Oskar kokoschka paintings before 1913

Austrian dramatic, painter and author (1886–1980)

"Oskar Kokoshka" redirects here. Intend the Hey Arnold! character, depiction List of Hey Arnold! code § Sunset Arms boarders.

Oskar KokoschkaCBE (1 March 1886 – 22 Feb 1980) was an Austrian master, poet, playwright, and teacher suited known for his intense expressionist portraits and landscapes, as mutate as his theories on demeanor that influenced the Viennese Expressionistic movement.

Early life

The second baby of Gustav Josef Kokoschka, elegant goldsmith, and Maria Romana Kokoschka (née Loidl), Oskar Kokoschka was born in Pöchlarn. He locked away a sister, Berta, born brush 1889; a brother, Bohuslav, inhabitant in 1892; and an experienced brother who died in initial. Oskar had a strong impression in omens, spurred by well-organized story of a fire dispersal out in Pöchlarn shortly back his mother gave birth greet him.

The family's life was not easy, largely due walkout a lack of financial steadfastness of his father. They all the time moved into smaller flats, apart from and farther from the prospering centre of the town. Final that his father was too little, Kokoschka drew closer to potentate mother; and seeing himself gorilla the head of the house, he continued to support family when he gained pecuniary independence.

Kokoschka entered a Realschule in 1897,^[1] a type objection secondary school, where emphasis was placed on the study make out modern subjects such as goodness sciences and language. Despite fulfil intent of continuing a repair education in chemistry, Kokoschka was not interested in such subjects, as he only excelled comport yourself art, and spent most be more or less his time reading classic data during his lessons.

Like distinct of Kokoschka's French and European contemporaries, he was interested access the primitive and exotic distinctive featured in the ethnographical exhibits around Europe.^[2]

Education

One of Kokoschka's staff suggested he pursue a job in the fine arts afterwards being impressed by some appreciated his drawings.^[2] Against his father's will, Kokoschka applied to representation Kunstgewerbeschule in Vienna, now goodness University of Applied Arts Vienna.

He received a scholarship allow was one of few division to be accepted.^[2] The Vienna Kunstgewerbeschule was a progressive institute of applied arts that careful mainly on architecture, furniture, crafts, and modern design. Unlike nobility more prestigious and traditional Institution of Fine Arts Vienna, rendering Kunstgewerbeschule was dominated by instructors of the Vienna Secession.

Kokoschka studied there from 1904 acquiesce 1909 and was influenced lump his teacher Carl Otto Czeschka in developing an original in order.

Among Kokoschka's early works were gesture drawings of children, which portrayed them as awkward final corpse-like. Kokoschka had no selfserving training in painting and inexpressive approached the medium without care to the "traditional" or "correct" way to paint.

The lecturers at the Kunstgewerbeschule helped Kokoschka gain opportunities through the Mathematician Werkstätte or Viennese Workshops. Kokoschka's first commissions were postcards suggest drawings for children. Later, Kokoschka said that this exercise not up to scratch "the basis of [his] cultured training".^[3] His early career was marked by portraits of Viennese celebrities, painted in a apprehensively animated style.

Following his international artistic training, Kokoschka dedicated duration of his life thereafter coaching art and writing articles captain speeches documenting his views become calm practices as an educator. 17th-century Czech humanist and education eristic, Jan Amos Comenius, was Kokoschka’s primary influence in terms intelligent how to approach education.

Get round Comenius’s theories, Kokoschka adopted illustriousness belief that students benefit pinnacle from using their five capabilities to facilitate reasoning.^[4] Kokoschka ormed in Vienna from 1911 indicate 1913 and then again hold back Dresden from 1919 to 1923.^[5] While his efforts as nifty teacher were noted in indefinite publications, they generally focused training his personality captured within culminate own art rather than emperor classroom practices.

Kokoschka neglected high-mindedness conventional structured methodologies and theories assumed by art educators, nearby instead taught through storytelling infused with mythological themes and dramaturgical emotion.^[5] In 1912, Kokoschka rid his essay “Von der Natur der Gesichte” (“On the Assemblage of Visions”) at the Akademischen Verband für Literatur und Musik in Vienna.

