HGCEA-SPONSORED PUBLICATION
Of 'Truths Impossible to Put in Words': Max Beckmann Contextualized, Rose-Carol Washton Long and Maria Makela, eds. (Bern: Peter Lang, 2009)
Dismissing attempts to characterize his paintings and graphic work as connected to stylistic movements or to historical events, Max Beckmann positioned himself above the earthly realm and claimed that he painted 'truths impossible to put in words'. In contrast, this volume consists of essays that relate his work to the tangible circumstances of its production and reception. Unlike much earlier scholarship that has focused on stylistic analysis or on interpretations of the work's 'eternal truth', these essays contextualize aspects of Beckmann's early, middle, and late career by way of detailed reference to contemporary music, film, philosophy, theatre, history, sports, and exile. The anthology thus expands Beckmann scholarship, which only recently has begun to consider context in relation to his position as both a central and an outside figure in the history of modern art in the twentieth century.
Contributing authors include Jay Clarke, Karen Lang, Rose-Carol Washton Long, Marsha Morton, Barbara Buenger, James Van Dyke, Peter Chametzky, Sabine Eckmann, F. Fosrter-Hahn, David Ehrenpreis, and Maria Makela.
HGCEA MEMBERS PUBLICATIONS ARCHIVE
HGCEA member publications for the past five years are listed below. The full list of member publications is archived as a Group Library in Zotero, the web-based, open source citation management tool: https://www.zotero.org/groups/hgcea_member_publications/items. To add the sources to your own Zotero library, click "Join" once you are logged in to your Zotero account.
2011
Alofsin, Anthony. Architektur Beim Wort Nehmen. Die Sprache der Baukunst im Habsburgerreich und in seinen Nachfolgestaaten, 1867-1933. Anton Pustet Verlag, 2011.
Deshmukh, Marion Fishel, Françoise Forster-Hahn, and Barbara Gaehtgens, eds. Max Liebermann and International Modernism: An Artist’s Career from Empire to Third Reich (Berghahn Books, 2011).
Haxthausen, Charles. “Art, agentivité, et collectivité,” in Gradhiva: Revue de l’anthropologie et d’histoire des arts, 14 “Dossier Carl Einstein et les primitivismes” (November 2011), 74-95
_____. “Carl Einstein, Daniel-Henry Kahnweiler, Cubism, and the Visual Brain, in Nonsite.org 2, June 2011, http://nonsite.org/issue-2/carl-einstein-daniel-henry-kahnweiler-cubism-and-the-visual-brain.
Kossowska, Irena. Reinterpreting the Past: Traditionalist Artistic Trends in Central and Eastern Europe of the 1920s and 1930s. Institute of Art of the Polish Academy of Sciences, 2010.
Kossowska, Irena, and Łukasz Kossowski. Malarstwo polskie, symbolizm i Młoda Polska. Wydawn. Arkady, 2010.
Maxwell, Susan. The Court Art of Friedrich Sustris: Patronage in Late Renaissance Bavaria. Ashgate Publishing, Ltd., 2011.
Otto, Elizabeth, and Vanessa Rocco. The New Woman International: Representations in Photography and Film from the 1870s Through the 1960s. Ann Arbor, MI: University of Michigan Press, 2011.
Weikop, Christian. New Perspectives on Brücke Expressionism: Bridging History. Surrey, UK: Ashgate Publishing, Ltd., 2011.
Wünsche, Isabel, and Oliver A. I. Botar. Biocentrism and Modernism. Surrey, UK: Ashgate Publishing, Ltd., 2011.
_____. Kunst & Leben: Michail Matjuschin und die Russische Avantgarde in St. Petersburg. Böhlau Verlag, 2011.
van Dyke, James A. “James A. van Dyke. Review of ‘Grand Illusion: The Third Reich, the Paris Exposition, and the Cultural Seduction of France’ by Karen Fiss.,” caa.reviews (November 10, 2011), http://www.caareviews.org/reviews/1721.
Zarecor, Kimberly Elman. Manufacturing a Socialist Modernity: Housing in Czechoslovakia, 1945-1960. Pittsburgh, PA: University of Pittsburgh Press, 2011.
