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The 20th Century German Art exhibition of 1938 gave visibility to artists who had been defamed at the Munich exhibition Entartete Kunst and were persecuted by the National Socialist regime.
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Dogramaci, Burcu. “Aufs richtige Pferd gesetzt! Zur frühen Geschichtsschreibung des Expressionismus.” Fritz Burger (1877–1916) – ‘eine neue Kunstgeschichte’ (Veröffentlichungen des Zentralinstituts für Kunstgeschichte in München, 43), edited by Ulrich Pfisterer, Dietmar Klinger Verlag, 2016, pp. 189–208.
Elliott, David. “Modern German Art 1938: The Book.” London 1938. Defending ‘degenerate’ Art. Mit Kandinsky, Liebermann und Nolde gegen Hitler, edited by Lucy Wasensteiner and Martin Faass, exh. cat. The Wiener Library for the Study of the Holocaust & Genocide, London, 2018a, pp. 152–160.
Exhibition of 20th Century German Art, exh. cat. New Burlington Galleries, London, 1938.
Exhibition of German-Jewish Artists’ Work: Painting – Sculpture – Architecture, exh. cat. Parsons Galleries, London, 1934.
Flechtheim, Alfred. “Postscript.” James Laver. French Painting And The Nineteenth Century. B.T. Batsford Ltd., 1937, pp. 101–114.
Frowein, Cordula. “Ausstellungsaktivitäten der Exilkünstler.” Kunst im Exil in Großbritannien 1933–1945, exh. cat. Neue Gesellschaft für bildende Kunst, Berlin, 1986, pp. 35–48.
Hedley, Gill. “Three female gallerists who changed the course of British art.” 29 September 2016, Royal Academy of Arts, www.royalacademy.org.uk/article/movers-and-shakers-female-gallerists-british-art. Accessed 27 January 2021.
Holz, Keith. “The United States tour of 20th Century (Banned) German Art.” London 1938. Defending ‘degenerate’ Art. Mit Kandinsky, Liebermann und Nolde gegen Hitler, edited by Lucy Wasensteiner and Martin Faass, exh. cat. The Wiener Library for the Study of the Holocaust & Genocide, London, 2018a, pp. 215–223.
Lackner, Stephan, and Helen Adkins. “Exhibition of the 20th Century German Art.” Stationen der Moderne. Die bedeutenden Kunstausstellungen des 20. Jahrhunderts in Deutschland, edited by Eberhard Roters, exh. cat. Berlinische Galerie, Martin-Gropius-Bau, Berlin, 1988, pp. 315–337.
London 1938. Defending ‘degenerate’ Art. Mit Kandinsky, Liebermann und Nolde gegen Hitler, edited by Lucy Wasensteiner and Martin Faass, exh. cat. The Wiener Library for the Study of the Holocaust & Genocide, London, 2018.
Mortimer, Raymond. “German Artists.” The New Statesman and Nation, vol. 16, no. 286, 16 July 1938, pp. 112–113.
N. “Twentieth-century German Art.” The Manchester Guardian, 7 July 1938, p. 7.
Raddatz, Fritz J. “Ein glückliches Leben in der Hölle. Ein Gespräch mit Oto Bihalji-Merin.” Die Zeit, no. 22, 27 May 1988, pp. 37–39.
Staff Correspondents. “Whitworth Acquisitions.” The Manchester Guardian, 29 July 1938, p. 13.
Summers, Cherith. “Exhibition of German-Jewish Artists’ Work: Painting – Sculpture – Architecture.” Brave New Visions. The Émigrés who transformed the British Art World, exh. cat. Sotheby’s, St. George’s Gallery, London, 2019, p. 14. issuu, https://issuu.com/bravenewvisions/docs/brave_new_visions. Accessed 25 February 2021.
Thoene, Peter [Oto Bihalji-Merin]. Modern German art. Translated by Charles Fullman, Penguin Books, 1938.
First Exhibition of 20th Century German Art, invitation card (Akademie der Künste, Berlin, Archiv Bildende Kunst, Heinz-Worner-Archiv, July 1938), 174.
Wasensteiner, Lucy. “A British Statement against Nazi Policy? The Organisation of Twentieth Century German Art.” London 1938. Defending ‘degenerate’ Art. Mit Kandinsky, Liebermann und Nolde gegen Hitler, edited by Lucy Wasensteiner and Martin Faass, exh. cat. The Wiener Library for the Study of the Holocaust & Genocide, London, 2018a, pp. 59–66.
Wasensteiner, Lucy. “The Public Response to 20th Century German Art.” London 1938. Defending ‘degenerate’ Art. Mit Kandinsky, Liebermann und Nolde gegen Hitler, edited by Lucy Wasensteiner and Martin Faass, exh. cat. The Wiener Library for the Study of the Holocaust & Genocide, London, 2018b, pp. 183–188.
Wasensteiner, Lucy. The Twentieth Century German Art Exhibition. Answering Degenerate Art in 1930s London. Routledge, 2019. Taylor & Francis, doi: https://doi.org/10.4324/9781351004145. Accessed 7 April 2021.
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Akademie der Künste, Berlin, Archiv Bildende Kunst, Heinz-Worner-Archiv.
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My deepest thanks go to Jennifer Garland at Rare Books and Special Collections, McGill University, who provided me with a scan of the 20th Century German Art exhibition catalogue.
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New Burlington Galleries, 5 Burlington Gardens, Mayfair, London W1.
The artist and poet Kurt Schwitters lived in London between 1941 and 1945, where he stood in contact to émigré and local artists, before moving to the Lake District.
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The British art historian Herbert Read established himself as a central figure in the London artistic scene in the 1930s and was one of the outstanding supporters of exiled artists.
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The Exhibition of German Jewish Artists’ Work was organised in 1934 by Carl Braunschweig at the Parsons Galleries in Oxford Street and featured 220 works by German Jewish artists.
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The artist John Heartfield designed covers for the publishing house Lindsay Drummond, which had an anti-fascist programme and published books by emigrated authors such as Wilhelm Necker and Felix Langer.
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Émigré art historians and art dealers, Henry Roland and Gustav Delbanco, along with Lillian Browse, opened their Mayfair gallery, Roland, Browse & Delbanco, in 1945.
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Marlborough Fine Art was founded in 1946 by the Viennese emigrants Harry Fischer and Frank Lloyd in the Mayfair district, focused on Impressionists, Modern and Contemporary Art.
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The emigrants Eva Feuchtwang (later Eva Neurath) and Walter Neurath founded the Thames & Hudson publishing house in 1949, which published art history books, photo books and collection catalogues.
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Faber & Faber shows the importance of publishing houses as supporters of contemporary art movements and of the contribution of emigrants, helping to popularise their art and artistic theories.
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The Berlin photographer Gerty Simon established a studio in Chelsea, London. Her solo exhibition Camera Portraits from 1935 featured a distinctive portrait of the émigré art dealer Alfred Flechtheim (shown above).
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Julian Huxley was the director of London Zoo from 1935 to 1942 and worked closely with emigrant photographers, artists and architects, including Berthold Lubetkin, Erna Pinner and Wolf Suschitzky.
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In 1949, a joint exhibition of works by Ludwig and Else Meidner opened at the Ben Uri Art Gallery. It was the first solo exhibition of the artists in London.
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