A review of the paintings and sculptures from the Weimer Republic and the manner in which that new art served to reflect the social upheaval that was taking place in Germany at that time. The article concerns itself primarily with one art exhibit in particular, the Spring Exhibition of the Berlin Secession (1919) and the two art factions who participated: there were the artists of "Der Sturm" a movement that existed prior to the war and a newer, post-war tribe; the "November Group". Also displayed were the works of two painters who served in the Kaiser's army and did not return; Franz Marc (1880-1916) and August Macke (1887-1914).
"It is hoped by the German Expressionists and the artists of the "New Objectivity" that their art will serve as a tool for the destruction of Germany's old order."
Click here to read about Expressionist woodcuts.
The New Objectivity held up a mirror to the political crises that was playing out all over Germany, click here to read about it... "Jacob Epstein was brought up in the city of New York, being one of a group of young men from the other side of the Bowery, some of whom have since become well known in the arts." Attached is a photograph of the American expatriot sculptor Jacob Epstein and three of his pieces. This is a short notice heralding the great splash that the artist was making in the London art world of 1915. Although his work can be found in many of the world's finest museums, Epstein is best remembered today for his creation of the monumental sculpture that marks the grave of Oscar Wilde. An appreciative five paragraph essay saluting the Modernist sculptor Constantine Brancusi (1876 - 1957), accompanied by one black and white image of the artist's work, "The Doves". Much of the review concerns the poor relationship Brancusi had with Auguste Rodin (1840 - 1917) who
had been his teacher in earlier days.
An unnamed art critic writing for the British magazine SPECTATOR gave his back-hand to Wyndham Lewis , the father of Vorticism. Prefering the artist's drawings to his paintings, the ink-stained wretch opined: "The point might also be raised whether Mr. Wyndham Lewis should ever use oil paint. It is a medium which he seems to have little capacity and no sympathy..." Prior to the establishment of the New York School in the 1940s, there has always been a popular belief among Europeans (and a few Americans) that the art produced in the U.S. was purely derivative and lacked true originality in conception and style. In the attached article from the early Twenties, some of these Europeans and Americans step forward and identify themselves while continuing to crack wise on the topic; however, the editors of ART NEWS will not suffer this abuse and they return fire offering plenty of evidence to the contrary.
| 
