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Index
Donald E. Gordon
Description: Expressionism: Art and Idea
Expressionism: Art and Idea
Index
Author
Donald E. Gordon
PublisherYale University Press
Copyright© 1987 by Estate of Donald E. Gordon
https://doi.org/10.37862/aaeportal.00047.010
Stable URL: https://aaeportal.com/?id=-15932
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Index
Abstract Expressionism, 177–78, 198–206 passim
Action Painting, 202–04, 210
Adrian-Nilsson, Gösta, 188
Ajanta (India) cave paintings: fig. 56, 77, 78, 115
Alhambra Palace: fig. 108, 115, 116
Ambivalence: three attitudes of, 67–68
toward cities, 133–40
toward self, 140–52
natural condition of Expressionist man, 169
Amelin, Albin: Murdered Woman, fig. 177, 188, 190
Anti-Semitism, 39. See also Jews
Apollinaire, Guillaume, 18
Appel, Karel, 207
Arp, Hans, 160
Art Nouveau, 72, 85
Bacon, Francis: Painting, fig. 196, 204, 208
Bahr, Hermann, 24, 85, 107
Balkan Wars, 47, 152–53
Ball, Hugo: fig. 158, 160–61, 163
Barlach, Ernst, 102, 153–57 passim
Bartning, Otto, 115
Baselitz, Georg: Family, fig. 198, 210, 211
Bauhaus, the, 65, 78, 79, 167
Bavarian glass paintings: fig. 59, fig. 65, 79, 81, 82, 85, 88
Bebel, August, 8, 125, 127
Beckmann, Max: influence of Nietzsche, 18
youth, 27
pessimism, 59–61
influence of German Gothic, 113–14
and identity crisis, 123
put on “tough guy” mask, 149
and war, 152–54 passim
and dualist self, 169–73
indebted to Goethe, 170, 173
mentioned, 39, 67, 139, 177
The Night, fig. 42, 59, 60, 61, 66, 68, 70, 114
Ebbi, fig. 44, 61, 62
Adam and Eve, fig. 107, 113, 114
Departure, fig. 169, 121, 169–70, 173
Self-Portrait with Red Scarf, fig. 149, 149
Self-Portrait as Clown, fig. 168, 169, 172
Beckmann, Peter, 59
Beer Hall Putsch, 168
Behne, Adolf, 64, 65, 115, 139
Behrens, Peter, 78, 79
Bely, Andrei, 44
Benn, Gottfried, 167
Benois, Alexander, 44
Bergson, Henri, 20, 24, 33
Berlin Secession, 39, 68, 91–92, 176
Besant, Annie, 82–83
Beuys, Josef, 207–09
Bildermann, fig. 156, 153, 155, 157
Bismarck, Otto von, 131, 179
Blaue Reiter: influence of Nietzsche, 15–19
nude not a major theme, 31
1912 almanach, fig. 60, fig. 67, 52, 79, 80, 81, 82–85 passim, 89, 113, 142
manifesto, 84
mentioned, 2, 23, 52, 79, 91, 101, 112, 131, 176–77
Blavatsky, Helene, 22
Bleyl, Fritz, 14, 71
Bloch, Ernst, 178–79
Block, Albert, 84
Blue Riders. See Blaue Reiter
Boccioni, Luigi, 19
Boccioni, Umberto: Forces of a Street, fig. 96, 108
Bohr, Niels, 23
Bomberg, David, 187
Bossi, Erma, 84
Bourget, Paul, 9–10
Braque, George, 90, 175
Brücke: formation of, 14–15
members sought “countermovement,” 29
and sexuality, 14, 29-31
religion as inspiration, 48–49
style of, 71–78
German Fauve phase, 73–76, 78, 228n
came to national attention, 93
experiments with Cubism, 98
importance of tribal sculpture, 98
artists’ youthful identification, 128–29
not regional in outlook, 131
