The Routledge Companion to Expressionism in a Transnational Context (Routledge Art History and Visual Studies Companions)

The Routledge Companion to Expressionism in a Transnational Context is a challenging exploration of the transnational formation, dissemination, and transformation of expressionism outside of the German-speaking world, in regions such as Central and Eastern Europe, the Baltics and Scandinavia, Western and Southern Europe, North and Latin America, and South Africa, in the first half of the twentieth century. Comprising a series of essays by an international group of scholars in the fields of art history and literary and cultural studies, the volume addresses the intellectual discussions and artistic developments arising in the context of the expressionist movement in the various art centers and cultural regions. The authors also examine the implications of expressionism in artistic practice and its influence on modern and contemporary cultural production. Essential for an in-depth understanding and discussion of expressionism, this volume opens up new perspectives on developments in the visual arts of this period and challenges the traditional narratives that have predominantly focused on artistic styles and national movements The Routledge Companion to Expressionism in a Transnational Context- Front Cover The Routledge Companion to Expressionism in a Transnational Context Title Page Copyright Page Contents List of Illustrations Color Plates Black and White Illustrations Acknowledgments List of Contributors Notes to the Reader Expressionist Networks, Cultural Debates, and Artistic Practices: A Conceptual Introduction “French” Expressionism The “Germanization” of Expressionism Die Brücke: A Revolt Against Academic Tradition and Social Conventions Der Blaue Reiter: From Spiritual Renewal to Abstract Painting Austrian Expressionism: Agitated Lines and Psychological Portraits Herwarth Walden und Der Sturm: The Networks of the Avant-Garde The Medium of Printmaking and the Revival of the Woodcut From Capturing War Experiences to a Socially Engaged Form of Art Expressionism and the Art of the German Minorities The “Jewishness” of Expressionism The Question of Artistic Individuality Hybrid Modernism versus Radical Avant-Garde Art Conclusion Notes PART I: Central and Eastern Europe and the Baltic States Chapter 1: Prague—Brno: Expressionism in Context What Is Expressionism—in Bohemia? Prague, Expressionism, and the Osma Group Edvard Munch and Czech Expressionism The Tvrdošíjní Group (The Stubborn Ones) Outsiders and “Itinerants” Expressionism and Moravia Notes Chapter 2: Košice Modernism and Anton Jaszusch’s Expressionism The City and Its Art Scene Portrait of the Town Modern and Avant-Garde Art in Košice Anton Jaszusch’s Work Before the First World War Anton Jaszusch’s Work After the First World War The Great Cycle The 1924 Art Discussion on Jaszusch’s Work and Exhibition Notes Chapter 3: Expressionism in Hungary: From the Neukunstgruppe to Der Sturm Exhibitions in Budapest: The Neukunstgruppe (New Art Group) The Sonderbund Exhibition in Cologne The Exhibition of Futurists and Expressionists The International Postimpressionist Exhibition Lajos Kassák and His Magazines After the First World War Herwarth Walden and Hungarian Artists in Berlin Notes Chapter 4: Poznań Expressionism and Its Connections with the German and International Avant-Garde The First Expressionist Exhibition in Poland—Lvov, 1913 Poznań Expressionism: A Problematic Name and Its Connotations Bunt as an International and Cross-Border Artistic Movement Exterritorial Avant-Garde? The Magazine Zdrój—Word and Image as a Mirror of a Supra-Regional and Multicultural Network The Legacy of the So-Called Poznań Expressionism Notes Chapter 5: Expressionist Networks in the Russian Empire, Soviet Russia, and the Soviet Union The Russian-German Artistic Dialogue Before the First World War Expressionism in Post-Revolutionary Soviet Russia and the Early Soviet Union Notes Chapter 6: Expressionism in Lithuania: From German Artistic Import to National Art Expressionism in Lithuanian Art History German Expressionism in Lithuania Before and During the First World War The Reception of German Culture in Interwar Lithuania and Adomas Galdikas’s Role in