The German Genius

by Peter Watson

  7. See Appleyard, Pioneers, p. 119, for a photograph and p. 121 for the gap.

  8. New Dictionary of Scientific Biography, vol. 3, pp. 291–294.

  9. Physicists’ Biographies, p. 2. http://phisicist.info/

  10. Appleyard, Pioneers, p. 131.

  11. Kragh, Quantum Generations, p. 28.

  12. Ibid., p. 29.

  13. Emilio Segrè, From X-rays to Quarks: Modern Physicists and Their Discoveries (San Francisco: W. H. Freeman, 1980), pp. 22–23.

  14. Dictionary of Scientific Biography, XI, p. 529–521.

  15. Kragh, Quantum Generations, p. 30.

  16. Watson, Modern Mind/Terrible Beauty, p. 20.

  17. New Dictionary of Scientific Biography, vol. 6, pp. 111–115. For the Plancks as a whole, see J. L. Heilbron, The Dilemmas of an Upright Man: Max Planck as a Spokesman for German Science (Berkeley and London: University of California Press, 1986).

  18. Heilbron, Dilemmas of an Upright Man, pp. 6–8.

  19. Kragh, Quantum Generations, p. 21.

  20. Ibid., p. 22.

  21. Segrè, From X-rays to Quarks, pp. 66–68.

  22. For Planck’s relationship with Rubens, see Max Planck, Scientific Autobiography, and Other Papers, with a Memorial Address on Max Planck by Max von Laue, trans. Frank Gaynor (London: Williams and Norgate, 1950), pp. 39–40.

  23. Kragh, Quantum Generations, p. 23.

  24. Heilbron, Dilemmas of an Upright Man, p. 23. Though Planck told his son in 1900 that his work would rank among the great discoveries in physics, p. 55ff.

  25. Kragh, Quantum Generations, p. 94.

  26. Albrecht Fölsing, Albert Einstein: A Biography, trans. Ewald Osers (London: Viking, 1997), pp. 32ff.

  27. Ibid., pp. 155ff.

  28. Kragh, Quantum Generations, p. 95.

  29. For some of the excitement at that time, see Albert Einstein, The Collected Papers of Albert Einstein, vol. 5, The Swiss Years, trans. Anna Beck, Don Howard, consultant (Princeton, N.J., and Chichester: Princeton University Press, 1995), which records his letters around 1905. John S. Rigden has devoted Einstein 1905: The Standard of Greatness (London: Harvard University Press, 2005) to just that year.

  30. Fölsing, Albert Einstein, p. 165. See also Albert Einstein, A Stubbornly Persistent Illusion: The Essential Scientific Works of Albert Einstein, ed. with commentary by Stephen Hawking (Philadelphia and London: Running Press, 2007).

  31. Everdell, First Moderns, p. 30.

  32. Kragh, Quantum Generations, p. 32.

  33. Dictionary of Scientific Biography, IV, pp. 123–127.

  34. Kragh, Quantum Generations, p. 38.

  35. Joseph W. Dauben, Georg Cantor: His Mathematics and the Philosophy of the Infinite (Cambridge, Mass.: Harvard University Press, 1979), chap. 6, p. 125.

  36. Kragh, Op. cit., p. 39.

  37. New Dictionary of Scientific Biography, vol. 2, pp. 29–36.

  38. Kragh, Quantum Generations, p. 41.

  39. Michael Dummet, Frege: Philosophy of Mathematics (London: Duckworth, 1991), pp. 141f.

  40. Kragh, Quantum Generations, p. 46.

  41. Klein played an extraordinary role in German—and world—mathematics, which is explored in Lewis Pyenson, Neohumanism and the Persistence of Pure Mathematics in Wilhelmine Germany (Philadelphia: American Philosophical Society, 1983), which relates mathematics to Bildung. Constance Reid, in Hilbert, p. 19, describes the correspondence between Klein and Hilbert as “nervous.” See pp. 48ff for the Göttingen of the time. See also Günther Frei, ed., Der Briefwechsel David Hilbert–Felix Klein (1886–1918) (Göttingen: Vandenhoeck & Ruprecht, 1985).

  42. Reid, Hilbert, pp. 74ff. Jeremy Gray, The Hilbert Challenge (Oxford: Oxford University Press, 2000) is devoted to this event and the reaction.

  CHAPTER 26: SENSIBILITY AND SENSUALITY IN VIENNA

  1. Peter Gay, Schnitzler’s Century, pp. 64–65. Clive James, Cultural Amnesia: Notes in the Margin of My Time (London: Picador, 2007), p. 699.

  2. Christian Brandstätter, ed., Vienna 1900 and the Heroes of Modernism (London: Thames & Hudson, 2006), pp. 335–342.

  3. E. E. Yates, Schnitzler, Hofmannsthal, and the Austrian Theatre (New Haven, Conn., and London: Yale University Press, 1992), pp. 1–5.

  4. Friedrich Rothe, Karl Kraus: Die Biographie (Munich: Piper, 2003), pp. 171–216. Edward Timms, Karl Kraus, Apocalyptic Satirist: The Post-War Crisis and the Rise of the Swastika (New Haven, Conn., and London: Yale University Press, 2005). See the early pages for the “dream of German domination.”

  5. Arthur Schnitzler, The Road into the Open = Der Weg ins Freie, trans. Roger Byers (Berkeley and Oxford: University of California Press, 1992). James, Cultural Amnesia, pp. 702 and 764–76.