mentioned, 39, 79, 85, 91, 176, 177
Burlin, Paul, 195
Cabinet of Dr. Caligari, The: fig. 111, 116, 118, 169
Campendonk, Heinrich, 85, 112–13, 167
The Tiger, fig. 105, 112, 113
Cassirer, Paul, 92, 153, 155, 167
Cézanne, Paul, 71, 89, 90, 92, 127, 174, 175–76
Chagall, Marc, 112–13, 167, 190, 232n
Chamberlain, Houston Stewart, 7, 40
Cheney, Sheldon, 191–93
Chia, Sandro: Dionysus’ Kitchen, fig. 200, 211, 213
Clausius, Rudolf, 8–9
Cobra, 204–05
Conrad, Michael Georg, 154
Corinth, Lovis, 39, 47, 78, 167, 177
The Red Christ, fig. 48, 66, 67, 140
Self-Portrait with Skeleton, fig. 150, 149, 150
Cranach, Louis (elder): Venus, fig. 165, 76, 168, 170
Cubism, 3, 51, 52, 64, 65, 84, 98
Cubo-Expressionism, 89–91
Dadaism, 160–61
Darwin, Charles, 5–8 passim, 21, 33, 54, 63, 68, 218n, 219n
Davidsohn, Hans. See Van Hoddis, Jakob
Degenerate Art Exhibition: fig. 173, 184, 185
De Kooning, Willem, 198
Light in August, fig. 192, 202–03, 205
Woman, I, fig. 194, 203–04, 206
Delacroix, Eugène, 137
Delaunay, Robert, 67, 100, 104–06, 139, 231n
Circular Forms, Sun and Moon, fig. 34, 52, 53, 105
Windows on the City, fig. 92, 105, 106
Derain, André, 18, 73, 89, 90
Derkert, Siri, 188
De Unga, 175–76, 188
Deutsch, Ernst, 149
Dix, Otto, 67, 153–56 passim, 168
Friedrich Nietzsche, fig. 9, 18, 19
Pregnant Woman, plate 3, 65–66, 67, 115
Venus of the Capitalistic Age, fig. 167, 66, 121, 168, 171, 180
Self-Portrait as Mars, fig. 95, 107, 108, 154
Portrait of the Artist’s Parents, fig. 119, 119–20, 121
Give Us Peace, fig. 156, 155, 157
Dostoevsky, Fyodor, 49–50, 67, 68, 129, 179
Duchamp-Villon, Raymond: Cubist house, fig. 84, 100
Dürer, Albrecht, 70
The Fall of Man (Adam and Eve), fig. 106, 113, 114
Ebert, Friedrich, 159
Eisner, Kurt, 159
Eleven, Association of, 92
Endell, August, 79
Ensor, James: Intrigue, fig. 78, 96, 97
Entropy, 8–9, 25, 215
Epstein, Jacob, 187
Erbslöh, Adolf, 84
Erfurth, Hugo: Ernst Deutsch as “The Son,” fig. 148, 149
Ernst, Max, 103, 160, 187
Crucifixion, fig. 89, 103, 104, 110
Erzberger, Matthias, 168
Expressionist architecture, 61–65, 139–40
Expressionist drama, 122, 157–61, 169
Expressionist literature, 98–100
Expressionist motion pictures, 116, 169
Faulkner, William, 202
Fauves, 3, 18–19, 69, 73–74, 76, 84, 85. See also German Fauve style
Fechter, Paul, 176–78
Feininger, Lyonel, 52, 67, 102, 153, 167
Cathedral of Socialism, fig. 47, 64, 65, 70, 116
The Manhole, I (Infanticide), fig. 123, 127
Felixmüller, Conrad: People above the World, fig. 161, 116, 164
Filla, Emil, 89–90
Filonov, Pavel, 188
Finsterlin, Hermann, 64
Foucault, Michel, 26
Freud, Sigmund, 8, 13, 20–21, 25, 54, 221n
Friedrich, Caspar David, 67, 108, 201
The Cathedral, fig. 46, 64, 65, 70
Large Enclosure (Evening on the Elbe), fig. 100, 110, 111, 112
Futurism, 19, 69, 107–08, 152
Gauguin, Paul: Tahitian work as precedent for Kirchner, 77
influence on Marc, 85
influence on Pechstein, 93–94, 230n
