The German Genius

art, craft, and alienation.
21. Tilmann Buddensieg, Industriekultur: Peter Behrens und die AEG, 1907–1914 (Berlin: Mann, 1981).
22. He complained all his life that, with his “moustachioed personality,” he always looked more like a commercial traveler than a writer. Klaus Harpprecht, Thomas Mann: Eine Biographie (Reinbeck: Rowohlt, 1995), pp. 58ff.
23. Nigel Hamilton, The Brothers Mann: The Lives of Heinrich and Thomas Mann, 1871–1950 and 1875–1955 (London: Secker & Warburg, 1978), p. 49.
24. Willi Jasper, Der Bruder: Heinrich Mann; Eine Biographie (Munich: Hanser, 1992), pp. 51–60.
25. Hayman, Thomas Mann , p. 73.
26. Hans Wysling, ed., Letters of Heinrich and Thomas Mann , trans. Don Reneau with additional translations by Richard and Carla Winston (Berkeley and London: University of California Press, 1998). James, Cultural Amnesia , p. 429.
27. Hayman, Thomas Mann , p. 62.
28. Karin Verena Gunnemann, Heinrich Mann’s Novels and Essays: The Artist as Political Educator (Rochester, N.Y., and Woodbridge: Camden House, 2002), pp. 51ff.
29. Robert Eben Sackett, Popular Entertainment, Class, and Politics in Munich, 1900–1923 (Cambridge, Mass.: Harvard University Press, 1982), p. 11. See also Peg Weiss, Kandinsky in Munich: The Formative Jugendstil Years (Princeton, N.J.: Princeton University Press, 1979), pp. 19ff.
30. Friedrich Rothe, Frank Wedekinds Dramen: Jugendstil und Lebensphilosophie (Stuttgart: Metzler, 1968). See pp. 68–92 for Schopenhauer and Nietzsche.
31. Peter Jelavich, Munich and Theatrical Modernism: Politics, Playwriting, and Performance, 1890–1914 (Cambridge, Mass., and London: Harvard University Press, 1985), pp. 167–185. See p. 170 for a photograph of the dancers dressed as executioners.
32. Eugen Roth, Simplicissimus: Ein Rückblick auf die satirische Zeitschrift (Hanover: Fackelträger-Verlag, 1954).
33. Jelavich, Munich and Theatrical Modernism , pp. 74ff. and 101ff.
34. Johannes Eichner, Kandinsky und Gabriele Münter: Von Ursprüngen moderner Kunst (Munich: F. Bruckmann, 1957). See pp. 26–35 for Münter.
35. Hartwig Fischer and Sean Rainbird, eds., The Path to Abstraction (London: Tate Publishing, 2006), p. 209.
36. Vivian Endicott Barnett and Armin Zweite, eds., Kandinsky: Watercolours and Drawings (Munich: Prestel, 1992), pp. 9ff. See also Reinhard Zimmermann, Die Kunsttheorie von Wassily Kandinsky (Berlin: Gebr. Mann, 2002).
37. Mark Roskill, Klee, Kandinsky and the Thought of Their Time: A Critical Perspective (Urbana: University of Illinois Press, 1992), pp. 54ff.
38. For Marc, Jawlensky, and others, see Armin Zweite, ed., The Blue Rider in the Lenbachhaus München: Masterpieces by Franz Marc, Vassily Kandinsky, Gabriele Münter, Alexei Jawlensky, August Macke, Paul Klee (Munich: Prestel, 1989), pp. 29 and 194.
39. W. Kandinsky, Über das Geistige in der Kunst , Bern: Benteli, 1952.
40. See Esther da Costa Meyer and Fred Wasserman, eds., Schoenberg, Kandinsky, and the Blue Rider (New York: Jewish Museum; London: Scala, 2003), pp. 79–94 for a direct linking of abstraction and emancipated dissonance. See also Gerald N. Izenberg, Modernism and Masculinity: Mann, Wedekind, Kandinsky through World War I (Chicago and London: University of Chicago Press, 2000), chaps. 2 and 3, for a direct linking between Wedekind and abstraction, Thomas Mann and sexuality.
    C HAPTER 28: B ERLIN B USYBODY
     
1. David Clay Large, Berlin (New York: Basic Books, 2000), p. 1.
2. Ibid., p. 2.
3. Gordon A. Craig, Theodor Fontane: Literature and History in the Bismarck Reich (Oxford: Oxford University Press, 1999). See pp. 96ff. for Fontane’s own view of Bismarck.
4. Ibid., p. 109. Large, Berlin , p. 7.
5. Large, Berlin , p. 9.
6. Ulrike Laufer and Hans Ottmeyer, Gründerzeit 1848–1871: Industrie & Lebensträume zwischen Vormärz und Kaiserreich (Dresden: Sandstein, 2008), pp. 95ff. for the banks.
7. Large, Berlin , p. 14.
8. Fritz Stern, Gold and Iron: Bismarck, Bleichröder, and the Building of the German Empire (New York: Knopf, 1977), pp. 106ff.
9. Large, Berlin , pp. 18–19.
10. Ibid., p. 20.
11. Godela Weiss-Sussex and Ulrike Zitzlsperger, eds., Berlin: Kultur und Metropole in den zwanziger und seit den neunziger Jahren (Munich: Iudicium, 2007). See pp. 183–194 for an examination of the “myth” of Berlin and pp. 155–167 for the way Berlin is remembered visually.
12. Heinz Ohff, Theodor Fontane: Leben und Werk (Munich: Piper, 1995), pp. 363–368.
13. Large, Berlin , pp.