Oskar kokoschka paintings before 1913

Oskar Kokoschka

Austrian dramatic, painter and novelist (1886–1980)

"Oskar Kokoshka" redirects here. Form the Hey Arnold! character, peep List of Hey Arnold! system jotting § Sunset Arms boarders.

Oskar KokoschkaCBE (1 March 1886 – 22 Feb 1980) was an Austrian organizer, poet, playwright, and teacher worst known for his intense expressionist portraits and landscapes, as come next as his theories on visualize that influenced the Viennese Expressionistic movement.

Early life

The second infant of Gustav Josef Kokoschka, clean goldsmith, and Maria Romana Kokoschka (née Loidl), Oskar Kokoschka was born in Pöchlarn. He locked away a sister, Berta, born cry 1889; a brother, Bohuslav, indigene in 1892; and an older brother who died in early. Oskar had a strong impression in omens, spurred by smart story of a fire discontented out in Pöchlarn shortly sustenance his mother gave birth halt him.

The family's life was not easy, largely due colloquium a lack of financial keep upright of his father. They perpetually moved into smaller flats, at a distance and farther from the sate centre of the town. Extreme that his father was scanty, Kokoschka drew closer to fulfil mother; and seeing himself thanks to the head of the dwelling, he continued to support fulfil family when he gained pecuniary independence.

Kokoschka entered a Realschule in 1897,^[1] a type expend secondary school, where emphasis was placed on the study read modern subjects such as primacy sciences and language. Despite enthrone intent of continuing a official education in chemistry, Kokoschka was not interested in such subjects, as he only excelled gradient art, and spent most weekend away his time reading classic erudition during his lessons.

Like numerous of Kokoschka's French and Germanic contemporaries, he was interested market the primitive and exotic lively featured in the ethnographical exhibits around Europe.^[2]

Education

One of Kokoschka's workers suggested he pursue a lifetime in the fine arts back end being impressed by some pounce on his drawings.^[2] Against his father's will, Kokoschka applied to representation Kunstgewerbeschule in Vienna, now representation University of Applied Arts Vienna.

He received a scholarship meticulous was one of few lawn to be accepted.^[2] The Vienna Kunstgewerbeschule was a progressive faculty of applied arts that concentrated mainly on architecture, furniture, crafts, and modern design. Unlike distinction more prestigious and traditional Institution of Fine Arts Vienna, blue blood the gentry Kunstgewerbeschule was dominated by instructors of the Vienna Secession.

Kokoschka studied there from 1904 concentrate on 1909 and was influenced offspring his teacher Carl Otto Czeschka in developing an original perfect.

Among Kokoschka's early works were gesture drawings of children, which portrayed them as awkward courier corpse-like. Kokoschka had no titular training in painting and and above approached the medium without approbation to the "traditional" or "correct" way to paint.

The work force cane at the Kunstgewerbeschule helped Kokoschka gain opportunities through the Mathematician Werkstätte or Viennese Workshops. Kokoschka's first commissions were postcards beam drawings for children. Later, Kokoschka said that this exercise not up to scratch "the basis of [his] discriminating training".^[3] His early career was marked by portraits of Viennese celebrities, painted in a with many misgivings or animated style.

Following his disarray artistic training, Kokoschka dedicated era of his life thereafter doctrine art and writing articles coupled with speeches documenting his views stake practices as an educator. 17th-century Czech humanist and education meliorist, Jan Amos Comenius, was Kokoschka’s primary influence in terms be advantageous to how to approach education.

Pass up Comenius’s theories, Kokoschka adopted loftiness belief that students benefit almost from using their five wits to facilitate reasoning.^[4] Kokoschka schooled in Vienna from 1911 nod to 1913 and then again hit down Dresden from 1919 to 1923.^[5] While his efforts as a-one teacher were noted in a variety of publications, they generally focused rumination his personality captured within top own art rather than monarch classroom practices.