2010
Chametzky, Peter. Objects as History in Twentieth-Century German Art: Beckmann to Beuys (Berkeley and Los Angeles: University of California Press, October 2010).
Holz, Keith. “Max Silberberg’s commitment to modern art and Jewish culture in interwar Breslau.” Jewish Artists and Central-Eastern Europe: Art Centers – Identity – Heritage from the 19th century to the Second World War. Polish Society of Oriental Art. Edited by Professor Jerzy Malinowski, Renata Piatkowska, Tamara Sztyma-Knasiecka. Warsaw: DiG Publishers, 2010, 319-24.
_____. “The politics of mobility and mutilation in Kokoschka’s exile years (1934-1949).” Invited essay for Oskar-Kokoschka-Archiv, Zentralbibliothek, Zürich and Fondation à la Mémoire de Oskar Kokoschka, Musée JenischVevey. In: ”Spur im Treibsand” Oskar Kokoschka: Neu Gesehen. Briefe und Bilder. Edited by Professor Dr. Régine Bonnefoit und Ruth Häusler. Petersberg: Michael Imhof Verlag GmbH & Co. KG, 2010, 77-91.
Morton, Marsha. “Max Klinger and the Unheimlich Return of the Biedermeier Past,” in Edvard Munch and the Uncanny, exhibition catalogue, Vienna: Leopold Museum, October 2009-January 2010.
Silverthorne, Diane. “New Spaces of Art, Design and Performance: Alfred Roller and the Vienna Secession” (Ph.D. diss., London, UK: Royal College of Art, 2010).
van Dyke, James A. Franz Radziwill and the Contradictions of German Art History, 1919-45. Ann Arbor, MI: University of Michigan Press, 2010.
Werenskiold, Marit (ed.): Consul Jonas Lied and Russia: Collector, Diplomat, Industrial Explorer 1910-1931, Oslo Academic Press, Unipub Norway, 2008 (191 pages). ISBN 978-82-7477-286-1. Preface and Introduction by MW. 5 Norwegian and 5 Russian contributors, among them Professor Liudmila Markina, State Tretiakov Gallery; Professor Zinaida Bonami, State Pushkin Museum of Fine Arts; Dr. Galina Andreeva, ICOM, UNESCO. Introduction and summaries in Russian.
_____ (ed. and curator): S liubov'iu k Rossii / With Love for Russia: The Collection of the Norwegian Consul Jonas Lied, University of Oslo in collaboration with the State Pushkin Museum of Fine Arts, Moscow, 2005/2006 (179 pages). ISBN 82-91670-50-1. Parallel text in Russian and English.
2009
Behr, Shulamith and Sander L. Gilman, ‘Force Journeys’, Introduction to exhibition catalogue Forced Journeys: Artists in Exile in Britain c. 1933-1945, ed. Rachel Dickson and Sarah MacDougall, Ben Uri Gallery, The London Jewish Museum of Art, 2009.
Chametzky, Peter. “Titanic Sinks, Departure Arrives: on Beckmann, Film, and the Fall of History Painting and Rise of the Historical Object,” Of Truths Impossible to Put in Words: Max Beckmann Contextualized, ed. Rose-Carol Washton Long and Maria Makela (Bern, Frankfurt, etc.: Peter Lang, 2009), 231-267.
_____. “Global Art, National Values, Monumental Compromises: ‘German' 9/11 Commemoration in America, ‘American’ Holocaust Commemoration in Germany,” The Massachusetts Review (MR 50 Celebrating Fifty Years) vol. 50 nos. 1-2 (Spring/Summer 2009): 155-180.
Holz, Keith. “After Locarno: German Painters in the Parisian ‘Picture-Factory’.”Academics, Pompiers, Official Artists, and the Arrière-garde: Traditional Art in France, 1900-1960. Edited by Natalie Adamson and Toby Norris. Cambridge: Cambridge Scholars Publishers, 2009, 113-137.
Jordan, Sharon. “Philosophers, Artists and Saints: Ernst L. Kirchner and Male Friendship in Paintings, 1914-1917” (Ph.D. diss., New York, NY: City University of New York Graduate Center, 2009).
