Index

A

Académie Julian:

curriculum at, 28 , 32 -33, 37 ;

foreign students attending, 29

Ahlers-Hestermann, Friedrich:

on Otto Eckmann, 76

Allotria:

social club of Munich Artists' Association, 70

Als Ik Kan:

Antwerp artists' cooperative, 25 -26

Amiet, Cuno, 29

Andrade, Francesco d':

painted by Slevogt, 168

Anquetin, Louis, 67

Ansorge, Conrad (Fig. 91 ), 149 -151

Arnim, Achim von:

Der Tolle Invalide auf Fort Ratonneau (Fig. 139 ), 225

Art nouveau. See Jugendstil

Augusta (German empress), 45

B

Bahr, Hermann, 66

Baldung Grien, Hans, 158

Balzac, Honoré de:

Contes drolatiques , 225 , 299 (Fig. 197 )

Barbizon school:

represented at 1869 Munich International Exhibition, 16 ;

influence on Munich landscape tradition, 72 -73

Barlach, Ernst, 177 , 212 , 213 ;

at Académie Julian, 29 ;

member of Berlin Secession, 129 ;

pictorial responses to World War I, 235 , 236 ;

Avenger , 235 ;

Episode from a Modern Dance of Death , 236 ;

First Victory Then Peace , 235 ;

Heavy Attack , 236 ;

Holy War , 235 , 236

Barnowsky, Victor, 312 n.47

Bashkirtsev, Marie, 29

Bastien-Lepage, Jules, 30 ;

The Beggar , 65

Beardsley, Aubrey; 129

Becker, Benno (Pl. 5, Fig. 54 ), 70 , 86

Beckmann, Max, 65 , 129 , 177 , 212 , 213 ;

compared to Corinth, xx , xxiii , 6 , 265 ;

member of Berlin Secession, 129 ;

influenced by Corinth, 152 ;

influenced by late medieval German art, 158 ;

responses to World War I, 236 ;

Battle of Amazons, Crucifixion, Drama , 152

Beethoven, Ludwig van, 65 , 151

Begas, Reinhold, 131 , 274

Beham, Barthel, 158

Behrens, Peter, 67 , 149

Bekmann, Friedrich Wilhelm, 4

Berend, Charlotte (Pls. 14, 19, 35; Figs. 80 -83, 85 -87, 89 , 105 , 108 , 119 , 120 , 122 -125), 162 , 178 , 202 , 210 , 290 , 300 , 315 n.10;

personality, 133 , 134 , 135 ;

importance in Corinth's work, 134 , 283 ;

nicknamed "Petermann," 136 ;

on Corinth's painting from the live model, 159 ;

on Corinth's bacchic nature, 170 ;

on Corinth's self-portraits in armor, 175 ;

on consequences of Corinth's illness, 195 , 196 ;

on disparity of age between self and Corinth, 205 , 282 ;

on the chronology of Corinth's

Berend, Charlotte (cont .)

first Walchensee landscapes, 247 ;

building house at the Walchensee, 249 -250;

on Corinth's painting of Walchensee night landscapes, 251 -252;

praised by Corinth, 287 -288

Berend, Hedwig, 299

Berend-Corinth, Charlotte. See Berend, Charlotte

Bergson, Henri, 66

Berlin, Germany:

artistic milieu, 42 -45, 202 , 203

Berlin Secession:

founding of, 114 ;

sponsoring foreign artists, 129 ;

role in German art, 129 -132;

controversies in, 175 -177;

split of, 212 -213

Bernard, Emil, 98

Bernheim-Jeune (Josse and Gaston Bernheim), 185

Bernstein, Carl, 44

Bernstein, Felicie, 44

Beurmann, Emil, 30 , 36

Bièfve, Edouard de, 9

Bierbaum, Otto Julius:

cofounder of Pan , 130

Biermann, Georg, 191 , 205

Bismark, Otto von, 232 , 234 , 241

Bizet, Georges:

Carmen , 170 , 282

Blaue Reiter. See Der Blaue Reiter

Blücher, Gebhard Leberecht von, 232

Bluth, Manfred, xxiii

Böcklin, Arnold, 44 , 55 , 67 , 69 , 96 , 99 -100, 103 , 115 , 280 ;

reputation of, 65 -66;

Battle of Centaurs , 65 ;

Magna Mater , 95 ;

Mourning Magdalene , 59 ;

Venus Anadyomene , 95

Bonnard, Pierre, 29 , 130

Bonnat, Léon, 25

Botticelli, Sandro, 92 , 94 , 158 , 280 ;

Pietà , 158

Bouguereau, Adolphe William, 38 , 39 , 49 , 50 , 95 -96, 280 ;

teaching at the Académie Julian, 29 , 30 , 31 ;

concept of form of, 33 , 34 , 36 ;

criticizing Corinth's draftsmanship, 34 ;

as a teacher, 37 ;

Education of Bacchus , 95 -96;

A Nude Study for Venus (Fig. 14 ), 32 , 33 ;

Oreads , 35 ;

Virgin of Consolation , 37

Boulanger, Gustave, 29 , 31

Bouts, Dirk, 81

Braekeleer, Henri de, 26

Brahm, Otto:

director of Deutsches Theater, Berlin, 121 , 165 ;

pioneer of naturalism in German theater, 166

Brandes, Georg (Georg Morris Cohen) (Fig. 195 ), 295 -296

Braques, Georges, 177

Brenner, Anita, 302 n.6

Brinckmann, Justus, 76

Brouwer, Adriaen, 7 , 26

Browne, Henriette (Sophie de Saux), 17

Bublitz, Carl (Fig. 30 ), 55 , 58

Buchholz, Karl, 11

Bürger, Gottfried August:

Die Königin von Golkonde , 267

C

Cabanel, Alexandre:

Birth of Venus , 35

Cahr, Paul:

"Sleep, Baby, Sleep," 308 n.67

Calame, Louis, 30

Cameron, David, 65

Carracci, Annibale, 58

Carrière, Eugène, 67

Cassirer, Bruno, 132 , 223 ;

co-owner of Cassirer Gallery and business manager of Berlin Secession, 115 , 116 , 130 ;

publisher and founder of Kunst und Künstler , 130

Cassirer, Paul, 132 , 170 , 177 , 178 , 191 , 203 , 213 , 223 , 235 ;

co-owner of Cassirer Gallery and business manager of Berlin Secession, 115 , 116 , 130 ;

importance as gallery owner, 130 ;

publisher, 130 , 132 ;

role in Berlin Secession, 130 , 176 ;

acquiring collection of Auguste Pellerin, 185 ;

conflict with Corinth, 202 ;

elected president of Berlin Secession, 209 ;

dictatorial methods, 212

Castagnary, Jules Antoine, 16

Cercle des XV, 25

Cézanne, Paul, 129 , 130 , 177 , 212 ;

compared to Corinth, xxii , 245

Chavannes, Puvis de, 67

Chopin, Frédéric, 151

Commeter Gallery, 203

Corinth, Franz Heinrich (Pls. 1 , 3 ; Figs. 20 , 29 ), 1 -2, 6 -7, 21 , 41 , 52 , 53 -54