Kokoschka neglected position conventional structured methodologies and theories assumed by art educators, stomach instead taught through storytelling infused with mythological themes and theatrical emotion.^[5] In 1912, Kokoschka unchained his essay “Von der Natur der Gesichte” (“On the Personality of Visions”) at the Akademischen Verband für Literatur und Musik in Vienna.

This essay distinct Kokoschka’s artistic conceptualization about rectitude relationship between inner vision post optical sight.^[6] In considering consummate own art, Kokoschka expressed wind inspiration stemmed from daily information that he collected optically ultimately engaging with his contemporary locale. Kokoschka’s ability to acknowledge nevertheless these stimulations manifested within her majesty inner imagination resulted in make a face that draw upon the emotional rather than optical vision.

Besides, Kokoschka granted the viewer make sense the task of interpreting honesty image based upon how they experience the vision within their own realm of consciousness.^[7] That concept, in congruency with Wassily Kandinsky’s theory pertaining to attachment in art, has become rendering basis for which art historians understand Viennese Expressionism.

Career

Vienna Avant-Garde

In 1908 Kokoschka was offered probity opportunity of submitting works identify the first Vienna Kunstschau.^[2] That government funded exhibition was traditional to both bring in tourists and affirm Vienna's prominence favourable the art world.

Kokoschka established a commission from the Vice-president of the Wiener Werkstätte, Join in Wärndorfer, for color images put off would supplement a children’s tome and be displayed at position exhibition. Kokoschka, however, took rectitude liberty of producing images meander would serve as illustrations helter-skelter the poem he wrote spruce year earlier, Die träumenden Knaben (The Dreaming Youths), which took on the form of knob autobiographical adolescent fantasy that was inappropriate for a young audience.^[8] In his autobiography, Kokoschka explained the origins of the ode, which follow his personal contact as a young student who was in love with authority Swedish classmate, Lilith.^[9]Die träumenden Knaben consists of introductory pages shrivel two small black and milky lithographs, in addition to connotation larger color lithographs with splendid vertical column of text positioned beside each image.

Influenced afford the compositions found in knightly art, Kokoschka depicted various moments in time simultaneously within talking to individual image. Kokoschka also adoptive the bold lines and revealing colors of traditional European clan art and juxtaposed them buy and sell the stylized ornamentation and bedsit bodies of Jugendstil.

The finishing page, titled Das Mädchen Li und ich (the Girl Li and I), features the asteroid forms of the young schoolboy (Kokoschka) and girl (Lilith), attractive on the style of decency Belgian sculptor George Minne. That work, which Kokoschka dedicated pick on his former teacher Gustav Painter, demonstrates the transition from Jugendstil to Expressionism.^[9]

Die träumenden Knaben go along with the tapestry titled The Dream Bearers, which is having an important effect lost, were the first mill ever to be exhibited toddler Kokoschka.

Like the book illustrations, Kokoschka’s tapestry was considered unsettling due to its depiction forfeiture youthful, exotic and sexualized fantasies. Upon showing these two workshop canon, Kokoschka was subject to unmixed backlash from conservative officials impressive only a small proportion take up the five hundred copies clone Die träumenden Knaben were in reality bound and sold.^[8] As out result, he was expelled implant the Kunstgewerbeschule and found rule place within the Viennese avant-garde.^[2] Austrian architect Adolf Loos befriended Kokoschka and introduced him dealings other avant-garde members who proliferate became his subjects in unadulterated series of portrait paintings.

Portraiture

Kokoschka painted a bulk of climax portraiture between 1909 and 1914. Unlike many of his coevals who were also receiving figure commissions, such as Edvard Crunch, Kokoschka maintained complete artistic delivery because they were generally call for ordered directly by the minder.

A majority of Kokoschka’s subjects were clients of the founder Loos, and it was Designer who ordered the portraits obscure agreed to purchase them hypothesize the sitter chose not to.^[9] Other portraits by Kokoschka mark friends and advocates within authority circle who supported the different art of this period.

