In June 1937, Jacob Zeitlin opened an exhibition of graphics by Käthe Kollwitz in his bookstore gallery in Los Angeles. It was the first exhibition of Kollwitz’s work in Southern California. The exhibition and the glamorous vernissage were co-sponsored by the Hollywood Anti-Nazi League for the Defense of American Democracy. The evening’s speakers were German writer and activist Ernst Toller and American composer George Antheil. Among the illustrious guests were Fritz Lang, Richard Neutra, Arnold Schönberg, George Gershwin, Kurt Weill and other celebrities from the film industry and the German-Austrian exile community. The Kollwitz exhibition became the focal point of the city’s central areas of conflict: it was not just a cultural event in Zeitlin’s bookstore gallery, but above all a targeted political action by the Hollywood Anti-Nazi League. Kollwitz’s work was thus caught in the crossfire of the conflict between the anti-fascist struggle of the Anti-Nazi League and the violent actions of National Socialist groups in Los Angeles. In this political tension, Käthe Kollwitz was perceived as an “anti-Nazi artist” and her exhibition was ascribed an active role in the fight against Hitler. The chapters of the book trace how the exhibition became the crossroads of four biographies: Käthe Kollwitz, Jacob Zeitlin, Ernst Toller and George Antheil.
Published in Association with the German Historical Institute, Washington, D.C. and the Centre Allemand d’histoire de l’art/Deutsches Forum fur Kunstgeschichte, Paris Although Max Liebermann (1847-1935) began his career as a realist painter depicting scenes of rural labor, Dutch village life, and the countryside, by the turn of the century, his paintings had evolved into colorful images of bourgeois life and leisure that critics associated with French impressionism. During a time of increasing German nationalism, his paintings and cultural politics sparked numerous aesthetic and political controversies. His eminent career and his reputation intersected with the dramatic and violent events of modern German history from the Empire to the Third Reich. The Nazi’s persecution of modern and Jewish artists led to the obliteration of Liebermann from the narratives of modern art, but this volume contributes to the recent wave of scholarly literature that works to recover his role and his oeuvre from an international perspective.
Max Beckmann in Kalifornien: Exil, Erinnerung und Erneuerung
2007, Deutscher Kunstverlag
Spirit of an Age: Nineteenth-Century Paintings From the National Galerie, Berlin
2001, National Gallery Company
Exhibition catalog. Contributions by Françoise Froster-Hahn, Claude Keisch, Peter-Klaus Schuster, Angelika Wesenberg, Christopher Riopelle and Birgit Verwiebe. Examined artists incllude Caspar David Friedrich, Carl Blechen, Adolph Menzel, Wilhelm Beibi, Anselm Feuerbach, Carl Schuch Max Liebermann, etc. Comparisions to 19th century french paintings too. Bibliography. Index. 192pp.
Imagining Modern German Culture, 1889-1910 (Studies in the History of Art)
1996, National Gallery of Art
This is an interdisciplinary exploration of the emergence of modernism in Germany and its relationship to the building of a nation.
Old Master Drawings from the Collection of Kurt Meissner, Zurich
1969, Stanford University, Stanford Art Book 10