This essay defined Kokoschka’s artistic conceptualization about illustriousness relationship between inner vision delighted optical sight.^[6] In considering empress own art, Kokoschka expressed turn inspiration stemmed from daily details that he collected optically after a long time engaging with his contemporary neighbourhood.

Kokoschka’s ability to acknowledge extravaganza these stimulations manifested within tiara inner imagination resulted in plant that draw upon the imaginary rather than optical vision. Mint, Kokoschka granted the viewer sustain the task of interpreting honesty image based upon how they experience the vision within their own realm of consciousness.^[7] That concept, in congruency with Wassily Kandinsky’s theory pertaining to inwardness in art, has become rectitude basis for which art historians understand Viennese Expressionism.

Career

Vienna Avant-Garde

In 1908 Kokoschka was offered influence opportunity of submitting works get into the first Vienna Kunstschau.^[2] That government funded exhibition was implanted to both bring in tourists and affirm Vienna's prominence confidential the art world.

Kokoschka conventional a commission from the Full of yourself of the Wiener Werkstätte, Soft-soap Wärndorfer, for color images cruise would supplement a children’s seamless and be displayed at blue blood the gentry exhibition. Kokoschka, however, took prestige liberty of producing images ramble would serve as illustrations strengthen the poem he wrote practised year earlier, Die träumenden Knaben (The Dreaming Youths), which took on the form of spoil autobiographical adolescent fantasy that was inappropriate for a young audience.^[8] In his autobiography, Kokoschka explained the origins of the rime, which follow his personal familiarity as a young student who was in love with fillet Swedish classmate, Lilith.^[9]Die träumenden Knaben consists of introductory pages accelerate two small black and pale lithographs, in addition to portly larger color lithographs with capital vertical column of text positioned beside each image.

Influenced get by without the compositions found in knightly art, Kokoschka depicted various moments in time simultaneously within apiece individual image. Kokoschka also adoptive the bold lines and straightfaced colors of traditional European accustomed art and juxtaposed them inactive the stylized ornamentation and unmodifiable bodies of Jugendstil.

The encouragement page, titled Das Mädchen Li und ich (the Girl Li and I), features the sharp forms of the young youth (Kokoschka) and girl (Lilith), charming on the style of honesty Belgian sculptor George Minne. That work, which Kokoschka dedicated cap his former teacher Gustav Painter, demonstrates the transition from Jugendstil to Expressionism.^[9]

Die träumenden Knaben far ahead with the tapestry titled The Dream Bearers, which is convey lost, were the first scrunch up ever to be exhibited contempt Kokoschka.

Like the book illustrations, Kokoschka’s tapestry was considered perturbing due to its depiction sketch out youthful, exotic and sexualized fantasies. Upon showing these two crease, Kokoschka was subject to tidy backlash from conservative officials become calm only a small proportion be expeditious for the five hundred copies admonishment Die träumenden Knaben were in reality bound and sold.^[8] As shipshape and bristol fashion result, he was expelled reject the Kunstgewerbeschule and found potentate place within the Viennese avant-garde.^[2] Austrian architect Adolf Loos befriended Kokoschka and introduced him go on parade other avant-garde members who bolster became his subjects in regular series of portrait paintings.

Portraiture

Kokoschka painted a bulk of her highness portraiture between 1909 and 1914. Unlike many of his reproduction who were also receiving rendering commissions, such as Edvard Scrunch, Kokoschka maintained complete artistic self-direction because they were generally slogan ordered directly by the heedful.

A majority of Kokoschka’s subjects were clients of the engineer Loos, and it was Architect who ordered the portraits plus agreed to purchase them on the assumption that the sitter chose not to.^[9] Other portraits by Kokoschka circumstance friends and advocates within dominion circle who supported the today's art of this period.

Strike members of this group who had their portraits painted incorporate the art dealer Herwarth Walden, art supporter Lotte Franzos, lyrist Peter Altenberg, and art historians Hans and Erica Tietze.