mentioned, 85, 86, 89, 92, 127, 167
Tahitian Women Bathing, fig. 63, 85, 86, 93–94
George, Stephan, 79
German Fauve style, 79, 84
Gerstl, Richard, 36, 85, 86, 133
Self-Portrait, fig. 137, 86, 140–42, 141
Goebbels, Josef, 178–81 passim
Goethe, Johann Wolfgang von, 52, 68, 71, 129, 170–73
Goll, Iwan, 168
Goltz, Hans, 101, 115, 154
Goncharova, Natalia, 82
Gorky, Arshile, 202
Gottlieb, Adolph, 195
Eyes of Oedipus, fig. 190, 200, 203
Blast, I, fig. 195, 204, 207
Gräf, Botho, 54
Grass, Günter, 209
Greenberg, Clement, 196–98, 211–13, 242n
Griepenkerl, Christian, 86
Groener, Wilhelm, 159
Gropius, Walter, 64–65, 115, 150, 167
Grosz, George: influence of Nietzsche, 18
youth, 27
ambivalence toward Berlin, 136
three different identities, 148
transition to Dadaism, 161
criticized Kokoschka, 167
mentioned, 67, 115, 152, 153, 188
In Memory of Richard Wagner, fig. 10, 18, 19, 67
Dedicated to Oskar Panizza, fig. 40, 57, 58, 67
The Big City, fig. 97, 108, 109, 139
Golddigger, fig. 147, 140, 148, 161
Jack the Ripper, fig. 157, 161, 162
Republican Automatons, fig. 159, 161, 163
Toads of Capitalism, fig. 170, 180, 182
Grünewald, Mathias, 177
Isenheim Altarpiece, fig. 88, 103, 104
Gruppe 1919, 65, 115–16
Gutfreund, Otto: Anxiety, fig. 129, 90, 132, 134
Guthmann, Simon, 98
Guttuso, Aldo Renate: Crucifixion, fig. 178, 188, 191
Gutzkow, Karl, 129
Hablik, Wenzel, 51–52
Haeckel, Ernst, 6, 9, 21–22, 41, 43
Hald, Edward, 188
Hart, Heinrich, 44
Hart, Julius, 44
Hartley, Marsden, 195
Hartmann, Walther Georg, 161
Hasenclever, Walter, 158
Heckel, Erich, 14, 49–52, 61, 68, 71, 77, 92, 98, 102, 108–10
Portrait of Friedrich Nietzsche, fig. 3, 14, 71
Girl with Doll, fig. 14, 30, 32, 74
Two Men at the Table, fig. 32, 50, 68
Glassy Day, fig. 33, 50, 52, 52, 68, 98
Roquairol, fig. 37, 55
Sunset, fig. 50, 71–72, 73
Ostend Madonna, fig. 99, 108–09, 110
Village Dance, fig. 126, 131, 132
Hennings, Emmy, 160
Hervé, Julien-August, 174
Hesse, Bermann, 115, 140
Heym, Georg, 98, 137, 152
Hiller, Kurt, 157
Hitler, Adolf, 11, 44, 133, 168, 179–84 passim
Hodler, Ferdinand, 3, 67, 89, 176
The Dispirited, fig. 1, 3, 4
Love, fig. 38, 55, 56, 67
Hofer, Karl, 84
Hoffmann, E. T. A., 47
Hofmann, Hans, 198
Holländer, Felix, 44
Holmström, Vera, 188
Huelsenbeck, Richard, 160–61
Huxley, Thomas H., 20, 21
Ibsen, Hendrik, 33, 44, 67, 88
Immendorf, Jörg, 210
Impressionism, 3, 10, 69, 71–72, 79, 174–78
Ivanov, Viacheslav, 44
Janco, Marcel, 160
Janthur, Richard, 101
Jaspers, Karl, 151
Jawlensky, Alexei, 79, 82, 84–85
Jews: confrontation with Germans, 7
and Nolde, 40–41
pattern of appeasement in Germany, 131
alienated from Viennese culture, 133
and Expressionism, 167
as German “negative identity,” 181. See also Anti-Semitism
Jolin, Einar, 188
Jorn, Asger: Suicide’s Counselor, fig. 197, 204, 209
Josephson, Ernst, 151
Jugendstil, 78, 79, 85, 129
Jung, Carl, 20–21, 170, 200
Kafka, Franz, 132
Kaiser, Georg, 122, 123, 158–60, 180, 236n
