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• Introduction. Art objects as history
• Titanic sinks, departure arrives. Max Beckmann's melodramatic role in the fall of history painting and rise of the historical object
• Lost and found Dada objects and subjects. George Grosz, Hannah Höch, and German Jewish identity
• Objects of interpretation. Grosz's Germany: a winter's tale
• Absender: ich. Willi Baumeister's anti-Nazi works as objects of (s)exchange
• Sculpture and crime. Arno Breker
• From muscle men to fatty remains. Joseph Beuys's sculptural objects beyond objecthood
• Conclusion. Beyond Beuys: Gerhard Richter's choice.

This book provides a stimulating overview of twentieth-century German art, focusing on some of the period's key works by Max Beckmann, George Grosz, Hannah Hoch, Willi Baumeister, Arno Breker, Joseph Beuys, and Gerhard Richter. In Peter Chametzky's innovative approach, these works become representatives rather than representations of twentieth-century history. That is, the art here does not simply illustrate an argument, the art is the argument. Chametzky draws on both scholarly and popular sources to demonstrate how the works (and in some cases, the artists themselves) interacted with, and even enacted, historical events, processes, and ideas. He asserts the continued historical role of material art works in an era when less material forms - photography, film, television, video, digital images - have assumed the function of visually depicting contemporary history.
(source: Nielsen Book Data)

For decades, artists and architects have struggled to relate to the Holocaust in visual form, resulting in memorials that feature a diversity of aesthetic strategies. In Memory Passages, Natasha Goldman analyzes both previously-overlooked and internationally-recognized Holocaust memorials in the United States and Germany from the postwar period to the present, drawing on many historical documents for the first time. From the perspectives of visual culture and art history, the book examines changing attitudes toward the Holocaust and the artistic choices that respond to it.The book introduces lesser-known sculptures, such as Nathan Rapoport's Monument to the Six Million Jewish Martyrs in Philadelphia, as well as internationally-acclaimed works, such as Peter Eisenman's Memorial to the Murdered Jews of Europe in Berlin. Other artists examined include Will Lammert, Richard Serra, Joel Shapiro, Gerson Fehrenbach, Margit Kahl, and Andy Goldsworthy.Archival documents and interviews with commissioners, survivors, and artists reveal the conversations and decisions that have shaped Holocaust memorials.Memory Passages suggests that memorial designers challenge visitors to navigate and activate spaces to engage with history and memory by virtue of walking or meandering. This book will be valuable for anyone teaching-or seeking to better understand-the Holocaust.
(source: Nielsen Book Data)

• Introduction
• Visual culture
• The rise of German historicism
• Historicism as an academic discipline
• Aesthetic historicism
• Historicism as a cultural phenomenon
• Narrative and the poetics of history
• Visual historicism
• Spatial configurations
• Leopold von Ranke and the Panorama
• Historical ocularism
• The Panorama as a mass medium
• The Panoramic eye of the Historian
• Omniscient writing
• Visual reality effects
• The aesthetics of the picturesque
• Tourism and travel literature
• Ida von Hahn-Hahn's Literary Travelogues
• The Oriental Panorama
• The Colonial Panorama
• Historical landscapes
• Alpinism
• The mountain Panorama
• Historical environmentalism
• Ranke and the Panorama : concluding remarks
• Jacob Burckhardt and photography
• Jacob Burckhardt's photo collection
• Photograph shopping tours
• The photo collection
• Mapping the past
• Typology
• Serialisation
• The picture atlas
• The photographic Gaze in Jacob Burckhardt's Cicerone (1855)
• Roland Barthes's theory of photography
• Adalbert Stifter's photographic aesthetics
• Living monuments
• Photography as cultural memory
• Illustrated history books
• Franz Kugler and Adolph Menzel's history of Frederick the Great (1842)
• Wood Engraving : The Revolution for text and image
• Bourgeois spacializing
• Geographical space and landscape
• Illustrating Prussian and Colonial history
• Handbooks of Prussian history
• Editions de Luxe : Museums of the past
• Illustrated books on Colonial history
• Samoa : images of the exotic "other"
• Historical cartography
• Mapping Europe
• Cartography and construction
• Historical mapping
• Christian Kruse's historical atlas : bird's eye views on history
• Text and image relationships
• Historical school-atlases
• Mapping Prussia for School Children
• F. W. Putzger's school-atlas
• The construction of national unity
• Historical cartography of imperialism and colonialism
• Gustav Droysen's atlas of military history
• Mapping wars
• Geopolitics
• Colonial historical maps
• Territorial expansion
• Conclusion
• List of illstrations
• Bibliography
• Index of names.

Visual media had a decisive impact on how the past was perceived in historicist culture in nineteenth-century Germany. The panorama, photography, and book illustrations can portray the past under the auspices of spatiality. Research on historicist culture often neglects this dimension of space and concentrates on traditional historicist paradigms, such as temporality, narrative, and teleology. By investigating the visual vocabulary of different historicist genres (academic historiography, illustrated history books, historical maps), this volume expands an understanding of German historicist culture as a multi-medial phenomenon, and shows that past is conveyed in spatial forms, such as travel locations, national and colonial spaces, as well as geographical areas. Tracing these concepts of historical space, this volume demonstrates that the image works as a powerful tool to propagate the ideology of German imperialism in the nineteenth-century, but also can critically reflect the political agendas of national historicism.
(source: Nielsen Book Data)

• pt.
• 1. Leopold von Ranke and the panorama
• pt.
• 2. Jacob Burckhardt and photography
• pt.
• 3. Illustrated history books
• pt.
• 4. Historical cartography.

Visual media had a decisive impact on how the past was perceived in historicist culture in nineteenth-century Germany. The panorama, photography, and book illustrations can portray the past under the auspices of spatiality. Research on historicist culture often neglects this dimension of space and concentrates on traditional historicist paradigms, such as temporality, narrative, and teleology. By investigating the visual vocabulary of different historicist genres (academic historiography, illustrated history books, historical maps), this volume expands an understanding of German historicist culture as a multi-medial phenomenon, and shows that past is conveyed in spatial forms, such as travel locations, national and colonial spaces, as well as geographical areas. Tracing these concepts of historical space, this volume demonstrates that the image works as a powerful tool to propagate the ideology of German imperialism in the nineteenth-century, but also can critically reflect the political agendas of national historicism.
(source: Nielsen Book Data)