Pechstein, Max (1881–1955)

2018 ◽  
Author(s):  
Aya Soika
Keyword(s):  
Early Period ◽  
Minor Role ◽  
Art Exhibition ◽  
German Expressionism ◽  
Prussian Academy ◽  
Degenerate Art ◽  
To Receive

The Saxon painter Max Pechstein was hailed as one of the leading representatives of modern painting in Germany throughout the 1910s and 1920s, but played a comparatively minor role in the canonization of German Expressionism after 1945. Pechstein first gained notoriety through his affiliation with the artist’s group Die Brücke from 1906 until 1912. He only came to the attention of a wider art public by way of his involvement in the controversial exhibition society Neue Secession in Berlin in May 1910 for which he served as president, designing its legendary first poster and catalog cover (see figure). Pechstein featured prominently in Paul Fechter’s 1914 book Der Expressionismus which presented him as the figurehead of Die Brücke in Dresden and Berlin (much to Ernst Ludwig Kirchner’s annoyance). Pechstein continued to paint and to exhibit throughout the 1920s and 1930s. Despite being included in the notorious 1937 Degenerate Art exhibition, and expelled from the Prussian Academy of Arts, he remained a member of the Reich Chamber of Arts throughout the Nazi dictatorship, and was the first of the so-called "degenerate artists" to receive permission to exhibit again in private galleries in 1939. The first retrospective of his work after his death (in Berlin in 1959) signaled the art historical focus on the early period of his career during the Brücke years at the expense of his later oeuvre.

The Victim – a Great Actor in a Minor Role? – A Comparative Perspective

2021 ◽  
Vol 11 (1) ◽  
pp. 112-128
Author(s):  
Łukasz Duśko ◽  
Mateusz Szurman
Keyword(s):  
Social Order ◽  
American English ◽  
Active Role ◽  
Criminal Court ◽  
Minor Role ◽  
Criminal Proceedings ◽  
The One ◽  
A Minor ◽  
To Receive

Recently, the role of the victim in criminal proceedings became more significant. An observation was made that the legal interests of the victim are much more severely affected by the crime than the collective legal interests in the form of public or social order. However, the differences in the rights the victim is vested with differ substantively between particular countries. The authors present the position of the victim in American, English and French law. The solutions provided for in these systems are confronted with legal regulations adopted in Poland, i.e. the home country of the authors. It shows, surprisingly, that the role of the victim in criminal proceedings has evolved somehow independently of the implementation of the concept of restitution. On the one hand, there are legal systems in which the criminal court may order the offender to pay compensation for the damage caused, but the role of the victim still remains marginal. On the other hand, there are systems in which the victim is not only entitled to receive restitution, but he or she also has significant powers which enable him or her to play an active role in the criminal proceedings.

I. Hereford Cathedral Dignitaries in The Twelfth Century

1944 ◽  
Vol 8 (1) ◽  
pp. 1-21 ◽  
Author(s):  
Z. N. Brooke ◽  
C. N. L. Brooke
Keyword(s):  
Present Article ◽  
Thirteenth Century ◽  
Twelfth Century ◽  
Early Period ◽  
Positive Information ◽  
To Receive

The present article originated out of an attempt to re-edit the letters of Gilbert Foliot, whose career as abbot of Gloucester, bishop of Hereford, and bishop of London covered nearly half of the twelfth century (1139-87). The edition by J. A. Giles is thoroughly unsatisfactory: the text is un-trustworthy, there is no index, and no attempt has been made to date the letters or to arrange them in any coherent order. Nothing could be done at present about the text, since the necessary manuscripts could not be consulted; but it was possible to make an index and with its assistance to arrange the letters in some sort of order and assign to them approximate dates. The chief clues for dating are naturally the names of persons, usually ecclesiastics, mentioned in the letters, but it soon became evident that the only lists available of these ecclesiastics (other than bishops) are for the most part entirely unreliable, and that a complete revision of these lists is a necessary preliminary to any attempt at precise dating, not only of these letters, but also of twelfth-century documents in general. In the thirteenth century, when Patent and Close Rolls begin, there is more positive information, and still more when episcopal registers become available. Before that time, documents were rarely dated, and appointments and deaths of minor officials were not important enough to receive much notice from chroniclers. It is for this early period, when references have to be collected from a number of scattered sources and exact dates are rare, that revision is most needed, and to it we are confining our investigation.

