history

Lenin and David Bowie

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David Bowie has died. In tribute, I’m posting some portions of the second chapter of Agata Pyzik’s excellent book Poor but Sexy, which I reviewed for the Los Angeles Review of Books about a year ago. You should definitely pick it up if you haven’t already. To complement it, I’m including some photos of Bowie in Moscow and around the Eastern Bloc.

A word about Bowie’s flirtation with fascist symbolism during the 1970s: Quite clearly it was a deliberate aesthetic provocation meant to shock the public, part of his Thin White Duke persona. Same goes with that Playboy interview: he was coked out of his mind, responding to decades of British postwar malaise. Bowie also made use of communist, East European, and avant-garde symbolism around this time. Not trying to make excuses for the guy, just pointing out that this part of rock’n’roll’s broader obsession with totalitarianism during this period.

Either way, don’t expect sound politics from celebrities. Lemmy also liked to collect fascoid paraphernalia, as many have pointed out. He was a great musician and artist all the same. Regarding Bowie’s sexual improprieties, allegedly sleeping with Lori Maddox when she was seventeen and he was in his early twenties (as part of a ménage à trois with another man), again I am not interested in his private life. Picasso slept with younger women in Paris, but this hardly makes him less of a painter. Caravaggio murdered a couple people in cold blood, and he is similarly undiminished.

Surely no one will fault us for mourning Bowie’s death simply because he did not make great contributions to Marxist theory.

Ashes and brocade

Berlinism, Bowie, post punk,
new romantics and pop culture
during the second Cold War
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Had to get the train
from Potsdamer Platz
You never knew that I could do that
Just walking the dead
a man lost in time
Twenty thousand people cross Bösebrücke
fingers are crossed just in case
where are we now?

— David Bowie, “Where
Are We Now?” (2013)

I could make a transformation
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Is there concrete all around or is it in my head?

— David Bowie, “All
the Young Dudes”

The 1970s were the era of defeat. As the sixties were extremely intense in terms of political and social change, from the early seventies the flux went steady. David Bowie, who debuted in the late sixties, marked this change when he invented Ziggy Stardust in 1972: no more real heroes, from now on the most desirable thing was to be fabricated. What is genuine, authentic, is boring. The only hero that really matters, is pure artifice, cut out from the comic books, movies and dressed in everything that’s glamorous. Bowie more than anyone contributed to the cherishing of artifice in pop music, realizing the idea of a “hero for a day,” only following the course mass culture had been taking for decades. Was he conscious of that? Some of his lyrics of the era mark the mourning of the depoliticization of his generation: in the lyrics to the song “Star,” he mentions “Bevan (who) tried to change the nation,” and posing himself instead as someone who “could make a transformation as a rock & roll star.” Facing the “growing nihilism of his generation, he still believes that as a star of artifice, he can carry on their political task. “All the Young Dudes,” a song he wrote for Mott the Hoople in ’72, reeks of the youth’s disappointment and disillusionment, forming a kind of “solidarity of the losers” anthem. Bowie, always too erratic to make any firm political commitment, was rather in love with various dubious figures, “cracked actors,” (the inspiration for Ziggy was a forgotten singer who was believed to be a combination of god and an alien), necromantics like Aleister Crowley, Kenneth Anger’s satanism, Fascist dictators. He was, nevertheless, obsessed with certain elements of modernity. He was driven to German culture, especially the Weimar period, expressionism, Neue Sachlichkeit, theater, Brecht. His first break-through hit concerned a man lost in space, after all, and the space age gets a strongly melancholic treatment from Bowie, as his character Major Tom is rather terrified by the silence of space. Another obsession, as we will see, was Orwell’s Nineteen Eighty-Four.

Bowie’s fixation with “totalitarianism” applied to both sides. At one point he planned to stage an adaptation of the Soviet-Czech comic book Octobriana, about a socialist she-devil super-heroine — a samizdat publication, that was circulated between creators only through the post. Bowie could only have learned about it from its 1971 American edition. On the other side, his dalliance with the far right was something more than just the famous Sieg Heil he made to fans in 1976 at Victoria Station. It’s not an accident pop bands are very rarely left-wing, and Bowie’s reaction to the economic crisis of the seventies was to imagine becoming a right wing politician who’ll “sort things out.” “I believe strongly in Fascism,” Bowie said; “the only way we can speed up the sort of liberalism that’s hanging foul in the air is to speed up the progress of a right wing tyranny. People have responded always more efficiently under a regimental leadership.” Bowie recognized, if only half-consciously, the appeal and meaning of the pop idol as a dictator. In Peter Watkins’ film from some years earlier, 1967’s Privilege, a young, cherubic, mega-popular singer is hired by the fascistic authorities, who use his popularity to ensure their control over the masses, in a truly Orwellesque, Big Brother-like take on the police state (which here has much more to do with Nazi Germany than communist states). Yet Watkins’ scared, weakened, traumatized singer, terrified of the masses, couldn’t have been further from Bowie, who relished in fame.

So Bowie’s fascination with Germany and Berlin was only partly expressionism – much of it was also quite simply, fascism. He became a chief Schwarzkarakter for Rock against Racism, whose magazine pictured him next to Enoch Powell and Hitler. The press deemed his Thin White Duke look “more Nazi than Futurist (sic)’. He also caught the attention and sympathy of the National Front, who in an article called “White European Dance Music,” said that “Perhaps the anticommunist backlash and the aspirations towards heroism by the futurist movement, has much to do with the imagery employed by the big daddy of futurism, David Bowie. After all, it was Bowie who horrified the establishment in mid seventies with his favorable comments on the NF, and Bowie who might have started an “anti-communist” music tradition which we now see flourishing amidst the New Wave of futurist bands. Who might the NF’s publicist have meant as the “futurist movement”? It was the growing synthpop and New Romanticism that was emerging from the post-punk bands. Punk by itself might have evoked a resistance towards the establishment, but by then it was dissolving. Although we are used to seeing industrial/synthpop/postpunk as ruthless modernists, the bands were actually rarely openly left wing. The political message, if any, was rather vague. Bands dwelling on the space age came often from dispossessed areas, which they then made topics for their music, but the result didn’t have to be politically sound. It was this later, new romantic period that brought Bowie to the left, with the stern words about “fascists” on Scary Monsters.

But even if we treat those remarks as just the drugged out delirium of a coked-up degenerate, which they were, it can’t be denied they had an influence on popular music. If you take the whole fascination with the Germanic in post punk bands, like Siouxsie and the Banshees or, omen omen, Joy Division, the twisted outpourings of their leaders weren’t just simply teasing their parents. They were flirting with the outrageous (Siouxsie), against the war generation, or they were openly right wing, like Ian Curtis. They had little to do with the struggles of Baader-Meinhof that ended tragically few years back. Curtis was confusing his obsession with Hitlerism with another obsession with a concentration camp prisoners (Stephen Morris has said in an interview that Joy Division were supposed to look like Nazi camp victims) or wider, the idea of the underdog, which tapped into their Bowieesque Eastern Bloc fantasies, like that of “Warszawa,” an eternally concrete, sinister city. Yet Bowie’s image of contemporary Berlin must’ve been seriously twisted, if he thought he could find shelter there with another drug addict, Iggy Pop, in a place that had already become one of the most narcotics-dependent places on earth. West Germany and West Berlin had for years been a territory of political dysphoria. The New Left’s legacy was melting. In a context of pseudo-denazification, militancy reached its peak around 1968 and the police shooting of Benno Ohnesorg. By 1976, when Bowie moved to Berlin, it had become the armed terrorism of RAF, the Red Army Faction. Continue reading →

Federici versus Marx

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Gilles Dauvé
Troploin
Fall 2015
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Note: Dauvé’s piece is not without its problems. Some lines are simply offensive — e.g., “Federici feminizes Marxism; that’s probably what has made her popular,” “the ‘reproductive labor’ theme is not a woman’s theory, only a housewife’s theory.” Others are beside the point, like the superfluous aside on Carla Lonzi, which I feel is grossly unfair to her body of work. But the point about the incompatibility of Federici’s account of primitive accumulation and Marx’s in Capital is extremely important, as is the point about the different priorities that these differing accounts reveal. He even lets her off somewhat light regarding the more outrageous claims of Caliban & the Witch. For example, the completely unsubstantiated figure of “five to six million” women killed during the witch-hunts in Europe during the period she covers. Anyway, many of the criticisms are perfectly valid and lay bare the practical poverty and theoretical misunderstandings that underwrite autonomist Marxism in general, as well as the “wages for housework” movement (which insisted on attaching a moral dimension to the purely economic category of “productive labor”).