Corinth, Franz Heinrich Louis. See Corinth, Lovis

Corinth, Lovis

—artistic development:

commitment to tradition, xx , 9 -10, 23 , 26 , 30 , 213 -217;

critics' responses to works, xxi ,

51 -52, 55 , 62 , 69 , 86 , 92 , 120 , 152 , 162 ;

range of pictorial expression, xxi , 68 , 107 ;

self-revelation in self-portraits, 5 -6, 23 , 97 -98, 100 , 125 -127, 170 -175, 195 , 196 , 207 , 211 , 260 -261, 287 -290;

destruction of early works, 7 , 37 -38, 154 ;

relationship with Günther, 11 ;

preoccupation with the live model, 11 , 19 -21, 61 , 78 , 95 , 153 -154, 158 -159, 162 , 165 , 217 -218, 222 , 296 ;

need for public approval, 30 , 31 , 36 , 151 ;

concept of form as manifested in the live model, 36 , 50 , 58 -61;

early plein air painting, 37 , 72 -76, 181 -182, 185 ;

association with Stauffer-Bern, 45 -48;

literary subjects as paradigmatic of human situations, 61 -64, 97 -98, 134 , 139 , 162 , 165 , 167 , 169 , 170 , 232 , 234 , 263 ;

self-identification with religious subjects, 62 , 195 , 207 -209, 222 , 298 -299;

productivity, 68 , 191 , 193 ;

parody, 83 , 86 , 95 -96, 103 , 119 -120, 152 , 160 -162, 163 -165, 269 ;

caricature, 86 ;

casual attitude toward subject matter, 91 , 92 , 106 , 162 ;

compared to French Impressionism, 107 , 181 -182, 185 -186, 258 , 263 , 272 ;

eroticism of female nude, 118 -119, 144 , 218 , 267 ;

drawing as independent means of expression, 136 , 141 , 222 ;

working method in figure compositions, 156 -158;

eclecticism, 158 , 162 , 222 ;

compared to German Expressionism, 158 , 225 , 236 , 277 ;

parody as self-expression, 163 ;

work for the theater, 165 -167, 312 n.47;

influence of work for the theater on conception of figure compositions, 167 ;

early still lifes, 179 , 225 ;

importance of landscape in late work, 193 ;

importance of still life in late work, 193 , 225 -227, 255 -256, 263 ;

changing attitude toward religious subject matter, 209 ;

self-identification with embattled heroes, 210 , 238 -241, 269 ;

expressionistic techniques, 217 -231;

role of drawing in development of late style, 218 -223, 225 , 265 -267;

repudiation of academic principles, 222 , 265 -267, 279 -280;

reversal of relationship of drawings to paintings, 223 , 314 n.27;

development as illustrator, 223 -225;

preoccupation with transience, 227 , 231 , 255 -261, 274 -279;

self-revelation in late still lifes, 227 , 263 ;

self-revelation in portraits of others, 227 , 274 , 295 -296, 299 ;

responses to World War I, 232 -234, 235 -236, 237 -241;

self-revelation in late landscapes, 245 -246;

role of watercolor in development of late style, 248 -249, 260 ;

book illustrations, 267 -269;

print portfolios, 267 -269;

Altersstil , 270 -283

—artistic influences on:

Trossin, 9 -10;

Günther, 11 , 12 -14;

Buchholz, 11 -13, 14 ;

Löfftz, 19 , 23 , 59 ;

Israëls, 23 , 54 ;

Rubens, 26 -28, 63 -64, 69 , 92 , 96 , 142 , 159 ;

Jordaens, 26 -28, 101 , 160 ;

Bouguereau, 33 -36, 37 , 49 , 50 , 95 -96;

Ingres, 35 ;

Titian, 35 ;

Henner, 37 , 59 , 61 ;

Stauffer-Bern, 48 -49, 50 -51, 54 , 59 ;

Hals, 57 -58, 171 -173;

Böcklin, 59 , 69 , 95 , 96 , 99 -100, 103 ;

Trübner, 59 , 69 -70, 171 ;

Leibl circle, 69 -73;

German Romantic tradition, 72 , 73 -76;

Barbizon school, 72 -73;

Friedrich, 73 -76;

Leistikow, 73 -76;

Bouts, 81 ;

Cornelius, 81 ;

David, 81 ;

Rops, 81 ;

Klinger, 84 -86, 225 ;

Strathmann, 86 , 92 , 99 ;

Eckmann, 86 , 99 ;

Jugendstil , 86 -91;

Liberale da Verona, 92 ;

Mantegna, 92 ;

Uhde, 92 ;

Botticelli, 94 , 158 ;

Toorop, 99 ;

Van Dyck, 103 ;

Jacobsz., 113 ;

Rembrandt, 139 , 159 -160, 173 ;

Housebook Master, 158 ;

Mair von Landshut, 158 ;

Master of Rabenden, 158 ;

Multscher, 158 ;

Schongauer, 158 , 222 ;

Snyders, 179

—personal life:

stroke and effect on development, xx -xxi, 191 , 193 , 195 -

Corinth, Lovis (cont .)

202 , 205 , 207 , 209 , 210 ;

father, 1 -2;

mother, 1 -3;

family life in childhood, 1 -7;

despondency in old age, 3 , 287 , 295 ;

alcoholism, 8 , 100 , 193 ;

physical appearance, 30 ;

self-image, 45 ;

changing name from Louis to Lovis, 51 ;

affection for father, 54 , 300 ;

association with freemasonry, 112 ;

courtship and marriage, 133 , 134 -137;

children, 134 ;

competitiveness, 175 ;

convalescence, 201 -202, 205 ;

self-depreciation in old age, 262 ;

physical appearance in old age, 286 -287;

last illness and death, 300 -301

—philosophy:

of self-portraiture, 23 ;

of the study of the live model, 38 , 153 -154;

of figure compositions, 38 , 157 ;

criticism of the avant-garde, 39 , 177 -178, 213 -217;

of portraiture, 51 ;

relationship to Nietzsche cult, 96 -99, 101 -106, 171 , 175 ;

eroticism, 154 ;

of the universal significance of subject matter, 162 ;

of personal creativity, 162 -163;

of portraits of actors in their roles, 167 ;

of imitating modern French painting, 177 -178;

of still life painting, 178 , 180 ;

patriotism, 232 -235, 241 , 243 , 262 ;

definition of painting, 280 ;

of painting technique, 280 -281;

of the difference between portraits of men and women, 283 ;

affinity for events of the Bible, 296

—professional life:

reputation in Germany, xxi , xxiii , 122 , 151 -152, 178 , 186 , 191 , 241 , 267 ;

branded "degenerate" by Nazis, xxi -xxii;

reputation in America, xxii -xxiii;

at Königsberg Academy, 7 -15;

at Munich Academy, 16 -24;

bronze medal, London, 1884, 28 ;

at the Académie Julian, 28 -29;

accepted at Paris Salon 1885, 31 -32;

accepted at Paris Salon 1890 (mention honorable ), 61 ;

accepted at Paris Salon, 1891, 61 ;

co-founder of Munich Secession and Free Association, 67 -68;

awarded gold medal, Munich Glass Palace 1885, 92 ;

prices of works, 94 , 124 , 189 -190, 249 ;

commissions, 112 , 117 , 124 , 132 , 183 , 187 -191, 217 , 223 ;

collectors, 113 , 115 -116, 245 ;

association with Berlin Secession, 132 ;

qualities as a teacher, 132 -133;

teaching methods, 153 -154;

elected president of Berlin Secession, 177 ;

elected president of Rump Secession, 212 ;

honorary professorship, 241

Corinth, Lovis, works

—allegories:

