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    • University of Missouri-Columbia
    • Graduate School - MU Theses and Dissertations (MU)
    • Theses and Dissertations (MU)
    • Theses (MU)
    • 2005 Theses (MU)
    • 2005 MU theses - Freely available online
    • View Item
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    Gothic art and German modernism: Max Beckmann and "Transzendente objektivitat"

    Krakenberg, Jasmin
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    [PDF] short.pdf (38.21Kb)
    [PDF] research.pdf (608.1Kb)
    Date
    2005
    Format
    Thesis
    Metadata
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    Abstract
    The present study suggests that the German Expressionist artist Max Beckmann historicized and individualized in his painting the Descent from the Cross the religious Passion theme, as compared to Nithard's Isenheim Altarpiece, in favor of the potential viewer's capability to emphasize not primarily in regards to Christ but in regards to the surrounding figures in terms of their humanness. In his painting, as well as in his art statement Creative Credo, Beckmann connects Nietzsche's Vitalism with the Gothic period, linking the tradition of the past to the present. He also utilities the objectivity of religion, its constitutions and well established symbols deriving from Gothic artifacts, and secularized them in order to charge humanity with its dullness and callous emotional response to art and postwar life in Germany.
    URI
    http://hdl.handle.net/10355/4265
    Degree
    M.A.
    Thesis Department
    German (MU)
    Collections
    • 2005 MU theses - Freely available online
    • German and Russian Studies electronic theses and dissertations (MU)

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