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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.
Kathleen G. Chapman, PhD, is an assistant professor of European modernism in the Department of Art History at Virginia Commonwealth University
AcknowledgementsList of FiguresIntroduction: Expressionism between Spirit and Commerce1 Illustration, Abstraction, Advertising: Wilhelm Worringer and the Continuities of German Art2 Hieroglyphic Appeal: The Visual Rhetoric of the German Object Poster, Werkbund Style, and Expressionist Art3 Promoting Expressionism before Expressionism: Künstlergruppe Brücke and Theories of the Modern Image before World War I4 From War to Revolution, from Propaganda to Art: Expressionism and Posters of the Revolutionary Period5 Expressionism after Expressionism: “Dead” Expressionism and Theories of the Modern Image after World War IConclusion: Expressionism as BuzzwordCopyright of FiguresBibliography
“This book is essential reading for all scholars on modern German art.”Christian Weikop, University of Edinburgh. In: Print Quarterly, Vol. 39, No. 4 (December 2022), pp. 471–474.