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

这本书是一个创新的主题研究，探讨了德国艺术和文化中农民（'Bauer'）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价和往往相互冲突的意识形态立场的密码，本文的第一部分主要考察了中国古代农民题材的发展，中世纪晚期/北方文艺复兴时期，特别是在艺术家如阿尔布雷希特·丢勒，卢卡斯·克拉纳赫，汉斯·魏迪茨和汉斯·塞布尔德·贝汉姆的狂欢节版画中（一种图像，包括“跳舞的农民夫妇”，“颠覆性的农民”，“德国农民战争”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的高度负责的表现来回应他们的C15和C16前辈，有时与“血和土壤”意识形态的形成有关，正如Wilhlem Riehl，Julius Langbehn等人的著作所表达的那样。法国农民代表制的传统要短得多（古斯塔夫·库尔贝，让-弗朗索瓦·米勒等）。对马克斯·利伯曼，弗里茨·冯·乌德和其他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“外国”。这一时期的文化政治是非常有趣的。在这方面，这项研究的目的是提供一个新的细致入微的回应T. J克拉克的开创性的“人民的形象：古斯塔夫库尔贝和1848年革命”（1973年; 1999年再版），更一般地说，通过这部作品的写作过程，人们希望“社会艺术史”的可能性将得到扩展。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，也许最著名的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想法后来受到Paula Modersohn-Becker和Käthe Kollwitz等艺术家的不同挑战。例如，科尔维茨（Kollwitz）探索了农民作为受压迫的煽动者的概念（根据她自己的社会主义价值体系），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的印象。后面的章节将考察表现主义对农民主题的表达，这体现在一种“家庭原始主义”的形式上，即在布鲁克和布劳尔·赖特艺术家的作品中，寻求偏远的沿海和山区的纯净生活质量。这项研究还将考虑到魏玛达达艺术家的酸幽默，如乔治·施洛兹在讽刺农民的偏见，以及奥古斯特·桑德的巨大摄影项目，他代表农民试图划分不同的社会类型。桑德引人注目的照片可以与埃尔纳·伦德瓦伊-德克森（Erna Lendvai-Dircksen）的照片相媲美，后者拍摄的石勒苏益格-荷尔斯泰因州农民青年的照片出现在《德国人民》（Das deutsche Volksgesicht）一书（1930年）中，国家社会主义者对“血与土”农民的仿古宣传庆祝的根源以及他们对农民的表现主义解释的诽谤的悖论Motif将被删除。在后45年时期，格奥尔格·巴塞利茨和安瑟伦·基弗对农民主题的解构，特别是通过木刻这一“日耳曼”媒介的解构，将得到充分的考虑。最后，将探讨德意志民主共和国（也称为“工农国家”）农民的理想化，最终将考察维尔纳·蒂布克（Werner Tübke）于1989年完成的世界上最大的画作，并纪念农民战争的最后一幕“弗兰肯豪森战役”。研究将通过讨论大卫莱文的“后现代”戏剧/艺术项目“Bauerntheater”（2207），在勃兰登堡的一个领域，并回顾了民主德国的早期。

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.