Remarkable members of this group who had their portraits painted nourish the art dealer Herwarth Walden, art supporter Lotte Franzos, metrist Peter Altenberg, and art historians Hans and Erica Tietze.

Kokoschka’s portraits demonstrate the conventions read traditional portraiture, primarily regarding nobility perspective in which he captures the sitters.

However, Kokoschka further adopted elements of the spanking style which involved incorporating men within the composition to new capture the emotion expressed in an individual's gestures. These portraits also utilize the unconscious instatement of the sitter’s body, which Kokoschka believed would unveil ethics inner tensions of their subconscious.^[9]

Kokoschka’s portraits incorporate an expressive tone palette similar to those featured in the works of European Die Brücke artists at authority time.

Kokoschka’s use of accusatory, harsh colors that make prestige subjects appear as rotting corpses is not meant to verbal abuse understood as a portrayal light their individual physical conditions, on the other hand rather an overarching indication disparage a decomposing age.^[9] The gallant lines and patches of glittering color juxtaposed against an on the other hand solid, dull background were visible interpretations of the anxieties matte by Kokoschka and those foresee circle.

Kokoschka’s portraits, however, differed from those of his times due to his belief overfull the symbolic importance of rendering act of painting itself, which is emphasized by visible brushstrokes and areas of exposed navigate. Kokoschka integrated painterly techniques come to mind those used in drawing, type seen in his use mimic vibrant and contrasting colors, quick brushstrokes, anxious scratch marks, existing uneven handling.

In a put to death from 1909, Kokoschka noted drift he “would like to render null and void a nervously disordered portrait.”^[9] Set about no additional elements to improper a narrative for the baby-sitter, Kokoschka stressed that the underscore of the individual comes rise through the means of creating their image.

Patrick Werkner, strong art historian, describes Kokoschka’s portraits by suggesting that it not bad as if the skin becomes separated from the body, conj albeit the viewer to see conquest the physiognomy like a curtain only to make visible decency means of depiction.^[9] Kokoschka’s portraits as a whole comment untruthful the overwhelming feelings of hesitation felt by those who were aware of the shifting traditional milieu leading up the strive for of the old order have fun the Austrian Empire in 1918.

Kokoschka’s portrait, Hans Tietze famous Erica Tietze-Conrat, was painted prize open 1909 in the library be in the region of the couple’s home.^[9] Aside outsider being close friends of rendering artist, the couple were besides prominent art historians of depiction time. Erica Tietze-Conrat explained dump while Kokoschka was creating their portrait, he encouraged them pare move freely and continue their work at the two desks that were situated adjacent design one another by a crystal.

After painting her husband spitting image profile, Kokoschka asked Erica pause position herself so that dirt could paint her frontally. Before long after beginning the painting, Kokoschka set down his paintbrush add-on began using only his fingers.^[9] Kokoschka used his fingernails just a stone's throw away scratch thin lines into authority paint, which appear in outlines and areas of hatching gleam crosshatching, as well as from beginning to end the background.

Although painted of great consequence their library, the figures come to be existing in wonderful surreal, subliminal space. Kokoschka blends vibrant tones of blue submit red upon an otherwise stilly dumb green background. In the representation, the couple do not insignificant each other, but their toil reach out as if they are about to touch.

Their hands then become the basis of communication, symbolizing the link for which their inner energies may flow back and muse. The couple was forced make ill flee Austria in 1938 monkey a result of their Mortal heritage, but were able interruption take with them this image that they refused to show off until it was purchased uninviting the Museum of Modern Theory in 1939.^[9]

Berlin

Kokoschka moved to Songster in 1910, the same assemblage the Neue Secession was fixed in Berlin.

The group, poised of artists and philosophers much as Emil Nolde, Ernst Ludwig Kirchner, Erich Heckel and Cause offense Pechstein, formed as a revolution against the older Secession number. While Kokoschka refrained from adopting the group's techniques and ideologies, he did admire the confidence of community established between closefitting members.^[2] Berlin art dealer Disagreeable Cassirer saw promise in Kokoschka's works and launched the manager into the international circle.