Beneath the Shield of Arms (Fig. 150 ), 236 , 237 ;

Learn to Suffer without Complaining (Fig. 36 ), 63 , 63 -64;

Mother and Child (Fig. 87 ), 143 , 143 -144;

The Old Drinker (Fig. 32 ), 58 , 58 ;

Old Man in Armor (Fig. 151 ), 237 , 237 -238

—genre:

At the Breakfast Table (Fig. 37 ), 70 -71, 71 ;

At the Toilet Table (Fig. 124 ), 204 , 205 ;

The Barn (Fig. 5 ), 12 , 13 ;

Butcher's Store at Schäftlarn (Fig. 71 ), 107 , 108 ;

Cardsharp (Fig. 19 ), 38 -39, 39 ;

The Conspiracy (Fig. 12 ), 23 -24, 24 ;

Kitchen Interior (Fig. 6 ), 13 , 13 ;

Seated Peasant and Other Sketches (Fig. 7 ), 14 , 14 ;

Slaughterhouse (Pl. 6 ), 72

—group portraits:

The Family of the Painter Fritz Rumpf (Pl. 15 ), 146 -147;

Firm in Loyalty (Fig. 74 ), 111 -113, 112 ;

In Max Halbe's Garden (Pl. 10 ), 111

—historical subjects:

Frederick the Great on His Deathbed (Fig. 174 ), 268 , 269 ;

Götz von Berlichingen (Fig. 153 ), 238 -241, 239

—landscapes:

Bowling Alley (Fig. 128 ), 210 , 210 ;

Cow Pasture (Fig. 109 ), 182 , 182 ;

Emperor's Day in Hamburg (Pl. 20 ), 185 ;

Fishermen's Cemetery at Nidden (Pl. 8 ), 73 -74;

Forest Interior near Dachau (Fig. 38 ), 73 , 74 ;

House at the Walchensee (Fig. 161 ), 254 , 254 ;

Inn Valley Landscape (Fig. 110 ), 183 , 183 ;

In Thuringia (Fig. 4 ), 11 -13, 12 ;

Large Landscape with Ravens (Fig. 39 ), 73 ,

75 ;

Moonlit Landscape in June (Fig. 159 ), 251 , 252 ;

Mountain Landscape with a Full Moon (Fig. 158 ), 248 -249, 249 ;

October Snow at the Walchensee (Pl. 24 ), 250 -251;

Schlossfreiheit, Berlin (Fig. 178 ), 272 -274, 273 ;

Storm at Capo Sant'Ampeglio (Pl. 21 ), 202 ;

Tree at the Walchensee (Fig. 176 ), 271 , 271 -272;

Unter den Linden, Berlin (Fig. 177 ), 272 , 272 ;

View from the Studio (Pl. 7 ), 72 ;

View of the Köhlbrand (Fig. 111 ), 183 -185, 184 ;

Walchensee (Fig. 157 ), 248 , 248 ;

Walchensee (Pl. 26 ), 253 ;

Walchensee (Fig. 193 ), 293 , 294 ;

Walchensee (Fig. 194 ), 293 , 294 ;

The Walchensee in Moonlight (Pl. 25 ), 251 ;

The Walchensee in Moonlight (Fig. 160 ), 251 , 253 ;

The Walchensee in Winter (Fig. 175 ), 270 , 271 ;

Walchensee : View from the Kanzel (Fig. 191 ), 291 , 291 ;

Walchensee : View of the Wetterstein (Pl. 27 ), 255 ;

Walchensee : Village Street (Fig. 156 ), 247 , 247 ;

Walchensee with Larch (Pl. 28 ), 255

—literary subjects:

Count Durande and Francoeur (Fig. 139 ), 224 , 225 ;

Diogenes (Pl. 4 ), 68 -69;

The Fair Imperia (Fig. 197 ), 299 , 301 ;

Odysseus's Fight with the Beggar (Fig. 100 ), 163 , 163 -165;

The Trojan Horse (Fig. 192 ), 292 , 292 -293;

Venus Finger (Fig. 173 ), 267 , 268 ;

Warriors (Odysseus and the Suitors ) (Fig. 146 ), 232 , 233

—miscellaneous:

"Barbarians ": Immanuel Kant (Fig. 148 ), 234 , 234 ;

Caricatures (Fig. 54 ), 86 , 87 ;

Carousing Lansquenets (Fig. 2 ), 9 , 9 -10;

Good Friday (Fig. 59 ), 91 , 91 ;

Harem (Fig. 94 ), 154 , 155 ;

Harem (Fig. 138 ), 223 , 224 ;

Joan of Arc (Fig. 147 ), 232 -234, 233 ;

Postcard to Joseph Ruederer (Fig. 52 ), 86 , 87 ;

Postcard to Joseph Ruederer (Fig. 53 ), 86 , 87 ;

Tragicomedies (Figs. 42 -50), 78 -86, 79 , 80 , 82 , 83 , 84 , 85 ;

Witches (Fig. 69 ), 105 , 105 -106

—mythological subjects:

Bacchanal (Fig. 62 ), 95 , 95 -96;

Birth of Venus (Fig. 61 ), 94 , 94 -95;

Birth of Venus (Pl. 34 ), 280 ;

Birth of Venus (Fig. 184 ), 280 , 281 ;

the Childhood of Zeus (Fig. 99 ), 160 -161, 161 ;

Faun and Nymphs (Fig. 55 ), 86 -88, 88

—nudes:

Female Nude at Atelier Stool (Fig. 15 ), 33 , 33 ;

Male Nude (Fig. 92 ), 153 , 153 ;

Reclining Female Nude (Study for Jupiter and Antiope ) (Fig. 17 ), 34 -36, 35 ;

Reclining Female Nude (Fig. 26 ), 50 , 50 ;

Reclining Female Nude (Fig. 27 ), 50 , 51 ;

Reclining Female Nude (Pl. 11 ), 118 -119;

Reclining Female Nude (Fig. 93 ), 153 , 153 -154;

Recumbent Male Nude (Fig. 18 ), 36 , 36 ;

Standing Female Nude (Fig. 24 ), 48 , 49 , 49 ;

Standing Female Nude (Fig. 25 ), 48 , 49 , 49 ;

Three Studies for a Reclining Female Nude (Fig. 16 ), 34 , 34

—portraits:

After the Bath (Pl. 19 ), 182 -183;

Berta Heck in a Boat (Fig. 72 ), 107 -109, 109 ;

Carmencita (Pl. 35 ), 281 -282, 283 ;

Charlotte Berend Asleep (Fig. 82 ), 136 , 137 ;

Charlotte Berend in a Deck Chair (Fig. 85 ), 141 , 141 ;

Donna Gravida (Pl. 14 ), 142 ;

Franz Heinrich Corinth on His Sickbed (Pl. 3 ), 54 ;

Gertrud Eysoldt as Salome (Fig. 102 ), 167 , 168 ;

Mother and Child (Fig. 86 ), 142 , 143 ;

Negro ("Un Othello ") (Pl. 2 ), 26 -28;

On the Balcony in Bordighera (Fig. 120 ), 198 -199, 199 ;

Petermannchen (Fig. 81 ), 136 , 137 ;

Portrait of Alfred Kuhn (Fig. 180 ), 275 -276, 276 ;

Portrait of a Man (Fig. 8 ), 14 , 15 ;

Portrait of Charlotte Berend (Fig. 119 ), 198 , 198 ;

Portrait of Charlotte Berend (Fig. 122 ), 201 , 201 -202;

Portrait of Charlotte Berend (Fig. 125 ), 205 -207, 206 ;

Portrait of Charlotte Berend in a White Dress (Fig. 80 ), 134 -135, 135 ;

Portrait of Count Eduard Keyserling (Pl. 13 ), 124 -125;

Portrait of Dr. Karl Schwarz (Fig. 143 ), 227 -229, 229 ;

Portrait of Eduard Meyer (Fig. 112 ), 187 , 188 ;

Portrait of

Corinth, Lovis (cont .)