Egypt: Between Warfare and Welfare

2020 ◽  
pp. 212-272
Author(s):  
Ferdinand Eibl
Keyword(s):  
Path Dependence ◽  
Early Period ◽  
Minor Role ◽  
Social Spending ◽  
Social Policies ◽  
Energy Subsidies ◽  
Regime Formation ◽  
External Threats ◽  
A Minor

This chapter retraces the emergence of Egypfs social policy trajectory. A pri­ mary goal is to provide empirical evidence for a link between intra-elite conflict and social policies and spending. The author focuses specifically on the role of the ruler, Nasser, and his impact on early social policies. Highlighting Nasser’s numerous about-faces and ideological ambiguity in the early period of regime formation, he shows that ideology and the ruler’s personality played a minor role in shaping social policies. The chapter emphasizes in particular how external threats made high social spending financially impossible, albeit politically desirable. It demonstrates the specific types of ‘cheap social policies’ the regime utilized to deal with this dilemma. Finally, the chapter sets out to explain the persistence of social spending following divergence. It highlights the key mechanisms of path dependence using the examples of food and energy subsidies and the failed health care reform in the 2000s.

Ich-Dissoziation – Apokalypse – Ästhetik des Hässlichen. Einfluss des deutschen literarischen Expressionismus’ auf die frühe Lyrik von Robert Reiter

2021 ◽  
Vol 66 (3) ◽  
pp. 49-60
Author(s):  
Réka Jakabházi ◽  
Keyword(s):  
Formal Language ◽  
Early Period ◽  
Ideal Type ◽  
The Self ◽  
German Expressionism ◽  
Avant Garde ◽  
New Man ◽  
The Aesthetic ◽  
The Ideal

"Dissociation of the Self – Apocalypse – the Aesthetic of Ugliness. The Influence of German Literary Expressionism on the Early Lyrical Work of Robert Reiter. The present paper focuses on the influence of German literary Expressionism on the early lyrical work of Robert Reiter. In his early period, Robert Reiter took inspiration from the formal language of German Expressionism, as well as from the notion of subjective expression or the dissociation of the self associated with it. He used the apocalypse-motif and the ideal type known as the “New Man,” and practised an “aesthetics of the ugly”, which played a central role in Expressionist literature. To support this thesis, this article analyses the early work of the poet in light of contemporary avant-garde tendencies, with a focus on the poem Terhes hajnalban [In Pregnant Dawn]. Keywords: Expressionism, Robert Reiter, dissociation of the self, apocalypse, aesthetic of ugliness "

scholarly journals Menikmati Secangkir Teh Nasgithel Rasa Yogyakarta

Humaniora ◽  
2013 ◽  
Vol 4 (2) ◽  
pp. 763
Author(s):  
Rujiyanto Rujiyanto
Keyword(s):  
Early Period ◽  
The Political ◽  
Art Exhibition ◽  
Political Role ◽  
Great Leader ◽  
Mixed Feelings ◽  
Great Exhibition

Enjoying the art exhibition is like enjoying a cup of hot sweet tea in the afternoon. There are mixed feelings that we enjoy when walking by the spaces and searching for the meaning of artworks. Exhibition "Negari Ngayogyakarta" is a great exhibition of Yogyakarta, Sri Sultan Palace, and Hamengkubuwono IX. A very special exhibition is associated with the day of 100 years of the birth of a great leader of Ngayogyakarta Hadiningrat, Sultan HB IX. The exhibition was loaded with messages of journey of Yogyakarta and HB IX in the political role scene in the early period of independence until the present realities of Yogyakarta. Yogyakarta as the Kawah Candradimuka place to learn talented artists, reflected in the works of heavily loaded with the deepening of the concepts and ideas are very visionary and imaginary. 

scholarly journals Wer ist in Deutschland willkommen? Eine Vignettenanalyse zur Akzeptanz von Einwanderern

