Art Criticism - The State University of New York

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Notes 1 Alfred Barr, "Art in the Third Reich: Preview, 1933," Magazine of Art, 38 (October, 1945): 211-230. 2 Lynn H. Nicholas, The Rape of Europa (New York: Alfred A. Knopf, 1994),7. 3 Hellmut Lehmann-Haupt, Art UneJer a Dictatorship (New York: Oxford University Press, 1954), 38. 4 Stephanie Barron, "Degenerate Art:" The Fate of the Avant-Garde in Nazi Gennany (Los Angeles: Los Angeles County Museum of Art, 1991), 11. 5 The Speeches of Adolf Hitler, ed. Norman Baynes (London: Oxford University Press, 1942), 578. 6 Sherree Owens Zalampas, Adolf Hitler: A Psychological Interpretation of His Views on Architecture, Art, and Music (Bowling Green, OH: Bowling Green State University Popular Press, 1990), 86. 7 Lehmann-Haupt, 43. 8 Nicholas, 10. 9 Ibid., 9. 10 Zalampas, 54. 11 Barron, 11. 12 Ibid., 10. 13 Zalampas, 54. 14 Adolf Hitler, Mein Kampf,trans. Ralph Manheim (Boston: Houghton Mifflin Co., 1971),261. 15 Nicholas, 9. 16 Barron, 13. 17 Zalampas, 90. 18 Nicholas, 23. 19 Barron, 9. 20 Ibid., 20. 21 Hitler at a rally in Nuremberg, 1933. 22 Hitler at the opening of the Haus der Deutschen Kunst, 1937. 23 Hitler at a conference in Nuremberg, 1934. 24 Commentary on wall of Entartete Kunst. Barron, 49-80. 25 Nicholas, 16. 26 Zalampas, 70. 27 Barron, 18. 28 Nicholas, 20. 29 Ibid. 30 Ibid. 31 Barron, 30. 32 Zalampas, 73. 33 Fredrick Redlich, Hitler: Diagnosis of a Destructive Prophet (New York: Oxford University Press, 1999), 122. 34 Barron, 84. 35 Jonathan Petropoulos, Art as Politics in the Third Reich (Chapel Hill: The 84 Art Criticism
University of North Carolina Press, 1996), 60. 36 Nicholas, 40. 37 Ibid., 62. 38 Petropoulos, 77. 39 Nicholas, 23. 40 Redlich, 123. 41 Nicholas, 25. 42 Barron, 95. 43 Petropoulos, 82. 44 Nicholas, 41. 45 Ibid., 49. 46 Redlich, 122. 47 Nicholas, 25. vol. 17, no. 1 85
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Volume 17; Number I ART C.RIT1C1SM
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Art Department State University of
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4 Art Criticism
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Breaking the Picture Plane: Reflect
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whale saga (more recently Hesse or
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and many of whom were born in Europ
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printed a bullet track fired into a
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music that (like the Mona Lisa) has
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causing by neglect a bitterness amo
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preserved some of the exuberance th
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which inspiration was stabilized. 5
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pain in the eyes of the cripple giv
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Bruckner did in his music) was not
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mortify into hard edges and mushy c
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with the sleep of reason. In the Am
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cent. Its fluidity of happy acciden
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And yet I can imagine these atrocit
Page 36 and 37: erature the not very evocative work
Page 38 and 39: maiden" of Marxism (unless things g
Page 40 and 41: ic he realize that artists suddenly
Page 42 and 43: The little nonsense that wise men r
Page 44 and 45: desensitized by the imitated means
Page 46 and 47: symbolism? If the arts only exist t
Page 48 and 49: The Femme Fatale as seen in the wor
Page 50 and 51: Huysmans parallels the life of De R
Page 52 and 53: ask for the unreasonable and receiv
Page 54 and 55: ennui or physical distress leads th
Page 56 and 57: ences cited herein, the femme fatal
Page 58 and 59: period."2 He traced the tradition b
Page 60 and 61: suggestion to the artist and the po
Page 62 and 63: of Moreau's works is vague and myst
Page 64 and 65: ing her as the femme fatale, or sub
Page 66 and 67: The subtitle Satanic Decameron evok
Page 68 and 69: completely mythical. Coupled with a
Page 70 and 71: Moreau was very much a man of his t
Page 72 and 73: themes and images are often decaden
Page 74 and 75: p. 7-8; cited in Pierre Louis Mathi
Page 76 and 77: Between World War I and World War I
Page 78 and 79: shown distrust in the new styles. T
Page 80 and 81: These passages were meant to help g
Page 82 and 83: man public was voicing disapproval
Page 84 and 85: y old masters that were more suitab
Page 88 and 89: From Diagnoses to Decadence: A Brie
Page 90 and 91: ate effort to reproduce fully an im
Page 92 and 93: patients. Charcot was often to be f
Page 94 and 95: Breuer attributed the presence of A
Page 96 and 97: still is traditionally associated w
Page 98 and 99: is not always recognized as such. H
Page 100 and 101: generation on which the multitude o
Page 102 and 103: 2 Elaine Showalter, The Female Mala
Page 104 and 105: 36 Freud and Breuer, 37. 37 Su'ch a
Page 106 and 107: Recasting the Art History Survey: E
Page 108 and 109: mode of self-consciousness that bes
Page 110 and 111: student-as-Other "calls" us to teac
Page 112 and 113: thesis of such descriptions into an
Page 114 and 115: In this final section of the essay,
Page 116 and 117: image-world, the picture opens up a
Page 118 and 119: history must itself be rethought in
Page 120 and 121: 15 Two of the most prominent propon
Page 122 and 123: power: from the premodern exercise
Page 124: ~fJed in the Unikd Smtc, .• 9 ~]~
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