Eduard Meyer as Dean (Fig. 113 ), 187 -189, 189 ;

Portrait of Franz Heinrich Corinth (Fig. 29 ), 53 , 53 -54;

Portrait of Franz Heinrich Corinth with a Letter (Fig. 20 ), 41 -42, 42 ;

Portrait of Franz Heinrich Corinth with a Wine Glass (Pl. 1 ), 21 ;

Portrait of Frau Luther (Fig. 114 ), 190 , 191 ;

Portrait of Friedrich Ebert (Fig. 187 ), 283 , 285 ;

Portrait of Georg Brandes (Fig. 195 ), 295 -296, 297 ;

Portrait of Gerhard Hauptmann (Fig. 77 ), 121 , 121 -122;

Portrait of Herbert Eulenberg (Fig. 145 ), 231 , 231 ;

Portrait of Herbert Eulenberg (Fig. 186 ), 283 , 284 ;

Portrait of Luise Halbe in a Straw Hat (Fig. 73 ), 109 -111, 110 ;

Portrait of Mother Rosenhagen (Fig. 76 ), 117 -118, 118 ;

Portrait of Otto Eckmann (Fig. 57 ), 89 -90, 90 ;

Portrait of Otto Winter (Fig. 144 ), 230 , 230 -231;

Portrait of the Actor Hugo Rogall (Fig. 31 ), 55 -57, 57 ;

Portrait of the Artist's Son, Thomas (Fig. 164 ), 258 , 259 ;

Portrait of the Painter Benno Becker (Pl. 5 ), 70 ;

Portrait of the Painter Bernd Grönvold (Fig. 181 ), 276 -279, 277 ;

Portrait of the Painter Carl Bublitz (Fig. 30 ), 55 , 56 ;

Portrait of the Painter Leonid Pasternak (Pl. 33 ), 274 -275;

Portrait of the Painter Paul Eugène Gorge (Fig. 13 ), 26 -27, 27 ;

Portrait of the Pianist Conrad Ansorge (Fig. 91 ), 149 -151, 150 ;

Portrait of the Poet Peter Hille (Fig. 90 ), 147 -149, 148 ;

Portrait of Richard Israel (Fig. 75 ), 116 , 117 ;

Rudolf Rittner as Florian Geyer (Pl. 16 ), 168 -169;

Rudolf Rittner as Florian Geyer (Fig. 127 ), 209 , 209 -210;

Thomas in Armor (Pl. 39 ), 229 ;

Tilla Durieux as a Spanish Dancer (Fig. 103 ), 169 , 169 -170;

Wilhelmine in a Yellow Hat (Fig. 185 ), 283 , 284 ;

Wilhelmine with a Ball (Fig. 142 ), 227 , 228

—religious subjects:

Cain (Fig. 152 ), 238 , 238 ;

The Carrying of the Cross (Fig. 135 ), 220 , 222 , 223 ;

Crucified Christ (Fig. 136 ), 221 , 222 ;

Crucified Thief (Fig. 10 ), 19 -21, 20 ;

Crucifixion (Fig. 65 ), 101 , 102 ;

Crucifixion (Fig. 169 ), 264 , 265 ;

Death of Jesus (Fig. 170 ), 264 , 265 ;

Deposition (Fig. 58 ), 91 , 91 , 92 ;

Deposition (Fig. 60 ), 92 -94, 93 ;

Ecce Homo (Fig. 134 ), 219 -222, 220 ;

Ecce Homo (Pl. 38 ), 296 -298;

Entombment (Fig. 95 ), 156 , 156 -157;

Entombment (Fig. 96 ), 156 -157, 157 ;

Entombment (Fig. 97 ), 157 , 157 -158;

Entombment (Fig. 172 ), 265 -267, 266 ;

Job and His Friends (Fig. 117 ), 195 , 196 ;

Joseph and Potiphar's Wife (Fig. 132 ), 218 , 219 ;

The Large Martyrdom (Fig. 101 ), 164 , 165 ;

Pietà (Fig. 33 ), 58 -61, 59 ;

Pietà (Fig. 171 ), 265 , 266 ;

Potiphar's Wife (Fig. 131 ), 218 , 218 ;

The Prodigal Son (Fig. 35 ), 61 -62, 62 ;

The Prodigal Son (Fig. 51 ), 83 , 85 ;

The Red Christ (Pl. 32 ), 263 -265;

Resurrection (Fig. 56 ), 88 , 89 ;

Salome (Pl. 12 ), 119 -120;

Samson Blinded (Pl. 22 ), 207 -209;

Samson Blinded (Fig. 133 ), 218 -219, 220 ;

Samson Taken Captive (Fig. 98 ), 159 , 159 -160;

Susanna and the Elders (Fig. 67 ), 103 , 104 ;

Susanna and the Elders (Fig. 68 ), 103 , 104 ;

Susanna and the Elders (Fig. 182 ), 278 , 279 -280;

Susanna and the Elders (Fig. 183 ), 279 , 279 -280;

Susanna in Her Bath (Fig. 34 ), 60 , 61 ;

Temptation of Saint Anthony (Fig. 70 ), 106 , 106

—self-portraits:

Artist and Death II (Fig. 149 ), 235 , 235 ;

Death and the Artist (Fig. 167 ), 261 , 261 ;

Large Self-Portrait at the Walchensee (Pl. 36 ), 290 ;

Last Self-Portrait (Pl. 40 ), 299 -300;

Self-Portrait (Fig. 1 ), 5 -6, 6 ;

Self-Portrait (Fig. 11 ), 21 -23, 22 ;

Self-Portrait (Fig. 28 ), 50 -51, 52 ;

Self-Portrait (Fig. 115 ), 194 , 195 ;

Self-Portrait (Fig. 118 ), 196 , 197 ;

Self-Portrait (Pl. 31 ), 260 ;

Self-Portrait (Fig. 166 ), 260 , 260 -261;

Self-Portrait (Fig. 168 ), 261 , 261 ;

Self-Portrait as the Man of Sorrows (Fig. 196 ), 298 , 298 -299;

Self-Portrait at the Easel (Fig. 155 ), 242 , 243 ;

Self-Portrait in a Straw Hat (Fig.

