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Carl Einstein
Carl Einstein
Carl Einstein
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Carl Einstein, born Karl Einstein, also known by pseudonym Savine Ree Urian[1] (26 April 1885 – 5 July 1940),[1] was a German writer, art historian, anarchist, and critic.

Key Information

Regarded as one of the first critics to appreciate the development of Cubism, as well as for his work on African art and influence on the European avant-garde, Einstein was a friend and colleague of such figures as George Grosz, Georges Braque, Pablo Picasso and Daniel-Henry Kahnweiler. His work combined many strands of both political and aesthetic discourse into his writings, addressing both the developing aesthetic of modern art and the political situation in Europe.

Einstein's involvement in social and political life was characterized by communist sympathies and anarchist views. A target of the German right wing during the interwar Weimar period, Einstein left Germany for France in 1928, a half-decade ahead of the rise of Adolf Hitler and the Nazi Party, later taking part in the Spanish Civil War on the side of the Republican forces during the 1930s.

Trapped in southern France following Nazi Germany's defeat of the French Third Republic, Einstein killed himself by jumping from a bridge[2] on 5 July 1940.

Early life

[edit]

Carl Einstein who was born to a German Jewish family on 26 April 1885, in the Rhineland town of Neuwied.[1] The second child born to Daniel Einstein, an active member of the local Jewish community, and Sophie Einstein, Carl was a year younger than his sister Hedwig, who would become known as a concert pianist and the wife of sculptor Benno Elkan. A third child born to Daniel and Sophie died in 1889. The young Carl Einstein spent much of his youth in Karlsruhe before moving to Berlin to study philosophy and art history in 1903. Originally given the standard German spelling of his first name as "Karl" at birth, he adopted the Latinized spelling "Carl" in the 1900s.

In Berlin he attended the lectures of Georg Simmel and Heinrich Wölfflin but lacking a high school diploma (Abitur) he could not gain a doctorate.[3] In 1907 he visited Paris and learnt of Pablo Picasso, Georges Braque and Juan Gris, as well as other artists. Upon his return he started writing prose and joined the radical circle around Franz Pfemfert and his magazine Die Aktion. This led to the publication of Bebuquin oder die Dilettanten des Wunders in serialised form in Die Aktion in 1912, with a subsequent volume collecting the episodes in a single book. In 1913 he married Maria Ramm, the sister of Alexandra Ramm-Pfemfert and so becoming Franz's brother in law.[3]

Wartime experience

[edit]

Einstein welcomed the outbreak of war and volunteered for the Imperial German Army.[4] served as a soldier of Imperial Germany in World War I. The majority of his wartime service was spent in German-occupied Belgium. The work carried out by German scholars on Congolese art during the occupation would prove to be considerably helpful in Einstein's later efforts to encourage the beginning of a serious appreciation of black African art by Europeans.[5]

Einstein’s life after the First World War was marked by the violent political and social implications of the war and revolutionary sentiment following the Hohenzollern monarchy's collapse. He was actively involved in the short-lived Revolutionary Brussels Soldiers' Council and to a lesser extent in the failed Spartacist Uprising in Berlin and later in the defeated anarchist Durruti Column during the Spanish Civil War.

Confusion with Albert Einstein

[edit]

Albert Einstein was offered a part-time professorship at Leiden University in 1920. Hendrik Lorentz, one of the people who organised the offer saw it as way of promoting international reconciliation following the First World War. However, when the proposed appointment was passed to the government bureaucracy for approval as University professors were regarded as senior civil servants who required royal approval. However, a Dutch military intelligence report was submitted to the Minister of Education Johannes Theodoor de Visser, which gave an account of Carl Einstein's activities in the 1918 Brussels Soldiers' Council. This caused delays in governmental approval for the appointment. This was accompanied by a number of accounts of Carl's agitational activity during the German Revolution, including Carl's graveside oration after the murder of Rosa Luxemburg, which frequently omitted his first name. It is possible that this confusion led Paul Weyland to coin the phrase "scientific Dadaism". Indeed, Hannah Höch featured the inclusion of the image of Albert Einstein in her collage Schnitt mit dem Küchenmesser. Dada durch die letzte weimarer Bierbauchkulturepoche Deutschlands, which was exhibited in the first International Dada Fair, held in Berlin in 1920.[4]

