| Description |
1 online resource (263 pages) |
| Series |
Routledge Research in Art Museums and Exhibitions Ser |
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Routledge Research in Art Museums and Exhibitions Ser
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| Contents |
Cover; Half Title; Series Information; Title Page; Copyright Page; Table of contents; List of Figures; List of Plates; Acknowledgements; Abbreviations; Introduction; 1 Twentieth Century German Art: Showcasing German Modernist Culture in 1930s London; 2 A Political Exhibition; 3 The Problem of Primary Sources; 4 A New Approach: Provenance Research; 5 Structure of This Book; Notes; 1 The Organisation of Twentieth Century German Art; 1 London-Zürich-Paris: The Beginnings of an International Project; 2 Mixed Motivations; 3 From Collaboration to Conflict |
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4 The Limitations of the British Public Sphere5 The Final Stages; Notes; 2 Campendonk's 'Jumping Beast': Neutrality and Resistance in Swiss Museums; 1 The Nell Walden Collection at Twentieth Century German Art; 2 Max Huggler and the Contribution of the Kunsthalle Bern; 3 Utilising the Connections of Swiss Museums; 4 The London Exhibition and Swiss Institutional Activism; Notes; 3 Schmitt-Rottluff's 'Fishermen's Houses': Art and Status in Exile; 1 The Karl Göritz Collection: From Chemnitz to London; 2 The Extent of Emigré Collections at the New Burlington Galleries |
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3 Art Collections and Status Building in ExileNotes; 4 Liebermann's 'The Potato Gatherer': German Modernism, German Dealers and the London Art Market; 1 Dealers as Lenders to Twentieth Century German Art; 2 A Market for German Modernism in 1930s London?; 3 The Experience of the Emigré Art Dealer in Britain; 4 German Modernism, German Dealers and the London Art Market; Notes; 5 Schwitters's 'The Golden Ear': 'Degenerate' Artists as Lenders to London; 1 Kurt Schwitters and Twentieth Century German Art; 2 The Extent of Artist Loans to Twentieth Century German Art |
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3 The Motivations for Artistic Involvement4 Marketplace, Showcase, Political Statement; Notes; 6 Macke's 'Men on a Bridge': Loans from the Reich; 1 Connections to the Reich: 1937-1938; 2 The Hess Collection at the New Burlington Galleries; 3 Other German Collections Represented in London; 4 The Westheim Collection in London?; 5 London as an Illicit Marketplace for German Modernism; Notes; 7 Baumeister's 'Kneeling Group': The British and Twentieth Century German Art; 1 British Collections at the New Burlington Galleries; 2 Michael Sadler and the Continuation of a Germanist Project |
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3 Evidence of a Wider British Educational Impulse4 Herbert Read and the Defence of German Modernism; Notes; 8 The Reception of Twentieth Century German Art in Britain and Germany; 1 The British Reaction to Twentieth Century German Art; 2 Reaction from the Third Reich; 3 Summarising Public Attitudes to the London Exhibition; Notes; Conclusion; 1 Re-evaluating Twentieth Century German Art; 2 Next Steps; 3 Final Remarks; Notes; Appendix I: Index of Twentieth Century German Art Exhibits; Appendix II: Index of Twentieth Century German Art Lenders; Bibliography; 1 Primary Sources; 1.1 Archives |
| Notes |
1.2 Correspondence |
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Print version record |
| Form |
Electronic book
|
| ISBN |
9781351004138 |
|
1351004131 |
|
9781351004121 |
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1351004123 |
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9781351004114 |
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1351004115 |
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9781351004145 |
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135100414X |
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