Kandinsky, Wassily: and art vs. science, 2
and 1909 Munich, 3
and Maeterlinck, 3
emphasized creation by catastrophe, 15–16
influence of Nietzsche, 15–17
familiarity with atomic research, 23
and apocalyptic imagery, 41–44
championed Third Kingdom, 44–46
condoned stylistic borrowing, 70
development of Expressionist style, 78–85
as outsider, 131
and war, 152–53
mentioned, 52, 68, 95, 102, 112, 121, 161, 167, 177, 178
Composition VII, no. 1, fig. 6, 15, 16, 44, 46, 68
Paradise, fig. 27, 45, 46, 68
Mountain, fig. 62, 82, 83
cover of Blaue Reiter almanach, fig. 67, 83, 85, 89
St. George, fig. 66, 85, 88
Kanoldt, Alexander, 84
Kapp Putsch, 167, 168, 237n
Khnopff, Fernand: Abandoned City, fig. 130, 133, 135
Kiefer, Anselm: To the Unknown Painter, fig. 199, 211, 212
Kierkegaard, Soren, 132
Kirchner, Ernst Ludwig: and renewing German art, 2
youth, 27
pessimistic “nihilism,” 29
and femininity, 54–55
art training, 71
development of style, 71–78 passim
links to Neo-Pathetic Cabaret, 98
primitivism after World War I, 116
ambivalence toward Berlin, 137–39
self-portraits, 145
and war, 152–54 passim
mentioned, 14, 49, 67, 91, 92, 94, 98, 102
illustrations for The 1001 Nights, fig. 4, 14, 15, 71
Street, Dresden, fig. 13, 29, 31, 67, 70, 78, 79
Girl under a Japanese Umbrella, fig. 52, 29–30, 73–74, 75
Bathers Throwing Reeds, fig. 15, 31,33, 74
Eternal Longing, fig. 36, 52–53, 54, 55, 67, 145
Exotic Scene, fig. 54, 74–75, 76
Standing Nude with Hat, fig. 166, 77, 168, 171
poster for the “MUIM Institute,” fig. 57, 77—78, 79, 94
Riegsee Village Church, fig. 58, 79, 80
Street, Berlin, fig. 134, 98, 137, 138, 168
Red Tower in Halle, fig. 135, 137–38, 139
Self-Portrait as Soldier, fig. 145, 145, 147
Schlemihl’s Encounter with the Shadow, fig. 146, 145–48, 148
Artillerymen, fig. 154, 154, 155
Klee, Paul, 69–70, 78, 80–82, 103–04, 116–17, 121, 151, 153, 167, 190–91
Children as Actors, fig. 91, 103–04, 105
Portrait of the Artist, fig. 115, 116–17, 119, 167
Klein, César, 65, 93, 116
The New Bird Phoenix, fig. 163, 165, 166
Kleist, Heinrich von, 34
Klimt, Gustav, 3, 37–38, 55, 57, 67, 72, 78, 86, 132
Medicine, fig. 2, 3, 5
The Kiss, fig. 19, 37, 38, 67, 88
Family (Mother with Children), fig. 70, 88–89, 91
Kline, Franz, 202
Kokoschka, Oskar: youth, 27
Murderer, Hope of Women (play), 34–36
influence of Wagner, 47–48
early artistic development, 86–88
police stopped play, 132
self-portraits, 143–44
demanded end to shooting near museums, 167
considered Jews enlightened patrons, 167
mentioned, 66, 67, 85, 102, 121, 133, 152, 153, 161, 176, 178
poster, drawing for Murderer, Hope of Women, fig. 8, fig. 18, 18, 35, 36, 67, 70, 86–87
The Tempest, fig. 30, 47–48, 49, 68, 144
Bach Cantata, fig. 31, 48, 50, 68
Fan for Alma Mahler, fig. 142, 48, 144, 145
Knight Errant, fig. 143, 48, 144, 146
Ludwig von Janikowski, fig. 69, 87–88, 90
Painter with Doll, fig. 152, 150, 151