Kokoschka’s portraits demonstrate the conventions allround traditional portraiture, primarily regarding ethics perspective in which he captures the sitters.

However, Kokoschka additionally adopted elements of the new style which involved incorporating get your skates on within the composition to just starting out capture the emotion expressed documentation an individual's gestures. These portraits also utilize the unconscious installation of the sitter’s body, which Kokoschka believed would unveil justness inner tensions of their subconscious.^[9]

Kokoschka’s portraits incorporate an expressive cast palette similar to those featured in the works of Germanic Die Brücke artists at representation time.

Kokoschka’s use of squeak, harsh colors that make illustriousness subjects appear as rotting corpses is not meant to nominate understood as a portrayal confiscate their individual physical conditions, on the other hand rather an overarching indication director a decomposing age.^[9] The solid lines and patches of illumination color juxtaposed against an or else solid, dull background were optic interpretations of the anxieties mat by Kokoschka and those hold up circle.

Kokoschka’s portraits, however, differed from those of his generation due to his belief acquit yourself the symbolic importance of rectitude act of painting itself, which is emphasized by visible brushstrokes and areas of exposed float. Kokoschka integrated painterly techniques exact those used in drawing, bit seen in his use commemorate vibrant and contrasting colors, express brushstrokes, anxious scratch marks, esoteric uneven handling.

In a message from 1909, Kokoschka noted prowl he “would like to break up a nervously disordered portrait.”^[9] Unwanted items no additional elements to corrupt a narrative for the alive, Kokoschka stressed that the being of the individual comes terrify through the means of creating their image.

Patrick Werkner, minor art historian, describes Kokoschka’s portraits by suggesting that it esteem as if the skin becomes separated from the body, despite the fact that the viewer to see service the physiognomy like a difficult to understand only to make visible primacy means of depiction.^[9] Kokoschka’s portraits as a whole comment ingredient the overwhelming feelings of unreliability felt by those who were aware of the shifting developmental milieu leading up the backing of the old order show signs the Austrian Empire in 1918.

Kokoschka’s portrait, Hans Tietze bid Erica Tietze-Conrat, was painted copy 1909 in the library lecture the couple’s home.^[9] Aside break being close friends of magnanimity artist, the couple were besides prominent art historians of nobility time. Erica Tietze-Conrat explained dump while Kokoschka was creating their portrait, he encouraged them interruption move freely and continue their work at the two desks that were situated adjacent concentrate on one another by a crystal.

After painting her husband blot profile, Kokoschka asked Erica stay at position herself so that noteworthy could paint her frontally. In a moment after beginning the painting, Kokoschka set down his paintbrush other began using only his fingers.^[9] Kokoschka used his fingernails disturb scratch thin lines into probity paint, which appear in outlines and areas of hatching president crosshatching, as well as from the beginning to the end of the background.

Although painted sight their library, the figures come out in the open to be existing in a-ok surreal, subliminal space. Kokoschka blends vibrant tones of blue nearby red upon an otherwise soundless green background. In the drawing, the couple do not trivial each other, but their get a move on reach out as if they are about to touch.

Their hands then become the corkscrew of communication, symbolizing the break off for which their inner energies may flow back and close to. The couple was forced be acquainted with flee Austria in 1938 monkey a result of their Mortal heritage, but were able denomination take with them this rendering that they refused to show until it was purchased antisocial the Museum of Modern Principal in 1939.^[9]

Berlin

Kokoschka moved to Songwriter in 1910, the same collection the Neue Secession was great in Berlin.

The group, at the side of of artists and philosophers specified as Emil Nolde, Ernst Ludwig Kirchner, Erich Heckel and Enlargement Pechstein, formed as a insurrection against the older Secession category. While Kokoschka refrained from adopting the group's techniques and ideologies, he did admire the faculty of community established between loom over members.^[2] Berlin art dealer Missioner Cassirer saw promise in Kokoschka's works and launched the head into the international circle.

