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Extra info for German Expressionism, 1915-25
Weimar from 19 19, or even extra in Dessau from 1925, the Bauhaus exerted a power that trans- of In cended nationwide limitations. eventually the Europa-Aledited by way of Carl Einstein and Paul Westheim, and released in Potsdam in 1925 by means of Kiepenheuer, used to be a real anthology of the foreign avant-garde; it ranks to this present day as possibly the most actual of all manifestations of overseas inventive cooperation. the following, despite the fact that, the unifying issue was once not a political persuasion however the intentionally nonideological slogan "The Europe Funfair" promulgated within the foreword: "Roll up! Ballyhoo the Europe Funfair! layout the airy Swings! Paint the manach (European Almanac), Carousels! Hit the Bull's-eye! 'Dice-ign' What You want! Simultaneity! Simultaneity! "^* as soon as the traced during the Twenties. In Fig. eight Franz Seiwart, Karl Liebknecht from the portfolio Lebendige (The Living), 1919 (Cat. 185) ism is background of the avant-garde inside of perceived during this method Modem- as a simultaneous approach, Expressionism loses its nationwide prefix. To label Expressionism "German" is deceptive. It used to be via Expressionism that German paintings won entry to the foreign avant-garde. Expressionism as a global circulation 123 Notes 1 Rose-Carol Washton lengthy, "Expressionism, Abstraction, and the hunt for Utopia in Germany," in exhibition catalogue The Spihtual in Ait: summary portray 1^90-19X5 (Los AngeCounty Museum of artwork, la, 1986). 2 See my elaboration of this subject in Stephan von Wiese, Giaphik des Expressionismus (Stuttgart: Gerd Hatje, 1976). three Ernst Bloch, "Der Expressionismus," Die neue Weltbiihne, no. forty five (October 14, 1937I; quoted from Ernst Bloch, Vom Hasaid zut Katastrophe: Politische Aufsdtze aus den fahren 1934-1939 (Frankfurt: Suhrkamp, 1972), p. 277. four Quoted from Wassily Kandinsky and Franz Marc, eds. , Dei Blaue Reitei, new documentary version via Klaus Lankheit, les sixth ed. (Munich: Piper, 1987), p. 316. 1916), p. 123. 14 Ibid. , p. 317. 6 Republished in Ulrich Krempel, ed.. Anfang: Das lunge Rheinland. Zui Ktmst und Zeitgeschichte einei area 1918- Am 194s (Dusseldorf: Claassen, 1985), : eine liteiaiische Bewegting (Munich: dtv, 1965), p. 179. 15 First released in Die Tageszeitung (Berlin), January 27, 1986. Die Kunst Lehmbiucks (Worms: Wer- p. 88. 18 Ibid. , p. eighty two. "Tamose Gegenklange': Der Diskurs der Abbildungen im Almanach 'Der Blaue Reiter,'" in exhibition catalogue Dei Blaue Reitei (Kunstmuseum, Bern, 1987-88), eight Felix Thiirlemann, 214. Kandinsky and Marc, eds. , Dei Blaue Reitei, p. 259. 10 Thiirlemann, "Famose Gegenklange," p. 221. eleven See Eva Kolinsky, Engagieitei Expiessionismus Politik und Liteiatui zwischen Weltkiieg und Weimaiei Republik (Stuttgart: Metzler, 1970). in this subject see additionally Michael Hamburger, Die Dialektik dei modeinen Lyiik (Munich: record, nine 19 Unsei Weg 1919 (Berlin, December 1918), p. loff. 20 Fritz Loffler, Emilio Bertonati, and Joachim Heusinger von Waldegg, exhibition catalogue Diesdnei Sezession 1919-192$ (Galleria del Levante, Milan and Munich, 1977).
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