By Shulamith Behr, Marian Malet (Editors)
This quantity specializes in the contribution of refugees from Nazism to the humanities in Britain. The essays research the a lot overlooked subject matter of paintings in internment and deal with the spheres of images, political satire, sculpture, structure, artists’ firms, institutional versions, dealership and conservation. those are thought of less than the vast headings ‘Art as Politics’, ‘Between the general public and the family’ and ‘Creating Frameworks’. Such different types help in posing questions concerning the politics of identification and gender, in addition to offering a chance to discover the advanced problems with cultural formation. the quantity could be of curiosity to students and scholars of twentieth-century artwork historical past, museum and conservation experiences, politics and cultural reviews, as well as these fascinated by German stories and in German and Austrian Exile reviews. desk OF CONTENTS desk of Illustrations Preface Shulamith BEHR: Klaus E. Hinrichsen: The artwork Historian in the back of ‘Visual artwork at the back of the cord’ artwork AS POLITICS Duncan FORBES: Politics, images and Exile within the lifetime of Edith Tudor-Hart (1908–1973) Rebecca SCRAGG: striking Hitler: Joseph Flatter’s Mein Kampf Illustrated sequence, 1938-1942 Anna MÜLLER-HÄRLIN: Fred Uhlman’s Internment Drawings among the general public AND THE household Margaret GARLAKE: A Minor Language? 3 Émigré Sculptors and their recommendations of Assimilation Volker M. WELTER: Ernst L. Freud – family Architect growing FRAMEWORKS Anna MÜLLER-HÄRLIN: ‘It all occurred during this road, Downshire Hill’: Fred Uhlman and the loose German League of tradition Dorothea McEWAN: Exhibition as Morale Boosters. The Exhibition Programme of the Warburg Institute 1938-1945 Jutta VINZENT: Muteness as Utterance of a compelled truth – Jack Bilbo’s sleek paintings Gallery (1941-1948) Ulrik RUNEBERG: Immigrant photo Restorers of the German-speaking global in England from the Nineteen Thirties to the Post-war period Index
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Extra info for Arts in Exile in Britain 1933-1945: Politics and Cultural Identity
Heise, Lübecker Kunstpflege 1920–1933, 1934, op. , pp. 65–66 (see note 41). 55 Klaus Hinrichsen, ‘Lebenslauf’, ‘Tönnies Evers 1550–1613. Ein Beitrag zur Geschichte des Stilwandels in der deutschen Plastik um 1600’, Dissertation, University of Hamburg, 1937. 56 Hinrichsen, ‘Tönnies Evers’, 1937, pp. 115–120. 57 Hinrichsen, IWM, Accession No: 003789/09, June 1978 58 Adrian Glew, ‘Obituary: Klaus Hinrichsen’, The Guardian, 28 September 2004. 59 Hinrichsen, IWM, Accession No: 003789/09, June 1978.
Of bohemian upbringing and Communist leanings, they both paid research trips to Vienna during the late 1920s. In the immediate post-war period, the enhanced technological capacities of the camera and faster printing processes offered the left new opportunities for popular mobilisation. 36 The Montessori movement in Vienna also made extensive use of photographs, as a mechanism to promote its struggle for official legitimacy, but also as a means of enhancing its central technique of concentrated pupil observation.
195, 206–207. 24 Hinrichsen, ‘Interned with Erich Kahn’, 1989, op. cit. 25 Hinrichsen, IWM, Accession No: 003789/09, June 1978: evidently, Hinrichsen felt challenged by the necessity to establish some sort of bureaucracy in the camp; house fathers reported to street captains; the whole camp elected a camp father, camp Klaus E. Hinrichsen: The Art Historian behind ‘Visual Art behind the Wire’ 37 speaker and camp captain. And he and the three street captains saw the commandant at frequent intervals.
Arts in Exile in Britain 1933-1945: Politics and Cultural Identity by Shulamith Behr, Marian Malet (Editors)