2020 ◽  
Author(s):  
Christian S. Czymara ◽  
Alexander Schmidt-Catran
Keyword(s):  
The Other ◽  
Social Benefits ◽  
Minor Role ◽  
Job Market ◽  
Vignette Study ◽  
Right To Work ◽  
The Right ◽  
A Minor ◽  
Political Persecution ◽  
To Receive

Germany is currently experiencing a huge inflow of migrants. In this vignette study, we analyze how much different kinds of migrants are accepted in Germany. We investigate three different rights for migrants: the right to stay in Germany, the right to work in Germany and the right to receive social benefits. Our results show that people who flee from political persecution are much more accepted compared to migrants who come because of economic reasons. This is particularly true for the right to receive social benefits. On the other hand, our results suggest that there is a strong preference for high-skilled and culturally non-distant migrants. Concerns regarding individual competition on the job market seem to play only a minor role.

The Dialectics of Design and Destruction: The Degenerate Art Exhibition (1937) and the Exhibition internationale du Surréalisme (1938)

October ◽  
2014 ◽  
Vol 150 ◽  
pp. 49-62
Author(s):  
Benjamin H. D. Buchloh
Keyword(s):  
Cultural Production ◽  
Social Space ◽  
Exhibition Design ◽  
Historical Study ◽  
Recent Book ◽  
Art Exhibition ◽  
Marcel Duchamp ◽  
History Of ◽  
Degenerate Art ◽  
Point Of Departure

As a genre of cultural production, where iconic (painterly or photographic), sculptural, and architectural conventions intersect to represent the uniquely specific and current conditions of experience in public social space, exhibition design by artists has only recently emerged as a category of art-historical study. While earlier discussions of El Lissitzky's design of the Pressa exhibition in Cologne in 1928, an exhibition that likely had the widest-ranging impact and is the central example of such an emerging genre in the twentieth century, might have served as a point of departure,1 Romy Golan's important, relatively recent book Muralnomad2—primarily concerned with the history of mural painting and its various transitions into exhibition design—has to be considered for the time being the most cohesive account of the development of these heretofore overlooked practices. Yet, paradoxically, two of the most notorious cases of the historical development of exhibition design after Lissitzky are absent from her study: the infamous Degenerate Art exhibition that opened in Munich on July 19, 1937 (two days after the opening of Nazi Fascism's first major propaganda building, Paul Ludwig Troost's Haus der Deutschen Kunst, and its presentation of German Fascist art in the Grosse Deutsche Kunstausstellung),3 and the Exposition internationale du Surréalisme in Paris, which was installed by André Breton and Marcel Duchamp six months later and 427 miles to the west, on January 17, 1938, at Georges Wildenstein's Beaux Arts Galleries in Paris.4

Schwitters, Kurt (1887–1948)

2018 ◽  
Author(s):  
Silvio Gaggi
Keyword(s):  
20Th Century ◽  
Visual Art ◽  
Three Dimensional ◽  
Major Influence ◽  
The Political ◽  
Two Dimensional ◽  
Art Exhibition ◽  
Avant Garde ◽  
Music And Architecture ◽  
Degenerate Art

Kurt Schwitters is most commonly associated with Dada, but his relationship to that movement’s aesthetic, political, and philosophical rebellion was ambivalent. Although he was friends with the Berlin Dadaists and participated in shows with them, he never formally became a member of their group. Schwitters was also involved with the Expressionist gallery and magazine, Der Sturm, and Dada purists disdained Expressionism, with its focus on the personal rather than the political, the dominant concern of other German Dadaists such as George Gros and Richard Huelsenbeck. The formalist aspect of much of Schwitters’s work also separated his work from Dada "anti-art." Nevertheless, Schwitters is generally regarded as the greatest collage artist of the 20th century. He named his particular style of collage, which often incorporated three dimensional as well as two-dimensional elements, Merz. Merz became a tag prefix for all his works, which included poetry, music, and architecture, as well as visual art. After Schwitters’s art was included in the Nazi’s Degenerate Art exhibition, he escaped, first to Norway and then to England, where he continued to be artistically active until his death in 1948. Schwitters’s Merz aesthetics has been a major influence on avant-garde art throughout the 20th and early 21st centuries.

Sign in / Sign up

Export Citation Format

Share Document