Display: 1-17 of 17 Results

Theodor Fontane on Changing Public Tastes in the Theater (1878–89)
in: Forging an Empire: Bismarckian Germany (1866–1890)

Wilhelm II, “True Art” (1901)
in: Wilhelmine Germany and the First World War (1890–1918)

Lovis Corinth, “The Paintings from the Brandenburg March and the Founding of the Berlin Secession” (1903)
in: Wilhelmine Germany and the First World War (1890–1918)

Thomas Mann, Epilogue to Buddenbrooks (1905)
in: Wilhelmine Germany and the First World War (1890–1918)

Max Liebermann, “On the Secession Exhibition” (1907)
in: Wilhelmine Germany and the First World War (1890–1918)

Rainer Maria Rilke, Duino Elegies [First, Second, and Third] (1912)
in: Wilhelmine Germany and the First World War (1890–1918)

Adolf Behne, “Bruno Taut” (1914)
in: Wilhelmine Germany and the First World War (1890–1918)

Else Lasker-Schüler, “Oskar Kokoschka” (1913)
in: Wilhelmine Germany and the First World War (1890–1918)

Richard Huelsenbeck, “Dadaist Manifesto” (1918)
in: Weimar Germany (1918/19–1933)

Herbert Kühn, “Expressionism and Socialism” (May 1919)
in: Weimar Germany (1918/19–1933)

Laszlo Moholy-Nagy, “Painting, Architecture and Gesamtkunstwerk” (1925)
in: Weimar Germany (1918/19–1933)

Franz Roh, “Post-Expressionist Schema“ (1925)
in: Weimar Germany (1918/19–1933)

August Sander on Photography (November 1927)
in: Weimar Germany (1918/19–1933)

Raoul Hausmann, “The German PHILISTINE Is Annoyed” (1919)
in: Weimar Germany (1918/19–1933)

George Grosz, “Among Other Things, a Word for German Tradition” (1931)
in: Weimar Germany (1918/19–1933)

Walter Gropius and Paul Schultze-Naumburg, “Who Is Right? Traditional Architecture or Building in New Forms” (1926)
in: Weimar Germany (1918/19–1933)

Max Brod, “Women and the New Objectivity” (1929)
in: Weimar Germany (1918/19–1933)