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Artists associated with German Expressionism in the early decades of the 20th century took up printmaking with a dedication and fervour virtually unparalleled in the history of art. The woodcut, with its coarse gouges and jagged lines, is the pre-eminent Expressionist medium, but the movement also revolutionized etching and lithography, to alternately vibrant and stark effect. This graphic impulse can be traced from the formation of the artist group Brücke in 1905 through the war years and into the 1920s, when individual artists continued to produce compelling work even as the movement was winding down. This volume, published in conjunction with an exhibition at The Museum of Modern Art, draws from the Museum's outstanding holdings of Expressionist prints, enhanced by selected drawings, paintings and sculptures from the collection. Featuring circa 260 works by some 30 artists, the book presents a diverse array of individuals, including Max Beckmann, Erich Heckel, Ernst Ludwig Kirchner, Emil Nolde,Vasily Kandinsky and Oskar Kokoschka. Essays by Starr Figura and Peter Jelavich discuss the centrality of printmaking in German Expressionism and provide a sociocultural backdrop for the movement.

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CHOICE Review

This is the catalogue for a 2011 exhibition of German Expressionist graphics organized by MoMA. It is difficult to consider the value of the publication apart from the importance of the exhibition, MoMA's first major project to focus exclusively on works from this movement in almost 50 years. Although other important exhibitions of Expressionist art organized by the Los Angeles County Museum of Art, and more recently, the Palazzo Grassi in Venice, have produced substantial publications and introduced significant scholarship, the weight of the MoMA imprimatur is hard to ignore. And in this case the publication represents the institution and the subject of German Expressionism well, particularly for a general readership. Some 250 works by 30 artists are featured. The exquisite plates convey the energy and revolutionary spirit of this art movement with an immediacy that erases a century of German experience between its inception and one's encounter with the images today. The catalogue also features an explanation of the role of graphic arts and publications in Expressionist Germany, written by exhibition curator Figura (MoMA), and an essay by historian Jelavich on the importance of dance and dance imagery in the art and lives of many Expressionists. Summing Up: Highly recommended. Lower- and upper-level undergraduates; general readers. W. S. Bradley Mesa State College