By Peter Chametzky
This booklet presents a stimulating evaluate of twentieth-century German paintings, targeting the various period's key works by means of Max Beckmann, George Grosz, Hannah H?ch, Willi Baumeister, Arno Breker, Joseph Beuys, and Gerhard Richter. In Peter Chametzky's leading edge technique, those works develop into representatives instead of representations of twentieth-century background. that's, the paintings right here doesn't easily illustrate a controversy, the paintings is the argument. Chametzky attracts on either scholarly and well known assets to illustrate how the works (and sometimes, the artists themselves) interacted with, or even enacted, historic occasions, procedures, and concepts. He asserts the ongoing ancient position of fabric paintings works in an period while much less fabric forms--photography, movie, tv, video, electronic images--have assumed the functionality of visually depicting modern heritage.
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Additional resources for Objects as History in Twentieth-Century German Art: Beckmann to Beuys
Alternatively, reading the images left to right, the photograph can be seen as a cycle-of-life image, related to works by Edvard Munch or Paul Gauguin. If this photograph was as carefully staged as many scholars contend (see note 40), why were other objects, such as an easel, on which the artist’s overcoat and bowler hang, included? These things could easily have been moved out of range, or the photograph could have been framed without them, or they could have been cropped during print- Beckmann’s Melodramatic Role 21 FIGURE 6.
14). The Berlin Dadaists, in contrast, often abandoned drawing and painting altogether and instead “assembled” works using numerous photographs and photomechanically produced elements. 13 Her companion and collaborator, Raoul Hausmann, explained, “We called this process ‘photomontage’ because it embodied our refusal to play the part of the artist. ”14 Höch’s and Hausmann’s works and activities were attuned technologically to their times. They accepted the ascendancy of ﬁlm, photography, and other forms of mass communication that edit and re-present the world, forming new wholes out of multiple fragments.
Lithograph from Das Gesicht der herrschenden Klasse (Berlin: Malik Verlag, 1921), 54. Art © Estate of George Grosz/Licensed by VAGA, New York, NY. Photo: International Dada Archive, University of Iowa Libraries. FIGURE 14. 3 cm. The Museum of Modern Art, New York. Art © 2010 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. Digital image © Museum of Modern Art/Licensed by SCALA/Art Resource, NY. ”10 Höch learned a variety of graphic techniques from Orlik and his colleague Oskar Bangemann, who taught her wood engraving.