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31 May 2015 would have been Bernhard Schultze’s one-hundredth birthday. On the occasion of this anniversary the publication featuring approximately eighty works of art honours the extensive oeuvre of one of the most important Art Informel artists. As a co-founder of the QUADRIGA artists’ group Bernhard Schultze made an important contribution to the establishment of Art Informel in Germany. This art movement rejected both realistic figuration and “formulaic” geometric abstraction, drawing instead on intuitive creative powers. The book presents delicately coloured and black-and-white drawings and boldly colourful oil paintings as well as Schultze’s important reliefs and sculptures. Texts by art historians, authors, psychoanalysts and fellow artists and texts and poems by Bernhard Schultze himself paint a multifaceted picture of this important post-war artist’s oeuvre

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A history of Germans’ attempts to transform society through art in an age of revolution. For German philosophers at the turn of the nineteenth century, beautiful works of art acted as beacons of freedom, instruments of progress that could model and stimulate the moral autonomy of their beholders. Amid the Revolutionary and Napoleonic wars, Germans struggled to uphold these ideals as they contended with the destruction of art collections, looting, and questions about cultural property. As artworks fell prey to the violence they were supposed to transcend, some began to wonder how art could deliver liberation if it could also quickly become a spoil of war. Alice Goff considers a variety of works—including forty porphyry columns from the tomb of Charlemagne, the Quadriga from the Brandenburg Gate in Berlin, the Laocoön group from Rome, a medieval bronze reliquary from Goslar, a Last Judgment from Danzig, and the mummified body of an official from the Rhenish hamlet of Sinzig—following the conflicts over the ownership, interpretation, conservation, and exhibition of German collections during the Napoleonic period and its aftermath.

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