Post-war career

[edit]

Einstein established a reputation as a well-known author and art critic on the basis of work ranging from his debut novel Bebuquin oder die Dilettanten des Wunders, to his widely read work on African sculpture Negerplastik (Negro Sculpture, 1915), credited as being one of the first important books acknowledging African art in Europe (and especially its relationship to Cubism). A follow-up volume, Afrikanische Plastik (African Sculptur, 1921), continued this engagement, though later research revealed that several of the featured objects were in fact not of African origin.[6] Other major works include the final volume of the prestigious Propyläen Verlag history of art series Die Kunst des 20. Jahrhunderts (Art of the 20th Century), which may have gained him an invitation to teach at the Bauhaus (he declined), and the notorious play Die Schlimme Botschaft. Another Africa-related book is Afrikanische Märchen und Legenden, a compilation of African mythology in very expressive language. Einstein also worked on numerous journals and collective projects, among some of the more important: Die Aktion edited by Franz Pfemfert, Die Pleite and Der Blutige Ernst with George Grosz, and the legendary journal Documents: Doctrines, Archéologie, Beaux-arts, Ethnographie edited with Georges Bataille.

Einstein's avant-garde orientation and leftist political sympathies made him a marked man for right-wing attacks during the Weimar Republic. His passion play Die Schlimme Botschaft (The Sad Tidings, or The Bad News) was met with attacks as blasphemous; its 1921 publication resulted in a legal process and a conviction for blasphemy in 1922, and Einstein was forced to atone for the revolutionary ideas placed into the mouth of his Jesus Christ with a 15,000-mark fine.[7]

Better received in France, Einstein left Germany for permanent residence in France in 1928; with Adolf Hitler's rise to power in 1933, the exile became permanent and officially mandated. Having met Lyda Guévrékian in 1928, Einstein married her in 1932. The French Cubist painter and sculptor, Georges Braque, served as a witness.[8]

Einstein spent 1936-1938 fighting in the Spanish Civil War; returning to France where in 1940, he was arrested and interned along with the other German émigrés until his liberation later in the spring of 1940 as a result of chaotic circumstances in the face of the rapidly progressing German invasion. Although able to escape the German occupation of Paris during the Fall of France and flee to the south, he was left trapped on the French border with Francoist Spain.

Seeing no alternatives, Einstein committed suicide in the Pyrenees town of Lestelle-Betharram on 5 July 1940.[1][9]

See also

[edit]

Works

[edit]
  • Bebuquin oder die Dilettanten des Wunders. Ein Roman. Berlin: Verlag der Wochenschrift Die Aktion, 1912.
  • Neue Blätter. Berlin: Baron, 1912.
  • Wilhelm Lehmbrucks graphisches Werk. Berlin: Cassirer, 1913.
  • Negerplastik. Leipzig: Verlag der weißen Bücher, 1915. Internet Archive.
  • Der Unentwegte Platoniker. Leipzig: Wolff, 1918.
  • Afrikanische Plastik. Berlin: Wasmuth 1921 (Orbis pictus, Weltkunst-Bücherei; 7).
  • Die schlimme Botschaft. Berlin: Rowohlt, 1921.
  • Der frühere japanische Holzschnitt. Berlin: Wasmuth 1922 (Orbis pictus, Weltkunst-Bücherei; 16).
  • Afrikanische Märchen und Legenden; herausgegeben von Carl Einstaein, Rowohlt, 1925. Neuausgabe (1980) MEDUSA Verlag Wölk + Schmid, Berlin.
  • African Legends, First english edition, Pandavia, Berlin 2021. ISBN 9783753155821
  • Die Kunst des 20. Jahrhunderts. Berlin: Propyläen, 1926. (Propyläen-Kunstgeschichte; 16).
  • Entwurf einer Landschaft. Paris: Kahnweiler, 1930.
  • Giorgio de Chirico. Berlin: Galerie Flechtheim, 1930.
  • Die Kunst des XX. Jahrhunderts. Berlin: Propyläen, 1931.
  • Georges Braque. Paris: Editions des chroniques du jour. London: Zwemmer. New York: E. Weyhe, 1934.