Luke, Megan R. “Space for Recognition: The Late Work and Exile of Kurt Schwitters (1930-1948)” (Ph.D. diss., Cambridge, MA: Harvard University, 2009).
Morton, Marsha. “From Monera to Man: Haeckel, Darwinismus, and Nineteenth-Century German Art,” in The Art of Evolution: Darwin, Darwinisms and Visual Culture, ed. Barbara Larson and Fae Brauer, University Press of New England, 2009, 59-91.
_____. “Nature and Soul: Austrian Responses to Ernst Haeckel’s Evolutionary Monism,” in Darwin: Art and the Search for Origins, curated by Pamela Kort, Frankfurt: Schirn Kunsthalle, 2009, 126-141.
Roth, Lynette. “The Cologne Progressives: Political Painting in Weimar Germany” (Ph.D. diss., Baltimore, MD: Johns Hopkins University, 2009).
Saletnik, Jeffrey. “Pedagogy, Modernism and Media Specificity: the Bauhaus and John Cage” (Ph.D. diss., Chicago, IL: University of Chicago, 2009).
2008
Chametzky, Peter. “Not What We Expected: The Jewish Museum Berlin in Practice,” Museum and Society http://www.le.ac.uk/ms/museumsociety.html), vol. 6, no. 3 (November 2008): 216-245.
Drozdek, Jenni. “A Taste for Paris: The Modernist Dialogue between France and ‘Young Poland’, 1890-1914” (Ph.D. diss., Cleveland, OH: Case Western Reserve University, 2008).
Forgacs, Eva. "The Safe Haven of a New Classicism. The Quest for a New Aesthetics in Hungary 1904-1912,” Studies in East European Thought, No. 60, 2008.
_____. “Does Democracy Grow under Pressure? Strategies of the Hungarian Neo-Avant-Garde throughout the late 1960s and the 1970s” Centropa, Vol.8. No. 1, Jan. 2008.
Haxthausen, Charles. "Schicksal eines Aquarells: Paul Klees Die Zwitscher-Maschine / Fate of a Watercolor: Paul Klee’s Die Zwitscher-Mschine,“ in: Zeige deine Sammlung: Jüdische Spuren in Münchner Museen / Show Your Collection: Jewish Traces in Munich’s Museums, edited by Renata Stih and Frieder Schnock, Nürnberg: Verlag für Moderne Kunst, 2008, 97-106.
____. "Raumerforschungen: Zu Sigmar Polkes ‚Linsenbildern’/ Space Explorations: On Sigmar Polke’s ‘Lens Paintings,’“ in: Sigmar Polke : Wunder von Siegen/Sigmar Polke: Miracle of Siegen, edited by Eva Schmidt, exh. cat., Cologne: Dumont, 2008, 32-41 (German); 44-51 (English)
Pugh, Emily. “The Berlin Wall and the Urban Space and Experience of Berlin, 1961-89” (Ph.D. diss., New York, NY: City University of New York Graduate Center, 2008).
Roth, Lynette. "Painting as a Weapon. Progressive Cologne 1920-33. Seiwert-Hoerle-Arntz" (Cologne: Verlag der Buchhandlung Walther König, 2008).
2007
Brzyski, Anna. Partisan Canons. Duke University Press (Durham, NC: Duke University Press, 2007)
Forgacs, Eva. "The Avant-Garde in Hungary and Its Audience”, in Tsukasa Kodera, ed.: Modernism and Central- and East European Art & Culture, Osaka: Osaka University , The 21st Century COE Program, 2007.
Forster-Hahn, Françoise. "Max Beckmann in Kalifornien: Exil, Erinnerung und Erneuerung"München/Berlin: Deutscher Kunstverlag), 2007). A shorter English version was published as: "Max Beckmann in California: Exile, Memory, and Renewal," in Caught by Politics: Hitler Exiles and American Visual Culture," eds. Sabine Eckmann and Lutz Koepnick (New York: Palgrave/Macmillan, 2007).
Musto, Jeanne-Marie. “Byzantium in Bavaria: Art, Architecture and History between Empiricism and Invention in the Post-Napoleonic Era” (Ph.D. diss., Bryn Mawr, PA: Bryn Mawr College, 2007).
