Download Art and the German Bourgeoisie: Alfred Lichtwark and Modern by Carolyn Kay PDF

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By Carolyn Kay

In this new learn of paintings in fin-de-siècle Hamburg, Carolyn Kay examines the occupation of the city's artwork gallery director, Alfred Lichtwark, one among Imperial Germany's so much influential museum administrators and a popular cultural critic. A champion of contemporary artwork, Lichtwark stirred controversy one of the city's bourgeoisie by means of commissioning modern German work for the Kunsthalle through secession artists and aiding the formation of an self sustaining artwork flow in Hamburg prompted through French impressionism. Drawing on an intensive volume of archival learn, and mixing either ancient and paintings old techniques, Kay examines Lichtwark's cultural politics, their influence at the Hamburg bourgeoisie, and the next adjustments to the cultural scene in Hamburg.

Kay focuses her research on glossy paintings scandals in Hamburg and exhibits that Lichtwark confronted powerful public resistance within the Nineties, profitable major aid from the city's bourgeoisie purely after 1900. Lichtwark's fight to achieve popularity for impressionism highlights conflicts in the city's heart classification as to what constituted appropriate kinds and topics of German paintings, with competition teams challenging a standard and 'pure' German tradition. the writer additionally considers who in the Hamburg bourgeoisie supported Lichtwark, and why. Kay's neighborhood examine of the talk over cultural modernism in Imperial Germany makes an important contribution either to the examine of modernism and to the background of German culture.

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Additional resources for Art and the German Bourgeoisie: Alfred Lichtwark and Modern Painting in Hamburg, 1886-1914

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Youthful, innovative, original, colourful - these qualities headed Lichtwark's checklist for art. But when post-impressionism stormed the galleries of Europe he found that these qualities were now used to describe art forms he disliked. As he admitted in 1912, the youth of Germany had moved beyond him: 'After a certain age one is unable to follow. ' 130 Lichtwark did like the paintings of Klimt and Hodler, and he even enjoyed the works of Oscar Kokoschka. 131 But his final judgment of most of these artists, and of Emil Nolde, Max Beckmann, and Henri Matisse, was negative.

Other artists also created portraits for the Hamburg Collection after 1905: Max Slevogt painted Burgomaster O'Swald, Lovis Corinth did a study of the historian Eduard Meyer, Fritz von Uhde produced a double portrait of Senator Gustav Hertz and his wife, and Wilhelm Triibner painted Burgomaster Monckeberg. All told, the Collection of Paintings from Hamburg offered a significant number of portraits by some of Germany's finest modern artists. 10 These works were the products of Germany's established academy artists, including Anton von Werner, the director of Berlin's Institute for Fine Arts.

This in itself would not be important if it did not mean that one would have to do without the images of so many beloved and cherished fellow-creatures. 1Theportraitwasloathedby Petersen and his supporters among Hamburg's political and social elite - dismissed as a horrific example of unbridled excess in modern painting and banned from public showing. The city's political leaders also questioned Lichtwark's suitability as Kunsthalle director, in the wake of what they considered a poor choice of artist for an official commission.

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