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Studies in German History
Max Liebermann and International Modernism
An Artist's Career from Empire to Third Reich
Edited by Marion Deshmukh, Françoise Forster-Hahn and Barbara Gaehtgens
266 pages, 8.5
ISBN 978-1-84545-662-7 $69.95/£49.00 Pb Published (May 2011)
Published in Association with the German Historical Institute, Washington, D.C. and the Centre Allemand d'histoire de l'art/Deutsches Forum für Kunstgeschichte, Paris
Although Max Liebermann (1847–1935) began his career as a realist painter depicting scenes of rural labor, Dutch village life, and the countryside, by the turn of the century, his paintings had evolved into colorful images of bourgeois life and leisure that critics associated with French impressionism. During a time of increasing German nationalism, his paintings and cultural politics sparked numerous aesthetic and political controversies. His eminent career and his reputation intersected with the dramatic and violent events of modern German history from the Empire to the Third Reich. The Nazis’ persecution of modern and Jewish artists led to the obliteration of Liebermann from the narratives of modern art, but this volume contributes to the recent wave of scholarly literature that works to recover his role and his oeuvre from an international perspective.
Marion Deshmukh is the Robert T. Hawkes Professor of History at George Mason University where she served as Department Chair from 1984 to 1995 and from 2006 to 2007. Her publications include works and exhibition catalog essays on Max Liebermann, on German academies and art unions, on Berlin’s National Gallery of Art since 1945 and on East German painters since 1990. She curated a Max Liebermann graphics show at the Goethe-Institut, Washington, D.C., (Max Liebermann, Works on Paper, 2006) and an exhibit, co-curated with the Wende Museum, also at the Goethe Institut, (Iconoclash! Political Imagery from the Berlin Wall to German Unification, 2009–10).
Françoise Forster-Hahn is Distinguished Professor of the History of Art at the University of California, Riverside. She is the editor of Imagining Modern German Culture, 1889–1910 (1996) and the author of Max Beckmann in Kalifornien: Exil, Erinnerung und Erneuerung (2007). Her publications include numerous essays and contributions to books and exhibition catalogues on issues of nineteenth and twentieth century art and the role of institutions and exhibition displays in the formation of national and cultural identity. She is currently preparing a publication on the role of Berlin’s Jahrhundertausstellung (1906) and Julius Meier-Graefe’s Entwicklungsgeschichte der modernen Kunst (1904) in the construction of the history of modern art.
Barbara Gaehtgens specializes in 17th Century Dutch and French art, 18th Century art theory and 19th Century German and American art. She has taught at the Technische Universität Berlin and Princeton University and has been affiliated as a scholar with CASVA, Washington, National Gallery of Art, and the Centre Allemand d’histoire de l’art in Paris. Her publications include Adriaen van der Werff , 1659-1722 (1987), Max Liebermann. Holland als Vorbild in exh. cat. Max Liebermann-Jahrhundertwende, Nationalgalerie Berlin (1997), Genremalerei. Theorie der klassischen Bildgattungen (2003), and Richelieu patron des arts (2009). Her present research centers on 17th Century French political iconography.
Subject: General History General Cultural Studies
LC: N6888.L44 M39 2011
BISAC: HIS014000 HISTORY/Europe/Germany; ART015000 ART/History/General; HIS010000 HISTORY/Europe/General
BIC: HBJD European history; JFC Cultural studies
List of Illustrations
PART I: LIEBERMANN’S INTERNATIONAL CONNECTIONS AND TRAINING
Chapter 1. Internationalism for the Nation: Max Liebermann as a Cultural Politician
Chapter 2. Weimar Beginnings: Liebermann and Munkacsy
Chapter 3. Liebermann’s Holland
PART II: THE FRENCH CONNECTION
Chapter 4. German Impressionism?
Chapter 5. Liebermann and Millet
Chapter 6. Liebermann and his French Critics: Art and Politics from the 1870s to the 1930s
Chapter 7. Max Liebermann’s Art Collection: A Reconstruction from Letters and Documents
Chapter 8. History and Modernity: Liebermann’s Late Garden Paintings
PART III: GERMAN CULTURAL CRITICISM
Chapter 9. Criticism, Conflict and Controversy
Chapter 10. How Modern is Modern? Max Liebermann and the Discourses of Modernism in 1906
Chapter 11. Who’s Afraid of Delilah? Liebermann Portraying Women
Chapter 12. Kreigszeit and the Discourse of War Imagery
PART IV: INTERNATIONAL POLITICS AND INTERNATIONAL MODERNISM
Chapter 13. Max Liebermann’s Role in Russia
Chapter 14. Paintings and Drawings by Max Liebermann: A British Intervention against European Fascism
Susan M. King
Chapter 15. The Art of the Deal, Collecting Max Liebermann in America
Chapter 16. Sonderwege Historical and Art Historical: The Case of Max Liebermann
Notes on Contributors
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