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.
Kathleen G. Chapman, PhD, is an assistant professor of European modernism in the Department of Art History at Virginia Commonwealth University
Table of contents
Acknowledgements List of Figures
Introduction: Expressionism between Spirit and Commerce
Illustration, Abstraction, Advertising: Wilhelm Worringer and the Continuities of German Art
Hieroglyphic Appeal: The Visual Rhetoric of the German Object Poster, Werkbund Style, and Expressionist Art
Promoting Expressionism before Expressionism: Künstlergruppe Brücke and Theories of the Modern Image before World War I
From War to Revolution, from Propaganda to Art: Expressionism and Posters of the Revolutionary Period
Expressionism after Expressionism: “Dead” Expressionism and Theories of the Modern Image after World War I
Conclusion: Expressionism as Buzzword
Copyright of Figures
Students, instructors, and historians of European modernism, art, visual culture, advertising, graphic arts, and German culture and society, interested in abstraction, advertising periodicals, arts periodicals, Brücke, film posters, German revolution, 1918-1919, graphic design, propaganda, Sachplakat, Weimar Republic, Werbedienst, Werkbund, World War I, WWI, and Worringer.