The Expressionist Turn in Art History: A Critical Anthology

Cover
Title Page
Copyright Page
Dedication
Contents
List of Illustrations
Notes on Contributors
Acknowledgments
Introduction
	Wilhelm Worringer
	Fritz Burger
	Ernst Heidrich
	Max Dvoák
	Heinrich Wölfflin
	Carl Einstein
	Expressionist Art and Art History
	Overview of Contents
	Notes
PART I: WILHELM WORRINGER
	1 Illustration and Advertising: Wilhelm Worringer’s Die altdeutsche Buchillustration
		Illustration and Abstraction
		Woodcuts as Art and Kultur
		Abstraction in Advertising and Art
		Return to Abstraction
		Notes
	2 Introduction to Old German Book Illustration (1912)
		Notes
PART II: FRITZ BURGER
	3 Expressionism and Empathy: Fritz Burger’s Theory of Art
		Introduction
		Burger and Renaissance Italy: Between Expressionism and Empathy
		1911: The Turn to the Modernists
		1912: A Theory of Art Criticism
		1913–1914: Theoretical Writings and Major Publications
		1915–1916: The Expressionist as Empathic Art Historian
		Critical Reception
		Notes
	4 From Cézanne and Hodler: Introduction to the Problems of Contemporary Painting (1913)
		Foreword
		Problems of Modern Painting
		Notes
PART III: ERNST HEIDRICH
	5 Ernst Heidrich as an “Expressionist” Art Historian A Look at Vlaemische Malerei and Other Volumes Written for the Jena Arts Publisher Eugen Diederichs
		Notes
	6 From Flemish Painting (1913)
		Notes
PART IV MAX DVOÁK
	7 Inventing “Mannerist Expressionism”: Max Dvoák and the History of Art as History of the Spirit
		Vienna, November/December 1920: Max Dvorák Gives Lectures on Tintoretto
		Tintoretto as Painter of the Spiritual around 1920: Ernst Bloch, Max Dvorák, Emil Waldmann, and the Legacy of Henry Thode
		Max Dvorák in 1917: Mannerism as the Expressionism of the Sixteenth Century
		Prerequisites I: From the Baroque to Modernity and the Crisis of Evolutionary Paradigms of Art History (1900 to c. 1914)
		Prerequisites II: The Turn to the History of Spirit under the Sign of an Antinaturalistic and Idealistic Modernity (c. 1912–1917)
		Tertium Datur: Mannerism as a Subjective Art of Expression beyond Naturalism and Aestheticism (c. 1917–1921)
		Max Dvorák, an Expressionist Art Historian?
		Notes
	8 “Tintoretto” (1920)
		Note
	9 Foreword to Oskar Kokoschka: Variations on a Theme (1921)
PART V: HEINRICH WÖLFFLIN
	10 Heinrich Wölfflin and the German Sense of Form
		Form as Expression
		Ausdruck and Art History
		The Subject of Expression
		Notes
	11 “Italy and the German Sense of Form” (1921–1922)
	12 “Principles of Art History: A Revision” (1933)
		Notes
PART VI: CARL EINSTEIN
	13 Carl Einstein and Expressionism: The Case of Ernst Ludwig Kirchner
		Notes
	14 “Ernst Ludwig Kirchner,” from Art of the Twentieth Century (1926)
		Note
	15 “Kandinsky” (1926)
		Note
	16 “George Grosz” (1926)
		Notes
Bibliography
	General Sources
	Fritz Burger
	Max Dvorák
	Carl Einstein
	Ernst Heidrich
	Heinrich Wölfflin
	Wilhelm Worringer
Index