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EXPRESSIONISM MULTIPLIED:
EARLY TWENTIETH-CENTURY GERMAN POSTERS
BETWEEN ART, COMMERCE, AND POLITICS
by
Kathleen Chapman
________________________________________________________________________
A Dissertation Presented to the
FACULTY OF THE USC GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
DOCTOR OF PHILOSOPHY
(ART HISTORY)
December 2010
Copyright 2010 Kathleen Chapman
Object Description
| Title | Expressionism multiplied: early twentieth-century German posters between art, commerce, and politics |
| Author | Chapman, Kathleen |
| Author email | chakathleen@gmail.com; chapman@usc.edu |
| Degree | Doctor of Philosophy |
| Document type | Dissertation |
| Degree program | Art History |
| School | College of Letters, Arts and Sciences |
| Date submitted | 2010 |
| Restricted until | Unrestricted |
| Date published | 2010-09-14 |
| Advisor (committee chair) | Lang, Karen |
| Advisor (committee member) |
Baker, Malcolm Lerner, Paul Malone, Carolyn |
| Abstract | Although German Expressionism is a term that circulates widely, it is notoriously challenging to define. This dissertation constitutes an attempt to take up this challenge, proposing a new understanding of Expressionism that results from an investigation of the relationship between Expressionist painting and prints, and the most common form of imagery in early twentieth-century German public space—the color lithographic poster.; To reveal implications of this dynamic, I examine representative examples of commercial posters and Expressionist art alongside early twentieth-century German art criticism, art historical writings, and discussions of advertising, all of which explore the specificity and inter-relatedness, or unrelatedness, of these types of pictures. Expressionism and posters emerge as occupying similar discursive positions within broader discussions about the status of the image in modernity, serving as flash points around which uneasiness about and hopes for the image and the status of art in modernity were articulated.; My investigation spans the "Expressionist era" (1905-1921), beginning with its “birth,” the formation of Künstlergruppe Brücke in Dresden, and concluding with the year following its “death” in 1920, announced by its former advocate Wilhelm Worringer. I trace transformations in “Expressionism” as it shifted from naming early manifestations of German experimental art, to declaring an aesthetically driven socialist stance, to designating a repeatable style that could be used as readily for political posters as it could be for nightclub interiors, advertising, or feature films.; Exceeding notions of "style" or "movement" Expressionism registered contemporary shifts in the field of the visual. It has operated, then and now, as a generative concept, producing ways of configuring and understanding the pictures that circulated in the public sphere. To do this, Expressionism required an extensive critical apparatus supported by sophisticated print media in order to stake its claim to specificity. Expressionism is thus a composite form in which diverse concepts of representation, art, kitsch, commercialism, consumerism, national identity, and social and cultural progressiveness and conservatism converged and collided. It is an interconnected web of picture and criticism, an adaptive yet distinct discursive apparatus that served as a resilient strategy for making sense of the visual world of modernity. |
| Keyword | German Expressionism; modernism; posters; advertising; visual art; propaganda; art history; visual culture; art criticism |
| Geographic subject (country) | Germany |
| Coverage date | 1905/1921 |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m3445 |
| Rights | Chapman, Kathleen |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | http://www.usc.edu/isd/libraries/services/ask_a_librarian/email/ |
| Filename | etd-Chapman-4064 |
| Archival file | uscthesesreloadpub_Volume40/etd-Chapman-4064.pdf |
Description
| Title | Page 1 |
| Full text | EXPRESSIONISM MULTIPLIED: EARLY TWENTIETH-CENTURY GERMAN POSTERS BETWEEN ART, COMMERCE, AND POLITICS by Kathleen Chapman ________________________________________________________________________ A Dissertation Presented to the FACULTY OF THE USC GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (ART HISTORY) December 2010 Copyright 2010 Kathleen Chapman |
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