Lark around the same time, Herwarth Walden, a publisher and art reviewer who was introduced to Kokoschka by Loos, employed Kokoschka bit an illustrator for his publication Der Sturm.^[2] Twenty-eight drawings by way of Kokoschka were published in depiction magazine during its first year; and although he was featured significantly less, Kokoschka remained a-ok contributor to the periodical.

Kokoschka's first piece for Der Sturm, a drawing from the lean-to Menschenköpfe (People's Heads), was enthusiastic to Karl Kraus. The 20th Issue of the periodical featured both Kokoschka's first cover mockup, which supplemented Mörder, Hoffnung adjust Frauen, as well as glory artist's first literary contribution.^[9] Kokoschka continued to travel back abide forth between Vienna and Songwriter over the next four period.

Kokoschka had a passionate, much stormy affair with Alma Director. It began in 1912, pentad years after the death pray to her four-year-old daughter Maria Composer and two years before recede affair with Walter Gropius, late a celebrated architect in Songster. But after two years summary, Alma rejected him, explaining depart she was afraid of state too overcome with passion.

She married Walter Gropius in 1915 and lived with him pending their divorce in 1920.^[10] Kokoschka continued to love Alma Director his entire life, and song of his most acclaimed scowl, The Bride of the Wind (The Tempest; 1913), is suggestive of their relationship.^[11] The lyricist Georg Trakl visited the workroom while Kokoschka was painting that masterpiece.

Kokoschka's poem Allos Makar was inspired by this relationship.^[12]

World War I

He volunteered for rental as a cavalryman in magnanimity Austrian army in World Hostilities I, and in 1915 was seriously wounded. At the retreat, the doctors decided that flair was mentally unstable. Nevertheless, flair continued to develop his growth as an artist, traveling area Europe and painting the perspective.

^[13]

He commissioned a life-sized feminine doll in 1918. Although gratuitous to simulate Alma and take his affection, the 'Alma doll' did not satisfy Kokoschka advocate he destroyed it during uncluttered party.^[14]

In 1919, Kokoschka began edification at the Kunstakademie Dresden.

Clear up an open letter addressed equal the inhabitants of Dresden overrun 1920, Kokoschka argued that loftiness civil war battles between excellence revolutionary parties should be stirred outside of the city’s neighbourhood in order to protect representation art which could not break out the crossfire.

This letter was penned after an incident cheer on 15 March 1920 when a-okay bullet damaged Bathsheba at greatness Fountain, a painting by Pecker Paul Rubens.^[15] As a conclusion of his letter, Kokoschka everyday backlash from the Communist artists George Grosz and John Heartfield in what was referred disturb as the Kunstlump debate, main Art Scoundrel Debate.

Many additional artists, however, continued to foundation the work of Kokoschka.^[16]

In May well 1922 he attended the Omnipresent Congress of Progressive Artists humbling signed the "Founding Proclamation rivalry the Union of Progressive Omnipresent Artists".^[17]

Kokoschka returned to Vienna security the autumn of 1931, whirl location he spent six months encumber the home he had purchased for his parents eleven period earlier.

Located in Vienna’s Ordinal District known as Liebharstal, decency house, now functioning as nobility artist’s studio, provided a deem of Schloss Wilhelminenberg which abstruse been converted into a Kinderheim, or orphanage, by the Expanse Council. During this time, Kokoschka accepted a commission by primacy Social Democratic City Council, ‘Red Vienna,’ for a painting walk would be hung inside righteousness Rathaus, or City Hall.

Kokoschka, along with other Austrian artists, was asked to create be thinking about artwork depicting Vienna in endeavor to this project managed because of the Historisches Museum der Stadt (Wien Museum). In honor sharing the humanitarian efforts of rank City Counsel, Kokoschka decided greet illustrate children playing outside exclude the palace in the front of the composition which or else consisted of a cityscape.^[4] Alcove identifiable Viennese architecture within blue blood the gentry painting includes the City Engross and St.

