Expressionism: A German Intuition, 1905–1920 (review)

Books 153 making sure that they have not forgotten some relevant information. The book makes for delightful browsing-almost forgotten names, former associates, remembered works, dates and places all well up from the pages, and new and unrealized information is presented. I highly recommend this one. Expressionism: A German Intuition, 1905-1920. Catalogue. The Solomon R. Guggenheim Foundation, New York, 1980. 336 pp., illus. Paper, $17.95. ISBN: 0-89207-024-2. Reviewed by George A. Agoston* The expressionist show covering an important 15-year period of German art took place at the Guggenheim Museum, New York City (Nov. 1980-Jan. 1981), and at the San Francisco Museum of Modern Art (Feb.-Apr. 1981). The artists whose works were exhibited and the number of their works reproduced in the catalogue were: Paula Modersohn-Becker (2), Christian Rohlfs (lo), Emile Nolde (43), Ernst Barlach (I), Erich Heckel (30), Ernst Ludwig Kirchner (36). Karl Schmidt-Rottluff (23), Max Pechstein (12). Otto Mueller (I), Franz Marc (I@, Vasily Kandinsky (16), Alexej Jawlensky (8), Oskar Kokoschka (15), Lyonel Feininger (10). Ludwig Meidner (4), Jacob Steinhardt, George Grosz (7). Otto Dix (6), Max Beckmann (11) and Conrad Felixmuller (2). About 140oil paintings, 70 watercolors and gouaches, and 120prints borrowed from seven private collections and 33 museums in the German Federal Republic, Great Britain and the U.S.A. were displayed. The catalogue presents reproductions of all the exhibited oil paintings, but only about 50 are given in color. Each of the exhibited works is listed, giving title; date of execution, medium, dimensions and the collection to which it belongs. The catalogue begins with an introductory essay by Paul Vogt in which the origins of Expressionism are sketched and the trends in the movement from 1905 to 1920 are briefly discussed. The second essay, Watercolors and Color Drawings in German Expressionism (by Horst Keller), treats briefly the influences and techniques of a number of the artists. The four essays that follow subdivide the principal part of the catalogue and provide a structure in which the artists and their times are discussed in some detail; it is here that the reproductions of their work are presented. The titles and authors of the essays are: The North Germans: Paula Modersohn-Becker, Christian Rohlfs, Emile Nolde (Martin Urban); The Artists Group Die Brucke (Wolf-Dieter Dube); The BIaue Reiter (Paul Vogt); Big-City Expressionism: Berlin and German Expressionism (Eberhard Roters). In addition, the six essaysin the original German are presented at the end of the catalogue. There is a short section giving one-paragraph biographical statements for most of the artists of the exhibition. Proceedings of Workshop in History of Art 1977. Ratan Parimoo, ed. M.S. University of Baroda, India, 1 9 7 9 . 2 4 6 ~ ~ . ReviewedbyS.I.Clerk** This is a record of the proceedings of the four-day (5 November to 8 November 1977) Workshop at Baroda (India) on the problems of teaching and research in History of Art in Indian universities (sponsored by the University Grants Commission, New Delhi). Baroda was the proper venue for this Workshop since the Faculty of Fine Art of the Baroda University has been the first art institute in India to realize the importance of art history in the education of an artist. The immediate and practical aim of the Workshop was to gain conceptual clarity on problems relevant to Art History and to attempt to evolve workable courses on the subject, particularly at the postgraduate stage. At the same time, there were a number of papers on topics not so very closely relevant such as: Creation should be like the First Creation-A Need of Man’s Soul: A Note (Mulk Raj Anand), A Case Study of Dahala Sculptures (R. N. Mishra), Context of Kankroli Paintings (Ratan Parimoo) evincing a broad base of the Workshop. Of particular interest, some of the speakers correlated the problems of art history in India to the larger context of international art history. And then, the Workshop attracted a galaxy of stalwarts in the field not only from the colleges and universities but also from outside and of independent status. Editor Ratan Parimoo is convinced “A breakthrough isnecessary not only in the art...