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Outgrowth of the author's thesis (Ph.D.--Courtauld Institute of Art, 2016) under the title: Documents of a forgotten network: the loans to Twentieth century German art, London 1938.
List of contents
Contents Introduction Chapter One: The Organisation of Twentieth Century German Art Chapter Two: Campendonk’s ‘Jumping Beast’: Neutrality and Resistance in Swiss Museums Chapter Three: Schmitt-Rottluff’s ‘Fishermen’s Houses’: Art and Status in Exile Chapter Four: Liebermann’s ‘The Potato Gatherer’: German Modernism, German Dealers and the London Art Market Chapter Five: Schwitters’ ‘The Golden Ear’: ‘Degenerate’ Artists as Lenders to London Chapter Six: Macke’s ‘Men on a Bridge’: Loans from the Reich Chapter Seven: Baumeister’s ‘Kneeling Group’: The British and Twentieth Century German Art Chapter Eight: The Reception of Twentieth Century German Art in Britain and Germany Conclusion Appendix One: Index of Twentieth Century German Art Exhibits Appendix Two: Index of Twentieth Century German Art Lenders Bibliography
About the author
Lucy Wasensteiner is Lecturer in Art History at the University of Bonn, and Associate Lecturer at the Courtauld Institute of Art in London.
Summary
This book represents the first study dedicated to Twentieth Century German Art, the 1938 London exhibition which was the largest international response to the cultural policies of National Socialist Germany and the infamous Munich exhibition Degenerate Art.
