Works of art in The Aesthetics of Resistance

The Works of art in The Aesthetics of Resistance are those included in Peter Weiss' novel The Aesthetics of Resistance. They form a kind of musée imaginaire (imagined museum) with more than a hundred named artists and just as many artworks, mainly of the visual arts and literature, but also of music and the performing arts.[1] Peter Weiss wrote the three-volume novel, which runs to around 1000 pages, between 1971 and 1981. The plot is set between 1936 and 1945, and is located in Nazi Berlin, Spain during the civil war, Paris before the World War II and Stockholm as one of the places of refuge for the German exiles. The characters are based on real personalities, the main protagonists organising themselves in the resistance group known as the Red Orchestra. Representations of artists, works of art, their contexts and backgrounds are included in the plot line and form a web of mutual interconnections. The reception takes place in multi-layered reflections by the protagonists of the novel, through the reference to historical and political events, to mythological set pieces, to artists' biographies, to dream images or in critical questioning.

Eugène Delacroix The Barque of Dante One of over 100 works of art mentioned and at the same time a symbol of the influence of Dante's Divine Commedy

List of artworks

The following list contains about one hundred works of art in the visual arts, literature and music that are extensively discussed, named, enumerated or included in Aesthetics of Resistance. In addition, motifs of mythology as well as events and places directly related to Peter Weiss' reception of art are included in the list. The artworks and backgrounds are largely arranged in the order in which they appear in the book. Exceptions are motifs that receive a more detailed description after a brief mention on later pages. The hundred or so artists featured in the novel can be found in the list of artists in Aesthetics of Resistance.

By clicking on the arrow in the table headings, the list can be sorted differently; a detailed description of the sorting options can be found at the end of the table.

Illustration / Chronology Artist / Origin Work / Classification Entry in the novel
 Ancient Pergamon Altar first half of the 2nd century BC.
Berlin, Pergamon Museum

Building
The Pergamon Altar is a monumental altar that was erected under Eumenes II near the Asia Minor city of Pergamon. After excavations by the German engineer Carl Humann from 1878 onwards, it was brought to Berlin and exhibited in a specially constructed museum building. The altar is a good 35 metres wide and 33 metres deep; the base is surrounded by a high relief depicting the Battle of the giants against the Olympic gods.


  • AedW I, pp. 7–15, 36–53, 316 f., 328;
  • AedW III, pp. 20, 171 f., 187, 267 f.
 The description of the Pergamon Altar and the gigantomachy it depicts forms the introduction to the novel. The protagonists question the viewpoint of the observer: they see the victorious gods as symbols of the rulers who had the monumental work of art created by exploited people, war is stylised into a myth.[2] They themselves identify with the defeated children of the Gaia and discuss the role of Heracles.[3] This is followed by reflections on the significance of the Pergamon Altar in the history of Pergamon, the excavation of the altar and the transfer of the art treasures to Germany.[4] One conclusion of the first-person narrator is
that works such as those that come from Pergamon would have to be interpreted over and over again until a reversal was won and the earth-born awoke from darkness and slavery and showed themselves in their true appearance.[5]

Further lines of thought on the Pergamon Altar are taken up in the course of the novel and conclude the work as a whole with the last chapter, so that this motif frames the novel, as it were.[6][7]

 Greek mythology Gigantomachy

Mythology
The Gigantomachy is the battle of the giants, the children of the earth mother Ge, against the Olympian gods described in Greek mythology by Homer, Apollodor and others. With the help of the mortal hero Heracles, the gods were victorious.


  • AedW I, p. 7 ff.
 The depiction and reception of the Gigantomachy occupies a central space with the description of the Pergamon Altar in the introduction and is taken up in detail several times in the course of the novel. It stands as a symbol for the struggle of the resisters against fascism.