Self-Portrait as a “Degenerate Artist,” fig. 174, 184, 186
Kollwitz, Käthe, 89, 125, 128, 157, 164–65, 168
March of the Weavers, fig. 121, 125
The Volunteers, fig. 162, 165, 168
Kornfeld, Paul, 157–58, 169
Krafft-Ebing, Richard von, 8, 41, 54
Kriegszeit, 153–54, 156, 161
Kropotkin, Peter, 63, 67, 68
Kubin, Alfred, 31–32, 57, 67, 133, 153
Stempeding Horses, fig. 16, 32–33, 34, 67, 84
Torch of War, fig. 153, 154, 191
Kubišta, Bohumil, 89–91
Saint Sebastian, fig. 73, 90–91, 92, 143, 175
Kurella, Alfred, 178
Lagarde, Paul de, 10
Lalande, André, 9, 20
La Monte, Robert Rives, 160
Landauer, Gustav, 44
Langbehn, Julius, 10, 11, 127, 130, 131, 136
Larionov, Mikhail, 82
Leadbetter, C. W., 82–83
Lehmbruck, Wilhelm, 102–03, 153–56 passim, 176
Kneeling Woman, fig. 87, 102, 103
Fallen Man, fig. 155, 154–55, 156
Lenin, Vladimir Ilyich, 156, 178
Levine, Jack, 195–96
Gangster Funeral, fig. 185, 196, 197
Liebermann, Max, 39, 78, 86, 91–92, 154, 167
Liebknecht, Karl, 59, 159, 164–65
Lindau, Paul, 169
Lombroso, Cesare, 11, 151
Lukács, Georg, 178–79
Luxemburg, Rosa, 59, 159, 164–65
Macke, August, 52, 65, 67, 85, 103–05, 112, 121
Bathing Girls, fig. 35, 52, 53, 105
Maeterlinck, Maurice, 3, 67
Mahler, Alma, 47–48, 144
Mahler, Gustav, 47, 133
Manes Society, 89, 175
Manet, Edouard, 71, 94
Déjeuner sur l’herbe, fig. 77, 94, 95
Mann, Heinrich, 123, 157
Mann, Thomas, 123, 129, 232n
Mannheim, Karl, 24, 123–24, 233n
Manquin, Henri, 73
Marc, Franz: view of science, 2
influence of Nietzsche, 16–17
looked for spiritual transformation, 24
“animalization of art,” 33
on style, 69
began second phase in Munich Expressionism, 84–85
color symbolism, 106
praised German Romantics, 108
as religious outsider, 131
and war, 153, 154
mentioned, 10, 52, 68, 76, 78, 84, 101, 112, 118, 128, 153, 187
Animal Destinies, fig. 7, 16, 17, 46–47, 194
Yellow Cow, fig. 17, 33, 35, 46–47, 68, 85
The Unhappy Tyrol, fig. 28, 46, 47
Blue Horse II, fig. 64, 85, 87
Deer in the Forest II, fig. 93, 105, 106
Marinetti, Filippo, 8, 19, 152
Marquet, Albert, 73
Masson, André, 190–91, fig. 180, 193
Matějček, Antonin, 175, 177
Matisse, Henri, 73, 78, 84, 174–76 passim
The Blue Nude, fig. 51, 73, 74
Medievalism, 102–03, 231n
Meidner, Ludwig: youth, 27
masochism, 40–41
ties to Neo-Pathetic Cabaret, 98–101
links to German Romanticism, 112
ambivalence toward Berlin, 136–37
and war, 153, 154
mentioned, 49, 67
Apocalyptic Landscape, fig. 26, 24, 40–41,43, 67, 100, 144
Corner House (Villa Kochmann, Dresden), fig. 85, 100
Street at Night in Berlin, fig. 132, 136
Revolution, fig. 133, 137, 144
I and the City, fig. 144, 144, 146
Meier-Graefe, Julius, 153
Merezhkovsky, Dmitri, 44–45, 68, 179
Michelangelo, 35, 70
Minne, Georges, 89
Bather I, fig. 86, 102, 103
Mitschke-Collande, Constantin von, 161, 164
The Time is Ripe, fig. 110, 116, 118, 164
Modersohn-Becker, Paula, 125–27, 130
Kneeling Mother and Child, fig. 122, 126, 127