189 ), 287 , 289 ;

Self-Portrait in a White Smock (Fig. 154 ), 240 , 241 -243;

Self-Portrait in Panama Hat (Fig. 126 ), 207 , 208 ;

Self-Portrait Sketches (Fig. 64 ), 100 , 100 ;

Self-Portrait without Collar (Fig. 78 ), 122 -124, 123 ;

Self-Portrait with Palette (Fig. 188 ), 287 , 288 ;

Self-Portrait with Palette (Fig. 190 ), 288 , 289 ;

Self-Portrait with Skeleton (Pl. 9 ), 99 -100;

Self-Portrait with Tyrolean Hat (Fig. 129 ), 210 , 211 ;

Small Self-Portrait at the Walchensee (Fig. 165 ), 259 , 259 -260

—self-portraits in costume:

It Is Your Destiny (Fig. 63 ), 97 -98, 98 ;

The Knight (Self-Portrait) (Fig. 116 ), 195 , 196 ;

Self-Portrait as a Howling Bacchant (Pl. 17 ), 170 ;

Self-Portrait as a Standard Bearer (Fig. 106 ), 173 , 174 ;

Self-Portrait in Armor (Fig. 130 ), 216 , 217 ;

Self-Portrait with a Glass (Fig. 104 ), 171 , 172 ;

The Victor (Fig. 105 ), 173 , 173

—self-portraits with others:

The Artist and His Family (Fig. 89 ), 144 -146, 145 ;

Before the Mirror (Fig. 123 ), 204 , 205 ;

Self-Portrait with Charlotte Berend and Champagne Glass (Fig. 83 ), 138 , 139 ;

Self-Portrait with Model (Fig. 79 ), 125 -127, 126 ;

Self-Portrait with Model (Fig. 84 ), 139 -140, 140 ;

The Victor (Fig. 105 ), 173 , 173

—still lifes:

Chrysanthemums (Fig. 163 ), 256 , 257 ;

Chrysanthemums and Calla (Fig. 162 ), 255 , 256 ;

Flowers and Wilhelmine (Pl. 30 ), 256 -258;

Hymn to Michelangelo (Pl. 18 ), 180 -181;

Large Still Life with Figure ("Birthday Picture ") (Fig. 108 ), 179 -180, 181 ;

Larkspur (Pl. 37 ), 290 ;

Riviera Flowers (Fig. 121 ), 200 , 200 -201;

Spring Flowers in a Fluted Vase (Fig. 179 ), 274 , 275 ;

Still Life with Buddha (Fig. 107 ), 179 , 180 ;

Still Life with Buddha, Lobster, and Oysters (Fig. 141 ), 225 , 226 ;

Still Life with Flowers, Skull, and Oak Leaves (Pl. 29 ), 255 -256;

Still Life with Fruit (Fig. 140 ), 225 , 226 ;

Still Life with Lilacs (Pl. 23 ), 225 -227

Corinth, Thomas (Pl. 39 , Figs. 86 , 87 , 89 , 164 ), xxii , 5 , 134 , 142 , 143 , 146 , 162 , 251 , 259 , 299

Corinth, Wilhelmine (Pl. 30 , Figs. 89 , 142 , 185 ), 134 , 142 , 143 , 146 , 251 , 256 , 258 , 283 , 284 , 290 , 299

Cornelius, Peter von, 81

Corot, Camille, 16

Courbet, Gustave:

at 1869 Munich International Exhibition, 16 , 17 ;

After Dinner at Ornans , compared to Leibl's reverie pictures, 70 ;

The Stonebreakers , 16

Cranach, Lucas, 158

Cross, Henri Edmond, 31

D

Dachau school, 18

David, Jacques Louis, 33 ,

Defregger, Franz von, 7 , 15 , 18 ;

Andreas Hofer on the Way to His Execution, Speckbacher and His Son Anderl, The Storming of the Red Tower , 18

Degas, Edgar:

compared to Corinth, xx , 258 ;

exhibiting in Germany, 45 , 67 , 130

Dehmel, Richard: cofounder of Pan , 130

Delaroche, Paul, 7

Denis, Maurice, 29 , 67

Derain, André, 29 , 177 , 203 , 212

Der Blaue Reiter:

first exhibition, 203

Der Nasse Lappen:

Berlin drawing club, 45 ;

members of, 45 , 306 n.11

Der Sturm :

literary weekly, 203

Der Sturm:

Berlin gallery, 203

Die Brücke:

chronicle of, 158 ;

exhibitions, 129 , 203 , 212 , 213

Diez, Wilhelm von, 17 , 18

Dill, Emil, 30

Dill, Ludwig: co-founder of artists' colony NeuDachau, 70

Diner, Joseph: on Nietzsche, 99

Dinet, Etienne, 31

Dongen, Kees van, 212

Dupré, Jules, 17

Durand-Ruel, Paul, 45 , 185

Dürer, Albrecht, 215

Durieux, Tilla (Ottilie Godeffroy) (Fig. 103 ), 169 -170;

on Gertrud Eysoldt, 167 ;

on acting, 170

Düsseldorf Sonderbund, 203

E

Ebert, Friedrich (Fig. 187 ), 283 -284

Eckmann, Otto (Fig. 57 ), 76 -77, 86 , 89 -91, 99 , 100 , 116 -117;

co-founder of Munich Secession, 67 ;

artistic development of, 76 ;

directing Corinth toward printmaking, 78 ;

contact with Stefan George, 96 ;

reader of Nietzsche, 98 ;

The Four Ages of Man , 76

Eichfeld, Hermann, 86

Eipper, Paul, 94

Eleven, the. See Gruppe der Elf

El Greco, 130

Ende, Hans am, 115

Endell, August: on Munich artists' community in 1896, 64

Ensor, James, 98

Eulenberg, Herbert (Figs. 145 , 186 ), 231 , 241 , 283 ;

Anne Boleyn , 267

Eyck, Jan van, 26

Eysoldt, Gertrud (Fig. 102 ), 167 , 169 , 170

F

Fabritius, Carel:

Salome , 300

Fantin-Latour, Henri:

A Studio in the Batignolles Quarter , 17

Fechter, Paul, 284 , 286

Feininger, Lyonel, 129 , 213

Feuerstein, Martin, 94

Fichte, Johann Gottlieb, 234

Fiori, Ernesto de, 213

First German Autumn Salon, 203

First World War, 63 , 130 , 232 -243

Fischer, Samuel, 121

Flaubert, Gustave, 77

Franco-Prussian War, 17 , 25 , 43

Frederick the Great (Fig. 174 ), 232 , 269

Free Association, 67 , 76 , 120 , 132 , 213

French Impressionism:

promoted in Berlin, 44 -45, 129 -130;

in context of development of Corinth, Liebermann, and Slevogt, 175

Friedrich III (kaiser), 63

Friedrich, Caspar David, 76 ;

Hill and Ploughed Fields near Dresden , 73

Friedrich Wilhelm III (king of Prussia), 4

Friedrich Wilhelm IV (king of Prussia), 7

Friesz, Othon, 212

Fürstenberg, Carl, 114

G

Gallait, Louis, 9 , 26

Gallén-Kallela, Aksel, 29 , 30

Gauguin, Paul, 67 , 98 , 144 , 177

Gebühr, Otto, 269

Geigen, Nicolaus, 306 n.11

George, Stefan, 96 , 151

Gerhardt, Paul, 299

Giacometti, Giovanni, 29

Giotto di Bondone, 163

Goeritz, Erich, 245

Goethe, Johann Wolfgang von, 11 , 65 , 70 , 78 , 122 , 246 ;

Egmont , 295 ;