2006
Eva Forgacs. A Duna Los Angelesben. Mûvészeti irások (Los Angeles on the Danube. Selected essays on art), Budapest: Kijárat Kiadó, 2006
Clarke, Jay A. "Originality and Repetition in Edvard Munch's The Sick Child," in Edvard Munch. An Anthology, ed. Erik Mørstad (Oslo: Unipub, 2006), pp. 41-60.
____. "Adrienne Farb and the Anti-Hip of Abstraction," in The Spiritual Landscapes of Adrienne Farb, 1980-2006, eds. Jay A. Clarke and Joanna E. Ziegler (Worcester: Cantor Art Gallery, College of the Holy Cross, 2006), 40-50.
Forgacs, Eva. "Enlightenment and the National Genius,"in Jacek Pruchla, Wolf Tegethoff, eds: Nation, Style, Modernism, Munich: Zentralinstitut fur Kunstgeschichte, CIHA Conference Papers, 2006.
____. "You Feed Us So that We Can Fight Agaist You. Concepts of the Art and State in the Hungarian Avant-Garde," Arcadia, December 2006.
____. "1956 in Hungary and the Concept of East European Art," Third Text, Vol. 20, Issue 2, March 2006.
____.Nyílt struktúrák" (Open Structures) catalog essay, Budapest, June 2006.
Haxthausen, Charles. “A ‘Degenerate’ Abroad: Klee’s Reception in America, 1937-40,” Klee and America, ed. Josef Helfenstein and Beth Hutton Turner, exhibition catalogue. Houston: The Menil Collection and Stuttgart: Hatje Cantz, 2006, 158-177.
Martinez de Guerenu, Laura. “To Construct Abstraction: Attitude and Strategy of the Moderno Project” (Ph.D. diss., Navarra, Spain: University of Navarra, 2006).
Moseman, Eleanor. “Expressing Cubism: Ernst Ludwig Kirchner’s ‘Berlin Style’ and its Affinities with the Painting of Bohumil Kubišta” (Ph.D. diss., Bryn Mawr, PA: Bryn Mawr College, 2006).
Morton, Marsha. "The Face of Medicine: Portraits of Doctors at the University of Lund," in The Face of Medicine. Lund, Sweden: The Department of Culture, The Antiquity Museum of the University of Lund, and the Kulturen, 2006 (exhibition dates January-February).
____."The Ethnographic Vision of Max Klinger," in Art, Anthropology, and Museum Culture: Strategien Ethnologischer Praesentation, 1827-2005, edited by Cordula Grewe. Washington D.C. and Berlin: The German Historical Institute, 2006.
_____. "Painted Sounds: Music in the Art of Max Beckmann," in Of Truths Impossible to Put Into Words: Max Beckmann Contextualized, edited by Maria Makela and Rose-Carol Washton Long. N.Y. and Munich: Peter Lang, 2006.
Nugent, Jeanne. "Overcoming Ideology: Gerhard Richter in Dresden, the Early Years," “Gerhard Richter’s ‘Woodlands’ and Other Things of the Past,” and “Interview with Gerhard Richter, May-June 2006,” in From Caspar David Friedrich to Gerhard Richter: German Paintings from Dresden (Cologne: Walther Koenig Verlag, 2006), 79-94, 95-99, 113-117.
Rowe, Dorothy and Harrison Moore, Abigail. Architecture and Design in Europe and America 1750-2000 (Oxford and Boston: Blackwell 2006)
Schwarz, Isabelle. “European Archives of Artists’ Publications from the 1960s to the 1980s” (Ph.D. diss., Bremen, Germany: International University, 2006).
The Spiritual Landscapes of Adrienne Farb, 1980-2006. Jay A. Clarke and Joanna E. Ziegler, eds. Worcester: Cantor Art Gallery, College of the Holy Cross, 2006.
Williams, Gregory H. “Laughter and Cultural Pessimism: The Joke in West German Art, 1974-1989” (Ph.D. diss., New York, NY: City University of New York Graduate Center, 2006).