Representations of the Peasant in German Art and Culture: Faces of the Volk

这本书项目是一个创新的主题研究，探索了德国艺术和文化中农民（“鲍尔”）代表的谱系，展示了如何通过各种媒体，农民的主题被用作多种价值和经常冲突的意识形态立场的密码，并且在统一到统一期间特别普遍。研究的早期部分侧重于中世纪晚期/北部文艺复兴时期农民主题的发展，特别是在阿尔布雷希特·德·<e:2>尔、卢卡斯·克兰纳赫、汉斯·魏迪茨和汉斯·塞博尔德·比哈姆等艺术家的狂欢式版画中（包括“跳舞的农民夫妇”、“颠覆性的农民”、“德国农民的战争”等）。然后，本研究将通过中心章节考察C19和C20艺术家如何用他们自己高度敏感的表现回应C15和C16前辈，有时与“血与土”意识形态的形成有关，正如威廉姆·里尔、朱利叶斯·朗贝恩等人的作品所表达的那样。更短的法国农民代表传统（古斯塔夫库尔贝，让-弗朗索瓦米勒等人）对马克斯利伯曼，弗里茨冯乌德等人的影响也将被审查，而这种影响经常被德国评论家批评为“外来”。这一时期的文化政治非常有趣。在这方面，这项研究旨在为T.J.克拉克开创性的“人民的形象：古斯塔夫库尔贝和1848年革命”（1973年；1999年重印）提供一个新的细致的回应，更一般地说，通过写作这项工作的过程，希望“社会艺术史”的可能性将得到扩大。许多艺术家和作家试图将“农民生活”概括为德国“性格”的表达，最著名的可能是威廉·莱布尔和阿道夫·巴特尔斯。然而，农民作为保守主义象征的观念后来受到了Paula Modersohn-Becker和Käthe Kollwitz等艺术家的不同挑战。例如，科尔维茨探索了农民作为被压迫的鼓动者的概念（与她自己的社会主义价值体系一致），这种方式后来给其他与德国共产党（KPD）有更直接联系的艺术家留下了深刻印象。后面的章节将考察表现主义对农民主题的表达，例如通过“国内原始主义”的形式，在br<s:1> cke和Blauer Reiter艺术家的作品中，在偏远的沿海和山区寻找纯净的生活质量。这项研究还将考虑到魏玛达达主义艺术家的尖刻幽默，比如乔治·施洛兹（Georg Schloz）讽刺农民的偏执，以及奥古斯特·桑德（August Sander）的大型摄影项目，他代表农民，试图对不同的社会类型进行分类。桑德引人注目的照片可以与Erna lendvdai - dircksen的照片相比较，Erna lendvdai - dircksen的石勒苏益格-荷尔斯泰因农民青年的类型照片出现在1930年出版的《德意志人民》一书中，这是一本得到国家社会主义者认可的作品。国家社会主义者对“血与土”农民的仿古宣传庆祝活动的根源，以及他们对农民主题的表现主义解释的诽谤的悖论，将被引出。在后45时期，将充分考虑Georg Baselitz和Anselm Kiefer对农民主体的解构，特别是通过木刻的“日耳曼”媒介。最后，将探讨德意志民主共和国（也被称为“工农国”）农民的理想化，最后是对Werner t<e:1> bke于1989年完成的世界上最大的画作的审查，并纪念“弗兰肯豪森战役”，这是农民战争的最后一幕。该研究将通过讨论David Levine的“后现代”戏剧/艺术项目“Bauerntheater”（2207）来得出结论，该项目以勃兰登堡的一片田野为背景，并追溯到民主德国的早期。

This book project is an innovative thematic study that explores the genealogy of peasant ('Bauer') representation in German art and culture, demonstrating how through various media, the motif of the peasant has been used as a cipher for multivalent and often conflicting ideological positions, and was particularly prevalent in the period from Unification to Reunication.The early part of the study focuses on the development of peasant motifs in the Late Medieval/Northern Renaissance period, especially in the carnivalesque prints of artists such as Albrecht Dürer, Lucas Cranach, Hans Weiditz, and Hans Sebald Beham (an iconography that includes the 'dancing peasant couple', the 'subversive peasant', the 'German Peasants' War' etc.). The study will then examine through the central chapters how C19 and C20 artists responded to their C15 and C16 predecessors with their own highly charged representations, sometimes in relation to the formation of a 'blood and soil' ideology, as expressed in the writings of Wilhlem Riehl, Julius Langbehn, and others. The impact of the much shorter French tradition of peasant representation (Gustave Courbet, Jean-Francois Millet et al.) on Max Liebermann, Fritz von Uhde and others will also be examined, while such influence was often criticised by German commentators for its 'foreignness'. The cultural politics of the period is of great interest. In this regard, the study is intended to provide a fresh nuanced response to T.J. Clark's seminal 'Image of the People: Gustave Courbet and the 1848 Revolution' (1973; reprinted 1999), and more generally, through the process of writing this work it is hoped that the possibilities of a 'social art history' will be expanded.Many artists and writers attempted to encapsulate 'peasant life' as articulations of German 'character', perhaps most notably Wilhelm Leibl and Adolf Bartels. However, the idea of the peasant as a symbol of conservatism was later challenged in different ways by artists such as Paula Modersohn-Becker and Käthe Kollwitz. Kollwitz, for instance, explored the notion of the peasant as oppressed agitator (in accordance with her own socialist value system) in a manner that would later impress other artists more directly connected to the German Communist Party (KPD). Later chapters will examine the Expressionist articulation of the peasant motif as exemplified through a form of 'domestic primitivism', a seeking out of the untainted quality of life in remote coastal and mountain locations, both in the work of Brücke and Blauer Reiter artists. The study will also take into account the acid humour of Weimar Dada artists such as Georg Schloz in lampooning peasant bigotry, as well as the huge photographic project of August Sander, who represented peasants in attempting to classify different social types. Sander's arresting images can be compared with that of Erna Lendvai-Dircksen, whose typological photographs of peasant youth from Schleswig-Holstein appeared in the book 'Das deutsche Volksgesicht' (1930), a work endorsed by the National Socialists.The roots of the National Socialists' archaising propagandist celebrations of the 'blood and soil' peasant and the paradoxes of their defamation of Expressionist interpretations of the peasant motif will be drawn out. In the post-45 period, the deconstruction of the peasant subject by Georg Baselitz and Anselm Kiefer, particularly through the 'Germanic' medium of the woodcut, will be fully considered. Finally, the idealization of the peasant in the GDR (also known as the 'Workers' and Peasants' State) will be explored, culminating in an examination of the largest painting in the world by Werner Tübke, completed in 1989, and commemorating the 'Battle of Frankenhausen', the final act of the Peasants' War. The study will move toward a conclusion by discussing David Levine's 'postmodern' theatre/art projeect 'Bauerntheater' (2207), set in a field in Brandenburg and referring back to the early days of the GDR.