Faust , 267 -269, 312 n.47;

Götz von Berlichingen , 48

Gogh, Vincent van, 129 , 130 , 144 , 177 , 212 ;

compared to Corinth, xx , xxii

Goltz, Hans, 203

Gonzalez, Eva, 44

Gorge, Paul Eugène (Fig. 13 ), 25 -26

Gorki, Maxim: Nachasyl , 167

Göthe, Eosander von, 274

Grönvold, Bernt (Fig. 181 ), 121 , 276 -279

Grossmann, Rudolf, 286

Grünewald, Matthias, 158 , 215 , 265 , 307 n.28

Gruppe der Elf:

Berlin artists' association, 114

Grusemann, Michael, 296

Guillaumin, Armand, 31

Gulbransson, Olaf, 86 , 308 n.66

Günther, Otto Edmund, 10 -11, 12 -14, 15 , 18 , 175 ;

The Gambler (Fig. 3 ), 10 , 10

Gurlitt, Fritz:

promoting modern art in Berlin, 44 -45, 67 , 203 ;

as publisher, 228 , 241 , 267

Guthrie, James, 65

Guttzeit, Bruno, 55 , 61 , 62

H

Hagenbeck, Carl, 189

Halbe, Luise (Pl. 10 , Fig. 73 ), 109 -111

Halbe, Max (Pl. 10 ), 68 , 107 , 109 , 111 , 124 ;

characterizing Corinth, 97 ;

dedicating poem to Corinth, 97

Hals, Frans, 7 , 57 -58, 113 , 171 -173, 214 , 300 ;

Portrait of a Man in a Slouch Hat , 171 -173

Hanson, Ola:

Friedrich Nietzsche : Seine Persönlichkeit und sein System , 99

Hartleben, Otto Erich, 68 , 96 , 98

Hauptmann, Gerhart (Fig. 77 ), 120 -122, 168 , 169 , 170 ;

Die Weber , 122 , 131 ;

Florian Geyer , 122 , 168 -169;

Michael Kramer , 121 , 122 ;

Vor Sonnenaufgang , 122

Hausenstein, Wilhelm, 286

Heck, Berta (Pl. 10 , Fig. 72 ), 107 , 109 , 111

Heckel, Erich, 129 , 176 , 203

Heckert, Ernst, 101

Heilbut, Emil:

Editor of Kunst und Künstler , 130

Heine, Thomas Theodor, 67 , 86 , 96 , 308 n.66

Held, Julius, xxii

Henner, Jean-Jacques, 35 , 59 ;

Christ in the Tomb , 37 ;

The Dead Christ , 37

Heydeck, Johannes, 9

Heymel, Walter:

Im Kampf um die Kunst : Die Antwort auf den "Protest deutscher Künstler ," 178

Hildebrand, Adolf von, 213

Hille, Peter (Fig. 90 ), 147 -149;

Der Sozialist , 149

Hippel, Theodor Gottlieb von, 7

Hodler, Ferdinand, 213 ;

The Dispirited , 115

Hofer, Karl, 213 , 236

Hofmann, Ludwig von, 29 , 120 -121

Hofmannsthal, Hugo von:

Elektra , 167

Holbein, Hans, 7 , 47 , 58 , 215 , 307 n.28

Holz, Arno:

Dafnislieder , 267

Hölzel, Adolf:

theorist and co-founder of artists' colony NeuDachau, 18 , 70 ;

co-founder of Munich Secession, 67

Housebook Master, 158

Huysmans, Joris-Karl:

A rebours , 66

I

Imiela, Hans-Jürgen, 282

Impekoven, Leo, 166

Ingres, Jean-Auguste-Dominique, 29 , 32 , 33 , 35 , 36 ;

La Source , 35

Israel, Bianca, 117 , 120 , 124

Israel, Richard, 114 , 120

Israëls, Jozef, 23 -24;

The Widower , 23 , 54

J

Jacobsz., Dirk, 113

Jannings, Emil, 267

Jawlensky, Alexey von, 129 , 130 , 203

Jordaens, Jacob, 69 , 101 , 160

Jugendstil , 66 , 67 , 77 , 86 -91, 90 ;

floral, 76 , 89

Julian, Rodolphe, 28 , 29 . See also Académie Julian

Justi, Ludwig, xxi

K

Kaiser. See Wilhelm II

Kandinsky, Wassily, 129 ;

Concerning the Spiritual in Art , 203

Kant, Immanuel, 76 , 234

Kaulbach, Friedrich August von, 17

Keyserling, Eduard von (Pl. 13 ), 68 , 124 -125

Kirchner, Ernst Ludwig, 129 , 158 , 176

Klein, Max, 45

Klein, Tim, 269

Klimt, Gustav, 77

Klinger, Max, 45 , 48 , 86 , 225 ;

hostile criticism of, 44 ;

reputation in context of European symbolism, 65 -66;

naturalism in, 66 ;

on the distinction between painting and drawing, 84 -86;

and Kollwitz, 306 n.12;

Christ on Olympus101 ;

Crucifixion (Fig. 66 ), 101 , 103 ;

The Judgment of Paris , 44 ;

A Life , 306 n.12;

Malerei und Zeichnung , 84 -86

Klopfer-Corinth, Wilhelmine. See Corinth, Wilhelmine

Knaus, Ludwig, 10

Knobelsdorf, Georg Wenzeslaus von, 188

Koch, Alexander:

published Deutsche Kunst und Dekoration , 7

Koch, Carl Friedrich, 45

Kokoschka, Oskar, 130 , 203 , 212 ;

response to Second World War, 236 ;

late landscapes compared to Corinth's Walchensee landscapes, 255 ;

The Tempest , 230

Kolbe, Georg, 29 , 212 , 213

Kollwitz, Käthe, 29 , 129 , 131 , 212 ;

and Stauffer-Bern, 46 , 306 n.12;

and Klinger, 306 n.12;

The Weavers' Revolt , 131

Königsberg, East Prussia:

artistic milieu, 7

Königsberg Academy:

curriculum, 7 , 8 -9;

faculty intrigues, 8 , 15

Kramer, Hilton, xxiii , 217

Kriehuber, Josef, 8

Krüger, Franz, 129

Kruse, Max, 166

Kuhn, Alfred (Fig. 180 ), 276 , 286

L

Laforgue, Jules:

early writer on Impressionism, 45 ;

Moralités légendaires , 120

Langbehn, Julius:

Rembrandt als Erzieher , 99

Langhammer, Arthur (Fig. 37 ), 70 -71

Lefebvre, Jules, 29 , 31 , 32

Léger, Fernand, 29

Lehmbruck, Wilhelm, 177 , 212 , 213 , 236

Leibl, Wilhelm, xx , 18 , 67 , 70 , 115 , 142 , 295 ;

at 1869 Munich International

Leibl, Wilhelm (cont. )

Exhibition, 16 ;

friendship with Courbet, 17 ;

Portrait of Frau Gedon , 16

Leibl circle, xx , 69 , 70 , 73

Leistikow, Walter, 45 , 117 , 120 , 127 , 176 ;

on Corinth's teaching manual, 38 -39;

friendship with Corinth, 64 ;

landscape paintings of, 73 ;

on Maeterlinck's Pelléas et Mélisande , 73 ;

and Nietzschean vitalism, 96 ;

and the Berlin Secession, 113 -114;

recruiting Corinth for Berlin Secession, 115 , 116 ;

