By Shulamith Behr, Marian Malet (Editors)
This quantity makes a speciality of the contribution of refugees from Nazism to the humanities in Britain. The essays learn the a lot ignored topic of paintings in internment and handle the spheres of images, political satire, sculpture, structure, artists’ businesses, institutional versions, dealership and conservation. those are thought of less than the extensive headings ‘Art as Politics’, ‘Between the general public and the household’ and ‘Creating Frameworks’. Such different types help in posing questions in regards to the politics of id and gender, in addition to offering a chance to discover the complicated problems with cultural formation. the amount should be of curiosity to students and scholars of twentieth-century artwork background, museum and conservation reports, politics and cultural reports, as well as these fascinated with German reports and in German and Austrian Exile stories. desk OF CONTENTS desk of Illustrations Preface Shulamith BEHR: Klaus E. Hinrichsen: The artwork Historian in the back of ‘Visual paintings at the back of the cord’ paintings AS POLITICS Duncan FORBES: Politics, images and Exile within the lifetime of Edith Tudor-Hart (1908–1973) Rebecca SCRAGG: putting Hitler: Joseph Flatter’s Mein Kampf Illustrated sequence, 1938-1942 Anna MÜLLER-HÄRLIN: Fred Uhlman’s Internment Drawings among the general public AND THE family Margaret GARLAKE: A Minor Language? 3 Émigré Sculptors and their techniques of Assimilation Volker M. WELTER: Ernst L. Freud – family Architect developing FRAMEWORKS Anna MÜLLER-HÄRLIN: ‘It all occurred during this road, Downshire Hill’: Fred Uhlman and the unfastened German League of tradition Dorothea McEWAN: Exhibition as Morale Boosters. The Exhibition Programme of the Warburg Institute 1938-1945 Jutta VINZENT: Muteness as Utterance of a compelled truth – Jack Bilbo’s glossy artwork Gallery (1941-1948) Ulrik RUNEBERG: Immigrant photograph Restorers of the German-speaking international in England from the Nineteen Thirties to the Post-war period Index
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Extra info for Arts in Exile in Britain 1933-1945: Politics and Cultural Identity
Transl. R. J. Hollingdale. (Harmondsworth: Penguin, 1961), p. 101. 10 Kurt Schwitters (1887–1948) was born in Hanover and trained at the Dresden Royal Academy between 1909 and 1914. By 1919, he had established contact with Zurich Dada and exhibited his Merz collages at the Sturm Gallery in Berlin. Thereafter, he interacted with the Berlin Dada milieu and, after 1922, with international constructivist tendencies. Between 1923 and 1936, in Hanover, he was devoted to building a sculptural and architectural environment known as Merzbau (Merz Construction), which was started in his studio but which eventually engulfed eight rooms of his home at no.
28 Frei’s clearheaded indictment of capitalist inequality, his prophetic emphasis on the dangers of rising nationalism and anti-Semitism, his commitment to youth as an agent of revolutionary change informs one of the most powerful political tracts of the inter-war period. It was also one of the earliest books of the Austrian left to publish photographs to sustain its argument, including several dismal interiors from Favoriten’s crowded tenements known across Vienna as the Zinskasernen (rent barracks).
397. 45 The link made between Expressionism and the Baroque tradition was not an unusual phenomenon at the time. Subsequent to his publication Expressionismus (Munich: Delphin, 1916), Hermann Bahr declared that his age was developing a new baroque era out of Expressionism. See Hermann Bahr, Kritik der Gegenwart (Augsburg: Haas und Grabherr, 1922), p. 203, as cited in Donald G. Daviau, Understanding Hermann Bahr (St. Ingbert: Röhrig, 2002), p. 231–232. Interestingly, whereas Heise seized on this phenomenon as signalling north German Protestant identity, Bahr viewed it as a re-emergence of Catholicism.