One criticism I would raise that Dauvé does not regards the parallels between her presentation of the post-feudal transition and that of world “systems” theory. Federici’s account of primitive accumulation owes a lot to dependency theory, especially as articulated by Andre Gunder Frank, Samir Amin, and Immanuel Wallerstein. These theorists analyzed the emerging economic world system in terms of core-periphery relations, whereby the overdeveloped core is sustains its development at the expense of the underdeveloped periphery in an ongoing process of “unequal exchange.” In Caliban & the Witch, Federici makes an analogous argument regarding the reproductive sphere and the productive sphere, with the latter profiting at the expense of the former. She openly admits to the ismorphism between her argument and that of the world systems theorists. As a moderate Brennerite, I find this interpretation of the historic transition to capitalism untenable. Her focus on extra-economic forms of compulsion not only during the formation of capitalism, but down through to the present, has a lot to do with this.Moreover, many of Federici’s political positions seem to approximate a kind of Third Worldist narrative, which falls into all the communitarian traps that theorists of “the commons” often do.
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…rough magic I here abjure…

William Shakespeare
The Tempest (1610)

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Caliban & the Witch is of undeniable interest for our understanding of social movements at the critical juncture between medieval and modern times, of the advent of capitalism, its sexual dimension, the treatment of women and the conversion of female and male bodies into a work-machine, among other things. But the book also sets forth a vision of past and present which is as questionable as the political perspective that this vision entails.1

Primitive accumulation according to Silvia Federici

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Federici claims to be writing “against Marxist orthodoxy” (p. 6), and Caliban & the Witch is commonly read as a complement (or for some readers, as an alternative) to Marx’s Capital, especially Part VIII. Federici writes:

…my description of primitive accumulation includes a set of historical phenomena that are absent in Marx, and yet have been extremely important for capitalist accumulation. They include: 1) the development of a new sexual division of labor subjugating women’s labor and women’s reproductive function to the reproduction of the work-force; 2) the construction of a new patriarchal order, based upon the exclusion of women from waged-work and their subordination to men; 3) the mechanization of the proletarian body and its transformation, in the case of women, into a machine for the production of new workers.” (p. 11)

So we expect to read what was missing in the accepted master narrative, especially as history suffers from a long tradition of writing women off. The question is, where does a counter-hegemonic history lead us? In Federici’s case, the author is not merely filling in gaps: her analysis of primitive accumulation amounts to nothing less than a conception of capitalism not just different from Marx’s but indeed opposed to it.

In order to understand the birth of capitalism, she emphasizes the specific oppression that social groups, women in particular, were subjected to. That is what she is targeting, and her approach prioritizes certain factors and downplays others.

The question is, what tipped the historical scales? Continue reading →

Maxime Rodinson: Marxist, Orientalist, anti-Zionist, anti-Islamist

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The French Marxist scholar Maxime Rodinson, whose Polish parents died in Auschwitz while he was serving in the French Institute in Damascus, was born on May 22, 1915. Some sources say Paris; others say Marseilles. A true iconoclast, he resigned from the French Communist Party in 1958 in the name of anti-authoritarianism. He opposed Zionism as imposing a false nationalism upon all Jews while forcing the displacement of Palestinians from their homeland, though he learned both Hebrew and Arabic. Yet he urged peaceful negotiations between Israelis and Palestinians, and continually urged the Palestine Liberation Organization to renounce violence, terrorism, and their hope of a military victory over Israel. Rodinson was the first commentator to call Israel “a settler-colonial state,” and also coined the phrase “Islamic fascism” [le fascisme islamique] to describe the Iranian Revolution in 1979, taking Foucault to task for his uncritical enthusiasm and support of Khomeini. In 1961 he wrote Muhammad, a biography of the prophet of Islam that is still banned in parts of the Muslim world.

On political Islam’s potential duration, Rodinson wrote:

Islamic fundamentalism is a temporary, transitory movement, but it can last another thirty or fifty years — I don’t know how long. Where fundamentalism isn’t in power it will continue to be an ideal, as long as the basic frustration and discontent persist that lead people to take extreme positions. You need long experience with clericalism to finally get fed up with it — look how much time it took in Europe! Islamic fundamentalists will continue to dominate the period for a long time to come.

On Zionism as a form of nationalism, he wrote:

I am well aware that the designation “nationalist” for the Zionist movement often gives rise to protest on the part of Arab intellectuals. I have already come up against it. This is because in the Arab world, for reasons which are evident, the term “nationalism” has acquired a positive connotation, a sacred aureole. For the Arabs, nationalism is by definition a feeling, a passion, a duty, a praiseworthy (even admirable) movement. Zionism, being in their view something which is in its very essence bad, a perverse undertaking, cannot be nationalistic. It is a project of pure banditry, an operation planned by Satanic manipulators which sweeps along the deceived masses or individuals essentially just as evil.

In 1948, he became director of the Muslim section of the National Library in Paris. Edward Said in Orientalism (1978) praised Rodinson for his “extraordinary achievements” as well as his “methodological self-consciousness.” For Said, Rodinson was one of the exceptional few who proved “perfectly capable of freeing themselves from the old ideological straitjacket” of the Orientalist disciplines. In the endnotes of his book Europe and the Mystique of Islam (first published in French in 1980), he gave his opinion of Said’s Orientalism:

Edward Said’s Orientalism (New York, 1978) had a great and unexpected success. There are many valuable ideas in it. Its great merit, to my mind, was to shake the self-satisfaction of many Orientalists, to appeal to them (with questionable success) to consider the sources and the connections of their ideas, to cease to see them as a natural, unprejudiced conclusion of the facts, studied without any presupposition. But, as usual, his militant stand leads him repeatedly to make excessive statements. This problem is accentuated because as a specialist of English and comparative literature, he is inadequately versed in the practical work of the Orientalists. It is too easy to choose, as he does, only English and French Orientalists as a target. By doing so, he takes aim only at representatives of huge colonial empires. But there was an Orientalism before the empires, and the pioneers of Orientalism were often subjects of other European countries, some without colonies. Much too often, Said falls into the same traps that we old Communist intellectuals fell into some forty years ago, as I will explain below. The growth of Orientalism was linked to the colonial expansion of Europe in a much more subtle and intrinsic way than he imagines. Moreover, his nationalistic tendencies have prevented him from considering, among others, the studies of Chinese or Indian civilization, which are ordinarily regarded as part of the field of Orientalism. For him, the Orient is restricted to his East, that is, the Middle East. Muslim countries outside the Arab world (after all, four Muslims in five are not Arabs), and even Arab nations in the West receive less than their due in his interpretation.