Stephen's Cathedral.

"Degeneracy" and World War II

Deemed deft "degenerate" by the Nazis, Kokoschka fled Austria in 1934 get on to Prague. In Prague his reputation was adopted by a committee of other expatriate artists, significance Oskar-Kokoschka-Bund (OKB), though Kokoschka declined participation with their group.^[18] Fair enough obtained Czechoslovak citizenship in 1935.

In 1938, when the Czechs began to mobilize for representation expected invasion by the Wehrmacht, he fled to the Allied Kingdom and remained there by means of the war. With the worth of the British Committee provision Refugees from Czechoslovakia (later honesty Czech Refugee Trust Fund), title members of the OKB were able to escape through Polska and Sweden.

During World Conflict II, Kokoschka painted anti-Fascist entirety such as the allegory What We Are Fighting For (1943).^[11] Kokoschka left the bustling burgh center of London and wool in Polperro, in Cornwall. Size residing in this seaside hamlet, Kokoschka made paintings depicting landscapes of the harbor, along enrol The Crab, which began on the rocks series of works embedded run off with political allegories resisting the Fascist regime.^[5] Kokoschka’s The Crab was painted between 1939 and 1940, and captures the view leave undone the harbor from the artist’s house in Polperro.

This toil functions as a self-portrait weekend away the artist, where Kokoschka equitable the swimmer representing Czechoslovakia. Illustriousness large crab is symbolic bad deal Neville Chamberlain, the British Choice Minister at the time leadership painting was created. In explaining this painting, Kokoschka said prestige crab “would only have kind-hearted put out one claw quick save him from drowning, nevertheless remains aloof.”^[19] Further, this characterization demonstrates the instability he matte as a result of Teutonic occupation forcing him to hunt refuge in other countries perform stridently Europe.

This landscape painting, in the thick of others by Kokoschka, were the oldest profession with him to London rude where they were transformed drawn political allegories.^[19] While in Author, Kokoschka also painted The Lock up Egg, another political painting referencing the destruction of Czechoslovakia.^[16] Show this satirical painting, Kokoschka comments on the Munich Agreement a variety of 1938 with grotesque caricatures atlas Benito Mussolini and Adolf Absolutist.

During several summer months, pacify and his young Czech spouse, Oldřiška “Olda” Palkovská Kokoschka (1915–2009), lived in Ullapool, a community in Wester Ross, Scotland. Nearby he drew with coloured smile radiantly (a technique he developed discern Scotland), and painted many go into liquidation landscape views in watercolour.^{[citation needed]} While in Ullapool, Kokoschka calico a portrait of his intimate, the wealthy industrialist Ferdinand Bloch-Bauer, Uncle of Maria Altmann.

Justness painting hangs at the Kunsthaus Museum in Zurich.^[20] Between 1941–1946 he and Olda spent assorted weeks each summer with justness Czech Professor Emil Korner mass his home The House be keen on Elrig in Wigtownshire.

Later life

Kokoschka naturalised as a British occupational on 21 February 1947 slab would only regain Austrian stock in 1978.^[21] He travelled for a short while to the United States score 1947 before settling in Villeneuve, Switzerland in 1953, where without fear lived the rest of potentate life.

Kokoschka spent these eld as an educator at decency Internationale Sommer Akademie für Bildenden Künste, (Ricarda Jacobi being subject of his pupils) while along with working on stage designs slab publishing a collection of king writings. A retrospective of Kokoschka's work was exhibited at say publicly Tate Gallery in London reap 1962.^[22] As a member admire the Deutscher Künstlerbund, Oskar Kokoschka took part in its per annum exhibitions from 1952 to 1955.[16] He took part in documenta 1 (1955), documenta II (1959), and also documenta III sully 1964 in Kassel.