Modigliani, Amadeo, 190
Moeller van den Bruck, Arthur, 179
Molzahn, Johannes, 65
Monet, Claude: Bend in the Epte River, near Giverny, fig. 74, 93, 94
Moos, Hermine, 150
Morgner, Wilhelm, 95–96
Moselius, Carl David, 175–76
Muche, Georg, 167
Mueller, Otto, 91, 98, 121, 153
Mühsam, Erich, 44
Munch, Edvard: reacted against repressive environment, 27–29
influence on Brücke artists, 29, 222n
influence on Prague Expressionists, 89
mentioned, 3, 10, 21, 55, 67, 72, 79, 86, 88, 91, 92, 132, 176
Evening on Karl Johan Street, fig. 12, 3, 29, 30, 67, 70
Madonna (Loving Woman), fig. 11, 27, 28, 29, 222n
Munich New Artists’ Association. See Neue Künstlervereinigung München
Munich Secession, 78–79
Münter, Gabriele, 79–82, 84
Girl with Doll, fig. 61, 81, 82, 84
Murnau, F. W., 169
Mussolini, Benito, 168
Nash, Paul, 187
Naturalism, 178
Nauen, Heinrich, 103
Nazi posters: fig. 171, fig. 172, 180, 183
Nazism, 178–85 passim
Neo-Expressionism, 207–13
Neo-Impressionism, 72
Neo-Pathetic Cabaret, 91, 98–101, 157
Neo-Primitivism, 84
Neo-Romanticism, 67
Neue Künstlervereinigung München, 79, 84–85, 101, 131
Neue Sachlichkeit, 25, 121
Neue Secession, 14, 65, 91, 93–98, 101
New Objectivity. See Neue Sachlichkeit
New Sobriety. See Neue Sachlichkeit
Nietzsche, Friedrich: and science, 1–2, 20
and Expressionism, 2
and Darwinism, 4
and the age of Bismarck, 6
and war, 6
and male supremacy, 8
and decadence, 10, 219n
and Wagner, 10, 13
and moral nihilism, 11–13
and Max Stirner, 12–13, 220n
influence on Expressionist generation, 14–19
influence in prewar France, 18–19
appraisal by Steiner, 22–23
view unsettling to Germans, 24
and instinct, 33
as motivation for Nolde, 39
praised Cesare Borgia, 57
influence on Bruno Taut, 63
American Expressionists’ view of, 199–201
mentioned, 30, 41, 42, 49, 57, 61, 67, 71, 123, 140, 158, 168, 170, 178, 179, 215
Nihilism, 11–13
Nilsson, Vera, 188
NKVM. See Neue Künstlervereinigung München
Nolde, Emil: influence of Nietzsche, 18, 39
youth, 27
and religion, 38–40
break with Berlin Secession, 92–93
joined Neue Secession, 96–97
primitivism, 96–98
links to German Romanticism, 110–12
trip to Russia, Far East, 112, 131
fatalism of, 118–19
criticized Europe’s “corrupt city people,” 127
painted Jewish subjects, 128
ambivalence toward Berlin, 136
difficulty orienting self in republic, 167
mentioned, 2, 14, 49, 65, 68, 92, 113, 123, 151, 153, 179
Wildly Dancing Children, plate 2, 39, 72
Dance around the Golden Calf, fig. 21, 38, 39
Christ among the Children, fig. 22, 39
Mary of Egypt, fig. 23, 40, 41, 68
Crucifixion, fig. 24, 40, 42, 68, 97
The Prophet, fig. 25, 40, 42
Masks, fig. 81, 96, 97
Marsh Landscape (Evening), fig. 101, 110, 111, 112
Still Life (Rider and China Figures), fig. 117, 118, 120
At the Wine Table, fig. 124, 128
Nordau, Max, 10–11, 151, 184, 219n, 221n
Novalis, 52, 129
Novembergruppe, 65, 114–15, 165
Obrist, Hermann, 79
Olde, Hans, 71
Orientalism, 115–19