His books, available for download here, include:

  1. Mohammad (1961)
  2. Islam and Capitalism (1966)
  3. Israel: A Colonial-Settler State? (1967)
  4. “On Zionism and the Palestine Problem Today” (1975)
  5. “Islam Resurgent?” (1979)
  6. “Khomeini and the ‘Primacy of the Spiritual'” (February 1979)
  7. The Arabs (1979)
  8. Europe and the Mystique of Islam (1980)
  9. Marxism and the Muslim World (1982)
  10. Cult, Ghetto, and State: The Persistence of the Jewish Question (1984)
  11. “Mythology of a Conqueror: On Saddam Hussein” (1991)
  12. “Critique of Foucault on Iran” (1993)
  13. “Why Palestine?”
  14. “On Islamic ‘Fundamentalism’: An Interview with Gilbert Achcar” (2003)

An interview from 1986 follows the picture gallery below. Enjoy.

 

Rodinson looks back

Joan Mandell & Joe Stork
Middle East Review 269
November 15, 1986

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Joan Mandell and Joe Stork spoke with Maxime Rodinson in April 1986, when he came to Washington for the celebration of MERIP’s fifteenth anniversary. We publish the interview here for the first time.
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You represent a unique combination of someone who has a militant left political background as an activist and is at the same time a renowned scholar. What circumstances account for this?

I was born in 1915. The milieu of my parents was one in which we had no doubt that this combination was absolutely essential. We had no doubt at the time there could be contradictions between scientific work and a commitment to action. I learned a great deal from my old master and professor, Marcel Cohen, a Greek linguist and communist. He had great ideas about Semitic linguistics and on the side he felt the duty to be committed. He was a member of the French Communist Party from the beginning. He used to say that people who never change are fools, and I have asked myself whether I was a fool because I had been in the Party since the 1930s. I remember that at one time I had some disagreements with the Party, but some months after that I understood that the Party was right and I came back to it. So I am not a fool!

You wrote in the preface to one of your books how even when you first joined the Party early in your life you were conscious of the problem. You didn’t join naively or blindly and you were aware of the constraints that it would represent.

I understand now that there is a process. I couldn’t have understood it without the experience…. Once you are in an organization you are restricted. I remember just before joining and committing myself by adhering formally and signing papers, I was buffeted between two trends.

On one side there was the French primary school where I learned to be tolerant, democratic and respectful. This trend was supported by a man among the Jews who emigrated from Poland and Eastern Europe.

Did your family also migrate from Eastern Europe?

Yes. My father was from Byelorussia. He was educated in college in Smolensk, wrote poetry in Russian, read English, French and German. He came to Paris in 1885 and my mother in 1900 or 1901. They were the kind of people who came to France to pursue their studies but were forced to work to survive. My mother was less educated; she spoke Yiddish and a bit of Russian. She was very fond of things Russian…Poland was at that time part of Russia.

Were your parents already in the Communist Party when they came to France?

There was no Communist Party at that time. They were more or less socialist-minded. My mother had disgust for all things religious, and I inherited that. She spoke with horror of rabbis. When my father first came to Paris he was a Marxist, a syndicalist, one of the founders of Jewish trade unions. In 1905, there was a process of unification of many socialist parties in France. My father entered this new socialist party. He had a job — unpaid — as a keeper of a library. Many new people like Trotsky and Lenin went there.

In France, at the time of the revolution, to what extend did the Jewish workers work as a group? To what extent was there consciousness as Jews, and how did that intersect with the broader trade union movement?

It was a process of transition. Many of them were just coming from Russia, and spoke only Yiddish. On the side, they were concentrated in certain sectors like the garment trade. So naturally the trade union of workers who made raincoats were almost all Jews. At the time of the Russian revolution many went to Russia. I was born in Paris and perhaps my mother and father found this a great excuse to stay in France. My father understood how things were in Russia, while my mother and I were enthusiastic to go back. So she prepared to go back without my father. But her friends advised her not to leave her husband, and she stayed.

I was dispirited at the time because I was in primary school and had no prospect to go to university. But one of the things that upset me was that I did not know foreign languages. I was without culture. Then I discovered a marvelous thing: Esperanto. I understood that it was replacing all the languages; it was easy to learn. At that time it was encouraged by the Soviet Union, by trade unions, by the Communist Party. I studied it in evening lessons at the houses of trade unionists. I was assigned a correspondent in the Soviet Union, in the town of my father. I wrote asking, “What is the problem with Trotsky and Stalin?” and so on.

Continue reading →

Open-source Marxism 2: Fresh batch of Historical Materialism book titles

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A fresh batch of Historical Materialism PDFs has arrived, this time apparently hosted by the same people who posted the MECW last year. The world is in a sorry state, but for those who enjoy free commie literature, the holidays just came early. Not a bad selection, overall, though I could do without the endless Gramsci dickriding. Far more valuable than any of the new theoretical treatises they commission are their translations of older materials. So the Comintern congresses, the Bogdanov, the Austromarxism, and Economist writings are a welcome addition.

HM will likely have these taken down, but the cat is out of the bag. Copies will be made and distributed further. Omnia sunt communia.

  1. Barbara C. Allen – Alexander Shlyapnikov, 1885-1937 – Life of an Old Bolshevik
  2. Jason Read – The Politics of Transindividuality
  3. Craig Brandist – The Dimensions of Hegemony – Language, Culture, and Politics in Revolutionary Russia
  4. Towards the United Front – Proceedings of the Fourth Congress of the Communist International, 1922
  5. To the Masses – Proceedings of the Third Congress of the Communist International, 1921
  6. The Russian Social-Democratic Labour Party, 1899-1904 – Documents of the ‘Economist’ Opposition to Iskra and Early Menshevism
  7. Marcos Del Roio – The Prisms of Gramsci – The Political Formula of the United Front
  8. Luca Basso – Marx and the Common – From Capital to the Late Writings
  9. Jonathan Martineau – Time, Capitalism, and Alienation – A Socio-Historical Inquiry into the Making of Modern Time
  10. Cathy Bergin – ‘Bitter with the Past but Sweet with the Dream’ – Representations of the Communist Party, 1940-1952
  11. Brandon Pepijn – War, Capital, and the Dutch State (1588-1795)
  12. Andrey Maidansky – The Practical Essence of Man – The ‘Activity Approach’ in Late Soviet Philosophy
  13. Alexander Gallas – The Thatcherite Offensive – A Neo-Poulantzasian Analysis
  14. Aleksandr Bogdanov – The Philosophy of Living Experience – Popular Outlines
  15. Mark E. Blum – Austromarxism – The Ideology of Unity Mark Abel – Groove – An Aesthetic of Measured Time
  16. Laura da Graca – Studies on Pre-Capitalist Modes of Production Jacob A. Zumoff – The Communist International and US
  17. Communism, 1919–1929
  18. Guido Liguori – Gramsci’s Pathways
  19. Fred Moseley – Money and Totality – A Macro-Monetary Interpretation of Marx’s Logic in Capital and the End of the ‘Transformation Problem’
  20. Bryan D. Palmer – Marxism and Historical Practice, Volume 2 – Interventions and Appreciations
  21. Bryan D. Palmer – Marxism and Historical Practice, Volume 1 – Interpretive Essays on Class Formation and Class Struggle
  22. Thomas M. Twiss – Trotsky and the Problem of Soviet Bureaucracy

More, which have been previously posted: Continue reading →

Анатолий Луначарский, Религия и социализм, том II (1911)

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ГЛАВА I.