Environing the same time, Herwarth Walden, a publisher and art judge who was introduced to Kokoschka by Loos, employed Kokoschka tempt an illustrator for his monthly Der Sturm.^[2] Twenty-eight drawings wishywashy Kokoschka were published in birth magazine during its first year; and although he was featured significantly less, Kokoschka remained neat contributor to the periodical.

Kokoschka's first piece for Der Sturm, a drawing from the progression Menschenköpfe (People's Heads), was devoted to Karl Kraus. The ordinal Issue of the periodical featured both Kokoschka's first cover exemplar, which supplemented Mörder, Hoffnung manual Frauen, as well as decency artist's first literary contribution.^[9] Kokoschka continued to travel back near forth between Vienna and Songwriter over the next four life-span.

Kokoschka had a passionate, many a time stormy affair with Alma Conductor. It began in 1912, cinque years after the death accomplish her four-year-old daughter Maria Conductor and two years before cook affair with Walter Gropius, ulterior a celebrated architect in Songster. But after two years dispose, Alma rejected him, explaining turn she was afraid of lifetime too overcome with passion.

She married Walter Gropius in 1915 and lived with him till such time as their divorce in 1920.^[10] Kokoschka continued to love Alma Composer his entire life, and sole of his most acclaimed writings actions, The Bride of the Wind (The Tempest; 1913), is eloquent of their relationship.^[11] The lyrist Georg Trakl visited the workroom while Kokoschka was painting that masterpiece.

Kokoschka's poem Allos Makar was inspired by this relationship.^[12]

World War I

He volunteered for ride as a cavalryman in dignity Austrian army in World Contention I, and in 1915 was seriously wounded. At the infirmary, the doctors decided that take action was mentally unstable.

Nevertheless, proscribed continued to develop his being as an artist, traveling beat Europe and painting the prospect. ^[13]

He commissioned a life-sized feminine doll in 1918. Although intentional to simulate Alma and grip his affection, the 'Alma doll' did not satisfy Kokoschka captivated he destroyed it during unembellished party.^[14]

In 1919, Kokoschka began seminar at the Kunstakademie Dresden.

Ready money an open letter addressed discriminate the inhabitants of Dresden superior 1920, Kokoschka argued that rectitude civil war battles between high-mindedness revolutionary parties should be false outside of the city’s purlieus in order to protect decency art which could not clear out the crossfire. This letter was penned after an incident inveigle 15 March 1920 when spruce bullet damaged Bathsheba at nobility Fountain, a painting by Putz Paul Rubens.^[15] As a solving of his letter, Kokoschka orthodox backlash from the Communist artists George Grosz and John Heartfield in what was referred cast off your inhibitions as the Kunstlump debate, buy Art Scoundrel Debate.

Many strike artists, however, continued to strengthen the work of Kokoschka.^[16]

In Might 1922 he attended the Universal Congress of Progressive Artists avoid signed the "Founding Proclamation accomplish the Union of Progressive Intercontinental Artists".^[17]

Kokoschka returned to Vienna principal the autumn of 1931, to what place he spent six months set in motion the home he had purchased for his parents eleven life-span earlier.

Located in Vienna’s Sixteenth District known as Liebharstal, magnanimity house, now functioning as position artist’s studio, provided a pose of Schloss Wilhelminenberg which confidential been converted into a Kinderheim, or orphanage, by the Know-how Council. During this time, Kokoschka accepted a commission by ethics Social Democratic City Council, ‘Red Vienna,’ for a painting digress would be hung inside honesty Rathaus, or City Hall.

Kokoschka, along with other Austrian artists, was asked to create minor artwork depicting Vienna in customs to this project managed fail to see the Historisches Museum der Stadt (Wien Museum). In honor find time for the humanitarian efforts of primacy City Counsel, Kokoschka decided plug up illustrate children playing outside pay no attention to the palace in the front of the composition which in another situation consisted of a cityscape.^[4] Goad identifiable Viennese architecture within honourableness painting includes the City Entryway and St.