In 1966 he won the competition bare the commissioned portrait of Konrad Adenauer for the German Bundestag against his competitor Eugen Denzel.^[23]

Kokoschka died on 22 February 1980 in Montreux, at the detonation of 93, eight days earlier his 94th birthday, of prerequisites after contracting influenza. He was interred in the Montreux Inner Cemetery.^[1]

Kokoschka had much in accepted with his contemporary Max Beckmann.

Both maintained their independence evade German Expressionism, yet are moment regarded as textbook examples comment the style. Nonetheless, their philosophy set both apart from birth main movements of twentieth-century modernness. Both wrote eloquently of depiction need to develop the vanishing of "seeing" (Kokoschka emphasized cosy up perception while Beckmann was think about with mystical insight into goodness invisible realm), and both were masters of innovative oil-painting techniques anchored in earlier traditions.^[24]

Honours

Kokoschka was appointed Commander of the Trail of the British Empire plenty the 1959 New Year Honours.^[25] He also received the Theologist Prize in 1960 together considerable Marc Chagall.^[26]

Artworks

1909: Lotte Franzos
1909: Martha Hirsch I
1909: Hans and Erika Tietze
1909: St.

Veronica with prestige Sudarium
1909: Les Dents du Midi
1909: Children Playing
1910: Still Life peer Lamb and Hyacinth
1910: Rudolf Blümner
1911: Lady in Red
1911: Hermann Forest I
1911: Egon Wellesz
1911: Crucifixion
1912: Two Nudes
1913: Landscape in the Dolomites (with Cima Tre Croci)
1913: The Tempest
1913: Carl Moll
1913: Still Strength with Putto and Rabbit
1914: The Bride of the Wind
1914: Portrait of Franz Hauser
1915: Knight Errant
1917: Portrait of the Artist's Mother
1917: Lovers with Cat
1917: Stockholm Harbour
1920: The Power of Music
1919: Dresden, Neustadt I
1921: Dresden, Neustadt II
1921: Two Girls
1922: Self-Portrait at dignity Easel
1923: Self-Portrait with Crossed Arms
1924: Venice, Boats on the Dogana
1925: Amsterdam, Kloveniersburgwal I
1925: Toledo
1926: Mandrill
1926: Deer
1926: London Large Thames Outlook I
1929: Arab Women and Child
1929: Pyramids at Gizeh
1932: Girl liking Flowers
1934: Prague, View from picture Villa Kramář
1936: Portrait Ferdinand Bloch-Bauer
1937: Olda Palkovská
1938: Prague – Nostalgia
1940: The Crab
1941: Anschluss – Grudge in Wonderland
1941: The Red Egg
1948: Self-Portrait (Fiesole)
1950: The Myth entrap Prometheus
1962: Storm Tide in Hamburg
1966: The Rejected Lover
1966: Portrait remind Konrad Adenauer^[27]
1971: Time, Gentlemen, Please

Writings

Kokoschka's literary works are as few and far between and interesting as his disclose.

His memoir, A Sea Annulate with Visions, details his theories of both corporeal and instinctive vision and how they confuse consciousness, art, and realities.^[28] short play Murderer, the Hanker of Women (1909, set sticky stuff years later by Paul Conductor as Mörder, Hoffnung der Frauen) is often called the chief Expressionist drama.

His Orpheus communicate Eurydike (1918) became an house by Ernst Krenek, who was first approached for incidental congregation.

Bibliography

1908: Die traumenden Knaben (The Dreaming Youths) Vienna: Wiener Werkstätte (Originally published in an rampage of 500 by the Weenie Werkstätte.

Unsold copies numbered 1–275, were reissued in 1917 mass Kurt Wolff Verlag.)
1909: Mörder, Hoffnung der Frauen (Murderer, the Craving of Women) (Play)
1913: Der gefesselte Columbus (Columbus Bound). [Berlin]: Boot-lick Gurlitt, [1913] (known as Der weisse Tiertoter (The White Mammal Slayer).
1919: Orpheus and Eurydike, in: Vier Dramen: Orpheus und Eurydike; Der brennende Dornbusch; Mörder, Hoffnung der Frauen; [and] Hiob.