the Dissemination of Expressionism The Artists’ Group Ars The Offshoots of Expressionism: Jewish Painting and Graphic Arts Notes Chapter 7: Expressionist Originality in Latvian Art: Between Confirmation and Destruction The New Generation and New Art The Expressionists’ Group and the Linocut Album The Expressionists (1919) Expression as a Form of Manifestation The Riga Group of Artists (1920) A Different Kind of Expressionism Conclusion Notes Chapter 8: The Ambivalent Affair of Estonian Expressionism Contacts with German Expressionism The Suffering Artist: The Berlin Episode of Nikolai Triik Visionary Landscapes: The Art of Konrad Mägi Erotic Frustration: Eduard Wiiralt in Dresden and Paris Conclusion Notes PART II: Scandinavia Chapter 9: Expressionism in Denmark: Art and Discourse A “Paris of the North” Concepts of Expressionism: Interiority and Decoration The Danish Art Market During the First World War Danish “French-Style” Expressionism Expressionism as Recuperation of Classicism Der Sturm in Copenhagen Notes Chapter 10: Expressionisms in Sweden: Anti-Realism, Primitivism, and Politics in Painting and Print Definitions of “Expressionism” in Swedish Art Criticism and Art History Expressionisms in Sweden in the 1910s Der Sturm and the Swedish Society of Original Wood Engravers Expressionist Art in the 1930s Conclusion Notes Chapter 11: Nationalism, Transnationalism, and the Discourses on Expressionism in Finland: From the November Group to Ina Behrsen-Colliander Expressionism and Emotion The “Finnishization” of German Cultural Attributes Finnish Independence and the Effects of Nationalism Hellaakoski and Worringer Whose Expressionism Was It? Expressionism as a Generic (Male) Tradition Transnationalism within the Nation State Ina Behrsen-Colliander’s 1930s Approach Political Implications Notes Chapter 12: Expressionism in Sámi Art: John Savio’s Woodcuts of the 1920s and 1930s An Educated Sámi Artist Savio’s Woodcut Prints Edvard Munch as Savio’s Idol The Influences of Norwegian Art The Content and Context of Savio’s Art Conclusion Notes Chapter 13: Early Expressionism in Icelandic Art: Jón Stefánsson, Jóhannes Kjarval, and Finnur Jónsson The Friends of the Arts Kjarval and “The Corruption of Our Time” Jón Stefánsson and the Académie Matisse Finnur Jónsson and Expressionism Notes PART III: Western Europe Chapter 14: Early Engagements: Peripheral British Responses to German Expressionism On the Origins of the Term “Expressionist” Brücke’s Connections to the British and German Arts and Crafts Movements Rupert Brooke’s Encounters with Expressionism The Early British Reception of Wassily Kandinsky The Metropolitan and Regional Reception of Expressionism Bloomsbury and the Marginalization of Expressionism Notes Chapter 15: Expressionism in the Netherlands A Rapid Introduction Kandinsky as a Source of Inspiration The First Collectors De Ploeg: Kirchner as a Source of Inspiration Exhibitions and Art Criticism after the First World War The National Socialist Period The Breakthrough of Expressionism after 1945 Conclusion Notes Chapter 16: Flemish Expressionism in Belgium The Sint-Martens-Latem School Belgian Artists in Exile in the Netherlands and Britain The Brussels Art Scene of the 1920s The Return to Order The Consolidation of Flemish Expressionism Notes Chapter 17: Jewish Expressionists in France, 1900–1940 Other Expressionists Soutine’s Female Counterpart Expressionist Sculpture Notes Chapter 18: German Expressionism in Italy: Herwarth Walden’s Der Sturm, the Berlin Novembergruppe, and the Modernist Circles of Florence, Turin, and Rome La Voce and Herwarth Walden’s Early Attempts to Organize an Exhibition of German Expressionism in Florence Curt Seidel, Nicola Galante, and L’artista moderno in Turin The Development of an Italian Expressionist Style and the Role of L’Eroica in La Spezia Enrico Prampolini, the Journal NOI (First Series, 1917–1920), and the Casa d’arte italiana (1919–1921) in Rome The Esposizione Espressionisti Novembergruppe (Exhibition of the Expressionists of the Novembergruppe), October 23, 1920 The 1920s: Ruggero Vasari, Enrico Prampolini, and the Journal NOI (Second Series, 1923–1925) Notes Chapter 19: Expressionism and the Spanish Avant-Garde between Restoration and Renovation The 1926 