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Claude Cernuschi

© Koninklijke Brill NV, Leiden, 2008 DOI: 10.1163/156852908X357371 Religion and the Arts 12 (2008) 479–539 RELIGION and the ARTS Georges Rouault and the Rhetoric of Expressionism * Claude Cernuschi Boston College Abstract Endorsing the artist’s statements, Georges Rouault

Jennifer Miskov

Journal of Pentecostal Th eology 19 (2010) 94–117 © Koninklijke Brill NV, Leiden, 2010 DOI 10.1163/174552510X491574 Coloring Outside the Lines: Pentecostal Parallels with Expressionism. Th e Work of the Spirit in Place, Time, and Secular Society? Jennifer A. Miskov * Birmingham

Günter, Rombold

[German Version] I. The Term – II. Origin and Character – III. Expressionism and Church In art, there have always been expressive tendencies, and emphasis on the moment of expression. This is true, especially, of German art; one thinks of the late Middle Ages (devotional art) or the late Baroque

Rimbach, Guenther C.

Broadly speaking, “expressionism” refers to an artistic style flourishing in Europe in the early 20th century that emphasized subjectivity and expression of the full range of emotions—in every medium. More narrowly, it is often used for German literature and fine arts, especially in the period 1910


Lisa Marie Anderson

This book reads messianic expectation as the defining characteristic of German culture in the first decades of the twentieth century. It has long been accepted that the Expressionist movement in Germany was infused with a thoroughly messianic strain. Here, with unprecedented detail and focus, that strain is traced through the work of four important Expressionist playwrights: Ernst Barlach, Georg Kaiser, Ernst Toller and Franz Werfel. Moreover, these dramatists are brought into new and sustained dialogues with the theorists and philosophers of messianism who were their contemporaries: Walter Benjamin, Ernst Bloch, Martin Buber, Hermann Cohen, Gershom Scholem. In arguing, for example, that concepts like Bloch’s utopian self-encounter ( Selbstbegegnung) and Benjamin’s messianic now-time ( Jetztzeit) reappear as the framework for Expressionism’s staging of collective redemption in a new age, Anderson forges a previously underappreciated link in the study of Central European thought in the early twentieth century.


Kathleen G. Chapman

In Expressionism and Poster Design in Germany 1905-1925, Kathleen Chapman re-defines Expressionism by situating it in relation to the most common type of picture in public space during the Wilhelmine twentieth century, the commercial poster. Focusing equally on visual material and contemporaneous debates surrounding art, posters, and the image in general, this study reveals that conceptions of a “modern” image were characterized not so much by style or mode of production and distribution, but by a visual rhetoric designed to communicate more directly than words. As instances of such rhetoric, Expressionist art and posters emerge as equally significant examples of this modern image, demonstrating the interconnectedness of the aesthetic, the utilitarian, and the commercial in European modernism.

Expressionism reconsidered

Relationships and affinities


Gertrud Bauer Pickar and Karl Eugene Webb

Vinzent, Jutta

[German Version] is the internationally acknowledged American art movement of the 1940s/1950s, which developed mainly independently of Europe and which is of singular importance since it signals the shift of the Western art center from Europe to the United States. Abstract expressionism is also


Kathleen G. Chapman

As a participant in post-war discussions about the reasons for the demise of Expressionism, Siegfried Kracauer argued that the irrelevance of Expressionism in the years following World War I demonstrated its success: having emerged in response to historically specific “spiritual needs

Jürgens-Kirchhoff, Annegret