Table Of Contents
- About the author
- About the book
- This eBook can be cited
- Table of Contents
- List of Figures
- Introduction (Lucy Wasensteiner)
- 1 Play, Design, Politics: Technical Toys, Design Policies and British-German Exchanges in the First Half of the Twentieth Century (Artemis Yagou)
- 2 Dorothy Warren and ‘The Smartest Private Art-Gallery Place in London’: Promoting Exchange with Berlin, 1927–1934 (Ulrike Meyer Stump)
- 3 Exhibiting Contemporary British Art: The Anglo-German Club, 1931–1934 (Lee Beard)
- 4 ‘New Eyes for Old’: How the Neues Sehen and the Neue Sachlichkeit Transformed the Photography of Architecture in Britain in the Early 1930s (Valeria Carullo)
- 5 The Dislocation of Amateurism: Moholy-Nagy in England, 1935–1937 (Leah Hsiao)
- 6 Lucia Moholy and German Photography History in Britain (Michelle Henning)
- 7 Interchanged Threads: Modernism and History in Ethel Mairet, Nikolaus Pevsner and the Bauhaus Weavers (Antonia Behan)
- 8 Walter Gropius and Herbert Read: Architecture, Industry, Transitions and Translations (Karen Koehler)
- 9 Metropolitan Exile: London, Refugee Artists and Places of Contact in the 1930s and 1940s (Burcu Dogramaci)
- 10 Berlin in London, Hiddensee in Walberswick: On Ernst L. Freud’s Exile Architecture in England (Volker M. Welter)
- 11 9, Carlton House Terrace: The German Embassy in London as Showcase for Nazi Ideology (Ina Weinrautner)
- 12 Planning the Modern City: The Neighbourhood Unit Idea in London and Hamburg before and after the Second World War (Dirk Schubert)
- 13 Reframing Exilic Identity for a German Audience: Joseph Paul Hodin’s Encounter with Else and Ludwig Meidner and Its Aftermath (Shulamith Behr)
- 14 Witness to Global Realignments and Human Suffering: Oskar Kokoschka in Post-War London (Keith Holz)
- Notes on Contributors
- Series index
Figure 1.1.Cover of promotional leaflet entitled The Joy the Child Likes Best (London: Dr Richter’s Publishing Office, 1895), John Johnson Collection of Printed Ephemera, Bodleian Libraries, University of Oxford. Photo: author’s own.
Figure 2.2.The Warren Gallery, London. Gallery One, the ‘Velvet Room’, during the exhibition of D. H. Lawrence’s paintings, July 1929, with photographic portraits of D. H. Lawrence on either side of the ←ix | x→fireplace. On the mantelpiece are Henry Moore’s Head of a Girl (1923) and Bird (1927). From Edward Nehls, ed., D. H. Lawrence: A Composite Biography (Madison: University of Wisconsin Press, 1959), n.p. (between pp. 368 and 369). © 1959 by the Regents of the University of Wisconsin System. Reprinted by courtesy of The University of Wisconsin Press.
Figure 2.4.Invitation to the Georg Kolbe exhibition at the Warren Gallery, June 1928, back and front side (pages 4 and 1) of a folded leaflet. Georg Kolbe Museum Archive, Berlin, Georg Kolbe Estate, GK 421.
Figure 2.6.Henry Moore, Mother and Child (1928, LH 51), Styrian Jade, 4 in., formerly coll. Mrs Philip Trotter (Dorothy Warren), whereabouts unknown. Reproduced in Herbert Read, Henry Moore (London: Lund, Humphries and A. Zwemmer, 1949), pl. 10a. Reproduced by permission of the Henry Moore Foundation.
Figure 3.4.Barbara Hepworth, Figure of a Woman, 1929–1930. Exhibited in Neue Englische Kunst, Hamburg Kunstverein, June–July 1932 (34, as Frau). Photo: E. J. Mason / Barbara Hepworth © Bowness, © Tate.
Figure 3.5.Henry Moore, Ideas for Sculpture: Mother and Child and Reclining Figures, c. 1929. Collage, graphite, watercolour, coloured ink on paper. 32 × 33.8 cm. Kunstmuseum Bern, Cornelius Gurlitt Bequest. Photo: courtesy Kunstmuseum Bern. Reproduced by permission of the Henry Moore Foundation.
Figure 5.1.Photograph of a cricket game at Eton College, June 1936, with the description: ‘Fourth of June: Reunion on Agar’s Plough. Cricket may be in progress, but even the people in chairs are only pretending to watch it.’ Photo: László Moholy-Nagy, first published in Bernard Fergusson, Eton Portrait (London: John Miles, 1937). Courtesy of Moholy-Nagy Foundation.
Figure 5.3.The Oxford Encaenia procession, 1936. Photo: László Moholy-Nagy, first published in John Betjeman, An Oxford University Chest (London: John Miles, 1938). Courtesy of Moholy-Nagy Foundation and Oxford University Press.
Figure 5.4.View of Christ Church College Oxford, with the silhouette of the Tom Tower projected onto the buildings, 1936. Photo: László Moholy-Nagy, first published in John Betjeman, An Oxford University Chest (London: John Miles, 1938). Courtesy of Moholy-Nagy Foundation and Oxford University Press.
Figure 5.5.Negative photograph of the iron gate of Trinity College Oxford, 1936, with the description: ‘“No undergraduate may be out after midnight without special leave.” A way of rendering the gates of Trinity ←xii | xiii→College impregnable to those who would scale them.’ Photo: László Moholy-Nagy, first published in John Betjeman, An Oxford University Chest (London: John Miles, 1938). Courtesy of Moholy-Nagy Foundation and Oxford University Press.
Figure 7.2.Maria Holstein, Helene Sinks, Ethel Mairet, Dora Schiemann and Grete Hinze in Germany, 1938. Photo: possibly Marianne Straub. Ethel Mairet Papers, Crafts Study Centre. Image kindly provided by the Crafts Study Centre, University for the Creative Arts.
Figure 9.4.Aid to Russia exhibition in 2 Willow Road, 1942, with Pablo Picasso’s La Niçoise, 1937 – today known ←xiv | xv→as the portrait of Nusch Eluard. With hat: Nancy Cunard. Photo: Archive 2 Willow Road, National Trust Collections. Collections. With kind permission of the Goldfinger Family. Copyright Ernö Goldfinger.
- XXII, 314
- ISBN (PDF)
- ISBN (ePUB)
- ISBN (MOBI)
- ISBN (Hardcover)
- Publication date
- 2021 (December)
- German modernism UK-German Exchange German culture Sites of Interchange Lucy Wasensteiner
- Oxford, Bern, Berlin, Bruxelles, New York, Wien, 2022. XXII, 314 pp., 24 fig. col., 53 fig. b/w.