  6. Watson, Modern Mind/Terrible Beauty, p. 29.

  7. Ulrich Weinzierl, Hofmannsthal: Skizzen zu seinem Bild (Vienna: Zsolnay, 2005), pp. 147ff.

  8. Benjamin Bennet, Hugo von Hofmannsthal: The Theatre of Consciousness (Cambridge: Cambridge University Press, 1988), pp. 272ff.

  9. Franz Clemens Brentano, The Origin of Our Knowledge of Right and Wrong, ed. Oskar Kraus, trans. Roderick M. Chisholm and Elizabeth H. Schneewind, English edition ed. Roderick M. Chisholm (London: Routledge & Kegan Paul, 1969), p. 75.

  10. Stanford Encyclopaedia of Philosophy, Center for the Study of Language and Information, Stanford University, Calif., 94305, http://plato.stanford.edu/, entry on Wilhelm Wundt, p. 15 of 17.

  11. Dermot Moran, Edmund Husserl: Founder of Phenomenology (Cambridge: Polity Press 2005), pp. 94–129.

  12. Archives Husserl à Louvain, Geschichte des Husserl-Archivs/Husserl-Archive Leuven = History of the Husserl-Archives (Dordrecht: Springer, 2007).

  13. David S. Luft, Eros and Inwardness in Vienna: Weininger, Musil, Dorderer (Chicago and London: 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 Sch
nee, 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.

  CHAPTER 27: MUNICH/SCHWABING:

  GERMANY’s “MONTMARTRE”

  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 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.

  CHAPTER 28: BERLIN BUSYBODY

  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. 24–26.

  14. Ohff, Theodor Fontane, p. 368.

  15. Large, Berlin, pp. 49–50.

  16. Christian von Krockow, Kaiser Wilhelm II und seine Zeit: Biographie einer Epoche (Berlin: Siedler, 1999), pp. 92–114 and 163–184. See also Christopher Clark, Kaiser Wilhelm (Harlow: Longman, 2000).

  17. Large, Berlin, pp. 59–60.

  18. John C. G. Röhl, Wilhelm II: Der Aufbau der persönlichen Monarchie 1888–1900 (Munich: C. H. Beck, 2001), pp. 221–231.

  19. Annika Mombauer and Wilhem Deist, eds., The Kaiser: New Research on Wilhelm II’s Role in Imperial Germany (Cambridge: Cambridge University Press, 2003).

  20. Large, Berlin, p. 63.

  21. Hans Daiber, Gerhart Hauptmann oder der letze Klassiker (Vienna-Munich-Zurich: Fritz Molden, 1971), pp. 47–59.

  22. Margaret Sinden, Gerhart Hauptmann: The Prose Plays (Toronto: University of Toronto Press, 1957), pp. 149ff. for plays about “common people.”

  23. Eberhard Hilscher, Gerhart Ha
uptmann (Berlin: Verlag der Nation, 1969), pp. 131–154.

  24. For Hauptmann’s letters to Brahms, see Martin Machatzke, ed., Gerhart Hauptmann: Tagebücher, 1897 bis 1905 (Frankfurt am Main: Propyläen, 1987), pp. 545f. and 594f.

  25. Röhl, Wilhelm II, pp. 1008–1016. Large, Berlin, p. 64.

  26. Helene Thimig-Reinhardt, Wie Max Reinhardt lebte (Percha am Stamberger See: R. S. Schulz, 1973), pp. 77–87.

  27. Oliver M. Sayler, Max Reinhardt and His Theatre (New York: Brentano’s, 1924), p. 92.

  28. Franz Herre, Kaiser Wilhelm II: Monarch zwischen den Zeiten (Cologne: Kiepenheuer & Witsch, 1993).

  29. Large, Berlin, p. 65.

  30. For Strauss’s relationship with Bülow, see Willi Schuh and Franz Trenner, Correspondence: Hans von Bülow and Richard Strauss, trans. Anthony Gishford (London: Boosey & Hawkes, 1955), p. 68, including a plan (not realized) to turn an Ibsen play into an opera.

  31. Gisold Lammel, Adolph Menzel und seine Kreise (Dresden: Verlag der Kunst, 1993), especially the pictures on pp. 152–153.

  32. Large, Berlin, p. 69.

  33. Ibid., p. 73.

  34. Ibid., p. 71.

  35. Georg Brühl, Die Cassirers: Streiter für den Impressionismus (Leipzig: Edition Leipzig, 1991). See pp. 105ff. for Paul.

  36. Peter Paret, The Berlin Secession: Modernism and Its Enemies in Imperial Germany (Cambridge, Mass.: Belknap Press of Harvard University Press, 1980), p. 39.

  37. Nell Roslund Walden, Herwarth Walden: Ein Lebensbild (Berlin: F. Kupferberg, 1963), pp. 45f.

  38. Magdalena M. Moeller, Die “Brucke”: Meisterwerke aus dem Brücke-Museum Berlin (Munich: Hirmer, 2000), pp. 1–40. See also Carol S. Eliel, The Apocalyptic Landscapes of Ludwig Meidner (Munich: Prestel, 1989).

  39. Wilhelm von Bode, Mein Leben (Berlin: H. Reckendorf, 1930).

  40. See Wilhelm von Bode, Rembrandt und seine Zeitgenossen: Charakterbilder der grossen Meister der holländischen und vlämischen Malerschule im siebzehnten Jahrhundert (Leipzig: E. A. Seemann, 1923), as an example of his scholarship.

  41. Bernhard Maaz, ed., Nationalgalerie Berlin: Das 19 Jahrhundert; Bestandskatalog der Skulpturen (Leipzig: Seemann, 2006), pp. 20f.

  42. Large, Berlin, p. 77.