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Four Metaphors of Modernism: Color Plates

Four Metaphors of Modernism
Color Plates
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table of contents
  1. Cover
  2. Half Title Page
  3. Title Page
  4. Copyright Page
  5. Contents
  6. Overture
  7. Act One. Piano
  8. Act Two. Water
  9. Act Three. Glass
  10. Act Four. Home
  11. Reprise
  12. Acknowledgments
  13. Notes
  14. Bibliography
  15. Index
  16. Color Plates
  17. Author Biography

Color Plates

In Oskar Kokoschka’s “Portrait of Herwarth Walden (1910),” the depicted side view of the man, Herwarth Walden, in formal attire with hands on the hip and looking into the distance, is characterized by an elongated and exaggerated face, conveying an intense and dynamic personality.

Plate 1. Oskar Kokoschka, Portrait of Herwarth Walden, 1910. Oil on canvas, 100 × 69.3 cm. Staatsgalerie Stuttgart. Photograph from Erich Lessing / Art Resource, New York. Copyright 2017 Fondation Oskar Kokoschka / Artists Rights Society (ARS), New York / ProLitteris, Zurich.

The exhibit displays an advertisement for the Société Anonyme, Inc., featuring details such as its mission, key members, and the aim of promoting the study of experimental art while aiding in conserving the vitality of contemporary artistic expressions. Membership dues and contributions to the building fund are encouraged.

Plate 2. Advertisement for the Société Anonyme, Inc., in International Exhibition of Modern Art (New York: Société Anonyme, 1926), n.p. Katherine S. Dreier, editor. Charles Deering McCormick Library of Special Collections, Northwestern University Libraries.

The exhibit features an advertisement for “Der Sturm,” highlighting its role in championing modernism across various artistic domains since 1907.

Plate 3. Advertisement for Der Sturm, in International Exhibition of Modern Art (New York: Société Anonyme, 1926), n.p. Katherine S. Dreier, editor. Charles Deering McCormick Library of Special Collections, Northwestern University Libraries.

The exhibit showcases Wassily Kandinsky’s “Impression III (Concert),” a groundbreaking 1911 oil painting. The painting, dominated by bold strokes of yellow, black, white, and blue, captures the energy of a musical performance.

Plate 4. Wassily Kandinsky, Impression III, Concert, 1911. Oil on canvas, 77.5 × 100 cm. Städtische Galerie, Munich. Photograph copyright ARTOTHEK. Copyright 2017 Artists Rights Society (ARS), New York.

The exhibit features Carlo Carrà’s “The Swimmers,” depicting three women engaged in various swimming poses, the artwork showcases Carrà’s dynamic brushstrokes and vibrant colors, including blues, greens, and yellows.

Plate 5. Carlo Carrà, The Swimmers, 1910–12. Oil on canvas, 107.95 × 158.75 cm. Carnegie Museum of Art, Pittsburgh, Gift of G. David Thompson, 55.54.5. Photograph by Peter Harholdt. Copyright 2017 Artists Rights Society (ARS), New York / SIAE, Rome.

The exhibit showcases Gabriele Münter’s “Boating,” a 1910 oil painting featuring two women and a man in a small boat on a lake. The portrayal emphasizes emotions and personalities through a non-realistic style.

Plate 6. Gabriele Münter, Boating, 1910. Oil on canvas, 125.1 × 73.66 cm. Milwaukee Art Museum, Gift of Mrs. Harry Lynde Bradley, M1977.128. Photograph by Efraim Lev-er. Copyright 2017 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.

The exhibit highlights Robert Delaunay’s “Simultaneous Windows” from 1912, a vibrant depiction of a window exploring light, color, and rhythmic forms.

Plate 7. Robert Delaunay, Simultaneous Windows (1st Part, 2nd Motif, 1st Replica), 1912. Oil on canvas with painted wood frame, 46 × 40 cm. Hamburger Kunsthalle. Photograph from bpk Bildagentur / Hamburger Kunsthalle / Elke Walford / Art Resource, New York.

The exhibit showcases a whimsical townscape painted by Paul Klee, featuring a riot of vibrant colors, geometric shapes, prominent floating domes, and playful houses with a dreamlike quality.

Plate 8. Paul Klee, Town with the Three Domes, 1914. Watercolor, gouache, and pencil on paper on cardboard, 16.5 × 18.5 cm. Kunstmuseum Basel, Stiftung Im Obersteg. Photograph by Martin P. Bühler. Copyright 2017 Artists Rights Society (ARS), New York.

The exhibit showcases László Moholy-Nagy’s “Black-Orange-Yellow,” a 1924 artwork featuring bold geometric shapes in black, orange, and yellow, reflecting the artist’s influence and constructivist style.

Plate 9. László Moholy-Nagy, Black–Orange–Yellow, in Der Sturm 15, no. 2 (June 1924), between pages 60 and 61. Faulconer Gallery, Grinnell College Art Collection. Photograph by Luc Moisan. New York / VG Bild-Kunst, Bonn.

The exhibition features a photograph capturing the interior of the Looshaus, designed by Adolf Loos in Vienna in 1909.

Plate 10. Adolf Loos, Ladies’ Room, Villa Müller, Prague, 1928–30. The City of Prague Museum. Photograph by Pavel Štecha, 2000.

The exhibit features Kurt Schwitters’ renowned work, “Merz 316, ische gelb” from 1921, a collage that exemplifies his distinctive Merz style. Comprising materials like cardboard, wood, metal, and paper, the chaotic composition centers around a yellow circle, evoking a sense of disorder with a touch of playfulness and humor.

Plate 11. Kurt Schwitters, Mz 316 ische gelb, 1921. Collage. Sheet 31.2 × 23.4 cm; image 17.9 × 14.4 cm. Yale University Art Gallery, Gift of the Estate of Katherine S. Dreier. Copyright 2017 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.

The exhibit features a 1951 film still capturing Jackson Pollock and another individual engaged in what seems to be painting on glass, using black strokes of paint.

Plate 12. Film still from Jackson Pollock, 1951. Photograph by Hans Namuth. Courtesy of Center for Creative Photography, University of Arizona. Copyright 1991 Hans Namuth Estate.

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A portion of chapter 2 was previously published in a different form in German as “Alfred Döblins Gespräche mit Kalypso. Über die Musik als Modell der Modernen Kunst,” in Der Sturm: Literatur, Musik, Graphik und die Vernetzung in der Zeit des Expressionismus, ed. Henriette Herwig and Andrea von Hülsen-Esch (Berlin: DeGruyter, 2015), 229–45. A portion of chapter 3 was previously published in a different form in “The Translucent (Not Transparent) Gesamtglaswerk,” in The Total Work of Art: Foundations, Articulations, Inspirations, ed. David Imhoof, Margaret Eleanor Menninger, and Anthony J. Steinhoff (New York: Berghahn Books, 2016), 157–82.

Every effort was made to obtain permission to reproduce material in this book. If any proper acknowledgment has not been included here, we encourage copyright holders to notify the publisher.

Copyright 2018 by the Regents of the University of Minnesota
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