The German Print Portfolio 1890-1930: Serials for a Private Sphere

Despite its importance among Symbolist, Naturalist, Expressionist, and New Objectivity printmakers in late nineteenth- and early twentieth-century Germany and Austria, the print portfolio as an art form has never been examined comprehensively in an English-language publication.

Published in conjunction with an exhibition of the same name, this volume begins its examination with Max Klinger, the first modern German artist to regard the print portfolio as an integral part of his oeuvre.

Two Naturalist series by Lovis Corinth, Expressionist examples by artists of Brücke as well as by Ernst Barlac, Max Beckmann, and Oskar Kokoschka, and New-Objectivity and Realist works by Otto Dix, George Grosz, and the Berlin social critic Rafaello Busoni document the diverse stylistic paths this new trend followed.

In addition to a discussion of media and artistic choice, the essays examine the uses and themes of portfolios, from direct political, social, or economic commentary to literary, and even musical allusions.


Robin Reisenfeld with an introduction by Reinhold Heller

Publication date

Spring 1992


Paper, 159 pages, 10 color plates, 103 black and white plates



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