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The story of artist R. H. Quaytman’s discovery of an engraving hidden behind a famous artwork by Paul Klee.
 
This book begins with artist R. H. Quaytman uncovering something startling about a picture by Paul Klee. Pasted beneath Klee’s 1920 Angelus Novus—famous for its role in the writings of its first owner, Walter Benjamin—Quaytman found that Klee had interleaved a nineteenth-century engraving of Martin Luther, leaving just enough visible to provoke questions.
 
Behind the Angel of History reveals why this hidden face matters, delving into the intertwined artistic, political, and theological issues consuming Germany in the wake of the Great War. With the Angelus Novus, Klee responded to a growing call for a new religious art. For Benjamin, Klee’s Angelus became bound up with the prospect of meaningful dialogue among religions in Germany.
 
Reflecting on Klee’s, Benjamin’s, and Quaytman’s strategies of superimposing conflicting images, Annie Bourneuf reveals new dimensions of complexity in this iconic work and the writing it inspired.
 

This collection, for the first time, explores women’s self-conceptions and representations of women’s and gender roles in society in their own Expressionist works. How did women approach themes commonly considered to be characteristic of the Expressionist movement, and did they address other themes or aesthetics and styles not currently represented in the canon? Women in German Expressionism centers its analysis on gender, together with difference, ethnicity, intersectionality, and identity, to approach artworks and texts in more nuanced ways, engaging solidly established theoretical and sociohistorical approaches that enhance and update our understanding of the material under investigation. It moves beyond the masculine, “New Man,” viewpoint so firmly associated with German Expressionism and examines alternative, critical, and divergent interpretations of the changing world at the time. This collection seeks to broaden the theorization, scholarship, and reception of German Expressionism by—much belatedly—including works by women, and by shifting or redefining firmly established concepts and topics carrying only the imprint of male authors and artists to this day.