The Twentieth Century German Art exhibition, answering "Degenerate Art" in 1930s London

Routledge

2019

1 volume (234 pages, pl. en coul. non paginées) ; ill. en noir et en coul., couv. ill.

26 cm

anglais

978-1-138-54436-9, 1-138-54436-1, 978-1-03-209460-1

Machine generated contents note: 1.Twentieth Century German Art: Showcasing German Modernist Culture in 1930s London
2.A Political Exhibition
3.The Problem of Primary Sources
4.A New Approach: Provenance Research
5.Structure of This Book
1.The Organisation of Twentieth Century German Art
1.London-Zurich-Paris: The Beginnings of an International Project
2.Mixed Motivations
3.From Collaboration to Conflict
4.The Limitations of the British Public Sphere
5.The Final Stages
2.Campendonk's `Jumping Beast': Neutrality and Resistance in Swiss Museums
1.The Nell Walden Collection at Twentieth Century German Art
2.Max Huggler and the Contribution of the Kunsthalle Bern
3.Utilising the Connections of Swiss Museums
4.The London Exhibition and Swiss Institutional Activism
3.Schmitt-Rottluff's `Fishermen's Houses': Art and Status in Exile
1.The Karl Gbritz Collection: From Chemnitz to London
2.The Extent of Emigre Collections at the New Burlington Galleries
3.Art Collections and Status Building in Exile
4.Liebermann's `The Potato Gatherer': German Modernism, German Dealers and the London Art Market
1.Dealers as Lenders to Twentieth Century German Art
2.A Market for German Modernism in 1930s London?
3.The Experience of the Emigre Art Dealer in Britain
4.German Modernism, German Dealers and the London Art Market
5.Schwitters's `The Golden Ear': `Degenerate' Artists as Lenders to London
1.Kurt Schwitters and Twentieth Century German Art
2.The Extent of Artist Loans to Twentieth Century German Art
3.The Motivations for Artistic Involvement
4.Marketplace, Showcase, Political Statement
6.Macke's `Men on a Bridge': Loans from the Reich
1.Connections to the Reich: 1937-1938
2.The Hess Collection at the New Burlington Galleries
3.Other German Collections Represented in London
4.The Westheim Collection in London?
5.London as an Illicit Marketplace for German Modernism
7.Baumeister's `Kneeling Group': The British and Twentieth Century German Art
1.British Collections at the New Burlington Galleries
2.Michael Sadler and the Continuation of a Germanist Project
3.Evidence of a Wider British Educational Impulse
4.Herbert Read and the Defence of German Modernism
8.The Reception of Twentieth Century German Art in Britain and Germany
1.The British Reaction to Twentieth Century German Art
2.Reaction from the Third Reich
3.Summarising Public Attitudes to the London Exhibition
1.Re-evaluating Twentieth Century German Art
2.Next Steps
3.Final Remarks

Ressources documentaires

Musée national Picasso-Paris