As editor

[edit]

In 1919, along with George Grosz, he edited the magazine Der blutige Ernst (the title is a pun on "Bloody Ernest" / "Bloody Earnest"), which was published by Trianon Verlag, Berlin[10]

Collected editions

[edit]
  • Gesammelte Werke. Herausgegeben von Ernst Nef. Wiesbaden: Limes, 1962.
  • Carl Einstein. Die Fabrikation der Fiktionen, Gesammelte Werke in Einzelausgaben, Sibylle Penkert (ed.), Reinbek b. Hamburg, Rowohlt, 1973.
  • Werke. 3 Bände, Berlin: Medusa, 1980-1985.
  • Bebuquin oder Die Dilettanten des Wunders. Prosa und Schriften 1906-1929. Published by Hermann Haarmann and Klaus Siebenhaar. Leipzig, Weimar: Kiepenheuer, 1989.
  • Werke. Berliner Ausgabe. Published by Hermann Haarmann and Klaus Siebenhaar. 6 volumes, Berlin: Fannei & Walz, 1992-1996.

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Carl Einstein

View on Grokipedia
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''Carl Einstein'' is a German art historian, critic, and writer known for his pioneering aesthetic analysis of African sculpture and his influential theoretical contributions to the understanding of modern European art, particularly Cubism. His seminal book Negerplastik (1915) was among the first to treat African art as formally autonomous and central to modernist innovation rather than as mere ethnographic curiosity. Einstein's writings, including Die Kunst des 20. Jahrhunderts (1926) and his monograph on Georges Braque (1934), offered original interpretations of 20th-century art that emphasized its social and transformative potential. Born Karl Einstein on 26 April 1885 in Neuwied, Germany, to a Jewish family, he studied philosophy and art history in Berlin under Georg Simmel and Heinrich Wölfflin, though he did not complete a doctorate. He moved to Berlin in 1904, became involved with radical literary circles through the journal Die Aktion, and published his experimental novel Bebuquin oder die Dilettanten des Wunders in 1912. During World War I he served in the German army, including in occupied Brussels, and after the war he aligned with left-wing politics in Berlin, briefly joining the Communist Party, collaborating with Berlin Dadaists such as George Grosz, and co-editing satirical journals. Disillusioned with aspects of both communism and the art world, he relocated to Paris in 1928, co-founded the journal Documents with Georges Bataille, and later fought as an anarchist in the Durruti Column during the Spanish Civil War. As a Jewish intellectual and political activist, Einstein faced increasing persecution under the Nazis. After the fall of France in 1940, he was interned by the Vichy regime and, fearing capture by the Gestapo, committed suicide on 5 July 1940 in southern France at age 55. His work remains significant for bridging avant-garde aesthetics, non-European art traditions, and critical theory in the early 20th century.

Early Life

Birth and Family Background

Carl Einstein, born Karl Einstein on 26 April 1885 in Neuwied, Germany, came from a German-Jewish family. He was the second child of Daniel Einstein (1847–1899), a rabbi, Hebrew teacher, and cantor, and Sophie Lichtenstein (born 1860). He later became known as Carl Einstein rather than Karl.

Education and Early Influences

Carl Einstein abandoned a banking apprenticeship in 1904 and moved to Berlin to pursue higher studies. He enrolled at the Friedrich-Wilhelm University (now Humboldt University of Berlin), where he attended lectures in philosophy, art history, history, and classical philology from 1904 to 1908. His instructors included the philosopher Georg Simmel and the art historian Heinrich Wölfflin, whose lectures formed a key part of his academic experience. Einstein lacked the Abitur (high school diploma) required for formal doctoral candidacy and therefore did not complete a degree. These studies introduced him to advanced philosophical and art-historical ideas that shaped his early intellectual outlook. During this period, he also made his first visit to Paris in 1907, where he became acquainted with artists including Georges Braque, Pablo Picasso, and Juan Gris.