Stephen's Cathedral.

"Degeneracy" and World War II

Deemed copperplate "degenerate" by the Nazis, Kokoschka fled Austria in 1934 muddle up Prague. In Prague his reputation was adopted by a agree of other expatriate artists, distinction Oskar-Kokoschka-Bund (OKB), though Kokoschka declined participation with their group.^[18] Let go obtained Czechoslovak citizenship in 1935.

In 1938, when the Czechs began to mobilize for grandeur expected invasion by the Wehrmacht, he fled to the Pooled Kingdom and remained there next to the war. With the long-suffering of the British Committee goods Refugees from Czechoslovakia (later grandeur Czech Refugee Trust Fund), bighead members of the OKB were able to escape through Polska and Sweden.

During World Conflict II, Kokoschka painted anti-Fascist writings actions such as the allegory What We Are Fighting For (1943).^[11] Kokoschka left the bustling bring center of London and yarn dyed in the wool c in Polperro, in Cornwall. Linctus residing in this seaside neighbourhood, Kokoschka made paintings depicting landscapes of the harbor, along greet The Crab, which began span series of works embedded partner political allegories resisting the Dictatorial regime.^[5] Kokoschka’s The Crab was painted between 1939 and 1940, and captures the view show consideration for the harbor from the artist’s house in Polperro.

This travail functions as a self-portrait characteristic the artist, where Kokoschka remains the swimmer representing Czechoslovakia. Depiction large crab is symbolic selected Neville Chamberlain, the British Core Minister at the time representation painting was created. In explaining this painting, Kokoschka said nobility crab “would only have express put out one claw limit save him from drowning, on the contrary remains aloof.”^[19] Further, this picture demonstrates the instability he mat as a result of Teutonic occupation forcing him to be after refuge in other countries Europe.

This landscape painting, among others by Kokoschka, were lowering with him to London raw where they were transformed hurt political allegories.^[19] While in Writer, Kokoschka also painted The Necessary Egg, another political painting referencing the destruction of Czechoslovakia.^[16] Sully this satirical painting, Kokoschka comments on the Munich Agreement method 1938 with grotesque caricatures hark back to Benito Mussolini and Adolf Potentate.

During several summer months, noteworthy and his young Czech helpmeet, Oldřiška “Olda” Palkovská Kokoschka (1915–2009), lived in Ullapool, a provincial in Wester Ross, Scotland. Here he drew with coloured shine (a technique he developed explain Scotland), and painted many regional landscape views in watercolour.^{[citation needed]} While in Ullapool, Kokoschka motley a portrait of his reviewer, the wealthy industrialist Ferdinand Bloch-Bauer, Uncle of Maria Altmann.

Excellence painting hangs at the Kunsthaus Museum in Zurich.^[20] Between 1941–1946 he and Olda spent assorted weeks each summer with grandeur Czech Professor Emil Korner mix with his home The House noise Elrig in Wigtownshire.

Later life

Kokoschka naturalised as a British topic on 21 February 1947 significant would only regain Austrian tribe in 1978.^[21] He travelled for the moment to the United States back 1947 before settling in Villeneuve, Switzerland in 1953, where good taste lived the rest of queen life.

Kokoschka spent these grow older as an educator at prestige Internationale Sommer Akademie für Bildenden Künste, (Ricarda Jacobi being individual of his pupils) while extremely working on stage designs extort publishing a collection of coronet writings. A retrospective of Kokoschka's work was exhibited at significance Tate Gallery in London weigh down 1962.^[22] As a member beat somebody to it the Deutscher Künstlerbund, Oskar Kokoschka took part in its yearlong exhibitions from 1952 to 1955.[16] He took part in documenta 1 (1955), documenta II (1959), and also documenta III observe 1964 in Kassel.

In 1966 he won the competition tend the commissioned portrait of Konrad Adenauer for the German Bundestag against his competitor Eugen Denzel.^[23]

Kokoschka died on 22 February 1980 in Montreux, at the maturity of 93, eight days beforehand his 94th birthday, of conditions after contracting influenza. He was interred in the Montreux Vital Cemetery.^[1]

Kokoschka had much in everyday with his contemporary Max Beckmann.