Lake in the Grunewald (Fig. 40 ), 73 , 75

Lenbach, Franz von, 44 , 55 ;

conservatism of, 17 , 66 ;

designed costume party for Munich Artists' Association, 96 -97

Lepic, Viscount Ludovic-Napoléon, 25 , 31

Lessing, Gotthold Ephraim:

Minna von Barnhelm , 167

Les Vingt:

Brussels artists' association, 26

Lewin-Funcke, Arthur, 132

Leys, Hendrik, 26

Liberale da Verona:

Entombment , 92

Lichtwark, Alfred:

commissioning Corinth, 183 , 186 -187;

and Hamburg portraiture, 186 ;

and Corinth's conception of the portrait of Eduard Meyer, 187 -191

Liebermann, Max, xx , 23 , 45 , 67 , 116 , 146 , 178 , 187 , 202 , 203 , 212 , 287 , 295 ;

and French hostility, 25 , 31 ;

compared with Corinth, 107 ;

and Berlin Secession, 114 , 115 , 132 , 176 -177;

characterizing Gerhart Hauptmann, 122 ;

working-class themes in, 131 ;

on subject matter in painting, 151 ;

influenced by Corinth, 152 ;

on Matthias Grünewald, 158 ;

and French Impressionism, 175 , 185 -186;

and Free Association, 213 ;

Beer Garden in Munich , 44 ;

Girls from the Amsterdam Orphanage in a Garden , 43 ;

Kitchen Still Life with Self-Portrait , 179 ;

The Old Men's Home in Amsterdam , 43 ;

Samson and Delilah , 152 ;

Saying Grace , 43 ,

Women Spinning , 44 ;

"Die Phantasie in der Malerei," 186

Lier, Adolf, 17

Lilienthal, Franz, 30

Liszt, Franz, 151

Löfftz, Adolf von, 23 -24, 25 , 32 , 46 , 59 ;

teaching method, 18 -19, 21 ;

Christ Lamented by the Magdalene (Fig. 9 ), 18 , 20

Luther, Hermann, 191

Luther, Martin, 232 , 269

M

Macht, Maximilian, 176

Macke, August, 132

Mackensen, Fritz, 18 , 115

Maeterlinck, Maurice:

Pelléas et Mélisande , 73 , 166 , 167

Maillol, Aristide, 213

Mainzer, Gertrud: see Sabersky, Gertrud

Mair von Landshut:

Crucifixion , 158

Makart, Hans, 17

Mälesskircher, Gabriel, 158

Manet, Edouard, 30 , 44 ;

at 1869 Munich International Exhibition, 16 ;

refusal to meet Liebermann, 25 ;

compared with Corinth, 107 ;

exhibited at Berlin Secession, 129 ;

in collection of Auguste Pellerin, 185 ;

The Artist (Portrait of Marcellin Desboutin) , 185 ;

A Bar at the Folies Bergères , 185 ;

Boating , 107 ;

Dead Christ with Angels , 58 -59;

The Luncheon in the Studio , 185 ;

Nana , 185

Mann, Thomas, 232

Mantegna, Andrea, 92

Marcks, Gerhard, 213

Marées, Hans von, 44 , 129

Marinetti, Filippo Tommaso:

"Manifesto of Futurism," "Futurist Painting: Technical Manifesto," 203

Marquet, Albert, 177 , 212

Master of Rabenden, 158

Mataré, Evald, 132

Matisse, Henri, 29 , 39 ;

Dance , 212 , 214

Meidner, Ludwig, 213

Meier-Graefe, Julius:

on Stuck, 96 ;

co-founder of Pan , 130 ;

on Corinth's figure compositions, 152 , 160 ;

characterizing Corinth, 171

Meissonier, Jean-Louis-Ernest, 30 ;

The Brawl , 39

Ménard, René, 31

Menzel, Adolph von, 17 , 45 , 72 , 115

Mercié, Antonin: Quand même! ou L'Alsacienne des Tuileries , 304 n.45

Mertens, Charles, 26

Meyer, Eduard (Figs. 112 , 113 ), 186 , 187 -189

Michelangelo (Michelangelo Buonarroti):

Dying Slave , 180

Michelson, Leo, 296 , 300

Modersohn, Otto, 115

Modersohn-Becker, Paula, 29 ;

Kneeling Mother and Child (Fig. 88 ), 144 , 144

Moll, Margarethe, 171

Moll, Oskar, 39 , 132 , 213 , 214

Mombert, Alfred, 151

Monet, Claude, 30 , 44 , 67 , 129 , 130 ;

compared with Corinth, 107 , 272

Moore, George, 29

Moréas, Jean:

Le symbolisme , 66

Morisot, Berthe, 44

Mozart, Wolfgang Amadeus:

Don Giovanni , 168

Mueller, Otto, 203

Mühlenbruch, Johann, 306 n.11

Multscher, Hans, 158

Munch, Edvard, 120 , 130 , 213 ;

Berlin controversy, 114 ;

compared to Corinth, 227 ;

Frieze of Life , 129 ;

Puberty , 227

Munich, Germany:

artistic milieu of, 16 -18, 64 -65

Munich Secession:

founding of, 66 -67, 307 n.44

Murillo, Bartolomé Esteban, 8

Myers, Bernard, 263

N

Nadar, F. Tournachon, 31

Nazism, xxi -xxii

Neu-Dachau:

artists' colony, 71

Neue Galerie Thannhauser, 203

New Secession:

founding of, 176

New York Armory Show, 314 n.11

Niessen, Carl, 166

Nietzsche, Friedrich, 76 , 96 , 97 , 98 , 99 , 171 , 195 , 295 ;

Also Sprach Zarathustra , 96

Noë, Heinrich, 249

Nolde, Emil, 29 , 129 , 203 ;

compared with Corinth, xxiii , 265 ;

attacking Berlin Secession and Liebermann, 176 -177;

Pentecost , 176

O

Offenbach, Jacques, 120

Opitz, Amalie Wilhelmine, 1 -3

Oppenheimer, Max, 213

Osborne, Max, 166

Osthaus, Karl, 203

P

Paeschke, Paul, 296

Pages, Beatrice, 304 n.45

Pan circle, 96

Paret, Peter, 132

Pasternak, Leonid Osipovich (Pl. 33 ), 274 -275

Patinir, Joachim, 185

Pauli, Gustav, 152

Pechstein, Max, 129 , 176 , 203

Pellerin, Auguste, 185

Petit, Georges, 30 -31

Picasso, Pablo, 177 , 213

Piloty, Karl von, 7 , 16 , 17 , 18

Pissarro, Camille, 44 , 45 , 129 ;

compared with Corinth, 272

Porten, Henny, 267 , 315 n.18

Poussin, Nicolas, 160 , 241

Preller, Friedrich, 11

Prölss, Friedrich, 253

Purrmann, Hans, 129 , 213

Przybyzewski, Stanislaw, 151

R

Ranson, Paul, 29

Raphael (Raffaelo Santi), 142 , 163

Ratgeb, Jörg, 158

Rathenau, Walter, 114

Reinhardt, Max, 121 , 167 ;

and the Berlin theater, 165 -166;

collaborating with Corinth, 165 -167;

on Rudolf Rittner, 169 ;

on acting, 170

Rembrandt van Rijn, 6 , 17 , 65 , 113 , 139 , 147 , 159 -160, 173 , 214 , 286 , 295 , 300 ;