Orozco, José Clemente, 193–95
Prometheus, fig. 181, 194
Katharsis, fig. 182, 194, 195
Orphism, 52, 65
Osma, 79, 89
Otto, Rudolf, 57–59, 68
Ozenfant, Amédée, 156
Palau tribal art, 74–77, 112, 228n
Panizza, Oskar, 31, 57, 67
Pascin, Jules, 190
Pechstein, Max: leader of Novembergruppe, 65
influence of Fauves, 73
early Expressionist style, 93–95
journey to Palau islands, 112, 131
and primitivism, 116
Novembergruppe cover illustration, 165
Weimar government posters, 165–66
mentioned, 67, 72, 92, 102, 114, 123, 128, 176, 177
Poster for the “First Neue Secession Exhibition,” fig. 5, 14, 15
Give Us This Day Our Daily Bread (from The Lord’s Prayer), plate 4, 66, 67
poster for exhibition at Emil Richter’s, fig. 127, 74, 131, 133
Evening in the Dunes, fig. 76, 93–94, 95, 131
Moon, fig. 113, 116, 119
Self-Portrait with Death, fig. 151, 149–50, 151
Don’t Strangle the Young Freedom, fig. 164, 165, 166, 180
Penck, A. R., 211
Permeke, Constant: Engaged Couple, fig. 175, 187, 188
Pfister, Oskar, 25, 151
Phalanx Society, 79, 84
Picasso, Pablo, 18, 90, 115, 175–76, 190, 198–99
Head of a Woman (Fernande), fig. 72, 90, 91, 92
Girl with Cock, fig. 187, 198–99, 200
Pleydenwurff, Hans: Hofer Altarpiece, Descent from the Cross, fig. 43, 60, 61, 68, 70, 114
Poelzig, Hans, 115, 116
Grosses Schauspielhaus, fig. 109, 115, 117
Pollock, Jackson, 193, 195, 198–99, 207, 211
Birth, fig. 186, 198
Bird, fig. 188, 198–99, 201
Post-Impressionism, 67, 69
Prampolini, Enrico, 114
Prinzhorn, Hans, 151
Procházka, Antonín, 89
Przybyszewski, Stanislaus, 21, 29, 30, 36–38
Rathenau, Walter, 123, 168
Rattner, Abraham, 195–96, 198
Clowns and Kings, fig. 184, 196
Rauschenberg, Robert, 205
Read, Herbert, 187
Realism, 3, 10
Reinhardt, Max, 115
Renoir, Pierre Auguste, 71, 86
Rhineland Expressionists, 103, 112, 231n
Richter Art Salon, 73
Richter, Jean Paul, 55
Richters, Marius, 187
Rilke, Rainer Maria, 47, 127, 135
Rippert, Otto, 169
Rivera, Diego, 193
Rodenbach, Georges, 133
Rodin, Auguste: Monument to Balzac, fig. 128, 90, 132, 134
Rohlfs, Christian, 93
Birch Forest, fig. 75, 72, 93, 94
Romanticism, 108–12
Rosenberg, Harold, 203, 204
Rothenberg, Susan, 211
Rothko, Mark, 195, 200–02
Self-Portrait, fig. 183, 195, 196
Number 26, fig. 191, 201–02, 204
Rousseau, Jean-Jacques, 123
Runge, Philipp Otto, 108, 129
Morning, fig. 98, 108–09, 110
Parents of the Artist, fig. 118, 119–20, 121
Scharoun, Hans, 63
Scheerbart, Paul, 52, 61, 63
Scheffler, Karl, 113, 177
Schickele, René, 157
Schiele, Egon, 37–38, 67, 85, 88–89, 121, 132–34, 154
Cardinal and Nun, fig. 20, 37, 38, 67, 88
Self-Portrait Nude Facing Front, fig. 139, 37, 142, 143
Self-Portrait Masturbating, fig. 140, 37, 142, 143
Self-Seers II (Death and the Man), fig. 29, 47, 48, 143
The Embrace, fig. 39, 55, 56, 57, 67
Dead Mother I, fig. 71, 88–89, 91, 133
Row of Houses, fig. 131, 133, 135
Self-Portrait as St. Sebastian, fig. 141, 143, 144
