German Art without Jews: Neue Galerie and Harvard Art Museums Look for Signs

By Brent, Frances | Tablet Magazine, March 9, 2018 | Go to article overview

German Art without Jews: Neue Galerie and Harvard Art Museums Look for Signs


Brent, Frances, Tablet Magazine


With diligence and even-handedness, the Neue Galerie has sorted the pictures in Before the Fall: German and Austrian Art of the 1930s, into categories, such as "Still Life," "Landscapes," and "The Individual." But the images here, with their sometimes-gloomy and sometimes-magical subjects, pumped with the adrenaline that comes before a fight, keep willfully reshuffling themselves in my mind. Before the Fall, opening this week, is the third show in a trilogy curated by Olaf Peters, focusing on art that signaled and responded to the fissures in German and Austrian culture and politics, ultimately rupturing and leading to war and the Holocaust. Whether they intended it or not, the artists who made these paintings, drawings, photographs, and graphic works during the first decade of the Nazi regime were witnesses and messengersor, as the Austrian painter and graphic artist Wilhelm Traeger put it, they were seismographs of upheaval.

Unlike the often gritty, experimental, and perplexing work at Harvard Art Museums' Inventur: Art in Germany 1943-55, which is running contemporaneously, the art in this exhibit was made while the disaster was still unfolding. Social and political conditions were disintegrating, but the future hadn't arrived; the art was laden with intimations of the tragedy to come, and this is incorporated in the installation design with its gigantic mourning veil and blackened tree roots projecting down from the gallery's ceilings. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited article

German Art without Jews: Neue Galerie and Harvard Art Museums Look for Signs
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
Items saved from this article
  • Highlights & Notes
  • Citations
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Search by... Author
    Show... All Results Primary Sources Peer-reviewed

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.