Berlin
1955: Designs of the Stage-Settings redundant W.A. Mozart's Magic Flute, Metropolis Festival 1955/56. Salzburg: Galerie Welz
1962: A Sea Ringed with Visions. London: Thames & Hudson ISBN 978-0-500-01014-3 (Autobiography)
1974: My Life; translated (from "Mein Leben") by David Copepod.

London: Thames & Hudson ISBN 0-500-01087-0

First productions of plays

1907: Sphinx stage Strohmann. Komödie für Automaten. 29 March 1909 at Cabaret Fledermaus, Vienna
1909: Mörder, Hoffnung der Frauen
1911: Der brennende Dornbusch
1913: Sphinx in one piece Strohmann, Ein Curiosum.

14 Apr 1917 in the Dada-Galerie, Zürich
1917: Hiob (an enlarged version be keen on Sphinx und Strohmann, 1907)
1919: Orpheus und Eurydike
1936–38/1972: Comenius

Articles, essays become more intense writings

1960: "Lettre de Voyage", Oskar Kokoschka, X magazine, Vol.

Unrestrained, No. II (March 1960)

References

^ ^a^bDe, mdr (2007). "Wer fighting Oskar Kokoschka?". mdr.de (in German). Leipzig: Mitteldeutscher Rundfunk. Retrieved 23 November 2019.
^ ^a^b^c^d^e^f^gKokoschka, Oskar (1948).

Oskar Kokoschka, a retrospective exhibition. Published for the Institute a selection of Contemporary Art, Boston ... [et al.] by the Chanticleer Multinational. OCLC 1022847914.
^Whitford, Frank (1986). Oskar Kokoschka: A Life. Library of Get-together Cataloging. ISBN .
^ ^a^bCalvocoressi, Richard (2006).

"Oskar Kokoschka, Red Vienna remarkable the Education of the Child". Austrian Studies. 14: 215–226. doi:10.1353/aus.2006.0009. JSTOR 27944808. S2CID 245841590.
^ ^a^b^cToub, James (1994). "Oskar Kokoschka as Teacher".

Journal of Aesthetic Education. 28 (2): 35–49. doi:10.2307/3333266. ISSN 0021-8510. JSTOR 3333266.
^Timpano, Nathan J. (Nathan James) (2017). Constructing the Viennese modern body: happy, hysteria, and the puppet. Another York. ISBN . OCLC 988858215.: CS1 maint: location missing publisher (link)
^Timpano, Nathan J (December 2011).

"The Reason of Vision: Oskar Kokoschka have a word with the Historiography of Expressionistic Sight". Journal of Art Historiography (5, p1): 2–13. Archived from magnanimity original on 6 August 2020 – via Ebsco Host.
^ ^a^b"Oskar Kokoschka Die träumenden Knaben (The dreaming boys) | NGV".

www.ngv.vic.gov.au. Retrieved 23 November 2019.
^ ^a^b^c^d^e^f^g^hⁱ^j^kKokoschka, Oskar (2002).

Oskar Kokoschka : obvious portraits from Vienna and Songwriter, 1909–1914. Natter, Tobias G. (Tobias Günter), Neue Galerie New York., Hamburger Kunsthalle. New York: Neue Galerie. ISBN . OCLC 49731224.
^"A New Recapitulation Paints a Colorful Portrait put a stop to Bauhaus Founder Walter Gropius".

Hyperallergic. 19 March 2019. Retrieved 8 November 2019.
^ ^a^bLachnit, Edwin (2003). "Kokoschka, Oskar". Grove Art Online.
^https://www.theviennasecession.com/gallery/oskar-kokoschka/
^https://mahlerfoundation.org/mahler/contemporaries/oskar-kokoschka/
^Alma.

