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Workshop Andrew Hemingway



von 14:15 bis 15:45




Zentralinstitut für Kunstgeschichte, Vortragssaal Raum 242, II. OG, Katharina-von-Bora-Straße 10, 80333 München

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"Die wahre ‘Phantasie’ ist der geläuterte Spiegel der Gegenwart." Georg Scholz’s Kleinstadt pictures of 1922-3 as Dadaistic parodies of Heimatkunst

The focus of this paper is two paintings by the Karlsruhe-based artist Georg Scholz from 1922-3 – Badische Kleinstadt bei Tage and Deutsche Kleinstadt bei Nacht – which attracted considerable attention at the moment of their production. They were exhibited several times in the 1920s and Badische Kleinstadt bei Tage was among the works by Scholz shown at Gustav Hartlaub’s landmark Neue Sachlichkeit exhibition in Mannheim in 1925. The paintings have received quite extensive art-historical commentary, the most important contributions to the critical literature being the Badische Kunstverein catalogue of 1975, Georg Scholz. Ein Beitrag zur Diskussion realistischer Kunst, and Felicia H. Sternfeld’s 2004 monograph Georg Scholz (1890-1945). Monographie und Werkzeichnis, which set a new standard in Scholz scholarship. In this presentation I argue that although the existing literature on Scholz has done important work in identifying the iconography and establishing some of the formal reference points of the Kleinstadt paintings, it has been insufficiently attentive to their regional context. In particular, I will suggest that the pictures acquired their specific force as Dadaistic parodies of the Heimatkunst that was such a predominant feature of the Karlsruhe artistic field in the years of Scholz’s formation. The paintings stand at the high point of Scholz’s commitment to a "tendenziöse" Kunst grounded in Kitsch before his shift to a Neue Sachlichkeit idiom.

Prof. Dr. Andrew Hemingway
was educated at the universities of Hull, East Anglia, and London. From 1987-2010 he taught at University College London, where he is currently emeritus professor of history of art. He has held visiting appointments at the University of Connecticut at Storrs, Northwestern University, the City University of New York Graduate Center, and the Freie Universität, Berlin. His writings – which range on topics from eighteenth-century aesthetics to American art in the Cold War – have appeared in a range of scholarly journals including Art Bulletin, Art History, Art Journal, Crónicas, Historical Materialism, Kunst und Politik, Oxford Art Journal, and Prospects. For twelve years he was an editor of the Oxford Art Journal and he is currently a contributing editor to Kunst und Politik. Jahrbuch der Guernica-Gesellschaft.

Hemingway’s single-authored books include: Landscape Imagery and Urban Culture in Early Nineteenth-Century Britain (Cambridge University Press, 1992); Artists on the Left: American Artists and the Communist Movement, 1926-1956 (Yale University Press, 2002); and The Mysticism of Money: Precisionist Painting and Machine Age America (Periscope Publishing, 2013). He edited the volume Marxism and the History of Art: From William Morris to the New Left (Pluto Press, 2006). He was co-editor, with William Vaughan, of the volume Art in Bourgeois Society, 1790-1850 (Cambridge University Press, 1998); and with, Alan Wallach, of Transatlantic Romanticism: British and American Art and Literature, 1790-1860 (University of Massachusetts Press, 2015).

Hemingway has lectured widely at universities, galleries and museums in Britain and the United States, as well as speaking at institutions in Canada, France, Germany, Mexico, Poland, and Spain. A collection of previously published and new essays, Landscape between Ideology and the Aesthetic: Marxist Essays in British Art and Art Theory, 1750-1850 is in press with Koninklijke Brill NV.