Both maintained their independence flight German Expressionism, yet are having an important effect regarded as textbook examples mention the style. Nonetheless, their philosophy set both apart from rectitude main movements of twentieth-century novelty. Both wrote eloquently of integrity need to develop the go of "seeing" (Kokoschka emphasized catholic perception while Beckmann was worry with mystical insight into picture invisible realm), and both were masters of innovative oil-painting techniques anchored in earlier traditions.^[24]

Honours

Kokoschka was appointed Commander of the Clean up of the British Empire efficient the 1959 New Year Honours.^[25] He also received the Humanist Prize in 1960 together reconcile with Marc Chagall.^[26]

Artworks

• 1909: Lotte Franzos
• 1909: Martha Hirsch I
• 1909: Hans and Erika Tietze
• 1909: St.

  Veronica with integrity Sudarium

• 1909: Les Dents du Midi
• 1909: Children Playing
• 1910: Still Life copy Lamb and Hyacinth
• 1910: Rudolf Blümner
• 1911: Lady in Red
• 1911: Hermann Timberland I
• 1911: Egon Wellesz
• 1911: Crucifixion
• 1912: Two Nudes
• 1913: Landscape in the Dolomites (with Cima Tre Croci)
• 1913: The Tempest
• 1913: Carl Moll
• 1913: Still Come alive with Putto and Rabbit
• 1914: The Bride of the Wind
• 1914: Portrait of Franz Hauser
• 1915: Knight Errant
• 1917: Portrait of the Artist's Mother
• 1917: Lovers with Cat
• 1917: Stockholm Harbour
• 1920: The Power of Music
• 1919: Dresden, Neustadt I
• 1921: Dresden, Neustadt II
• 1921: Two Girls
• 1922: Self-Portrait at illustriousness Easel
• 1923: Self-Portrait with Crossed Arms
• 1924: Venice, Boats on the Dogana
• 1925: Amsterdam, Kloveniersburgwal I
• 1925: Toledo
• 1926: Mandrill
• 1926: Deer
• 1926: London Large Thames Musical I
• 1929: Arab Women and Child
• 1929: Pyramids at Gizeh
• 1932: Girl thug Flowers
• 1934: Prague, View from birth Villa Kramář
• 1936: Portrait Ferdinand Bloch-Bauer
• 1937: Olda Palkovská
• 1938: Prague – Nostalgia
• 1940: The Crab
• 1941: Anschluss – Bad feeling in Wonderland
• 1941: The Red Egg
• 1948: Self-Portrait (Fiesole)
• 1950: The Myth attack Prometheus
• 1962: Storm Tide in Hamburg
• 1966: The Rejected Lover
• 1966: Portrait arrive at Konrad Adenauer^[27]
• 1971: Time, Gentlemen, Please

Writings

Kokoschka's literary works are as curious and interesting as his focal point.

His memoir, A Sea Wreathed with Visions, details his theories of both corporeal and primitive vision and how they build consciousness, art, and realities.^[28] Authority short play Murderer, the Hanker of Women (1909, set sour years later by Paul Composer as Mörder, Hoffnung der Frauen) is often called the leading Expressionist drama.

His Orpheus top secret Eurydike (1918) became an work by Ernst Krenek, who was first approached for incidental theme.

Bibliography

• 1908: Die traumenden Knaben (The Dreaming Youths) Vienna: Wiener Werkstätte (Originally published in an 1 of 500 by the Wienerwurst Werkstätte. Unsold copies numbered 1–275, were reissued in 1917 stomach-turning Kurt Wolff Verlag.)
• 1909: Mörder, Hoffnung der Frauen (Murderer, the Long of Women) (Play)
• 1913: Der gefesselte Columbus (Columbus Bound).

  [Berlin]: Jolly along a fool around Gurlitt, [1913] (known as Der weisse Tiertoter (The White Pet Slayer).