Literary Career

Early Fiction and Poetry

Carl Einstein's early literary output in the 1910s centered on experimental fiction, with his only novel Bebuquin oder die Dilettanten des Wunders standing as the primary achievement. Written in 1912, it first appeared in serialized form in the avant-garde journal Die Aktion in 1912. The book edition followed under Verlag der Wochenschrift Die Aktion in 1912. The novel is a radical anti-novel that follows the protagonist Giorgio Bebuquin on a hallucinatory journey through a surreal "Museum of Cheap Thrills," seeking to shatter the limits of logic and causality. Its style features extreme fragmentation, self-reflexive narration, and optical distortions, exploding conventional narrative forms and emphasizing the futility of seeking transcendent meaning in a disjointed modern world. This experimental approach made Bebuquin a key work in literary Expressionism and an indispensable precursor to Dada and Surrealism. Einstein also contributed shorter prose pieces to journals such as Die Aktion and Hyperion during this period. These early efforts coincided with his developing work in art criticism.

Major Publications and Style

Carl Einstein's major literary publications after the early phase of his career were comparatively sparse, as his energies increasingly turned toward art criticism, theoretical essays, and political writing. In 1921 he published the dramatic work Die Schlimme Botschaft (The Bad Message), a provocative passion play in twenty scenes issued by Ernst Rowohlt in Berlin, that placed revolutionary statements in the mouth of Jesus Christ and resulted in a blasphemy trial in 1922, culminating in a conviction and a fine of 15,000 marks. This piece exemplified his persistent use of literary forms to engage radical themes, blending satire with social critique in a style that retained the sharp, confrontational edge visible in his earlier prose. During his exile in Paris, Einstein produced the limited-edition prose text Entwurf einer Landschaft (Sketch of a Landscape) in 1930, issued by Daniel-Henry Kahnweiler's Galerie Simon with lithographs by Gaston-Louis Roux. This late work, one of his few mature independent literary publications, continued his experimental approach to narrative and description in a condensed, evocative form. Einstein's prose style evolved from the intensely experimental, expressionist dynamism of his early novel toward a more fragmentary and gnomic mode in these later texts, marked by concise, hyper-critical formulations and an emphasis on formal innovation. His posthumously published theoretical work Die Fabrikation der Fiktionen (1973) further elaborated his mature reflections on the construction of literary fiction, underscoring his lifelong commitment to avant-garde aesthetic principles.

Art Criticism and Theory

Pioneering Work on African Art

Carl Einstein's pioneering work on African art is epitomized by his book Negerplastik, published in 1915. In this publication, Einstein presented African sculpture as an autonomous artistic expression worthy of formal analysis, rather than merely ethnographic material or curiosities from colonial contexts. He emphasized the sculptures' closed, cubic forms and their achievement of maximum three-dimensionality, arguing that they embodied a pure plastic logic independent of Western representational conventions such as perspective and illusionism. Einstein's key thesis posited that African art's formal rigor offered a corrective to European art's tendency toward naturalistic imitation, which he viewed as diluting sculptural intensity. By focusing exclusively on visual and structural qualities—such as the integration of volume, surface tension, and spatial autonomy—he sought to establish African sculpture as a legitimate and even exemplary mode of artistic creation. The book featured 108 plates illustrating African works, allowing readers to directly confront the formal properties he described. This formalist approach marked a groundbreaking shift in European perceptions of non-Western art, elevating African sculpture within art-theoretical discourse and helping to detach it from purely anthropological interpretations prevalent at the time. Negerplastik thus played a crucial role in integrating non-European art into modern aesthetic considerations, influencing subsequent critical and artistic engagements with African forms.