Иудейская почва. Иисус.

Подготовленные явления Христа–Мессии.

В главах, посвященных иудейской религиозности, мы указывали уже на то, как созрела идея мессианизма с одной стороны, религия справедливости с другой. Для Вторачивай и Мессия — не кто иной, как символическое лицо, идеально представляющее собою страдальческую и праведную часть страдальческого народа. Это — бедняки и святые Израиля, заслуги которых спасут не только народ Божий, но и все народы земли. Заслуги эти сводятся к добродетелям истинного демократа тех времен: чувству справедливости и любви к ближнему, смирению, преданности судьбе, в которой все признается божественным, отвращению к власти, к роскоши и соединенным с ними порокам и преступлениям. Дух пророческий не умирал в Израиле, хотя ему приходилось трудно в борьбе с официальной церковностью и сухими книжниками, сумевшими извратить чисто демократическое «писание» и сделать из него базис для личной и надменной теократии. Религия иудеев имела, таким образом, два лица, которые выразились в двух школах или манерах толкования писания. Агада — была свободным толкованием, творческой манерой проповедовать, Галаха мертвым историческим комментированием. Агада жила интенсивной жизнью в северных провинциях, в Галилее, ко времени начала нашей эры, Галаха господствовала в Иерусалиме, вокруг храма. Не только народные проповедники, но и многие фарисеи (Гиллель и его школа, напр.) были агадистами.

Связь христианской морали и христианского мессианизма с Агадой и пророками не оспаривается никем. Даже Гарнак, — некритический поклонник довольно фантастического «первобытного христианства», самый правый бога слов из тех, с которыми можно еще считаться, как с людьми науки, — признает еврейско-пророческую сущность христианства Иисуса в самой широкой степени:

«Вместе с Вельгаузеном», говорит он, «я должен признать, что все то, о чем благовествовал Иисус, что до него высказывал в своей проповеди Иоанн, все это можно найти у пророков и в иудейских преданиях их времени».

Но мировоззрение Иисуса и его непосредственных учеников не есть еще христианство; это не только не наше православно-католическое, но даже не реформатское, не «евангелическое» христианство, это даже не то «первоначальное христианство», сомнительную традицию которого почтенный пр. Гарнак старается поддерживать всею своею тяжеловесной ученостью.

Христианство возникло из множества отдельных культурных потоков, слившихся, в конце концов, в две реки: иудейское учение, связанное с именем Иисуса, как центрального выразителя, и греко-азиатское, связанное с именем Павла и других. Позднее на нем сказалось еще могучее влияние Запада, Рима и Африки, с Тертулианом и Августином.

Впрочем, уже с самого начала христианство есть сочетание иудейских и греко-азиатских элементов. Христианство Иисуса, вероятно, уже включило до некоторой степени этот второй элемент. Continue reading →

Trotsky and the Frankfurt School

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Helmut Dahmer
Platypus Review
October 1, 2015
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Disrespect for a reality that demands adoration as if it were a god is the religion of those, who in today’s Europe under the ‘Iron Heel’ risk their life in order to prepare a future better one.

— Max Horkheimer, September 19391

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Looking through the register of names in the writings and letters of the circle of friends around Max Horkheimer we find only rare references to Leon Trotsky. Theodor Adorno, for instance, who claims in his Aesthetic Theory (1969) that the ambitious art has been bourgeois art, remarks approvingly that Trotsky also had said in his book Literature and Revolution (1923/24) that (after the revolution) there would be no possibility for the development of any “proletarian” art, and that there would be produced a post-bourgeois art only in the future, after an international socialist society will have been established. Erich Fromm, who belonged to Horkheimer’s Institute of Social Research until 1939, wrote a sympathetic, but unpublished review in 1958, when Trotsky’s Diary in Exile (1935) was translated and published. Horkheimer also mentioned Trotsky (together with Lenin) in conversations with Adorno and other members of his circle concerning the Bolshevik Revolution, remarking that it had changed its character by answering white terror with red terror during the civil war. Horkheimer quoted Rosa Luxemburg’s early criticism of the Bolshevik rule, praising Luxemburg as “one of the most important political figures of the 20th century.” Walter Benjamin is the only member of Horkheimer’s circle of social philosophers of whom we know that he not only read (in 1926) Trotskyʼs essay Where is Britain Going? but later, in 1932-33, Trotsky’s most important books, My Life and The History of the Russian Revolution, with great enthusiasm, “I think it is the most interesting book I have read in many years,” he wrote to Adorno’s wife, Gretel Karplus.2 We can find traces of this reading in Benjamin’s notes on Blanqui (in The Arcades Project) and in his famous “Theses on the Philosophy of History” from 1940.

In Horkheimer and Adorno’s writings on fascism we find, in spite of many similarities of description and analysis, no indication that they had knowledge of Trotsky’s commentaries concerning the agony of the Weimar Republic, the failure of the German communist party and the rise of the fascist movement. Trotsky’s theory of fascism is not even mentioned in Horkheimer’s essay “Lehren aus dem Faschismus” [“What fascism did teach us” 1950].3 The main contributions to a theory of fascism, that were written and published by the scholars around Max Horkheimer were those of Franz Neumann4 and Adorno.5  The pioneer work of Neumann on the political economy of German fascism owes a lot to Trotsky’s analyses but doesn’t mention him. Both authors were analyzing the victory of Hitler’s fascist party in 1933 as the result of the struggle between the three German classes: the bourgeoisie, intermediate strata (petit-bourgeois), and the proletariat. The majority of the electorate and the troops supporting the fascist mass movement were recruited from the expropriated and disorientated old and new middle classes and from the reservoir of six million unemployed. The fascist program combined the conservative, anti-modern ideology with anti-capitalist and nationalist slogans in order to recruit as many followers out of the middle and working class as possible. In the November 1932 election, the fascist NSDAP got 11.7 million votes, the proletarian parties KPD and SPD together 13.2 million votes. The main promoters and beneficiaries of the fascist movement and of the fascist regime were finance capital and large landed property ownership. But millions of fellow travelers also made their profit, when the German and European Jews were expropriated and the countries under German rule were plundered (between 1938 and 1945). Trotsky had demanded the formation of an armed united front of all working-class organizations in order to attract the majority of the middle-classes, to destroy the fascist movement and to complete the social revolution of November 1918. The study of Adorno and the Frankfurt School attempted the first analysis to explain why certain people choose to give up their personal autonomy and to become blind followers of this or that charismatic false messiah.6 The Frankfurt School’s Marxism (or “critical theory”) was an exploration of the social totality from two sides: from the side of the institutionalized politico-economical relationships and from the side of the individuals that are stretched into the frame of these class relations. In a latent rebellion against this Procrustean bed, they often do not know how to realize their own interests. The analysis of the fascist economy and the analysis of the fascist mentality (Behemoth and Authoritarian Personality) were combined in order to gain a realistic picture of the terrible totality, whose reproduction our generation must prevent.7

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Trotsky had denounced Stalin as the “gravedigger of the revolution” as early as 1926. We cannot be sure if Horkheimer knew his fragmentary biography of Stalin published in 1941, the year after Trotsky was killed by the GPU-agent Ramón Mercader; but Horkheimer’s reaction when he learned in early March 1953 that the tyrant of the Kremlin had died sounds like an echo of Trotsky’s damnation of (“Cain”) Stalin. Here is the report of Monika Plessner:

Horkheimer was in high spirits, jubilated, rubbed his hands in glee: “The monster is dead. Call the students together. We have to do something immediately.” (Half an hour later the students were sent into the city of Frankfurt in order to ask passengers what their opinion was concerning the main news of the day).8

