Peyton (born 1965) has also created a wide range of prints over the past two decades, including monotypes, lithographs, woodcuts and etchings. Experimenting with different techniques, she uses a variety of diverse paper stocks and handmade papers as well as various colored and monochromatic inks. In comparison to the diminutiveness of her paintings, the relatively large scale of these prints--in particular of the lithographs and monotypes--is remarkable. Her portrayed subjects here include historical figures such as William Shakespeare, Oscar Wilde and his lover Lord Alfred Douglas (Bosie) and Richard Wagner; visual artists such as Frida Kahlo, David Hockney, Andy Warhol and Robert Mapplethorpe; pop stars such as Eminem and Kurt Cobain; as well as her friends. More recently, Peyton has turned to the genre of the still life to explore and renew its contemporary relevance. This monograph of Peyton's prints is the first in-depth exploratio...
In a divided Germany after World War II, artists in both East and West reacted to the war's p... more In a divided Germany after World War II, artists in both East and West reacted to the war's political legacies by reviving pre-war artistic traditions. Newly energized, these traditions - including expressionism, abstraction and realism - gave birth to a wide range of powerful and meaningful contemporary artworks during the Cold War years.This substantial and profusely illustrated book, with sixteen important essays by major art historians and cultural critics, is the first comprehensive look at the full extent of post-war Germant art. It includes work in a variety of mediums by Georg Baselitz, Willi Baumeister, Bernd and Hilla Becher, Joseph Beuys, Hermann Glockner, Hannah Hoch, Jorg Immendorff, Anselm Kiefer, Blinky Palermo, A. R. Penck, Sigmar Polke, Gerhard Richter, Werner Tubke and many others."The Art of the Two Germanys" is the catalogue for a groundbreaking international exhibition that reveals for the first time the contribution of both Germanys to the growth ...
... 1887. HENRY A. MONROE, 1310 Parrish Street, Philadelphia, Pa. 1887. BENJAMIN M. ADAMS, Bethel... more ... 1887. HENRY A. MONROE, 1310 Parrish Street, Philadelphia, Pa. 1887. BENJAMIN M. ADAMS, Bethel, Conn. 1890. ... 1895. EZRA S. TIPPLE, 1981 Madison Avenue, Manhattan, New York City. 1896. HERBERT WELCH, Middletown, Conn. 1896. ...
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