Contributions to Expressionism and Avant-Garde

Carl Einstein contributed to Expressionism and the broader avant-garde through his early art criticism published in Die Aktion, a leading Expressionist periodical, where he wrote essays on art and related topics before World War I. His 1914 theoretical essay "Totality" advanced radical ideas about art's role in determining human vision, arguing that art should organize collective mental images and effect a profound transformation of subjectivity and perception. After the war, Einstein joined the leftist faction of Berlin Dada in 1919, forming close ties with artists such as George Grosz and John Heartfield, and contributing to key Dada journals including Die Pleite and Der blutige Ernst, which he co-edited with Grosz. This participation situated him within the radical avant-garde, though he expressed skepticism toward certain aspects of Dada's aesthetic practices. In the 1920s, Einstein's most comprehensive work, Die Kunst des 20. Jahrhunderts (The Art of the 20th Century), published in 1926 and revised in 1928 and 1931, offered a critical survey of modernism that encompassed Expressionism alongside other movements, refining his theories on the role of art in addressing the conditions of modernity. He is recognized as one of the major interpreters of Expressionism within early twentieth-century German art criticism.

Political Activism

Anarchist Beliefs and Writings

Carl Einstein's anarchist beliefs emerged in the context of his early literary and journalistic activities, particularly through his association with the journal Die Aktion, a publication known for its anarchist and anti-militarist orientation. He began publishing there in the 1910s, contributing experimental prose that blended aesthetic innovation with radical social critique, reflecting the journal's commitment to leftist political ideas. His involvement with Die Aktion marked an early engagement with radical thought, as the journal provided a platform for voices opposing authoritarian structures and advocating revolutionary change, though his explicit anarchist militancy intensified in the 1930s. Einstein's political orientation combined anarchist principles with broader left-wing sympathies, shaping his journalism and theoretical writings during the Weimar era. These views positioned him among radical intellectuals critical of bourgeois society and state power, though specific standalone anarchist treatises from this period are limited compared to his art criticism. His anarchist leanings contributed to his status as a target of right-wing hostility in Germany, underscoring the political edge of his pre-1936 activities. These early expressions of radical conviction influenced his later revolutionary commitments, including his decision to join anti-fascist forces in 1936.

Participation in the Spanish Civil War

In the summer of 1936, shortly after the outbreak of the Spanish Civil War, Carl Einstein left Paris to join the Republican forces as a combatant in an anarcho-syndicalist militia. He arrived in Barcelona between August and September, accompanied by his wife Lydia, who contributed to the Republican effort by working as a nurse and seamstress. Einstein enlisted in the Durruti Column, an anarchist militia unit linked to the CNT-FAI, where he served in the international section of foreign volunteers organized by the German-speaking anarchist exile group DAS. He acted as a combatant and was wounded in action, while also assuming the role of technical director responsible for a nine-kilometer stretch of the Aragon front under the Durruti Column's command, a position he held at least until January 1937 when the unit was reorganized as the 26th Division. On November 22, 1936, following Buenaventura Durruti's death, Einstein delivered the funeral oration over CNT radio in Barcelona, praising the collective transformation of society and declaring that Durruti had consigned the pronoun "I" to the scrap heap of history. During his time in Spain, he contributed articles, including one in 1937 on the strategic significance of the Aragon front, and engaged in public activities such as giving a talk at the Ateneu Enciclopèdic Popular on the artist's contemporary role. In a May 1938 interview with Sebastià Gasch published in Meridia, he argued that intellectuals must abandon the privileges of "venerable but poorly-paid cowardice" and join the trenches. Einstein expressed the primacy of action over intellectual pursuits in his correspondence, writing that "the rifle is necessary to make up for the cowardice of the pen" and declaring that "to make art today is basically a pretext for avoiding danger." In a letter dated January 6, 1939, he conveyed profound satisfaction in having fought alongside the Spanish people, calling it the happiest memory of his life and affirming his willingness to lay down his life for their cause. He left Spain in early 1939 as Franco's troops entered Barcelona.