Much more important than these direct (or indirect) references to Trotsky and his writings is the political and cultural constellation: On the one side we find the tiny informal group of Marxist philosophers around Horkheimer driven into exile by the German fascists; on the other, the group of international revolutionaries around Trotsky — the so-called “Left Opposition,” later known as the “Fourth International,” organized in the form of a new party, one that the Stalinists hunted down from the Soviet Union to Turkey, then to France, from France to Norway, from Norway to Mexico. Between 1929 and 1942 both the Trotskyists and the Frankfurt School published their own journals, the Zeitschrift für Sozialforschung [Journal for Social Research] and the Бюллетен оппозиции [Bulletin of the Opposition]. We could say that in different ways both journals met Hegel’s demand to grasp the specific historical situation and to give it a theoretical reconstruction.9 We don’t know if Horkheimer and his friends took note of Trotsky’s Bulletin, whose main articles were published simultaneously in German, French and English, but in July 1939 a review of Horkheimer’s journal and its program was published in Unser Wort, the journal of the German Trotskyist group (IKD) written by Trotskyʼs brilliant secretary Walter Held (Heinz Epe) whom the Stalinists killed three years later. Its title was “Kritische Theorie ohne politische Praxis?” (“Critical Theory without Political Practice?”).

The Marxists of Horkheimer’s circle were (like Freud) critics of the Hegelian idealism in succession of Ludwig Feuerbach. But they knew — like Marx himself — that the concepts of their sociological theory originally had been developed by Hegel. So we can say that they were Hegelian (or“Western”) Marxists like Antonio Labriola, the Italian philosopher whose “non-orthodox” interpretation was decisive for Trotsky’s understanding of Marxʼs critical theory.10

They were convinced that, in order to understand and to criticize the actual form and functioning of society, it was not only necessary to analyze the economic development but to understand and to criticize the philosophical and artistic productions that were typical for the actual stage of societal evolution and that determined the consciousness of their contemporaries. In order to change society it was necessary to understand it in its totality. This orientation enabled the social philosophers around Horkheimer as well as Trotsky (and in contrast to the majority of the Marxists, who didn’t understand that Marx had developed a criticism of society, not a Weltanschauung) to welcome Freud’s new (therapeutic) psychology of the unconscious. They realized that the Viennese physician had developed a new criticism of psychological and cultural institutions, one that complemented their own sociological criticism. Horkheimer and Benjamin were Marxist historians (of philosophy or literature). Adorno updated and radicalized the criticism of idealistic philosophy (not only that of Hegel but also that of Edmund Husserl) and became classic and modern music and literature’s most important Marxist interpreter. Trotsky the revolutionary was also a man of letters, and his very original interpretations of the literature of the 19th and the early 20th century written between 1900 and 1940 will be published soon in German in two large volumes.

Thüringen, 1923. Hintere Reihe- Zweiter von links- Friedrich Pollock, Mitte- Georg Lukács, Zweiter von rechts- Felix Weil. Vordere Reihe- Erster von links- Karl August Wittfogel, Mitte- Karl Korsch, rechts vor ihm Käthe Weiltrotskyeternalre00volk_0377 copy

The conception of “political practice” as we find it in the letters and essays of Horkheimer, Marcuse, and Adorno during the thirties was (more implicitly than explicitly) the same as that of the revolutionary Marxists Lenin, Trotsky, and Luxemburg. Yet, they were anxious to omit any public mention of Trotsky. After the Second World War, Adorno and Horkheimer saw no possibility of any revolutionary practice, for they saw no revolutionary subject (class). With the notable exception of Marcuse, they didn’t think that the German (and international) protest movement of the students had any chance to change capitalist society. Continue reading →

Return to the Horrorhaus: Hans Poelzig’s nightmare expressionism, 1908-1935

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Two years ago, I introduced my readers to the work of the German expressionist architect Hans Poelzig. Many were doubtless familiar with his buildings already. What I sought to highlight, though, was the sheer scariness of his architecture. Hence “scary architecture.” SOCKS Studio, always excellent and often operating on the same wavelength, also put up a post on Poelzig around the same time.

In the time that has passed, I have amassed hundreds more high-quality images of plans, sketches, and period photographs of Poelzig’s built work. Needless to say, they aren’t any less scary than before. One could easily imagine Max Schreck’s Nosferatu lurking in the corridors of these structures, with Caligari’s hypnotized somnambulist dashing madly over their rooftops. Alfred Kubin’s monsters threaten to burst forth at any minute.

Flights of fancy aside, these really are stunning images. Dark, peculiar, and unexpected. I’m not sure what lends them this eerie quality, especially as a range of different building types are depicted, delineated, or photographed. Yet all of Poelzig’s structures share this tenebrous aspect, whether one takes his elegant cinema palaces, ominous monuments, or frightening industrial complexes (see the acid factory and gas works). Great stuff.

Click any of the following thumbnails to see the images in higher resolution, and scroll through to see more. Enjoy!

Hans Poelzig (1869-1936) Geschäftshaus S. Adam, Leipziger Straße_ Friedrichstraße, Berlin (1928)
Hans Poelzig _ Albert Vennemann Deli-Lichtspiele, Breslau (1926-1927)
Hans Poelzig (1869-1936) Geschäftshaus S. Adam, Leipziger Straße_ Friedrichstraße, Berlin (1928)z

Continue reading →

The Stenberg brothers and the art of Soviet movie posters

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MacDougal 8th Sept. 060

Alma Law: Let’s begin, if you’re agreeable, simply with some biographical information.

Vladimir Stenberg: My father was born in Sweden in the town of Norrkoping and he finished the Academy in Stockholm with a gold medal. Then he was invited to come here to Moscow to do some kind of work. At that time [1896] there was an exhibition in Yuzovka — now it’s called Donetsk — so there in Yuzovka my father worked on an exhibition. Later at the Nizhninovgorod fair he did some kind of work. In Moscow he met my mother. They married and had three children.1

My father lived and worked in Moscow and I wanted to enter a technical school. I was very fond of technology, mechanics, and so forth.2 But conditions were such that I had to enter Stroganov, the art school. My father worked as a painter, and from the time I was six years of age, we had pencils, brushes, and the like in our hands. We began to draw very early. Well, like children, they see their father drawing, and so we drew too. And here’s what’s interesting about our father. When we were going to school, we would bring home our drawings at the end of the year. My brother, Georgii, and I would play a trick and switch some of the drawings. But my father always knew. We would sit together and draw figures. Everything. And it seemed to us that we had everything the same. But nevertheless our father would still distinguish the hand of one son’s work from the other’s.

When we had to do perspective, to study all that, we told the teacher that our father was an artist and he had taught us a little. The teacher gave us a test assignment and we did it. He said, “That isn’t the way it’s done. The plan should be at the bottom, and at the top, the representation of that perspective.” But our father had another method: the plan on top and underneath the representation. Because when you’re working, it’s more convenient to have at the bottom what is most important. Therefore we had it the other way around. When the teacher asked, “Why do you do it that way?” we answered, “Our father taught us that way.” “Well, of course,” he said, “with foreigners, they have things the other way around.” Continue reading →

The golden age of bourgeois portraiture, before the rise of photography

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What follows is an assortment of extremely high-resolution portraits of famous figures gleaned from various sources around the web, along with a short text by the French photographer and media critic Gisèle Freund. Almost 175 portraits are included, featuring well-known philosophers, political economists, and revolutionaries such as Thomas Münzer, Stepan Razin, René Descartes, Adam Smith, Adam Ferguson, David Ricardo, G.W.F. Hegel, Immanuel Kant, Jean-Jacques Rousseau, Toussaint Louverture, Maximilien Robespierre, Camille Desmoulins, Baruch Spinoza, Georges Danton, and numerous others who I’m forgetting. Included also, as mentioned, is an extract from Freund’s Photography and Society (1970), a book more than thirty years in the making.