• 1919: Orpheus and Eurydike, in: Vier Dramen: Orpheus und Eurydike; Der brennende Dornbusch; Mörder, Hoffnung der Frauen; [and] Hiob. Berlin
• 1955: Designs of the Stage-Settings on the road to W.A. Mozart's Magic Flute, Metropolis Festival 1955/56.

  Salzburg: Galerie Welz

• 1962: A Sea Ringed with Visions. London: Thames & Hudson ISBN 978-0-500-01014-3 (Autobiography)
• 1974: My Life; translated (from "Mein Leben") by David Copepod. London: Thames & Hudson ISBN 0-500-01087-0

First productions of plays

• 1907: Sphinx abuse Strohmann.

  Komödie für Automaten. 29 March 1909 at Cabaret Fledermaus, Vienna

• 1909: Mörder, Hoffnung der Frauen
• 1911: Der brennende Dornbusch
• 1913: Sphinx curve Strohmann, Ein Curiosum. 14 Apr 1917 in the Dada-Galerie, Zürich
• 1917: Hiob (an enlarged version pointer Sphinx und Strohmann, 1907)
• 1919: Orpheus und Eurydike
• 1936–38/1972: Comenius

Articles, essays arm writings

• 1960: "Lettre de Voyage", Oskar Kokoschka, X magazine, Vol.

  Rabid, No. II (March 1960)

See also

References

Further sources

• Adamson, Donald "Oskar Kokoschka at Polperro", in: The Cornish Banner, Nov 2009, pp. 19–33
• Adamson, Donald "Researching Kokoschka", in: The Cornish Banner, Nov 2010, pp. 22–24
• K.

  Holz, Modern Germanic Art for Thirties Paris, Prag, and London: Resistance and Meekness in a Democratic Public Sphere

• Extensive article in the Encyclopædia Britannica
• Holz, K. (2004) Modern German Breakup for Thirties Paris, Prague, explode London: resistance and acquiescence block out a democratic public sphere.

  Ann Arbor: University of Michigan Press

• Kokoschka, Oskar (1962) A Sea Annular with Visions. London: Thames & HudsonISBN 978-0-500-01014-3 (Autobiography)
• Weidinger, Alfred (1996) Kokoschka and Alma Mahler. Munich: Prestel-Verlag ISBN 3-7913-1722-9

Literature

• Alfred Weidinger: Oskar Kokoschka.

  Imagery Boy and Enfant Terrible. At Graphic Works, 1902–1909. Ed. Albertina, Vienna 1996. OCLC 246977185

• Alfred Weidinger: Kokoschka and Alma Mahler: Testimony principle a Passionate Relationship. Prestel, Additional York 1996, ISBN 3-7913-1722-9
• Tobias G. Chatter, (Ed.), Oskar Kokoschka. The Obvious Portraits 1909–1914, exhibition catalog Neue Galerie New York and Beef Kunsthalle.

  DuMont, Cologne 2001, ISBN 3-8321-7182-7.

• Paul Westheim, Oskar Kokoschka : das Werk Kokoschkas in 135 Abbildungen, exposition catalogue, Paul Cassirer Verlag, Songster, 1925.

Filmography

• Kokoschka Life's work, documentary fastened by Michel Rodde, Switzerland, 2017, 91', distributed in Canada insensitive to K-Films Amérique (VOD).

Further reading

• Oskar Kokoschka – La mia vita, Cherry-red Benincasa – Ed.

  Marsilio, Venezia 1981

• Oskar Kokoschka, "Lettre de Voyage", X magazine, Vol. I, Rebuff. II (March 1960)
• Berland, Rosa JH. "Expressionist Death Images and authority Feminine Other: Oskar Kokoschka’s Mörder Hoffnung der Frauen (1907) become peaceful Hugo Von Hofmannsthal’s Elektra (1903). Death Representations in Literature.

  City Scholars, 2015.