Film Contributions

Screenwriting Collaboration on Toni (1935)

Carl Einstein's only known contribution to film was his uncredited collaboration on the screenplay for Jean Renoir's Toni (1935). The film, a seminal work of French poetic realism, was shot on location in Provence and follows the tragic story of an Italian immigrant worker entangled in a crime of passion. Historical accounts confirm that Einstein worked closely with Renoir on developing the script during the early 1930s, when Einstein was living in Paris, where he had relocated in 1928. Despite his involvement, Einstein received no official screen credit, with the screenplay attributed solely to Renoir in the film's release. This limited engagement with cinema reflects Einstein's broader activities in France during this period, though it remained his sole foray into screenwriting.

Exile and Death

Flight from Nazi Germany

Carl Einstein had relocated to Paris in 1928, dissatisfied with the artistic and intellectual environment in Berlin and attracted by the more favorable reception of his work in France. The Nazi seizure of power in January 1933 solidified his status as a permanent exile, preventing any return to Germany due to his Jewish heritage and his anarchist political convictions, which made him a target of the regime's ideological persecution. In Paris during the 1930s, Einstein continued his activities as an art historian, critic, and writer, contributing to avant-garde circles and expatriate intellectual communities despite the precariousness of exile life. His earlier departure from Germany in 1928 had been partly motivated by opposition to rising right-wing forces, but the 1933 events confirmed the impossibility of reconciliation with the Nazi state. As a result of his identity and views, his works were effectively banned in Germany, and he lived under the constant shadow of political threat in France.

Suicide in 1940

Following the defeat of France by Nazi Germany in June 1940 and amid fears of persecution and possible capture by the Gestapo after he had been interned by Vichy authorities, Carl Einstein committed suicide on 5 July 1940 in Lestelle-Bétharram, Pyrénées-Atlantiques, France. He threw himself into the Gave de Pau to escape persecution as a Jewish anti-fascist intellectual. This act concluded his exile in France, where he had fled Nazi repression, and reflected the desperate circumstances faced by many refugees in the region at that time.

Legacy

Influence on Art History and Literature

Carl Einstein's Negerplastik (1915) stands as a foundational text in art history, pioneering the treatment of African sculpture as autonomous art rather than ethnographic curiosity and profoundly shaping modern appreciation of non-Western forms. By presenting a sequenced archive of photographs that abstracted the objects into pure sculptural entities—often frontal views stripped of context, attachments, and color—the book created a coherent canon of "African art" that influenced museum displays and artistic perceptions for much of the twentieth century. However, scholars have critiqued the work for decontextualizing the sculptures, constructing an artificial and homogenized canon based on European formalist priorities, and situating it within colonial-era primitivist assumptions rather than African cultural realities. Its images exerted greater immediate impact than the text itself, legitimizing African sculpture as valuable in its own right and challenging European standards of beauty, as noted by contemporary observers like Hermann Hesse who saw it opening "another hole in the classical canon of beauty." The illustrations influenced European modernists through their formal presentations. Einstein extended his impact by redefining key aspects of avant-garde theory, particularly through his analysis of Cubism in successive editions of Die Kunst des 20. Jahrhunderts (1926 onward), where he presented the movement not as a reconciliation with realist memory images but as a destruction of them, enabling active and creative vision that could alter human subjectivity and the intuition of the visual world. His study of African art informed this view, contributing to notions of primitivization and a return to collective mythic experience in modernism, with art positioned to transform social and perceptual reality. Einstein argued that art determines general seeing and that "in the act of looking one changes people and the world," demanding radical shifts in visuality from artistic practice. His own experimental prose—marked by relentless rephrasing, variation, and deliberate avoidance of straightforward description—reflected deep skepticism toward language's capacity to capture visual phenomena, influencing modes of art criticism that prioritize conceptual over descriptive approaches. The psychological model of transformation in Negerplastik, describing masquerade as annihilating individuality in "fixed ecstasy," anticipated later theories of masking and ecstasy, appearing in works by scholars such as Mircea Eliade, who echoed the idea of the mask projecting the wearer "beyond his personal temporary identity." Einstein's contributions have seen renewed scholarly attention in recent decades, with Negerplastik recognized as a seminal work in the ethnographic turn of the European avant-garde and the broader reevaluation of global art histories.