Self-Portrait in a Helmet , 173

Reni, Guido, 8 ;

Mater dolorosa , 8 , 303 n.16

Renoir, Pierre-Auguste, 30 , 45 , 129

Rigardo, Mariette de: painted by Slevogt, 167

Rittner, Rudolf (Pl. 16 , Fig. 127 ), 121 , 168 -169, 170 , 209 , 269

Robert-Fleury, Tony, 29 , 30 , 31

Rochegrosse, Georges, 23 , 31

Rodin, Auguste, 129 , 213 ;

compared to Corinth, xx

Rogall, Hugo (Fig. 31 ), 55 -57, 58

Rohlfs, Christian, 130 , 212 , 236

Romain-Julien, Bernard, 8

Rops, Félicien, 81

Rosenfelder, Ludwig, 8 , 9 , 10 ;

The Surrender of Marienburg Castle to the Mercenary Captains of the Teutonic Order , 9

Rosenhagen, Hans, 117 ;

on Böcklin, 65 ;

on Corinth's Salome , 120

Rössler, Carl (Pl. 10 ), 111

Rousseau, Henri, 177

Rubens, Peter Paul, 26 ,

Rubens, Peter Paul (cont .)

63 -64, 69 , 142 ;

Christ and the Penitent Sinners , 92 ;

Drunken Silenus , 96 ;

Rape of the Daughters of Leucippus , 159

Ruederer, Joseph, 68 , 86 , 88 , 106 , 116 ;

Tragikomödien , 223

Rump Secession, 212 -213

Rumpf, Fritz, 146

Rumpf, Margarethe (Pl. 15 ), 147

S

Sabersky, Gertrud, 115 , 117

Scheffer, Ary, 7

Scheffler, Karl, 130 , 176 ;

on Corinth's leadership of Berlin Secession, 177 ;

on split of Berlin Secession, 212

Schiele, Egon, 6

Schiller, Friedrich von, 170 ;

Die Räuber , 267 ;

Der Venuswagen , 267 ;

Wallensteins Lager , 267 ;

Wilhelm Tell , 131 , 267

Schlabitz, Adolf, 45

Schlittgen, Hermann, 32 , 33 , 67 , 96

Schmidt, Max, 8

Schmidt-Rottluff, Karl, 129 , 176 , 203

Scholderer, Otto, 17

Schongauer, Martin, 158 , 222

Schopenhauer, Arthur, 76

Schubert, Franz, 151

Schulte, Eduard, 44 , 86 , 101 , 113 , 114

Schumann, Robert, 151

Schwarz, Karl (Fig. 143 ), 227 -228, 241 , 267 , 286 , 314 n.30

Sérusier, Paul, 29

Seurat, Georges, 31 , 212

Shakespeare, William, 65 , 170 ;

Hamlet , 167 , 295 ;

King Lear , 267 ;

The Merry Wives of Windsor , 167 ;

Midsummer Night's Dream , 295

Shaw, George Bernard, 170

Sieger, Rudolf, 94

Signac, Paul, 31

Sintenis, René, 213

Sisley, Alfred, 44

Sitte, Willi, xxiii

Slevogt, Max, xx , 18 , 29 , 67 , 132 , 146 , 176 , 177 , 178 , 187 , 212 , 213 ;

and French Impressionism, 132 , 175 ;

influenced by Corinth's figure compositions, 152 ;

compared with Corinth, 167 -168, 223 -225;

his Impressionism qualified, 185 -186;

Battle of Titans, Knight and Women, The Massacre of the Innocents, The Prodigal Son, Rape, Samson Blinded , 152 ;

White d'Andrade , 168

Snyders, Frans, 179

Sonderbund. See Düsseldorf Sonderbund

Souchay, Paul, 45

Stauffer-Bern, Karl, 45 -51, 54 , 59 , 127 , 132 ,

on Löfftz's teaching method, 19 ;

theories, 46 , 48 ;

Crucified Christ (Fig. 23 ), 47 -48, 48 ;

Recumbent Male Nude (Fig. 22 ), 46 , 47 ;

Self-Portrait (Fig. 21 ), 46 , 46

Steffeck, Carl, 45

Steigerwald, Franz von, 267

Stern, Julius, 114

Stevens, Alfred, 25

Stiemer, Heinrich (Corinth's pseudonym), 3 , 31

Stiemer, Louise, 2

Strathmann, Carl, 67 , 76 -77, 86 , 91 , 92 , 99 , 205 ;

Salammbô (Fig. 41 ), 77 , 77

Stuck, Franz von, 67 , 96 , 115 ;

naturalism and stylization in, 65 , 66 ;

reputation, 65 -66;

Guardian of Paradise, Sin , 65

Swift, Jonathan:

Gulliver's Travels , 269

T

Thoma, Hans, 17 , 44 ;

Self-Portrait with Death , 99 -100

Titian (Tiziano Vecellio), 17 ;

Pardo Venus , 35

Toorop, Jan; The Three Brides , 99

Touaillon, Louis, 212

Toulouse-Lautrec, Henri de, 67 , 129 , 212

Trossin, Robert, 8 , 10

Trübner, Wilhelm, 18 , 23 , 28 , 67 , 69 -70, 115 , 171 , 205 , 212 ;

Christ in the Tomb , 59 , 307 n.28

U

Uhde, Fritz von, 23 , 45 , 55 , 65 -66, 67 , 92 , 131 ;

Come, Lord Jesus, Be Our Guest, The Last Supper, The Sermon on the Mount , 44

Ulrich, Dr. A., 113 , 115 -116

V

Valentin, Curt, xxii

Vallotton, Félix, 29

Van Dyck, Anthony, 8 , 17 , 103

Vautier, Benjamin, 10

Velázquez, Diego de Silva y, 17 , 214

Velde, Henry van de, 25

Verlat, Charles, 26

Vinnen, Carl, 178 ;

Ein

Protest deutscher Künstler , 177

Vlaminck, Maurice de, 203 , 212

Vuillard, Edouard, 29 , 130

W

Wagner, Richard, xxii , 25 ;

Das Rheingold , 312 n.47;

Ring cycle, 312 n.47

Wahle, Friedrich (Fig. 54 ), 86

Walchensee:

lake in Bavaria, 246 -247, 249

Walden, Herwarth, 203

Waldenbruch, Ernst von, 131

Wedekind, Frank, 98 , 124 , 170 ;

Erdgeist , 68 ;

König Nicolo , 167 ;

Sonnenspektrum , 68

Weizsäcker, Heinrich, 45 , 46 -47

Welti-Escher, Lydia, 48

Werner, Anton von, 43 , 45 , 114 , 130

Whistler, James, 129

Wilde, Oscar, 119 -120;

Salome , 166 , 167

Wilhelm (German crown prince), 63

Wilhelm I (kaiser), 274

Wilhelm II (kaiser), 130 -132

Winter, Otto (Fig. 144 ), 230 -231

Wolf, Georg, 48

Wolfskehl, Karl, 96

Worpswede:

artists' colony, 18 , 115

Z

Zaak, Kurt Herrmann, 306 n.11

Zola, Emil, 66

Zuloaga, Ignacio, 29

Zumbusch, Ludwig von, 30

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