Schilling, Erna, 54
Schlaf, Johannes, 44
Schmidt-Rottluff, Karl, 14, 39, 63, 68, 71–72, 77, 92, 98, 113
The Four Evangelists, fig. 83, 48, 98, 99
Christ on the Road to Emmaus, fig. 41, 57–58, 59, 66, 68
Am the Child of Poor People fig. 120, 71, 124
Two Female Nudes, fig. 55, 76, 77
Three Kings, fig. 103, 112, 232n
Schnabel, Julian: Head (For Albert), fig. 201, 211, 214
Schnitzler, Arthur, 29, 61
Schoenberg, Arnold, 35–36, 47, 79, 85, 86, 133
The Red Stare, plate 1, 84, 86
Self-Portrait, fig. 138, 142
Schopenhauer, Arthur, 9, 24, 31, 67
Schouré, Édouard, 42–44 passim
Schreber, Daniel, 41, 67
Segal, Lasar, 93
Severini, Gino, 19
Self-Portrait with Monocle, fig. 94, 107, 108
Shaw, George Bernard, 11
Simmel, Georg, 135–36
Siqueiros, 193
Sironi, Mario, 188
Skupina, Artist Group, 90
Social Darwinism, 5–7 passim, 20, 63, 152
Sonderbund, 49, 71, 101–02, 176, 177
Soutine, Chaim: Hill at Céret, fig. 179, 190, 192
Woman in Red, fig. 193, 203, 206
Spencer, Herbert, 5, 9, 21, 22
Spengler, Oswald, 24, 115, 179, 213, 215
Spilliaert, Léon, 36
Steiner, Rudolf, 22–23, 31, 42–44 passim, 67, 68
Steinhardt, Jacob, 101
Stieglitz, Charlotte, 129
Stirner, Max, 12–13, 29
Strauss, David Friedrich, 26
Strindberg, August, 18, 21, 33–34, 55, 67
Sturm, Der, 36, 87, 91, 93, 101, 152
Sturm Gallery, 51, 101, 108, 167, 188
Sutherland, Graham, 204
Symbolism, 3, 55, 57, 67, 72, 79, 94–95, 178
Symbolists, 67
Tappert, Georg, 65, 93, 95, 114
Taut, Bruno, 52, 61–65, 67, 68, 115, 139–40
Alpine Architecture, 61–63
Cathedral Star, fig. 45, 63, 68
City Crown, fig. 136, 139, 140
Ten, The, 195, 242n
Theosophy, 22–23, 43, 47, 82–84, 115
Third Kingdom, 44–46. See Third Reich
Third Reich, 44, 179
Thorn-Prikker, Johan, 102
Thought-Forms: plate 5, 82–83
Toller, Ernst, 122, 123, 158, 159–60, 180
Tolstoy, Leo, 11
Tönnies, Ferdinand, 134–36
Trotsky, Leon, 196–97
Tube, Minna, 59
Tucker, Benjamin, 13
Turgenev, Ivan, 12
Tzara, Tristan, 160
Uhden, Maria, 167
Van den Berghe, Frits: Birth (Naissance), fig. 176, 187, 189
Van Dongen, Kees, 73
Van Gogh, Vincent, 66–67, 82–86 passim, 89, 92, 127, 151, 167, 175–76
Rising Moon: Haycocks, fig. 49, 71, 72
Madame Roulin and Her Baby, fig. 68, 87–88, 90
Van Hoddis, Jakob, 98–101
Vinnen, Carl, 94, 127–28
Vlaminck, Maurice, 18
Vogeler, Heinrich, 178, 188
Becoming, fig. 160, 161, 164
Von Unruh, Fritz, 158
Wagner, Richard, 10, 11, 18, 47–48, 67, 79, 82, 144
Walden, Herwarth, 36, 101, 115, 167
Watteau, Antoine, 9
Weber, Max, 195
Wedekind, Frank, 27, 161
Wegener, Paul, 116, 169
Weimar Republic, 67, 114–15, 123, 159, 165–68, 179
Weininger, Otto, 54, 67, 225n
Whitman, Walt, 29–30, 67
Wiene, Robert, 116, 169
Wilhelm II, Kaiser, 7, 91–92, 114, 125, 153, 159, 161
Working Council for Art, 63–65 passim
World War I, 52–53, 59, 106–14, 153–56, 187
Worringer, Wilhelm, 49–52 passim, 70, 106, 128, 140, 168, 176–78
Ziegler, Adolf, 181
Zrzavý, Jan, 89
Zuckmayer, Carl, 156
Zuloaga, 86
Index