Exhibition of Expressionist Art in Barcelona The Spanish Avant-Garde: Cultural Upheaval between Restoration and Revolution Between “Modernismo” and Modernity Notes Chapter 20: Portuguese Expressionism, or German Expressionism in Portugal? Portuguese Society and Politics The Portuguese Art Scene The First Generation of Portuguese Modernism: Santa Rita Pintor and Amadeo de Souza-Cardoso The Second Generation of Portuguese Modernism: Júlio Maria dos Reis Pereira and Mário Eloy Modern and Expressionist Sculpture in Portugal: Hein Semke Does Portuguese Expressionism Exist? Notes PART IV: Southeastern Europe Chapter 21: Expressionism in Slovenia: The Aspects of a Term The Emergence of Expressionism in Slovenia The Intellectual Framework of Expressionism in Slovenia Conclusion Notes Chapter 22: From Anxiety to Rebellion: Expressionism in Croatian Art Articulating the Anxiety: Expressionism during the First World War Short-Term Rebellion: Expressionism in Croatian Painting between 1919 and 1921 “Second Expressionism”: A Return to Van Gogh Final Remarks Notes Chapter 23: On New Art and Its Manifestations: Rethinking Expressionism in the Visual Arts in Belgrade Art-Historical Positioning of Expressionism in Serbia Art in Belgrade after 1918: Transnational, Interdisciplinary, and Regional Contexts Expressionism as a Platform for Artistic Exchange Conclusion Notes Chapter 24: Tokens of Identity: Expressionisms in Romania around the First World War Saxon-German Expressionism Hungarian Expressionism in Transylvania Romanian Expressionism Notes Chapter 25: Expressionism in Bulgaria: Critical Reflections in Art Magazines and the Graphic Arts Chavdar Mutafov and Geo Milev: Two Views of Expressionism The Transformation of Expressionism in Bulgarian Printmaking after the First World War Notes PART V: Beyond Europe Chapter 26: Expressionism in Canada and the United States Expressionism as a Style, Movement, and Idea in North America Expressionism for Social and Political Meanings Expressing the Personal, Biographical, and Psychological Mysticism and Spirituality in North American Expressionism Notes Chapter 27: Expressionism in Latin America and Its Contribution to the Modernist Discourse Transatlantic Expressionist Confluences An International Community Beginnings of a Latin American Genealogy Traces of a Genuine Art Contributions to the Modern Discourse Final Remarks Notes Chapter 28: The Expressionist Roots of South African Modernism South Africa’s Art Scene in the Early Twentieth Century Irma Stern and Maggie Laubser: Two Pioneers of South African Modernism The “New Women” in South Africa Other Modernists: Wolf Kibel, Maurice van Essche, and Pranas Domšaitis Primitivism in South Africa German Primitivism and the Appreciation of African Art in South Africa Notes Selected Bibliography Original Sources: Books Original Sources: Exhibition Catalogues General References (English Language) Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 Chapter 19 Chapter 20 Chapter 21 Chapter 22 Chapter 23 Chapter 24 Chapter 25 Chapter 26 Chapter 27 Chapter 28 Name Index Subject Index Geographical Index "The Routledge Companion to Expressionism in a Transnational Context is a challenging exploration of the transnational formation, dissemination, and transformation of Expressionism outside of the German-speaking world, in regions such as Central and Eastern Europe, the Baltics and Scandinavia, Western and Southern Europe, North and Latin America, and South Africa, in the first half of the twentieth century. Comprising a series of essays by an international group of scholars in the fields of art history, literary and cultural studies, the volume addresses the intellectual discussions and artistic developments arising in the context of the Expressionist movement in the various art centers and cultural regions. The authors also examine the implications of Expressionism in artistic practice and its influence on modern and contemporary cultural production. Essential for an in-depth understanding and discussion of Expressionism, this volume opens up new perspectives on developments in the visual arts of this period and challenges the traditional narratives that have predominantly focused on artistic styles and national movements."--Provided by publisher