In this new examine of artwork in fin-de-siècle Hamburg, Carolyn Kay examines the occupation of the city's paintings gallery director, Alfred Lichtwark, certainly one of Imperial Germany's such a lot influential museum administrators and a popular cultural critic. A champion of recent paintings, Lichtwark stirred controversy one of the city's bourgeoisie through commissioning modern German work for the Kunsthalle by way of secession artists and assisting the formation of an self reliant artwork flow in Hamburg inspired through French impressionism. Drawing on an in depth quantity of archival study, and mixing either ancient and paintings old techniques, Kay examines Lichtwark's cultural politics, their influence at the Hamburg bourgeoisie, and the next adjustments to the cultural scene in Hamburg.
Kay focuses her research on smooth paintings scandals in Hamburg and indicates that Lichtwark confronted powerful public resistance within the Eighteen Nineties, successful major aid from the city's bourgeoisie simply after 1900. Lichtwark's fight to realize recognition for impressionism highlights conflicts in the city's heart type as to what constituted appropriate types and matters of German artwork, with competition teams hard a standard and 'pure' German tradition. the writer additionally considers who in the Hamburg bourgeoisie supported Lichtwark, and why. Kay's neighborhood learn of the talk over cultural modernism in Imperial Germany makes an important contribution either to the examine of modernism and to the heritage of German culture.
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Extra info for Art and the German Bourgeoisie: Alfred Lichtwark and Modern Painting in Hamburg, 1886-1914
The textual content used to be released by means of the GHK, lower than the identify Gedenkrede Alfred Lichtwark zu Ehren (Hamburg 1914). 6 See Lichtwark's advent to the 1st variation of the annual magazine produced via the Society from 1895 to 1912, the Jahrbuch der Gesellschaft Hamburgischer Kunstfreunde 1 (1895), 3-5. 7 StAH, 614-1/56-2, Satzung der Gesellschaft Hamburgischer Kunstfreunde (no date). eight Lichtwark, creation, Jahrbuch der Gesellschaft Hamburgischer Kunstfreunde, 1 (1895), five. nine info of the Society's conferences have been faithfully recorded in a Protokollbuch, now contained in StAH, 614-1/56, Gesellschaft Hamburgischer Kunstfreunde. 10 HbgSTABI, Handschriftenabteilung - Literaturarchiv: letter of 23 Sept. 1899 from Lichtwark to Dr Alfred Bayersdorfer. eleven The names of the administrative for the GHK have been revealed within the Jahrbuch der Gesellschaft Hamburgischer Kunstfreunde, from 1895 to 1912. 12 Schiefler, Eine Hamburgische Kulturgeschichte, 167-8. thirteen Johannes Kalckreuth, Wesen und Werk meines Vaters, 267-9. Lichtwark's pleasure 142 Notes to pages 103-6 over the work is expressed in his letters to Kalckreuth of 27 and 31 July 1904. See Lichtwark, Briefe an Kalckreuth, 139-41. 14 An account of Marie Zacharias's existence is out there in her memoirs, entitled Familien-, Stadt- und Kindergeschichten (Hamburg, 1954). 15 Sloman, Erinnerungen, 39. sixteen there's an unpublished biographical essay on Lorenz-Meyer, written by way of his son Albrecht, in StAH, 622-1, Lorenz-Meyer CXal. 17 Lorenz-Meyer is pointed out as a number one member of the Wichmann camp within the newspaper article of 20 Feb. 1896 within the Hamburger Fremdenblatt. 18 StAH, 614-1/56, Protokollbuch der Gesellschaft Hamburgischer Kunstfreunde: access for 29 Oct. 1898. 19 Marie Woermann donated funds to the Kunsthalle for the gathering of work from Hamburg. See Marita Bellut, 'Die Sammlung von Bildern aus Hamburg' (Magisterarbeit der Albert-Ludwigs-Universitat zu Freiburg, 1980), 87. 20 StAH, 614-1 /56-2, Satzung der Gesellschaft Hamburgischer Kunstfreunde. 21 StAH, 622-1, Lorenz-Meyer CXf9: letter from Lichtwark to Lorenz-Meyer, dated 30 Feb. 1909. 22 a short account of Behrens's lifestyles, and compliment for his inner most artwork assortment, is on the market through Lichtwark within the Jahresbericht der Kunsthalle zu Hamburg fur 1895 (Hamburg, 1896), 26-30. Behrens can also be pointed out as a huge contributor to the Kunsthalle within the exhibition catalogue Aus der Geschichte der Hamburger Kunsthalle (Hamburg, 1969), 17. additional information regarding Behrens's deepest paintings assortment, together with the lavish collection of work via Menzel, Daubigny, Corot, and Dupres in Behrens's financial institution at the Hermannstrafie, is supplied via Gustav Schiefler in Eine Hamburgische Kultutgeschichte, 131-2. 23 Ibid. , 134. 24 Richard Evans profiles the Amsinck kinfolk in 'Family and sophistication in Hamburg's Grand Bourgeoisie 1815-1914/ in Blackbourn and Evans, eds. , The German Bourgeoisie, 115-39. 25 Aus der Geschichte der Hamburger Kunsthalle, 17. 26 Meyer-Tonnesmann, Der Hamburgische Kunstlerclub von 1897,124. 27 Ibid. , 58,66, and 146-8.
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