The German Genius

University of Chicago Press, 2003), p. 49.
14. Ross, The Rest Is Noise , p. 38.
15. Harry Oosterhuis, Stepchildren of Nature: Krafft-Ebing, Psychiatry and the Making of Sexual Identity (Chicago and London: University of Chicago Press, 2000), pp. 25–36.
16. Watson, Modern Mind/Terrible Beauty , p. 34.
17. Hans Gross (1847–1915) was the creator of modern crime detection, another discipline that arose with the growth of major metropolises. It was Gross who started the systematic examination of footprints, the trajectory of blood stains, the study of underworld argot, and the relevance of x-rays for detection. See Ronald Martin Howe, Criminal Investigation: A Practical Textbook for Magistrates, Police Officers and Lawyers , adapted from the System der Kriminalistic of Dr. Hans Gross by John Adam and J. Collyer Adam (London: Sweet & Maxwell, 1949), p. 84 for bloodstains, p. 125 for fingerprints, p. 207 for footprints.
18. Brandstätter, ed., Vienna 1900 , pp. 239–260.
19. Werner Oechslin, Otto Wagner, Adolf Loos, and the Road to Modern Architecture , trans. Lynette Widder (Cambridge: Cambridge University Press, 2002), p. 112.
20. Brandstätter, ed., Vienna 1900 , pp. 293–407.
21. Burckhardt Rukschcio, Adolf Loos: Leben und Werk (Salzburg: Residenz, 1987).
22. Brandstätter, ed., Vienna 1900 , pp. 93–109, 111–119, for the Klimt group. Serge Lemoine and Marie-Amélie zu Salm-Salm, ed., Vienna 1900: Klimt, Schiele, Moser, Kokoschka (Aldershot: Lund Humphries, 2005), p. 37 for an excellent view of the Ringstrasse.
23. Lemoine and Salm-Salm, ed., Vienna 1900 , p. 41. See also Tobias G. Natter and Gerbert Frodl, eds., Klimt’s Women (New Haven, Conn., and London: Yale University Press [Cologne: DuMont], 2000), pp. 25–31.
24. Johnston, Austrian Mind , p. 357.
25. Watson, Modern Mind/Terrible Beauty , p. 36.
26. John T. Blackmore, Ernst Mach: His Work, Life, and Influence (Berkeley: University of California Press, 1972).
27. Brigitte Hamann, Hitler’s Vienna (Oxford: Oxford University Press, 1999), p. 25.
28. Ibid., p. 80.
29. Ibid., p. 237.
30. Schorske, Fin-de-siècle Vienna , pp. 184–246.
31. Heinrich Schnee, Karl Lueger: Leben und Wirken eines grossen Sozial-und Kommunal Poltikers: Umrisse einer politischen Biographie (Berlin: Duncker & Humblot, 1960), pp. 91ff.
32. Hamann, Hitler’s Vienna , p. 326.
    C HAPTER 27: M UNICH /S CHWABING :
G ERMANY ’s “M ONTMARTRE ”
     
1. Ronald Hayman, Thomas Mann: A Biography (London: Bloomsbury, 1996), p. 163.
2. Maria Makela, The Munich Secession: Art and Artists in Turn-of-the-Century Munich (Princeton, N.J., and London: Princeton University Press, 1990), p. 3.
3. Paul Raabe, The Era of German Expressionism , trans. J. M. Ritchie (Woodstock, N.Y.: Overlook Press, 1965/1974), p. 79.
4. Christian Lenz, The Neue Pinakothek Munich (Munich: Beck [London: Scala], 2003), pp. 8–11.
5. Makela, Munich Secession , p. 13. See also Rainer Metzger, Munich: Its Golden Age of Art and Culture, 1890–1920 , picture ed., Christian Branstätter (London: Thames & Hudson, 2009).
6. Ibid., p. 15.
7. Ibid., p. 74.
8. Ibid., p. 81.
9. Ibid.
10. Barbara C. Gilbert, ed., Max Liebermann: From Realism to Impressionism (Los Angeles: Skir-ball Cultural Center, and Seattle: University of Washington Press, 2005), pp. 167ff., for the disillusionment in Liebermann’s art.
11. For his time in Berlin, see Sigrid Achenbach and Matthis Eberle, Max Liebermann in seiner Zeit. Exhibition catalog (Munich: Prestel, 1979), pp. 72ff.
12. Wolfgang Venzmer, Adolf Hölzel: Leben und Werk; Monographie mit Verzeichnis der Ölbilder, Glasfenster und ausgewähklter Pastelle (Stuttgart: Deutsche Verlags-Anstalt, 1982). See pp. 16–19 for Hölzel in Dachau.
13. Makela, Munich Secession , p. 105.
14. Heinrich Voss, Franz von Stuck 1863–1928: Werkkatalog d. Gemälde: Mit e. Einf. in seinen Symbolismus (Munich: Prestel, 1973). See pp. 20–30 for a discussion of the theme of “sin.”
15. Makela, Munich Secession , p. 112.
16. Winfried Nerdinger, ed., Richard Riemerschmid: Vom Jugendstil zum Werkbund; Werke und Dokumentation (Munich: Prestel, 1982), pp. 13ff.
17. Ibid., pp. 34–38.
18. Makela, Munich Secession , p. 125.
19. Alan Windsor, Peter Behrens: Architect and Designer (London: Architectural Press, 1981), pp. 77ff.
20. Frederic J. Schwartz, The Werkbund: Design Theory and Mass Culture before the First World War (New Haven, Conn., and London: Yale University Press, 1996). See pp. 44–60 for a discussion of