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Identity and Image Refugee Artists from Nazi Germany in Britain (1933-1945)

:	Jutta Vinzent
:	Identity and Image Refugee Artists from Nazi Germany in Britain (1933-1945)
:	VDG Weimar - Verlag und Datenbank für Geisteswissenschaften
:	9783958993037
:	1
:	CHF 22.50
:

:	Kunstgeschichte
:	English

:	400
:	kein Kopierschutz/DRM
:	PC/MAC/eReader/Tablet
:	PDF

This book explores the image and identity of émigré painters, sculptors and graphic artists from Nazi Germany in Britain between 1933 and 1945. It focuses on a neglected field of Exile Studies, that of exiled artists in Britain. Methodologies used in this study have been developed by Exile Studies and History of Art, but also by Postcolonialism, scholars of which usually apply their ideas to the Afro-Asian emigration of the second part of the twentieth century. Thus this study represents methodologically a new way of looking at the emigration from Nazi Germany. Identity and Image is divided into five chapters: After an introductory Chapter One (historiography of the topic, methodology of the study, structure of the book), Chapter Two establishes socio-political patterns of emigration and provides an historical framework for Chapters Three and Four, which concentrate on the image and identity of the refugee artist, the former based on written sources and the latter on visual material. In detail, Chapter Three analyses the British image of the refugee artists and their works on the one hand and the émigrés' self-representations on the other, the latter exemplified by refugee organisations (the Free German League of Culture/Freier Deutscher Kulturbund, the Austrian Centre, the Anglo-Sudeten Club and the Czech Institute) and institutions founded by émigré artists (Jack Bilbo's Modern Art Gallery and Arthur Segal's Painting School). Chapter Four examines the works produced in internment and those exhibited and produced for the refugee organisations discussed in Chapter Three. Chapter Five discusses the results of this study in the light of three postcolonial concepts: diaspora communities, the notion of home and the gendered identity of the refugee. The appendix lists all painters, sculptors and graphic artists from Nazi Germany in Britain with biographical details. Apart from visual and written sources discussed for the first time, there are two major results of the study: First, although the artists were united as refugees, this unity did not lead to a unity in art - 'refugee art' is a construction put forward by the British press and the refugee organisations, particularly the Free German League of Culture. Second, contrary to claims that modern art was international and formed a universal unity that 'transgressed' nationality, neither the West/Europe nor modernism form unities; instead, in the 1930s and 1940s, cultures in Europe constructed conceptions of other European cultures on the basis of nation-state identities.

	COVER	1
	IMPRESSUM	1
	5	1
	TABLE OF CONTENTS	6
	ACKNOWLEDGEMENTS	8
	I INTRODUCTION	10
	1. Historiographic Outline: From Betroffenen-Wissenschaft to a Theoretical Discourse of Exile	11
	2. Towards a Methodology	20
	3. Structure	22
	II PATTERNS OF EMIGRATION. A SOCIO-POLITICAL FRAMEWORK	24
	1. Becoming an Emigré: Jewish, Political and Cultural Persecution	24
	2. Countries of Transit and Britain as an Exile Country	30
	2.1 Exile Countries en Route	30
	2.2 Emigrating to Britain	31
	3. In Great Britain	35
	3.1 Before World War II	35
	3.2 Internment and Release	41
	3.3 The War Years after Internment	48
	4. After the End of World War II	55
	III CONCEPTIONS OF REFUGEE ARTISTS	64
	1. Refugees in General and Refugee Art and Artists in the Context of Modern Art	65
	2. Refugee Associations	74
	2.1 Self-Representations	74
	2.2 British Conceptions and Supporters of the Associations	81
	3. Institutions Founded by Emigré Artists	86
	3.1 Jack Bilbo’s Modern Art Gallery	86
	3.2 Arthur Segal’s Painting School	92
	4. Summary	96
	IV REFUGEE ARTISTS’ VISUAL NARRATIVES	98
	1. Internment Art	99
	1.1 Limitations of Subject Matter and Style	100
	1.2 Inventiveness with Material and Technique	107
	1.3 Summary: A Stylistic Unity Characterised by Gender	108
	2. Art for Refugee Associations	109
	2.1 Joint Ventures: United in Persecution and Being in Exile	109
	2.2 The “Fine Arts Section” of the Free German League of Culture	112
	Exhibits and Illustrations	112
	The President: Oskar Kokoschka and His Political Paintings	120
	A Key Figure: John Heartfield and His Anti-National Socialist and Communist Photomontages	129
	Concluding Remarks	136
	2.3 The Austrian Centre’s “Association of Austrian Painters, Sculptors and Architects”	137
	Exhibits and Illustrations	138
	The President: Georg Ehrlich and His Sculptures and Drawings	141
	A Major Representative: Otto Flatter and His Anti-National Socialist Caricature	144
	Concluding Remarks	156
	2.4 The Anglo-Sudeten Club and the Czech Institute	157
	Pro-Soviet Illustrations in Einheit and Wolfgang Schlosser’s Austrian Communist Drawings	157
	Exhibiting the Works of Czech Citizens and Marie-Louise von Motesiczky’s Portraits of Women	159
	2.5 Concluding Remarks	164
	V CONCLUSION: EXILE AND POSTCOLONIAL DISCOURSE	168
	1. Summary	168
	2. Outlooks	169
	2.1 Diaspora Communities	170
	2.2 The Concept of Home	172
	2.3 The Gendered Identity of the Refugee	174
	3. The Contribution of the Present Work to the Postcolonial Debate	175
	ENDNOTES	178
	I Introduction	178
	II Patterns of Emigration. A Socio-Political Framework	181
	III Conceptions of Refugee Artists	196
	IV Refugee Artists’ Visual Narratives	207
	V Conclusion: Exile and Postcolonial Discourse	218
	Appendix	219
	ABBREVIATIONS AND BIBLIOGRAPHY	220
	Abbreviations	220
	1 Documents and Sources	221
	2 Secondary Literature	230
	APPENDIX	248
	LIST OF REFUGEE ARTISTS (PAINTERS, SCULPTORS AND GRAPHIC ARTISTS) FROM NAZI GERMANY IN BRITAIN (1933–1945)	250
	LIST OF PEUDONYMS AND OTHER NAMES USED IN EMIGRATION AN BEYOND	296
	LIST OF ILLUSTRATIONS	300
	ILLUSTRATIONS	308
	INDEX	392