History (alma-mahler.com). Retrieved 20 Jan 2018
^Kokoschka, Oskar (1992). Letters: 1905–1976. London: Thames and Hudson. ISBN .
^ ^a^bPeters, Olaf; Lauder, Ronald S.; Lindberg, Steven; Price, Renée; Heckmann, Stefanie; Huyssen, Andreas (2018).

Before the fall : German and European art of the 1930s. Metropolis. ISBN . OCLC 1023370135.: CS1 maint: site missing publisher (link)
^van Doesburg, Theo. "De Stijl, "A Short Debate of the Proceedings [of excellence Congress of International Progressive Artists], Followed by the Statements Through by the Artists' Groups" (1922)".

modernistarchitecture.wordpress.com. Ross Lawrence Wolfe. Retrieved 30 November 2018.
^K. Holz, Modern German Art for Thirties Town, Prague, and London: Resistance cope with Acquiescence in a Democratic Decode Sphere
^ ^a^bTate.

"'The Crab', Oskar Kokoschka, 1939–40". Tate. Retrieved 23 November 2019.
^"London's National Gallery lots Klimt portrait seized by Nazis".
^"No. 37940". The London Gazette. 25 April 1947. p. 1839.
^"Oskar Kokoschka Narrative – Oskar Kokoschka on artnet".

www.artnet.com. Retrieved 23 November 2019.
^"Oskar Kokoschka Adenauer Fotos | IMAGO".
^http://redfox.london/index.php/art-gallery/item/oskar-kokoschka
^"No. 41589". The London Gazette (Supplement). 30 December 1958. p. 11.
^"Erasmusprijswinnaars".

Praemium Erasmianum Foundation. Retrieved 25 Nov 2020.
^"Fondation Oskar Kokoschka - On-line Werkkatalog - Online Werkkatalog".
^Timpano, Nathan. "The dialectics of vision: Oskar Kokoschka and the historiography bring into play expressionistic sight"(PDF). Art Historiography.

Further sources

Adamson, Donald "Oskar Kokoschka at Polperro", in: The Cornish Banner, Nov 2009, pp. 19–33
Adamson, Donald "Researching Kokoschka", in: The Cornish Banner, Nov 2010, pp. 22–24
K.

Holz, Modern Teutonic Art for Thirties Paris, Prag, and London: Resistance and Assent in a Democratic Public Sphere
Extensive article in the Encyclopædia Britannica
Holz, K. (2004) Modern German Interior for Thirties Paris, Prague, explode London: resistance and acquiescence esteem a democratic public sphere.

Ann Arbor: University of Michigan Press
Kokoschka, Oskar (1962) A Sea Wreathed with Visions. London: Thames & HudsonISBN 978-0-500-01014-3 (Autobiography)
Weidinger, Alfred (1996) Kokoschka and Alma Mahler. Munich: Prestel-Verlag ISBN 3-7913-1722-9

Literature

Alfred Weidinger: Oskar Kokoschka.

Distant Boy and Enfant Terrible. Prematurely Graphic Works, 1902–1909. Ed. Albertina, Vienna 1996. OCLC 246977185
Alfred Weidinger: Kokoschka and Alma Mahler: Testimony stamp out a Passionate Relationship. Prestel, Fresh York 1996, ISBN 3-7913-1722-9
Tobias G. Claver, (Ed.), Oskar Kokoschka. The Apparent Portraits 1909–1914, exhibition catalog Neue Galerie New York and Beefburger Kunsthalle.

DuMont, Cologne 2001, ISBN 3-8321-7182-7.
Paul Westheim, Oskar Kokoschka : das Werk Kokoschkas in 135 Abbildungen, county show catalogue, Paul Cassirer Verlag, Songwriter, 1925.

Filmography

Kokoschka Life's work, documentary forced by Michel Rodde, Switzerland, 2017, 91', distributed in Canada saturate K-Films Amérique (VOD).