Freund’s close friend and theoretical influence Walter Benjamin commented on an earlier draft of this chapter:

Study of the history of photography began about eight or ten years ago. We have a number of publications, mostly illustrated, on its infancy and its early masters. But only this most recent study has treated the subject in conjunction with the history of painting. Gisèle Freund’s study describes the rise of photography as conditioned by that of the bourgeoisie, successfully illustrating the causal connection by examining the history of the portrait. Starting from the expensive ivory miniature (the portrait technique most widely used under the ancien régime), the author describes the various procedures which contributed to making portrait production quicker and cheaper, and therefore more widespread, around 1780, sixty years before the invention of photography. Her description of the “physiognotrace” as an intermediate form between the portrait miniature and the photograph shows in exemplary fashion how technical factors can be made socially transparent. The author then explains how, with photography, technical development in art converged with the general technical standard of society, bringing the portrait within the means of wider bourgeois strata. She shows that the miniaturists were the first painters to fall victim to photography.

Besides Freund’s masterful study, I would also recommend Aby Warburg’s longish essay on “The Art of Portraiture and the Florentine Bourgeoisie” (1902). Less obviously Marxist than the remarks by Freund and Benjamin in this post — Warburg was a self-professed follower of Burckhardt — but quite complementary to them. Feel free to browse and enlarge any of the images below.

