XXV. Conclusion

Chapters in this book

1. Frontmatter I
2. CONTENTS XI
3. PART ONE. Development in German Esthetics Relevant to the Expressionist Movement
4. II. New Responses to Past Styles 12
5. PART TWO. Panorama of German Art around 1900
6. III. The Sentiment of the Classic 25
7. IV. Realism and Impressionism 32
8. V. Regionalism, Worpswede, and Paula M.odersohn-Becker 39
9. VI. Jugendstil: A Nlajor Source of Expressionist Fainting 48
10. PART THREE. Die Brücke
11. VII. The Formation of the Brücke 67
12. VIII. The Expansion of the Brücke 84
13. IX. Development of the Brücke from igoy to igio 98
14. X. Emil Nolde, 19 07-1912 120
15. XI. The Brücke Painters in Berlin 130
16. PART FOUR. Expressionist Trends in Vienna
17. XII. The Vienna Secessionj Klimtj and Schiele 147
18. XIII. Oskar Kokoschkaj 1905-1910 161
19. PART FIVE. The Development of Expressionism in Munich
20. XIV. Munich at the Turn of the Century: Kandinsky's Beginnings 173
21. XV. The New Artists? Association 185
22. XVI. Der Blaue Retter I 199
23. XVII. Der Blaue Reiter II 212
24. XVIII. Esthetic Theories of Wassily Kandinsky 223
25. PART SIX. The Prewar Years
26. XIX. Controversies about the Modern Movement and Its Affirmation in the Sonderbund 237
27. XX. Der Sturm 250
28. XXI. First German Autumn Salon 265
29. XXII. The Expressionist Movement Expands 274
30. XXIII. Journeys to Exotic Countries 288
31. XXIV. 1914 and After 298
32. XXV. Conclusion 312
33. Appendixes 320
34. NOTES 327
35. BIBLIOGRAPHY 354
36. INDEX 371