Identities in transition: German landscape painting 1871-1914

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http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/14913 http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/14913 http://eprints.org/relation/isIndexCodesVersionOf http://etheses.bham.ac.uk/id/document/14913 archive 4031 disk0/00/00/17/24 2011-08-03 13:36:23 2019-01-23 09:54:44 2011-08-03 13:36:23 thesis show 0 Gore Charlotte University of Birmingham Identities in transition: German landscape painting 1871-1914 unpub ND 10col_artl The version attached to this record is the redacted version without images. Appropriate permissions to include images on the online record are being sought. Images are included in the printed version available for consultation within the Main Library, University of Birmingham. See www.library.bham.ac.uk for details on consulting printed theses. The approach to this thesis uses political history to interpret art history. The following chapters are dedicated to uncovering how artists defined Germany’s various lands. The analysis of identities in the paintings in this thesis are considered to be intangible, for at times artists are clearly constructing regional identities, particularly in the Worpswede colony. Others, such as the Eifel landscapes, are conscious markers of a national identity and attempts to combine it with the local. The Dachau paintings expand the issue further since, as it is argued here, Bavaria aspired to be a nation-state in its own right so artists represented a regional (Dachau) identity and federal and national (Bavarian) identity both of which fed into an overarching national (German) identity. The identities studied in this thesis are not binary; one does not exclusively dominate the other, but are constructed in a constant negotiation between the local, regional and national. As such this study participates in a wider dialogue that has exploded since the 1960s in sociology and beyond about the formation of identity. 2011-07 graduation eng This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. public University of Birmingham School of Languages, Cultures, Art History and Music, Department of Art History, Curating and Visual Studies d_ph na 2011-07 graduation