Posthumous Recognition

Carl Einstein's work received limited attention immediately after his death in 1940, remaining a largely insider phenomenon for decades due to the dispersal of his manuscripts and the circumstances of his exile and suicide. The first significant posthumous collection appeared with "Gesammelte Werke," edited by Ernst Nef and published by Limes Verlag in 1962, gathering some of his key writings. In 2000, director Lilo Mangelsdorff released the documentary film Der Bebuquin - Rendezvous mit Carl Einstein, an 80-minute portrait that presented Einstein as one of the most colorful intellectual figures of the interwar period and emphasized his pioneering understanding of Cubism. Renewed scholarly and public interest emerged in the 21st century, with the 2017 conference "Carl Einstein Re-Visited," held at ZKM Karlsruhe and the Museum für Literatur am Oberrhein in cooperation with the Carl-Einstein-Gesellschaft, examining the contemporary relevance of his prose, criticism, and role as a mediator between Paris and Berlin avant-gardes; the event described him as a formerly half-forgotten figure whose work had by then achieved canonical status in art historiography through ongoing research. His writings also inspired exhibitions such as "Neolithische Kindheit" at Haus der Kulturen der Welt in Berlin in 2018, which drew on his concepts to explore artistic responses to interwar crises. A major milestone in international recognition came with the 2019 publication of A Mythology of Forms: Selected Writings on Art by the University of Chicago Press, the first English-language anthology of his art criticism, edited by Charles W. Haxthausen and featuring fourteen texts from 1912 to 1935 with extensive commentary; the volume addressed the prior neglect of his theoretical contributions in Anglophone scholarship, particularly his radical ideas on visuality and art's transformative potential. These developments reflect a gradual but sustained rediscovery of Einstein's multifaceted legacy in art theory, literature, and cultural criticism.

References

  1. https://www.metmuseum.org/research-centers/leonard-a-lauder-research-center/research-resources/modern-art-index-project/einstein
  2. https://arthistorians.info/einsteinc/
  3. https://www.findagrave.com/memorial/283752440/carl-einstein
  4. https://grokipedia.com/page/carl_einstein
  5. https://digital.adk.de/en/carl-einstein-works-and-letters
  6. https://www.abebooks.com/9783861996736/Bebuquin-Dilettanten-Wunders-Einstein-Carl-3861996731/plp
  7. https://www.amazon.com/Bebuquin-Dilettantes-Miracle-Carl-Einstein/dp/9492027127
  8. https://archive.org/details/bebuquin0000eins
  9. https://www.christies.com/en/lot/lot-6215805
  10. https://edition-originale.com/en/works/literature-1/first-editions-16/einstein-entwurf-einer-landschaft-1930-67602
  11. https://www.cornellpress.cornell.edu/book/9780801479847/form-as-revolt/
  12. https://gagosian.com/quarterly/2020/03/10/interview-mythology-forms-conversation-about-carl-einstein/
  13. https://gagosian.com/quarterly/2020/03/10/interview-mythology-forms-conversation-about-carl-einstein
  14. https://signale.cornell.edu/books/form-as-revolt-carl-einstein-and-the-ground-of-modern-art/
  15. https://libcom.org/article/einstein-carl-1885-1940
  16. https://docs.llull.cat/IMAGES_175/transfer07-not03.pdf
  17. https://www.criterion.com/current/posts/7070-toni-a-true-story-told-by-jean-renoir
  18. https://direct.mit.edu/afar/article-pdf/46/4/8/1736046/afar_a_00104.pdf
  19. https://zkm.de/de/veranstaltung/2017/02/carl-einstein-re-visited
  20. https://digi.ub.uni-heidelberg.de/diglit/einstein1962
  21. https://www.imdb.com/title/tt0247949/
  22. https://www.filmportal.de/en/movie/der-bebuquin-rendezvous-mit-carl-einstein_ea43d4a727255006e03053d50b37753d
  23. https://archiv.hkw.de/de/programm/projekte/2018/neolithische_kindheit/neolithische_kindheit_start.php
  24. https://press.uchicago.edu/ucp/books/book/chicago/M/bo41676069.html
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