Why did the Museum of Modern Art and the Guggenheim in New York,
and art collectors and curators such as Katherine Dreier and Alfred
Barr, collect modern German art in the first half of the twentieth
century? And why did certain works of art belong to the canon while
others did not? In this book, Gregor Langfeld argues that National
Socialism played a crucial role in the canonization of movements
such as Expressionism and the Bauhaus. A role which undermined the
post-1945 reputations of many artists associated with classical and
figurative trends. Langfeld offers important new insights into the
political and ideological motivations behind the New York art
world's fluctuations in opinion, fashion, and price.
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