Description
Book SynopsisWhy did the Museum of Modern Art and the Guggenheim in New York, and art collectors and curators such as Katherine Dreier and Alfred Barr, collect modern German art in the first half of the twentieth century? And why did certain works of art belong to the canon while others did not? In this book, Gregor Langfeld argues that National Socialism played a crucial role in the canonization of movements such as Expressionism and the Bauhaus. A role which undermined the post-1945 reputations of many artists associated with classical and figurative trends. Langfeld offers important new insights into the political and ideological motivations behind the New York art world's fluctuations in opinion, fashion, and price.
Trade Review"Offers a useful analysis of a key aspect of modern German art heretofore unexplored in the literature. Langfeld clearly outlines the scope of his inquiry, and his approach is well organized and well documented with primary material. Recommended." --
ChoiceTable of ContentsIntroduction Harvard University From the First Exhibitions of German Art to the First World War Promoting German Art in the 1920s: The International versus the National Position Promoting German Art around 1930: The National Position The Influence of National Socialism on Canonization The Affirmation of the Canon Conclusions
