Access the full text.
Sign up today, get DeepDyve free for 14 days.
References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.
Abstract Early in his career the critic Max Brod (1884–1968) distinguished himself as a patron of modern art and a mediator among competing ethnic and religious groups. Beginning in 1907, Brod became one of the foremost supporters of Jewish artists in Prague, and an advocate for their alliance with non-Jewish contemporaries, both German and Czech. He promoted them in his critical writing and editorial work, collected their art, and introduced them to other sponsors of modernism. Through his patronage work, he shaped how the identities of these artists were presented to the public, positioned their art in contexts that endorsed acculturation and integration, and minimized perceptions of artistic and national difference. Yet Brod's outlook on Jewish artistic identity changed over time. During the First World War, as Brod became active in the Zionist movement, he began to consider that Jewish identity might productively be marked and expressed in modern art, although he remained reluctant to designate specific artistic forms and subjects as distinctly Jewish.
Images – Brill
Published: Jan 1, 2012
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.