Oskar Kokoschka und der Japonismus. Wien um 1900 und die japanische Ästhetik

2021 ◽  
pp. 402-420
Author(s):  
Aglaja Kempf
Keyword(s):  
Oskar Kokoschka

Oskar Kokoschka, Bildnis des Auguste Forel, 1910

Praxis ◽  
2002 ◽  
Vol 91 (38) ◽  
pp. 1527-1527
Author(s):  
W. Vetter
Keyword(s):  
Oskar Kokoschka

scholarly journals Oskar Kokoschka and Auguste Forel

Stroke ◽  
2005 ◽  
Vol 36 (9) ◽  
pp. 2037-2040 ◽  
Author(s):  
Veronika Huf ◽  
Desmond O’Neill
Keyword(s):  
Oskar Kokoschka

Oskar Kokoschka, Red Vienna and the Education of the Child

2006 ◽  
Vol 14 (1) ◽  
pp. 215-226
Author(s):  
RICHARD CALVOCORESSI
Keyword(s):  
Oskar Kokoschka

scholarly journals Lęk i czerwona kotara. Prestiż a twórczość nie-filmowa Davida Lyncha

Panoptikum ◽  
2018 ◽  
pp. 176-184
Author(s):  
Magdalena Howorus-Czajka
Keyword(s):  
Visual Art ◽  
Art Market ◽  
Cultural Imperialism ◽  
Francis Bacon ◽  
American Film ◽  
Artistic Works ◽  
Oskar Kokoschka ◽  
Edvard Munch

Inspired by David Lynch’s works of visual art, this paper is an attempt to identify some extra-artistic mechanisms (the art market) relating to artworks. As a result, his non-cinematic works have been analysed here in the context of the mechanisms operating in culture, as indicated by Mieke Bal (“cultural imperialism”) and James F. English (“economy of prestige”). The artistic works of the American film director have been located on the main axes identified in this context. In addition to the expressionist-surrealist origin and commonly acknowledged connotations with the works of Edvard Munch, Oskar Kokoschka and Francis Bacon, the author also shows ideological threads combining Lynch’s works with Tadeusz Kantor’s legacy.

Der Sturm

2018 ◽  
Author(s):  
Jenny Anger
Keyword(s):  
Franz Liszt ◽  
Wide Audience ◽  
Concert Hall ◽  
Avant Garde ◽  
The People ◽  
Oskar Kokoschka

Der Sturm (Storm) was the fulcrum of the international avant-garde in Berlin from 1910 to 1932. Herwarth Walden (born Georg Levin, 1878–1941) founded the journal Der Sturm, in 1910. His first wife, the poet Else Lasker-Schüler, likely suggested both his nom-de-guerre and the newspaper’s title. Walden, a pianist who had studied with Conrad Ansorge, a former prodigy of Franz Liszt, had ambitions that exceeded the concert hall. Suggesting both the multiplicity of arts that Der Sturm would embrace, and the intention to reach a wide audience, the pianist-impresario-editor Walden traveled with the poet-playwright-artist Lasker-Schüler and the painter-printmaker-dramatist Oskar Kokoschka across Germany to distribute the first edition to the people. The group and their paper met with incomprehension, however, so they returned to cultivate a more select audience in the metropolis.

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