By Shulamith Behr, Marian Malet (Editors)
This quantity makes a speciality of the contribution of refugees from Nazism to the humanities in Britain. The essays learn the a lot overlooked subject matter of paintings in internment and tackle the spheres of images, political satire, sculpture, structure, artists’ firms, institutional versions, dealership and conservation. those are thought of lower than the extensive headings ‘Art as Politics’, ‘Between the general public and the family’ and ‘Creating Frameworks’. Such different types help in posing questions in regards to the politics of id and gender, in addition to supplying a chance to discover the complicated problems with cultural formation. the amount might be of curiosity to students and scholars of twentieth-century artwork heritage, museum and conservation experiences, politics and cultural stories, as well as these concerned about German experiences and in German and Austrian Exile reports. desk OF CONTENTS desk of Illustrations Preface Shulamith BEHR: Klaus E. Hinrichsen: The artwork Historian at the back of ‘Visual paintings in the back of the cord’ paintings AS POLITICS Duncan FORBES: Politics, images and Exile within the lifetime of Edith Tudor-Hart (1908–1973) Rebecca SCRAGG: putting Hitler: Joseph Flatter’s Mein Kampf Illustrated sequence, 1938-1942 Anna MÜLLER-HÄRLIN: Fred Uhlman’s Internment Drawings among the general public AND THE family Margaret GARLAKE: A Minor Language? 3 Émigré Sculptors and their concepts of Assimilation Volker M. WELTER: Ernst L. Freud – family Architect developing FRAMEWORKS Anna MÜLLER-HÄRLIN: ‘It all occurred during this road, Downshire Hill’: Fred Uhlman and the loose German League of tradition Dorothea McEWAN: Exhibition as Morale Boosters. The Exhibition Programme of the Warburg Institute 1938-1945 Jutta VINZENT: Muteness as Utterance of a compelled fact – Jack Bilbo’s sleek artwork Gallery (1941-1948) Ulrik RUNEBERG: Immigrant photograph Restorers of the German-speaking international in England from the Nineteen Thirties to the Post-war period Index
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Extra info for Arts in Exile in Britain 1933-1945: Politics and Cultural Identity
Cit. (note 3) 7 Ibid. 8 Klaus Hinrichsen, ‘Nail, Knife and Razor-Blade (The Windows of the Camp), Fifth Continuation’, The Camp, 10, 24 November 1940, p. 2. 9 Nietzsche, Friedrich. Also sprach Zarathustra. Ein Buch für Alle und Keinen, (Chemnitz: Ernst Schmeitzner, 1883–1885), p. 107. Transl. R. J. Hollingdale. (Harmondsworth: Penguin, 1961), p. 101. 10 Kurt Schwitters (1887–1948) was born in Hanover and trained at the Dresden Royal Academy between 1909 and 1914. By 1919, he had established contact with Zurich Dada and exhibited his Merz collages at the Sturm Gallery in Berlin.
51 Following what was ultimately the Comintern line, most of Tudor-Hart’s exhibited and published photography from this period would be framed by the Popular Front’s coalition politics of social amelioration. One of Pritchard’s earliest introductions was to the Germanophile and editor of The Listener, R. S. Lambert, with the result that Tudor-Hart’s Politics, Photography and Exile in the Life of Edith Tudor-Hart 5: Edith Tudor-Hart, London Market, date unknown. 52 Published by the BBC, The Listener was far from a socialist journal, although it was one of the few non-specialist outlets promoting modernist functionalism as a social project, the aim being to elevate the working classes into a bourgeois technocracy, mainly by means of municipal planning and architecture.
It provides the first sustained account of her formative influences as a photographer in Vienna, her reasons for emigration to Britain and the impact of Communist activism on her photography. Informed by the political crucible of central European realism, Tudor-Hart was one of a number of exile photographers and publishers who pursued a documentary practice in London during the 1930s. The essay analyses the difficulties Tudor-Hart faced in developing a visual politics in Britain and the pressures exerted on social realism by the culture of the Popular Front.