Difference between revisions of "Der Sturm"

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After the war, Walden expanded Der Sturm into "Sturmabende", lectures and discussions on modern art, and "Die Sturmbühne", an expressionist theatre, as well as publishing books and portfolios by leading artists such as Oskar Kokoschka. Despite this, the gallery declined in importance after the war and closed in 1924, leaving the magazine to carry on as a quarterly until it too closed in 1932.
 
After the war, Walden expanded Der Sturm into "Sturmabende", lectures and discussions on modern art, and "Die Sturmbühne", an expressionist theatre, as well as publishing books and portfolios by leading artists such as Oskar Kokoschka. Despite this, the gallery declined in importance after the war and closed in 1924, leaving the magazine to carry on as a quarterly until it too closed in 1932.
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==Publishing house==
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===Books===
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* August Stramm, ''[http://archive.org/details/3428098 Erwachen]'', Berlin: Der Sturm (Sturm-Bücher 5), 1915.
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* August Stramm, ''[http://archive.org/details/krfte00stra Kräfte]'', Berlin: Der Sturm (Sturm-Bücher 8), 1915.
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* August Stramm, ''[http://archive.org/details/3425790 Geschehen]'', Berlin: Der Sturm (Sturm-Bücher 11), 1916.
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* August Stramm, ''[http://archive.org/details/3428097 Die Unfruchtbaren]'', Berlin: Der Sturm (Sturm-Bücher 12), 1916.
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* Oskar Kokoschka, ''[http://archive.org/details/morderhoffnungde00koko Mörder Hoffnung der Frauen]'', Berlin: Der Sturm, [1916], [16]+[4] pp. A play, written 1907.
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* Herwarth Walden, ''[http://archive.org/details/einblickin00wald Einblick in Kunst. Expressionismus, Futurismus, Kubismus]'', Berlin: Der Sturm, 1917.
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* Herwarth Walden, ''[http://archive.org/details/bub_gb_G4hDAAAAYAAJ Die neue Malerei]'', Berlin: Der Sturm, 1919.
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* Max Verworn, ''[http://archive.org/details/bub_gb_XMIrAAAAMAAJ Keltische Kunst]'', Berlin: Der Sturm, 1919.
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* Rudolf Blümner, ''[http://archive.org/details/dergeist00blmn Der Geist des Kubismus und die Künste]'', Berlin: Der Sturm, 1921.
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* Adolf Loos, ''[http://archive.org/details/insleeregesproch00loosuoft Ins Leere gesprochen, 1897-1900]'', Berlin: Der Sturm, 1921.
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* Albert Gleizes, ''Vom Kubismus: die Mittel zu Seinem Verständnis'', trans. F.A. Angermayer and Hans Jacob, Berlin: Der Sturm, 1922, 56+[7] pp. Trans. of ''Du cubisme et des moyens de la comprendre'' (1920).
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===Catalogues===
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* ''[http://archive.org/details/diefuturistenumb00wald Die Futuristen: Umberto Boccioni, Carlo D. Carra, Luigi Russolo, Gino Severini]'', Berlin: Der Sturm, 1911.
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* ''[http://archive.org/details/ersterde00wald Erster deutscher Herbstsalon, Berlin 1913]'', Berlin: Der Sturm, 1913.
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* ''[http://archive.org/details/marcchagall00berl Marc Chagall]'', Berlin: Der Sturm, 1914.
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* ''[http://archive.org/details/sechsundvierzigs00stur Sechsundvierzigste Ausstellung Franz Marc: Gedächtnis-Ausstellung, Gemälde und Aquarelle, Holzschnitte, Nov. 1916]'', Berlin: Der Sturm, 1916.
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* ''[http://archive.org/details/paulk00klee Paul Klee]'', Berlin: Der Sturm, 1916, 24 pp. 22 works from 1913-16.
  
 
==Literature==
 
==Literature==

Revision as of 12:57, 24 March 2016

Der Sturm [The Storm] was a magazine covering the expressionism movement founded in Berlin in 1910 by Herwarth Walden. It ran weekly until monthly in 1914, and became a quarterly in 1924 until it ceased publication in 1932.


