Stefanie Heraeus (ed.)
Why do certain artists or artworks belong to the canon of modern art? Why have others sunk into oblivion or, at best, landed in museum storerooms? What role do galleries, art trade, art criticism and museums play in this context? This case study ‒ a cabinet exhibition at Frankfurt’s Städel Museum featuring sculptures by Max Beckmann (1884‒1950) and paintings by Helmut Kolle (1899‒1931) ‒ focuses on marketing strategies, national categories of art criticism, and the museological localization of artworks. The investigation is based on the example of two German artists who shared an intense artistic investigation of corporeality and both took the Parisian metropolis of the interwar period as their artistic reference framework.
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