German Expressionism - (Manchester Spenser) by Dorothy Price (Hardcover)
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<p/><br></br><p><b> About the Book </b></p></br></br>This book presents new research on the histories and legacies of the German Expressionist group<i> </i>Blaue Reiter, the founding force behind modernist abstraction. It offers a novel perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century.<p/><br></br><p><b> Book Synopsis </b></p></br></br><p>This volume presents new research on the German Expressionist group <em>Blaue Reiter</em>. Established in 1911 by Wassily Kandinsky, Franz Marc, Gabriele Münter and others, <em>Blaue Reiter</em> played a decisive role in the development of modernist abstraction.<br /> <br /> The book takes a variety of inter-disciplinary approaches, from a philosophical enquiry into the group's language and visual perception to analyses of its gender dynamics, its reception at different historical junctures and its legacies for postcolonial aesthetic practices. Offering new perspectives on familiar aspects of Expressionism and abstraction, the book takes seriously the inheritance of modernism for the twenty-first century while recalibrating the field of Expressionist studies for future scholarship. <em>Blaue Reiter</em> still matters, the contributors argue, because the legacies of abstraction continue to be debated by artists, writers, philosophers and cultural theorists today.<br /> <br /> <em>German Expressionism </em>features chapters by senior scholars such as Rose-Carol Washton Long, Shulamith Behr, Debbie Lewer and Christian Weikop, alongside newer voices. It is aimed at students and scholars of art history, cultural studies, visual culture, modernism and German studies.</p><p/><br></br><p><b> From the Back Cover </b></p></br></br>This volume presents new research on the German Expressionist group <i>Blaue Reiter</i>. Established in 1911 by Wassily Kandinsky, Franz Marc, Gabriele Münter and others, <i>Blaue Reiter</i> played a decisive role in the development of modernist abstraction. The book takes a variety of inter-disciplinary approaches, from a philosophical enquiry into the group's language and visual perception to analyses of its gender dynamics, its reception at different historical junctures and its legacies for postcolonial aesthetic practices. Offering new perspectives on familiar aspects of Expressionism and abstraction, the book takes seriously the inheritance of modernism for the twenty-first century while recalibrating the field of Expressionist studies for future scholarship. <i>Blaue Reiter</i> still matters, the contributors argue, because the legacies of abstraction continue to be debated by artists, writers, philosophers and cultural theorists today. <i>German Expressionism </i>features chapters by senior scholars such as Rose-Carol Washton Long, Shulamith Behr, Debbie Lewer and Christian Weikop, alongside newer voices. It is aimed at students and scholars of art history, cultural studies, visual culture, modernism and German studies.<p/><br></br><p><b> Review Quotes </b></p></br></br><br>'This book is not intended as an introduction to the art and ideas of Der Blaue Reiter, nor does it offer a comprehensive history of the group. Instead, these essays provide new, exciting readings of a series of topics that are loosely linked yet independent of each other. Although it took nine years for them to appear in print, they have lost nothing in the delay, and for those interested in an in-depth analysis of Der Blaue Reiter and its legacies, the book is well worth the wait.' <i>Burlington Magazine</i> 'German expressionism is enjoying a resurgence of interest. Most of the recent scholarship on the art of German expressionism focuses on the artists of Die Brücke (The Bridge), a group founded in 1905 by four Dresden architects, which lasted about a decade. In the popular imagination, the angular, painterly, figurative style of Die Brücke artists, who were interested in combining the modern and the primitive, represents the essential qualities of expressionism. Until now, the artist groups that arose in Munich during the decade before WW I have received little attention. Among those groups was Der Blaue Reiter (The Blue Rider), usually considered another development of pre-WW I German expressionism. In contrast to the Die Brücke artists, the artists of Der Blaue Reiter were less cohesive in style and intent. Scholars of German expressionism have always taken pains to argue that Der Blaue Reiter really belonged to the earlier movement. Three of the eight essays in this collection try to establish Der Blaue Reiter as an equal contributor, with a standing of its own, to the expressionist movement. The other five essays explore tangential aspects of individual artists' careers and specific cases of early critical appreciation.' <i>--W. S. Bradley, emeritus, Colorado State University</i> Summing Up: Recommended. Upper-division undergraduates through faculty.<br><p/><br></br><p><b> About the Author </b></p></br></br>Dorothy Price is Professor of History of Art at the University of Bristol
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