Among the literary contributors were Peter Altenberg, Max Brod, Richard Dehmel, Alfred Döblin, Anatole France, Knut Hamsun, Arno Holz, Karl Kraus, Selma Lagerlöf, Adolf Loos, Heinrich Mann, Paul Scheerbart, and René Schickele. Der Sturm consisted of pieces such as expressionistic dramas (i.e. from Hermann Essig and August Stramm), artistic portfolios (Oskar Kokoschka), essays from artists (the Kandinsky Album), and theoretical writings on art from Herwarth Walden. The most well-known publications resulting from the magazine were the Sturmbücher (storm-books), (e.g. Sturmbücher 1 and 2 were works of August Stramm – Sancta Susanna and Rudimentär). Postcards were also created featuring the expressionistic, cubist, and abstract art of Franz Marc, Wassily Kandinsky, Oskar Kokoschka, August Macke, Gabriele Münter, Georg Schrimpf, Maria Uhden, Rudolf Bauer and others. The term Sturm was branded by Walden to represent the way in which modern art was penetrating Germany at the time.

Particularly in the time before outbreak of the World War I, Der Sturm played a crucial role in the French-German exchange of expressionist artists, which led to a special relationship between Berlin and Paris. Regularly, poems and other texts of French and/or French-speaking expressionists were published (Guillaume Apollinaire, Blaise Cendrars, etc.). This relationship was renewed after the war despite the hostilities between the two countries caused by the fighting.

Issues

Der Sturm 7:9 (Dec 1916). View online.
Der Sturm 13:4 (Apr 1922). View online.
Der Sturm 14:1 (Jan 1923). View online.

The Blue Mountain project hosts scans of a full run of the magazine (336 issues).

The Gallery

The magazine also fostered the Galerie Der Sturm, started by Walden to celebrate its 100th edition, in 1912. The gallery became the focus for Berlin's modern art scene for a decade. Starting with an exhibition of Fauves and Der Blaue Reiter, followed by the introduction in Germany of the Italian Futurists, Cubists and Orphists, the gallery was to exhibit Edvard Munch, Georges Braque, Pablo Picasso, Albert Gleizes, Robert Delaunay, Jean Metzinger, Gino Severini, Jean Arp, Paul Klee, Wassily Kandinsky, and Kurt Schwitters.

After the war, Walden expanded Der Sturm into "Sturmabende", lectures and discussions on modern art, and "Die Sturmbühne", an expressionist theatre, as well as publishing books and portfolios by leading artists such as Oskar Kokoschka. Despite this, the gallery declined in importance after the war and closed in 1924, leaving the magazine to carry on as a quarterly until it too closed in 1932.

Publishing house

Books

Catalogues

Literature

  • Peter Howard Selz, in "Der Sturm", German Expressionist Painting, University of California Press, 1974.
  • Douglas Brent McBride, "A Critical Mass for Modernism in Berlin: Der Sturm (1910-32); Die Aktion (1911-32); and Sturm-Bühne (1918-1919)", in The Oxford Critical and Cultural History of Modernist Magazines. Vol. 3: Europe 1880-1940, Oxford University Press, 2013. [1]

Links


Avant-garde and modernist magazines

Poesia (1905-09, 1920), Der Sturm (1910-32), Blast (1914-15), The Egoist (1914-19), The Little Review (1914-29), 291 (1915-16), MA (1916-25), De Stijl (1917-20, 1921-32), Dada (1917-21), Noi (1917-25), 391 (1917-24), Zenit (1921-26), Broom (1921-24), Veshch/Gegenstand/Objet (1922), Die Form (1922, 1925-35), Contimporanul (1922-32), Secession (1922-24), Klaxon (1922-23), Merz (1923-32), LEF (1923-25), G (1923-26), Irradiador (1923), Sovremennaya architektura (1926-30), Novyi LEF (1927-29), ReD (1927-31), Close Up (1927-33), transition (1927-38).

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