The Routledge Companion to Expressionism in a Transnational Context is a challenging exploration of the transnational formation, dissemination, and transformation of expressionism outside of the German-speaking world, in regions such as Central and Eastern Europe, the Baltics and Scandinavia, Western and Southern Europe, North and Latin America, and South Africa, in the first half of the twentieth century.
Comprising a series of essays by an international group of scholars in the fields of art history and literary and cultural studies, the volume addresses the intellectual discussions and artistic developments arising in the context of the expressionist movement in the various art centers and cultural regions. The authors also examine the implications of expressionism in artistic practice and its influence on modern and contemporary cultural production.
Essential for an in-depth understanding and discussion of expressionism, this volume opens up new perspectives on developments in the visual arts of this period and challenges the traditional narratives that have predominantly focused on artistic styles and national movements.
Table of Contents
Expressionist Networks, Cultural Debates, and Artistic Practices: A Conceptual Introduction
Part I: Central and Eastern Europe and the Baltic States
- Prague – Brno: Expressionism in Context
- Košice Modernism and Anton Jaszusch’s Expressionism
- Expressionism in Hungary: From the Neukunstgruppe to Der Sturm
- Poznan Expressionism and Its Connections with the German and International Avant-garde
- Expressionist Networks in the Russian Empire, Soviet Russia, and the Soviet Union
- Expressionism in Lithuania: From German Artistic Import to National Art
- Expressionist Originality in Latvia: Between Confirmation and Destruction
- The Ambivalent Affair of Estonian Expressionism
- Expressionism in Denmark: Art and Discourse
- Expressionisms in Sweden: Anti-realism, Primitivism, and Politics in Painting and Print
- Nationalism, Transnationalism, and the Discourses on Expressionism in Finland:
- Expressionism in Sámi Art: John Savio’s Woodcuts of the 1920s and 1930s
- Early Expressionism in Icelandic Art: Jón Stefánsson, Jóhannes Kjarval, and Finnur Jónsson
- Early Engagements: Peripheral British Responses to German Expressionism
- Expressionism in the Netherlands
- Flemish Expressionism in Belgium
- Jewish Expressionists in France, 1900-1940
- German Expressionism in Italy: Herwarth Walden’s Der Sturm, the Berlin
- Expressionism and the Spanish Avant-garde between Restoration and Renovation
- Portuguese Expressionism, or German Expressionism in Portugal?
- Expressionism in Slovenia: The Aspects of a Term
- From Anxiety to Rebellion: Expressionism in Croatian Art
- On New Art and its Manifestations: Rethinking Expressionism in Visual Arts in Belgrade
- Tokens of Identity: Expressionisms in Romania around the First World War
- Expressionism in Bulgaria: Critical Reflections in Art Magazines and the Graphic Arts
- Expressionism in Canada and the United States
- Expressionism in Latin America and Its Contribution to the Modernist Discourse
- The Expressionist Roots of South African Modernism
Giedrė Jankevičiūtė and Laima Laučkaitė
Part II: Scandinavia
Margareta Wallin Wictorin
From the November Group to Ina Behrsen-Colliander
Timo Huusko and Tutta Palin
Margrét Elísabet Ólafsdóttir
Part III: Western Europe
Gert Imanse and Gregor Langfeld
Richard D. Sonn
Novembergruppe, and the Modernist Circles of Florence, Turin, and Rome
Nina Blum de Almeida
Part IV: Southeastern Europe
Part V: Beyond Europe
Oliver A.I. Botar and Herbert R. Hartel, Jr.
Isabel Wünsche is a professor of art and art history at Jacobs University Bremen. She specializes in European modernism, the avant-garde movements, and abstract art. Her book publications include Galka E. Scheyer & The Blue Four: Correspondence, 1924–1945 (Benteli, 2006), Biocentrism and Modernism (with Oliver A. I. Botar, Ashgate, 2011), Meanings of Abstract Art: Between Nature and Theory (with Paul Crowther, Routledge, 2012), The Organic School of the Russian Avant-Garde (Ashgate, 2015), Marianne Werefkin and the Women Artists in Her Circle (with Tanja Malycheva, Brill/Rodopi, 2016), and Practices of Abstract Art: Between Anarchism and Appropriation (with Wiebke Gronemeyer, Cambridge Scholars Publishing, 2016).