The Specks Collection is noted for its high quality, breadth, and profound graphic power. In celebration of the gift to the museum, the collection is presented here for the first time in its entirety.
DIV Paintings by Renaissance masters Cranach, Dürer, and Holbein are among the highlights featured in the first comprehensive study of the largest collection of early German paintings in America. /div
Primitivism versus modernity: the expressionist dilemma - Politics of primitivism - Brucke bathers: back to nature - Max Pechstein's visionary ideas - Emil Nolded.
Prints from the Department of Prints and Drawings in the British Museum with a section of illustrated books from the British Library by David Paisey. Met afbeeldingen van: Max Klinger, Käthe Kollwitz, Max Liebermann, Heinrich Vogeler, Paula Modersohn-Becker, Lovis Corinth, Ernst Barlach, Christian Rohlfs, Edvard Munch, Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt-Rottluff, Max Pechstein, Emil Nolde, Oskar Kokoschka, Franz Marc, August Macke, Vasily Kandinsky, Ludwig Meidner, Max Beckmann, George Grosz, Otto Dix, Bernard Kretzschmar, Karl Hubbuch, Johannes Itten, Lyonel Feininger, Gerhard Marcks, Paul Klee, Georg Muche, Lothar Schreyer, Oskar Schlemmer, Kurt Schwitters, El Lissitzky, Laszlo Moholy-Nagy, Rolf Nesch.
This work provides an introduction to the visual arts in Germany from the early years of German unification to World War II. The study is an analysis of painting, sculpture, graphic art, design, film and photography in relation to a wider set of cultural and social issues that were specific to German modernism. It concentrates on the ways in which the production and reception of art interacted with and was affected by responses to unification, conflict between left and right political factions, gender concerns, contemporary philosophical and religious ideas, the growth of cities, and the increasing important of mass culture.
German Post-Expressionism is the first study to reconstruct historically the evolution of Die neue Sachlichkeit, the slogan coined as a designation for the Post-Expressionist figural art that developed throughout Germany following the failed revolution of 1919. Rather than starting with the moment this Post-Expressionist movement was christened with a slogan (1923), Crockett investigates the sources and precepts of Post-Expressionism beginning with the anti-Expressionist stance of Dada in 1918 and the loss of faith in Expressionism on the part of some of its chief supporters during 1919-20.