The very multifaceted artist Max Slevogt had contact with many different circles. As a leading member of the Berlin Secession and then the Prussian Academy of Art, he had an outstanding network and was a central figure on the art scene in Germany from the turn of century until the 1920s. The texts in the book situate Max Slevogt within the intellectual history of the late German Empire and the Weimar Republic and thus attempt to classify his work from the perspective of art and cultural history. Max Slevogt’s extremely complex artistic practice is described from its intellectual, material, and communicative requirements. The constitution of his oeuvre and his identity as an artist hence go hand in hand and, as netlike structures, give rise to reciprocal interactions.
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Gregor Wedekind, University of Mainz.
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