GORDON, D. E.

SOURCE: NOTES IN THE HISTORY OF ART (U.S.A.), VOL. 1, NO. 1 (FALL 1981), P. 29-32. 3 ILLUS. BIBLIOG.

CLARIFIES THE ISSUES RAISED BY ROBERT ROSENBLUM AND JOHANNES LANGNER REGARDING THE SIMILARITY BETWEEN IDEAS EXPRESSED INDEPENDENTLY BY FRANZ MARC AND BY CASPAR DAVID FRIEDRICH. THE AUTHOR DEMONSTRATES THE EXACT WAY IN WHICH MARC NOT ONLY EVOKED BUT ALSO DENIED HIS NORTHERN ROMANTIC SOURCE, ALLOWING FRIEDRICH A FORMATIVE ROLE IN MARC'S EMERGING EXPRESSIONIST STYLE, BUT STRESSING THAT THE DIFFERENCES ARE AS GREAT AS THE SIMILARITIES BETWEEN THEM. IT IS CONCLUDED THAT EXPRESSIONISM MUST BE UNDERSTOOD AS THAT FORM OF ROMANTICISM THAT TURNED AGAINST ITS TRADITION.

SCHULZ-HOFFMAN, C.

IN: FRANZ MARC 1880-1916, EDITED BY R. GOLLEK, P. 95-111. BIBLIOG.

AN EXAMINATION OF THE ATTITUDE TOWARDS ROMANTICISM OF FRANZ MARC, WHO WAS LESS NEGATIVE TOWARDS THE ROMANTICS THAN TOWARDS ANY OTHER 19TH CENTURY ARTISTS. IT IS DIVIDED INTO THE FOLLOWING CHAPTERS: THE NEW EPOCH; RELIGION AND THE SPIRIT; DEFINITION OF THE ARTIST; LONGING FOR DEATH; THE MEANING OF FEELINGS; NATURE; AND THE OBJECT OF ART.

Schuster, Peter-Klaus

The Romantic spirit in German art 1790-1990. Edited by Keith Hartley; Henry Meyric Hughes; Peter-Klaus Schuster; William Vaughan. pp. 62-81, 23 illus. bibliog

The author traces the Romantic theme of the quest for paradise lost in the work of three artists: Philipp Otto Runge (1777-1810), Franz Marc (1880-1916) and Joseph Beuys (1921-86). The utopian Romantic conception of art as the recovery of paradise lost was translated by Marc into a modernist formal aesthetic of metamorphosis and renewal. The author demonstrates that faith in the resurrection - the return of what once was present - is linked with a lost paradise that can be regained through art in the work of Beuys, as well as that of Runge and Marc.

Planca, Elisabetta

Arte (Italy), vol. 24, no. 254, Sept. 1994, pp. 72-9, (10 colour)

Discusses the romantic spirit in German art in light of the recent exhibition on this theme at the Hayward Gallery in London (see ABM 25 06308 for abstract of catalogue). The author traces the history of the romantic sensibility from the work of Caspar David Friedrich (1740-1840), through the 19th century to the work of modern and contemporary artists such as Kandinsky, Franz Marc, Walter Gropius, Joseph Beuys, Gerhard Richter, Sigmar Polke and Anselm Kiefer.

ROSENBLUM, P.

LONDON: THAMES AND HUDSON (1975), 240PP. 314 ILLUS. BIBLIOG.

THE AUTHOR ARGUES THAT THERE EXISTS AN IMPORTANT, ALTERNATIVE READING OF THE HISTORY OF MODERN ART, WHICH IS NOT BASED ON FORMAL VALUES ALONE, BUT RATHER ON THE IMPACT OF CERTAIN PROBLEMS OF MODERN CULTURAL HISTORY, MOST PARTICULARLY ARISING IN THE ROMANTIC MOVEMENT, UPON THE SUBJECTS, FEELINGS AND STRUCTURE SHARED BY A LONG TRADITION OF ARTISTS WORKING MAINLY IN NORTHERN EUROPE AND AMERICA. HE TRACES THE POSSIBILITY OF AN HISTORICAL CONTINUITY WHICH IS NOT ACCIDENTAL FROM THE WORK OF FRIEDRICH TO ROTHKO, HIS STUDY TAKING THE FOLLOWING COURSE: PART 1: NORTHERN ROMANTICISM AND THE RESURRECTION OF GOD - I) FRIEDRICH AND THE DIVINITY OF LANDSCAPE; II) COSMOGONIES AND MYSTICISM: BLAKE, RUNGE, PALMER; PART 2: ROMANTIC SURVIVAL AND REVIVAL IN THE LATE 19TH CENTURY - I) VAN GOGH; II) MUNCH AND HODLER; PART 3: ROMANTIC SURVIVAL AND REVIVAL IN THE 20TH CENTURY - I) THE PASTORAL AND THE APOCALYPTIC - NOLDE, MARC, KANDINSKY; II) OTHER ROMANTIC CURRENTS FROM KLEE TO ERNST; PART 4: TRANSCENDENTAL ABSTRACTION - I) MONDRIAN; II) ABSTRACT EXPRESSIONISM.