Die neue Akademie
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Edited by:
Jürgen Wiener
About this book
In 1919, Düsseldorf Art Academy was expanded to partially integrate the School of Arts and Crafts – a milestone for the institution and its aesthetics that still characterises the academy today. Even before the founding of the Weimar Bauhaus, fine and applied arts were first united here and brought to architecture. The academy, associated with the “Düsseldorf School of Painting”, caught up with the latest trends in contemporary art. Modern artists such as Jan Thorn Prikker, Heinrich Campendonk, Paul Klee and Ewald Matare, appointed before and during Walter Kaesbach’s time as director, played their part in these developments. This publication focuses on how the caesura did not come about entirely smoothly: the coexistence of tradition and avant-garde led to contradictory yet productive potentials for Düsseldorf Art Academy.
- New research on the reform of Düsseldorf Art Academy in 1919
- A multifaceted view of both the possibilities and limitations of art academies in the Weimar Republic
- Relativising the one-sided narrative of progress customarily associated with the Bauhaus.
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Frontmatter
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Inhalt
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Preface
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Die Düsseldorfer Kunstakademie 1919, 1924, 1933 – Mythen & Fakten
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„Männer sind wichtiger als Systeme.“
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Deutsche Kunstakademien in der Not*
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Die Düsseldorfer Kunstakademie zwischen Tradition und Reformbestrebungen im frühen 20. Jahrhundert*
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„Die neue Akademie“ als politisches Palimpsest
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„Eins mit der Seele der bildsamen Materie, offenbartsich dem Künstler das Schaffensgesetz. Wozu alsovorher denken?“
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„künstlerische Gestaltungsfähigkeit“
127 -
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Anschlüsse an die Moderne in der Weimarer Republik
147 -
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Netzwerke einer christlichen modernen Kunst
161 -
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Walter Kaesbach und die Reform der Kunstakademie Düsseldorf 1924–1933
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Apropos Klee: Präzise Vieldeutigkeit
181
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