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Material Modernity explores creative innovation in German art, design, and architecture during the Weimar Republic, charting both the rise of new media and the re-fashioning of old media. Weimar became famous for the explosion of creative ingenuity across the arts in Germany, due to experiments with new techniques (including the move towards abstraction in painting and sculpture) and inventive work in such new media as paper and plastic, which utilized both new and old methods of art production. Individual chapters in this book consider inventions such as the camera and materials like celluloid, examine the role of new materials including concrete composites in opening up fresh avenues in the plastic arts, and relate advances in the understanding of color perception and psychology to an increased interest in visual perception and the latent potential of color as both architectural ornament and carrier of emotional force in space. While art historians usually argue that experimentation in the Weimar Republic was the result of an intentional rejection of traditional modes of expression in the conscious attempt to invent a modern art and architecture unshackled from historic media and methods, this volume shows that the drivers for innovation were often far more complex and nuanced. It first of all describes how the material shortages precipitated by the First World War, along with the devastation to industrial infrastructure and disruption of historic trade routes, affected art, as did a spirit of experimentation that permeated interwar German culture. It then analyzes new challenges in the 1920s to artistic conventions in traditional art modes like painting, sculpture, drawing, architecture, textiles, and print-making and simultaneously probes the likely causes of innovative new methods of artistic production that appeared, such as photomontage, assemblage, mechanical art, and multi-media art. In doing so, Material Modernity fills a significant gap in Weimar scholarship and art history literature

Art, German --- Design --- Architecture --- History --- History --- Germany --- History

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"L'exposition « Allemagne / Années 1920 / Nouvelle Objectivité / August Sander » propose de saisir l'esprit du temps d'une Allemagne en pleine mutation sociale, politique et médiatique, traversée par les questions du progrès technique et social. Loin de l'idéalisme de la génération expressionniste anéanti par la Première Guerre mondiale, les artistes de la Nouvelle Objectivité allemande, toutes disciplines confondues, se tournent vers le réel et posent sur le monde un regard précis, froid, porté vers l'extérieur et la civilisation moderne. August Sander adopte ce même regard dans son opus photographique Hommes du xxe siècle, portrait typologique complet de la société allemande."--

Arts --- Neue Sachlichkeit (art) --- Réalité --- Dans l'art --- Sander, August --- Réalité --- Dans l'art. --- Art, German --- Neue Sachlichkeit (Art) --- Painting, German --- Photography --- kunst --- schilderkunst --- fotografie --- architectuur --- grafische vormgeving --- interieurvormgeving --- grafisch design --- design --- productdesign --- twintigste eeuw --- Duitsland --- Neue Sachligkeit --- 7.037 --- Nouvelle objectivité --- Entre-deux-guerres --- Allemagne --- Art, German. --- Neue Sachlichkeit (Art). --- Sander, August. --- 1900-1999. --- Germany. --- Nieuwe Zakelijkheid --- modernisme --- interbellum --- Hartlaub, Gustav Friedrich --- Neurath, Otto --- Reidemeister, Marie --- Arntz, Gerd --- Breuer, Marcel --- Ruttmann, Walter --- Bergmann-Michel, Ella --- Keun, Irmgard --- Fleisser, Marieluise --- Brecht, Bertolt --- Kracauer, Siegfried --- Dudow, Slátan --- 1920 - 1930 --- Nieuwe Zakelijkheid. --- modernisme. --- interbellum. --- Hartlaub, Gustav Friedrich. --- Neurath, Otto. --- Reidemeister, Marie. --- Arntz, Gerd. --- Breuer, Marcel. --- Ruttmann, Walter. --- Bergmann-Michel, Ella. --- Keun, Irmgard. --- Fleisser, Marieluise. --- Brecht, Bertolt. --- Kracauer, Siegfried. --- Dudow, Slátan. --- 1920 - 1930. --- Duitsland.

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"Featuring a selection of women artists active between 1890 to 1924, this book investigates divergent responses to the dramatic historical events and structural transformations during the early twentieth century. It reveals their efforts, with greater or relative success, to negotiate the competitive market economy of the late Wilhelmine empire and the uncertainties of the early Weimar Republic. In examining these artists, Shulamith Behr uncovers the overlooked importance of women's emancipative ideals to the development of avant-garde culture. Behr explores the richness of the women's engagement with and shaping of Expressionism, the modern art movement noted for its intention to express the emotional-rather than physical-reality of the artist. Behr examines the posthumous critical reception of Paula Modersohn-Becker as a prime agent of the feminization of the movement; Käthe Kollwitz's use of printmaking as a vehicle for technical innovation and socio-political commentary; and the dynamic relationship between Marianne Werefkin and Gabriele Münter, including their different national and cultural origins and paths towards Expressionism in the Blaue Reiter, a group of artists that included Wassily Kandinsky and Paul Klee. Additional chapters examine the role of Herwarth Walden's and Nell Walden's role as art dealers who promoted women Expressionists during the First World War, Münter's encounter with Swedish Expressionism in Scandinavia, and the recognition of Dutch-born abstractionist Jacoba van Heemskerck as an honorary German Expressionist"--

Expressionism (Art) --- Women artists --- Art, German --- Art and society --- History --- Art, Modern --- ABR-Stuttgart (Group of artists) --- Bewegung Nurr (Group of artists) --- Blaue Reiter (Group of artists) --- Blaue Vier (Group of artists) --- Die Sieben (Group of artists) --- Ellipse (Group of artists) --- Gruppe Kranich (Group of artists) --- Künstlergruppe Chemnitz --- Neben E1N Ander (Group of artists) --- Pathetiker (Group of artists) --- Artists, Women --- Women as artists --- Artists --- Art --- Art and sociology --- Society and art --- Sociology and art --- Social aspects