The Myth of Abstraction: The Hidden Origins of Abstract Art in German Literature

Andrea Meyertholen

doi:10.1017/9781800102071

An alternative genealogy of abstract art, featuring the crucial role of 19th-century German literature in shaping it aesthetically, culturally, and socially.

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The Myth of Abstraction

The Hidden Origins of Abstract Art in German Literature

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Contents

Frontmatter
pp i-iv

Dedication
pp v-vi

Contents
pp vii-viii

List of Illustrations
pp ix-x

Acknowledgments
pp xi-xiv

Introduction: The Many Origins of Abstract Art
pp 1-21

1 - Apocalypse Now: Heinrich Von Kleist’s Sublime Deframing of Caspar David Friedrich’s Der Mönch Am Meer (1810)
pp 22-54

2 - The Kleistian Sublime Is Now: Kazimir Malevich, Mark Rothko, Barnett Newman
pp 55-98

3 - The Clouding of Perception: Seeing The (Un)Real Potential for Abstraction in the Poetry and Science of Goethe’s Clouds (1821)
pp 99-137

4 - In the Service of Clouds or Optical Illusion?: Romanticism, Pointillism, and Impressionism
pp 138-173

5 - Driven to Distraction and from Abstraction: The Birth and Death of Abstract Art in Gottfried Keller’s Der Grüne Heinrich (1854/55, 1879/80)
pp 174-206

6 - Inside the Mind and Outside the Margins: The Unruly Lines of Paul Klee, André Masson, and Cy Twombly
pp 207-242

Epilogue: Laocoön and His Sisters: The Future of Literature and Art
pp 243-258

Bibliography
pp 259-284

Index
pp 285-295

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The Hidden Origins of Abstract Art in German Literature

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