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Glitter and Doom at the Metropolitan: German Art in Search of the Self∗

2007; Taylor & Francis; Volume: 50; Issue: 2 Linguagem: Inglês

10.1080/00201740701239954

1502-3923

Hans Sluga,

Art, Aesthetics, and Perception

Click to increase image sizeClick to decrease image size Notes ∗. Glitter and Doom: German Portraits from the 1920s. An exhibition at the Metropolitan Museum of Art, New York (14 November, 2006–19 February, 2007); catalogue edited by Sabine Rewald, with essays by Ian Buruma and Matthias Eberle (New Haven: Yale University Press, 2006). 1. Max Beckmann (1967) “Meine Theorie der Malerei” in Stephan Lackner Ich erinnere mich gut an Max Beckman (Mainz: Florian Kupferberg Verlag) pp. 47 and 48–49. (My translation.) A somewhat colorless English version of this lecture made by Beckmann's wife can be found under the heading “On My Painting” in Max Beckmann (1997) Self‐Portrait in Words (The University of Chicago Press: Chicago) pp. 302–307. 2. Hans Sluga (1991) “Entartete Kunst” Artissues 19 April/May pp. 15–19. For a broader discussion see Stephanie Barron (1991) “Degenerate Art” The Fate of the Avant‐Garde in Nazi Germany ( Los Angeles: Los Angeles Museum of Art). 3. H. Kay Flavell (1988) George Grosz. A Biography (New Haven: Yale U. P.). 4. George Grosz (1972) Ein kleines Ja und ein großes Nein (Reinbek bei Hamburg: Rowohlt) p. 21. Cited from Flavell, loc. cit., p 14. 5. Beckmann “Meine Theorie der Malerei” in Lackner, loc. cit., p. 47. 6. Dix (1965) “Ein harter Mann, dieser Maler” in Diether Schmidt (1981) Otto Dix im Selbstbildnis (Berlin: Henschelverlag) p. 266. 7. Quoted from Jill Lloyd (2003) “Christian Schad: Reality and Illusion” in Christian Schad and the Neue Sachlichkeit edited by Jill Lloyd and Michael Peppiatt (New York: W.W. Norton) p. 27. 8. Otto Dix (1955) “Gedanken zum Porträtmalen” in Schmidt, loc. cit., p. 224. 9. Otto Dix (1965) “Ein harter Mann, dieser Maler. Gespräch mit Maria Wetzel” in Schmidt, loc. cit., p. 265. 10. Otto Dix (1958) “Das Malen einer figürlichen Komposition in Tempera und Öl” in Schmidt, loc. cit., p. 245. 11. Otto Dix “Gedanken zum Porträtmalen” in Schmidt loc. cit., p. 224. 12. Otto Dix (1957) “Gespräch mit Dr. Fritz Löffler” in Schmidt, loc. cit, p. 225. 13. Ludwig Wittgenstein Tractatus Logico‐Philosophicus 5.5421. 14. Wittgenstein Notebooks 1914–1916 ed. by G. H. v. Wright and G.E.M. Anscombe (1961). Translated by G. E. M. Anscombe (Oxford: Blackwell) p. 80. 15. Wittgenstein Notebooks loc. cit., p. 49. 16. Hans Sluga (1996) “Whose House is That? Wittgenstein on the Self” in The Cambridge Companion to Wittgenstein. Edited by Hans Sluga and David Stern (Cambridge: Cambridge University Press) pp. 320–353. 17. Martin Heidegger (1967) Sein und Zeit, eleventh unchanged edition (Tübingen: Max Niemeyer) p. 42; Being and Time (1962) translated by John Macquarrie and Edward Robinson (New York: Harper & Row) p. 68. Page references in the following to Heidegger's work will be to both the German original and the English translation. 18. Loc. cit., p. 116/ pp. 151–152. 19. Loc. cit., p. 115/ p. 151. 20. Loc. cit., p. 125/ p. 162. 21. Beckmann “Meine Theorie des Malens” in Lackner, loc. cit. p. 46. 22. Schmidt, loc. cit., p. 280. 23. Hans Sluga (1993) Heidegger's Crisis. Philosophy and Politics in Nazi Germany (Cambridge Mass.: Harvard University Press) p. 182. For a broader discussion see Sarah O'Brien Twohig (1992) “Dix and Nietzsche” in Otto Dix. 1891–1969 (London: Tate Gallery ) pp, 40–48. 24. Eva Karcher (1988) Otto Dix 1891–1969. His Life and Work (Cologne: Benedikt Taschen) p. 94 25. Ibid., pp. 43 and 33. 26. Otto Dix (1963) “Über Kunst, Religion. Krieg. Gespräch mit Freunden am Bodensee” in Schmidt, loc. cit., p. 255. 27. Otto Dix (1961/67) “Gespräch mit Hans Kinkel” in Schmidt loc. cit., p. 252. 28. Dix “Ein harter Mann, dieser Maler” in Schmidt loc. cit., p. 269. 29. Cited from Peter Selz (no date) Max Beckmann (Garden City: Doubleday) p. 94. 30. Lackner loc. cit., p. 45. 31. Beckmann “Creative Credo” in Beckmann Self‐Portrait in Words loc. cit., p. 184 (partially retranslated). 32. Beckmann “My Theory of Painting” in Lackner, loc. cit., p. 45. 33. Beckmann “Letters to a Woman Artist” in Beckmann Self‐Portrait in Words loc. cit., p. 314. 34. Loc. cit., p. 42. 35. Beckmann “The Artist in the State” in Beckmann Self‐Portrait in Words, loc. cit., pp. 287, 288, and 290. 36. Heidegger Being and Time loc. cit., p. 126/ p. 164. 37. Ibid., p. 268/ p. 312. 38. Ibid.