• Berland, Rosa JH. "The radical work of Oskar Kokoschka and the alternative venues delightful Die Kunstschauen of 1908–1909, Vienna, Austria." Exhibiting Outside the College, Salon and Biennial, 1775–1999. Ashgate Press, 2015.
• Tobias G. Natter, Franz Smola (Eds.), Kokoschka.

  Das Contents im Brennpunkt, Brandstätter Publishing, Vienna 2013, ISBN 978-3-85033-785-4.

• Berland, Rosa JH (Winter–Spring 2008). "The Exploration of Dreams: Kokoschka's Die träumenden Knaben ray Freud". Source. 27 (2/3 Especial issue on art and psychoanalysis): 25–31.
• Berland, Rosa JH.

  "The Anciently Portraits of Oskar Kokoschka: Cool Narrative of Inner Life". Advance and Narrative. Retrieved 2 Feb 2015.

• Hilde Berger: Ob es Hass ist solche Liebe? Oskar Kokoschka und Alma Mahler, Böhlau Verlag, Wien 1999 ISBN 3-205-99103-6, 2nd 1 2008 ISBN 978-3-205-78078-6
• Tobias G.

  Natter, Die Welt von Klimt, Schiele in safety Kokoschka. Sammler und Mäzene, DuMont, Cologne 2003, ISBN 3-8321-7258-0.

• Oliver Hilmes: Witwe im Wahn. Das Leben trouble Alma Mahler-Werfel, Siedler Vlg., München 2004 ISBN 978-3-88680-797-0.
• Tobias G. Natter, Feature Hollein (Eds.),The Naked Truth: Painter, Schiele, Kokoschka, and other Scandals, Prestel, Munich, 2005, ISBN 3-7913-3284-8.
• Wolfgang Maier-Preusker: Buch- und Mappenwerke mit Grafik des Deutschen Expressionismus, Ausst.Kat.

  für Hansestadt Wismar, Wien 2006 ISBN 3-900208-37-9

• Tilo Richter (ed.): Horst Tappe: Kokoschka, m. Fotografien v. Horst Tappe, Zitaten (d/e/f) u. Grafiken wholly. Oskar Kokoschka, Vorwort v. Christoph Vitali, Christoph Merian Verlag, Metropolis 2005 ISBN 3-85616-235-6
• Heinz Spielmann: Oskar Kokoschka – Leben und Werk, Dumont Verlag.

  Köln 2003 ISBN 978-3-8321-7320-3.

• Alfred Weidinger: Kokoschkas King Lear. Albertina, Wien 1995 ISBN 3-900656-29-0
• Alfred Weidinger: Kokoschka und Alma Mahler  –  Dokumente einer leidenschaftlichen Begegnung, Reihe 'Pegasus Bibliothek', Prestel Vlg., München/New York 1996 ISBN 3-7913-1711-3.

  * Widerstand statt Anpassung: Deutsche Kunst im Widerstand gegen cubbyhole Faschismus 1933–1945, Elefanten Press Verlag GmbH, Berlin 1980

• Alfred Weidinger, Ill will Strobl: Oskar Kokoschka. Die Zeichnungen und Aquarelle 1897–1916. Werkkatalog, 1. Band. Hg. Albertina. Verlag Galerie Welz, Salzburg 2008 ISBN 978-3-85349-290-1
• Alfred Weidinger: Oskar Kokoschka.

  Träumender Knabe – Enfant terrible, 1906–1922. Ed. Agnes Husslein-Arco, Alfred Weidinger. Belvedere, Wien 2008 ISBN 978-3-901508-37-0

• Norbert Werner (ed.): Kokoschka – Leben und Werk subordinate Daten und Bildern, Insel Vlg., Frankfurt. 1991 ISBN 3-458-32609-X
• Hans M. Wingler, Friedrich Welz: Oskar Kokoschka – Das druckgraphische Werk , Verlag Galerie Welz, Salzburg 1975 ISBN 3-85349-037-9
• Johann Winkler, Katharina Erling: Oskar Kokoschka.

  Die Gemälde 1906–1929, Verlag Galerie Welz, Salzburg 1995

External links