Portraits

Bildnis des Johann Gottfried von Herder – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung 1
Bildnis des M. F. Arouet de Voltaire – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung
Bildnis des Thomas Paine Auguste Sandoz – 1786_1802 – Coburg, Kunstsammlungen der Veste Coburg
Bildnis des Thomas Münzer – Coburg, Kunstsammlungen der Veste Coburg
Bildnis Maximilien (-François-Marie-Isidore-Joseph) Robespierre Wolfenbüttel, Herzog August Bibliothek
Lessing, Gotthold Ephraim Wien, Österreichische Nationalbibliothek
Bildnis des David Hume David Martin (1736) – Verlagsort- London – 1767 – Coburg, Kunstsammlungen der Veste Coburg
Louverture, Toussaint Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung 2
Bildnis des Johann Georg Hamann Monogrammist J. B. (1801) – 1801_1866 – Berlin, Staatsbibliothek zu Berlin
Bildnis des Francis Bacon – Leipzig, Universitätsbibliothek Leipzig, Porträtstichsammlung
Bildnis des Camille Desmoulins – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung
Bildnis des Diderot Jean-Pierre-Julien Dupin – Esnauts et Rapilly – 1770_1797 – Halberstadt, Gleimhaus
Bildnis des René Descartes – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung
Bildnis des Moses Mendelssohn Peter Haas – 1786_1804 – Berlin, Staatsbibliothek zu Berlin
Bildnis des Johann Wolfgang von Goethe Anton Tepplar – 1819_1849 – Münster, LWL-Museum für Kunst und Kultur
Bildnis Johann Wolfgang Goethe (1782 von) Georg Friedrich Schmoll – Wolfenbüttel, Herzog August Bibliothek
Bildnis Gottfried Wilhelm Leibniz Johann Gottfried Renger – Verlagsort- Halle (Saale) – 1718 – Wolfenbüttel, Herzog August Bibliothek
Bildnis des Condorcet – Halberstadt, Gleimhaus
Rousseau, Jean Jacques Wien, Österreichische Nationalbibliothek
Bildnis des Francois-Marie Arouet de Voltaire Jacopo Bernardi (1808) – 1823_1847 – Berlin, Staatsbibliothek zu Berlin
Bildnis des Friedrich Ernst Daniel Schleiermacher – Halberstadt, Gleimhaus
Condorcet, Antoine Marquis – Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Fichte, Johann Gottlieb (Universitätsrektor 1811-1812; Vater von Immanuel Hermann von F.; Jena, Berlin, Zürich, Königsberg (Wirkungsorte); Dt. Philosoph, 1762-1814) Friedrich Wilhelm Bollinger, Stecher Verlagsort- Zwickau vor 1825
Bildnis des Franciscvs Bacon de Vervlam Wenzel Hollar – 1670 – Coburg, Kunstsammlungen der Veste Coburg
Lessing, Gotthold Ephraim Wien, Österreichische Nationalbibliothek 1
Piranesi, Giovanni Battista Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Bildnis des Thomas Muntzer Romeyn de Hooghe – 1701 – Coburg, Kunstsammlungen der Veste Coburg
Bildnis des John Locke – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung
Bildnis des Lessing Golbs – um 1800 – Halberstadt, Gleimhaus
Bildnis des Thomas More Renold Elstrack – 1585_1622 – Coburg, Kunstsammlungen der Veste Coburg
Bildnis des Göthe Anton Graff (1736) – Bibliographisches Institut – faktischer Entstehungsort- Hildburghausen – 1857_1861 – Münster, LWL-Museum für Kunst und Kultur
Bildnis des Gottfried Wilhelm von Leibniz Daniel Berger (1744) – 1769 – Berlin, Staatsbibliothek zu Berlin
Bildnis des David Hume Page (1825) (ungesichert) – Jones and Company – Verlagsort- London – 1825 – Berlin, Staatsbibliothek zu Berlin
Bildnis des Guillaume Thomas François Raynal Pierre Michel Alix – Verlagsort- Paris – 1791_1797 – Berlin, Staatsbibliothek zu Berlin
Bildnis des D. Diderot Friedrich Wilhelm Bollinger – Gebrüder Schumann – Verlagsort- Zwickau – 1818_1832 – Halberstadt, Gleimhaus
Diderot, Denis Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Bildnis des Pierre Bayle Martin Esslinger – Gebrüder Schumann – faktischer Entstehungsort- Zwickau – 1818_1832 – Halberstadt, Gleimhaus
Danton, Georges Wien, Österreichische Nationalbibliothek 1
Puschkin, Alexander Sergejewitsch Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Bildnis des D. Diderot François Guillaume Lardy – 1764_1812 – Berlin, Staatsbibliothek zu Berlin
Locke, John Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Johann Joachim Winckelmann Anton von Maron – – – 1768_1822 – Universitätsbibliothek Heidelberg
Bildnis des Stephanvs Razinvs – Berlin, Staatsbibliothek zu Berlin
Hegel, Friedrich Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Bildnis des Voltaire Jean-Joseph Balechou – 1752 – Halberstadt, Gleimhaus
Bildnis des Thomas Hobbes Wenzel Hollar – 1665 – Coburg, Kunstsammlungen der Veste Coburg
Puschkin, Alexander Sergejewitsch Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung 1
Marat, Jean Paul Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Johann Gottfried von Herder – – – – Universitätsbibliothek Heidelberg
Bildnis des Thomas Hobbes – Nürnberg, Germanisches Nationalmuseum, Graphische Sammlung
Constant de Rebecque, Benjamin Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Théroigne de Méricourt, Anne Josephe Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Bildnis des Johann Gottfried von Herder – Halberstadt, Gleimhaus
Saint-Just, Antoine Louis Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung 4
Bildnis des Condorcet – Leipzig, Universitätsbibliothek Leipzig, Porträtstichsammlung
Bildnis des Miguel de Cervantes Saavedra Pascal, Jacques – 1826_1880 – Berlin, Staatsbibliothek zu Berlin
Paine, Thomas Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Bildnis des D. Hvme Christian Gottlieb Geyser – 1766_1803 – Coburg, Kunstsammlungen der Veste Coburg
Saint-Just, Antoine Louis Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung 1
Desmoulins, Camille Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung 1
Bildnis des Johann Gottfried von Herder – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung 3
Kant, Immanuel (Prof. für Logik und Metaphysik; Rektor; zunächst Hauslehrer und Bibliothekar) Karl Robert Schindelmeyer, Stecher um 1795
Bildnis des Joh. Locke Christian Gottlieb Geyser – 1767_1800 – Leipzig, Universitätsbibliothek Leipzig, Porträtstichsammlung
Bildnis des Toussaint Louverture Unbekannt – München, Staatliche Graphische Sammlung
Bildnis des Guillaume Thomas François Raynal Delarue – faktischer Entstehungsort- Brüssel – um 1800 – Halberstadt, Gleimhaus
Bildnis des Renatus Descartes Peter Aubry (2) – 1634_1666 – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung
Bildnis des Johann Wolfgang Goethe Martin Matthias Carl Darnmann – Verlagsort- Sulechów – 1803_1823 – Coburg, Kunstsammlungen der Veste Coburg
Saint-Just, Antoine Louis Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung 3
Bildnis des Jean Le Rond d’Alembert unbekannter Künstler – 1801_1850 – Münster, LWL-Museum für Kunst und Kultur
Bildnis des Leibnitz Friedrich Wilhelm Nettling – 1800 – Berlin, Staatsbibliothek zu Berlin
Bildnis des Gottfried Wilhelm von Leibniz Jean-Charles François (zugeschrieben) – 1761_1765 – Berlin, Staatsbibliothek zu Berlin
Hume, David Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Bildnis des Hobbes – Nürnberg, Germanisches Nationalmuseum, Graphische Sammlung
Bildnis des J. W. v. Göthe Antoine-Jean-Baptiste Coupé – 1799_1852 – Münster, LWL-Museum für Kunst und Kultur
Bildnis des Thomas Hobbes Jean-Charles François (zugeschrieben) – 1773 – Berlin, Staatsbibliothek zu Berlin
Condorcet, Antoine Marquis Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung 2
Bildnis des Immanuel Kant Johann Heinrich Lips – 1791_1817 – Berlin, Staatsbibliothek zu Berlin
Bildnis des Johann Georg Hamann August Weger – 1838_1892 – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung
Bildnis des Pierre Bayle Johann Martin Bernigeroth – faktischer Entstehungsort- Leipzig – 1741 – Berlin, Staatsbibliothek zu Berlin
Bildnis des Jean Racine Carl Christian Glassbach – 1766_1789 – Halberstadt, Gleimhaus
Hume, David Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung 1
Bildnis des Renatus Descartes S. Bosch (1651) – 1651_1700 – Halberstadt, Gleimhaus
Bildnis des Joh. Georg Hamann Winckelmann & Söhne – Druckort- Berlin – 1840_1850 – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung
Bildnis des Georg Wilhelm Friedrich Hegel Friedrich Wilhelm Bollinger – Verlagsort- Berlin – 1801_1825 – Nürnberg, Germanisches Nationalmuseum
Bildnis François-Dominique Toussaint Louverture Wolfenbüttel, Herzog August Bibliothek 3
Bildnis des Goethe Christian Friedr. Traugott Uhlemann – 1792 – Leipzig, Universitätsbibliothek Leipzig, Porträtstichsammlung
Bildnis Francis Bacon, 1618 baron Verulam, 1620 viscount St. Albans François Bonneville (1793) – Wolfenbüttel, Herzog August Bibliothek
Bildnis des Franciscus Baconus de Verulam unbekannter Künstler – 1627_1666 – Coburg, Kunstsammlungen der Veste Coburg
Thomas Jefferson Carl Mayer – – – – Universitätsbibliothek Heidelberg
Bildnis des Franciscus Quesnay Jean-Charles François – 1769 – Berlin, Staatsbibliothek zu Berlin
Bildnis des Benedictvs de Spinoza – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung
Constant de Rebecque, Benjamin Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Lessing, Gotthold Ephraim Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Bildnis Jemeljan Iwanowitsch Pugatschew Hans Andreas Joachim Hillers – Wolfenbüttel, Herzog August Bibliothek
Bildnis des J. G. Fichte Friedrich Bury – F. A. Brockhaus – Verlagsort- Leipzig – nach 1850 – Leipzig, Universitätsbibliothek Leipzig
Louverture, Toussaint Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung 1
Bildnis des M. M. I. Robespierre Andreas Stöttrup – um 1790 – Coburg, Kunstsammlungen der Veste Coburg
Bildnis des Moses Mendelssohn Johann Conrad Krüger – 1768 – Berlin, Staatsbibliothek zu Berlin
Louverture, Toussaint Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Bildnis des Johann Gottfried Herder Johann Heinrich Lips – 1773_1817 – Coburg, Kunstsammlungen der Veste Coburg
Bildnis des Iemelka Pugatscew – Berlin, Staatsbibliothek zu Berlin
Bildnis des Voltaire – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung
Bildnis des Leibnitz Johann Heinrich Lips – 1773_1817 – Berlin, Staatsbibliothek zu Berlin
Bildnis des Benedictus Spinoza Karl Traugott Riedel – 1818_1832 – Halberstadt, Gleimhaus
Bildnis des F. W. J. v. Schelling Albrecht Fürchtegott Schultheiß – 1840_1900 – Leipzig, Universitätsbibliothek Leipzig
Bildnis des Mr. Bayle Johann Ulrich Kraus – 1715 – Halberstadt, Gleimhaus
Bildnis des Pierre Bayle Etienne Desrochers – faktischer Entstehungsort- Paris – 1706_1741 – Halberstadt, Gleimhaus
Bildnis des Sam. Maimon Wilhelm Arndt (1750) – 1767_1813 – Leipzig, Universitätsbibliothek Leipzig, Porträtstichsammlung
Bildnis des John Locke Anker Smith – um 1800 – Halberstadt, Gleimhaus
Bildnis Jean le Rond d’Alembert Pierre Michel Alix – um 1800 – Münster, LWL-Museum für Kunst und Kultur
Desmoulins, Camille Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Lucas, Margaret Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung 1
Bildnis des Jokob Friedrich Fries Müller, H. (1830) – Königliches Lithographisches Institut – 1830 – Leipzig, Universitätsbibliothek Leipzig
Bildnis des Johann Gottfried von Herder – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung
Bildnis des Guillaume Thomas François Raynal E. Henne – um 1780 – Halberstadt, Gleimhaus
Bildnis des C. L. Reinhold Johann Heinrich Lips – um 1800 – Leipzig, Universitätsbibliothek Leipzig
Danton, Georges Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung 1
Danton, Georges Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Lucas, Margaret Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Bildnis Maximilien (-François-Marie-Isidore-Joseph) Robespierre Adolf Friedrich Teichs – Wolfenbüttel, Herzog August Bibliothek
Jacobi, Friedrich Heinrich Wien, Österreichische Nationalbibliothek
Rasin, Stepan Timofejewitsch Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Bildnis des Friedrich Leopold von Hardenberg Eduard Eichens – 1845 – Berlin, Staatsbibliothek zu Berlin
Bildnis des Carl Leonhard Reinhold – Halberstadt, Gleimhaus
Bildnis des Marie François Arouet Voltaire Friedrich Christian Carstens – um 1780 – Halberstadt, Gleimhaus
Bildnis des Denis Diderot Daniel Nikolaus Chodowiecki – 1777 – Berlin, Staatsbibliothek zu Berlin
Bildnis des Jean Locke unbekannter Künstler – 1676_1750 – Leipzig, Universitätsbibliothek Leipzig, Porträtstichsammlung
Bildnis des Voltaire Johann Christian Benjamin Gottschick – Gebrüder Schumann – Verlagsort- Zwickau – 1818_1832 – Berlin, Staatsbibliothek zu Berlin
Bildnis Johann Wolfgang Goethe (1782 von) Ernst Ludwig Riepenhausen – Wolfenbüttel, Herzog August Bibliothek
Bildnis des v. Schelling – Leipzig, Universitätsbibliothek Leipzig, Porträtstichsammlung
Constant de Rebecque, Benjamin Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung 1
Bildnis des J. D’ Alembert André Pujos – Esnauts et Rapilly – Verlagsort- Paris – 1774_1797 – Berlin, Staatsbibliothek zu Berlin
Bildnis des I. G. v. Herder Johann Christian Benjamin Gottschick – 1791_1844 – Halberstadt, Gleimhaus
Bildnis des Fr. Bacon De Vervlam Johann Joachim Bockenhoffer – Verlagsort- Straßburg – 1654 – Berlin, Staatsbibliothek zu Berlin
Babeuf, Francois Noel Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Bildnis des Diderot Antoine Benoist (1721) (ungesichert) – Verlagsort- Paris – 1762_1785 – Berlin, Staatsbibliothek zu Berlin
Bildnis des Immanuel Kant Johann Friedrich Bause – Verlagsort- Leipzig – 1791 – Berlin, Staatsbibliothek zu Berlin
Bildnis Johann Wolfgang Goethe (1782 von) George Dawe – Wolfenbüttel, Herzog August Bibliothek
Bildnis des Camille Desmoulins Alexandre Lacauchie – 1833_1900 – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung
Puschkin, Alexander Sergejewitsch Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung 2
Bildnis des Renatus Cartesius Wolfgang Philipp Kilian (ungesichert) – 1721_1732 – Halberstadt, Gleimhaus
Danton, Georges Wien, Österreichische Nationalbibliothek
Bildnis des Camille Desmoulins – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung 1
Bildnis des Iean Racine Monogrammist G E – 1690_1741 – Leipzig, Universitätsbibliothek Leipzig, Porträtstichsammlung
Bildnis des Voltaire – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung
Bildnis des Camille Desmoulins François Joseph Etienne Beisson – Verlagsort- Paris – 1793 – Münster, LWL-Museum für Kunst und Kultur
Petty, William Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Benedictus de Spinoza Desrochers, Étienne Jehandier – – – – Universitätsbibliothek Heidelberg
Ricardo, David Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Bildnis des Benedictus de Spinoza – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung
Bildnis Georg Wilhelm Friedrich Hegel Julius Ludwig Sebbers – Sachse, L., & Co. – Verlagsort- Berlin – Wolfenbüttel, Herzog August Bibliothek
Bildnis Johann Wolfgang Goethe (1782 von) Ferdinand Jagemann – Wolfenbüttel, Herzog August Bibliothek
Bildnis des Denis Diderot Augustin de Saint-Aubin – 1776_1807 – Berlin, Staatsbibliothek zu Berlin
Bildnis des Diderot Augustin de Saint-Aubin – um 1800 – Halberstadt, Gleimhaus
Bildnis Denis Diderot im Profil (1713-1784) Gottlob August Liebe – um 1760 – Münster, LWL-Museum für Kunst und Kultur
Saint-Just, Antoine Louis Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung 2
Bildnis des Marie François Arouet Voltaire Jacob Folkema – 1738 – Halberstadt, Gleimhaus
Bildnis des Petrvs Bayle Joh. Friedrich Schmidt (1730) – 1730_1785 – Berlin, Staatsbibliothek zu Berlin
Bildnis des Moses Mendelssohn – Berlin, Staatsbibliothek zu Berlin
Bildnis des Goethe Lazarus Gottlieb Sichling – Breitkopf & Härtel – Verlagsort- Leipzig – 1840_1860 – Halberstadt, Gleimhaus
Bildnis des Thomas Paine Albert Schule – Gebrüder Schumann – Verlagsort- Zwickau – 1822 – Berlin, Staatsbibliothek zu Berlin
Bildnis des Georg Wilhelm Friedrich Hegel Friedrich Wilhelm Bollinger – Verlagsort- Berlin – 1801_1825 – Nürnberg, Germanisches Nationalmuseum, Graphische Sammlung
Diderot, Denis Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung 1
Bildnis des Francis Bacon John Chapman (1792) – Verlagsort- London – 1798 – Münster, LWL-Museum für Kunst und Kultur
Saint-Just, Antoine Louis Wien, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung
Bildnis des Fichte Johann Friedrich Bolt – 1812 – Leipzig, Universitätsbibliothek Leipzig, Porträtstichsammlung
Bildnis des Voltaire Joseph Friedrich Rein – faktischer Entstehungsort- Augsburg – 1778_1785 – Nürnberg, Germanisches Nationalmuseum, Graphische Sammlung
Bildnis Georg Wilhelm Friedrich Hegel Julius Ludwig Sebbers – Wolfenbüttel, Herzog August Bibliothek
Bildnis Johann Gottlieb Fichte Bonini, ? – um 1810? – Münster, LWL-Museum für Kunst und Kultur
Bildnis des Johann George Hamann – Nürnberg, Germanisches Nationalmuseum, Graphische Sammlung
Bildnis des Jean Racine François Robert Ingouf (1747) – um 1770 – München, Staatliche Graphische Sammlung
Bildnis des Leibnitz Georg Christian Schule – 1796 – Berlin, Staatsbibliothek zu Berlin
Bildnis des René Descartes Jacques Lubin – 1674_1703 – Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz, Handschriftenabteilung
Bildnis des Thomas Hobbesivs – Nürnberg, Germanisches Nationalmuseum, Graphische Sammlung
Bildnis des Denis Diderot François Jacques Dequevauviller – 1817_1848 – Berlin, Staatsbibliothek zu Berlin
Bildnis des I. D ‘ Alembert Gottlob August Liebe – nach 1775 – Münster, LWL-Museum für Kunst und Kultur
Bildnis des Henry St. John Bolingbroke Thomas Holloway (ungesichert) – nach 1760 – Münster, LWL-Museum für Kunst und Kultur

Precursors of the photographic portrait

Gisèle Freund
Photography &
Society (1970)
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The development of the photographic portrait corresponds to an important phase in the social development of Western Europe: the rise of the middle classes when for the first time, fairly large segments of the population attained political and economic power. To meet their resulting demand for goods, nearly everything had to be produced in greater quantities. The portrait was no exception: By having one’s portrait done an individual of the ascending classes could visually affirm his new social status both to himself and to the world at large. To meet the increased demand for portraits, the art became more and more mechanized. The photographic portrait was the final stage in this trend toward mechanization.

Around 1750 the nascent middle classes began pushing into areas that were formerly the sole domain of the aristocracy. For centuries the privilege of aristocratic circles, the portrait began to yield to democratization. Even before the French Revolution the bourgeoisie had already manifested its profound need for self-glorification, a need which provoked the development of new forms and techniques of portraiture. Photography, which entered the public domain in 1839, owes much of its popularity and rapid social development to the continuing vogue of the portrait. Continue reading →