With stones only (...) they can defend themselves against the armoured and heavily armed, they kneel, they crawl, they break and fall into the cracked pavement, exposed to water cannons, gas grenades and machine guns. She saw the battle in our occupied city, our occupied country, and it did not help that Ge begged for mercy for her son Alkyoneus, he was in Athena's power, the killing bite of the snake in his chest was not enough for her, she wanted complete destruction. Condemned to annihilation were the weaponless, who gathered behind barricades, from the chosen ones, who had acquired imposing names and spread the word all around that they were unbeatable, that they had the highest world order in mind.[5]
 Greek mythology Gaia

Mythology The goddess Gaia is the earth mother or personified earth of Greek mythology.


  • AedW I, p. 10 ff.
  • AedW III, p. 20
 The motif of the Gaia becomes the figure of identification for the protagonists:
She had brought forth Uranus, the sky, Pontos, the sea, and all the mountains. She had given birth to the giants, Titans, Cyclopes and Erinyes. This was our race. We surveyed the history of the earthly.[8]

The image is taken up again in Book 3, when the first-person narrator recognises the face of the Gaia on his sick mother.[9]

 Greek mythology Heracles

Mythology
Heracles or Hercules is a hero of Greek mythology famous for his strength, who was admitted to Olympus as an immortal. The attribute depicted with him, besides his club, bow and quiver, is the skin of the Nemean lion, which according to legend he defeated in battle.


  • AedW I, pp. 18-25, 62, 314 ff.
  • AedW III, pp. 169, 267 f. and others
 The motif of Herakles is a central, recurring simile and stands as a critically questioned symbol for the oppressed or the working class. The absence of his figure from the Pergamon Altar leads to the recurring element of the quest for Heracles, which comes to a close at the end of the novel.
 Ancient Market Gate of Miletus, around 120 BC

Pergamon Museum,

Building
The gate building is a Roman gate building from the Asia Minor city of Miletus, which has been in the possession of the Antikensammlung Berlin since 1903.


  • AedW I, p. 15, 324 f., 327
 The protagonists also visit this structure during their visit to the Pergamon Museum. The story of the city of Miletus is taken up again elsewhere in the novel in the portrayal of antiquity as a wealth-accumulating slaveholding society.
 Antiquity Ishtar Gate

6th century BC Berlin, Pergamon Museum

Building
The Ishtar Gate was one of the gates in the city wall of Babylon, one of the most important cities of antiquity, and was built under Nebuchadnezzar II. It has been in the collection of the Vorderasiatisches Museum Berlin in the south wing of the Pergamon Museum since 1930.


  • AedW I, p. 15
 During the visit to the Pergamon Museum, the protagonists walk along this building, going down a few more centuries.
 Paul Otto Wilhelm von Humboldt Monument, 1883

marble statue
Unter den Linden, Berlin,

Fine arts Monument to Wilhelm von Humboldt (1765-1835), polymath who is regarded as a pioneer in cultural studies and education.


  • AedW I, p. 15
 As they walk through Berlin, the protagonists point to "the Humboldt brothers enthroned high in armchairs with griffin's feet, poring over open books".
 Reinhold Begas Alexander von Humboldt Monument

1883, marble statue
Berlin, Unter den Linden

Fine arts Monument to Alexander von Humboldt (1769-1859), natural scientist, who was also called "world scientist" because of his erudition and extensive travels.


  • AedW I, p. 15
 As they walk through Berlin, the protagonists point to
the Humboldt brothers enthroned high in armchairs with griffin's feet, poring over open books
 Arthur Rimbaud A Season in Hell,1873

Collection of poems

Literature
This collection of poems is considered a highly poetic final reckoning with Rimbaud's own philosophy at the age of 19 when it was written, but it is also linguistically dense and difficult to access. Rimbaud's work strongly influenced 20th-century literature and art, particularly Expressionism and Surrealism.


  • AedW I, p. 58; AedW II, p. 68
 In the novel's questioning of what possibilities the poorly educated working class has to appropriate culture, the protagonists discuss the intelligibility of language in relation to its banalisation, using Rimbaud as an example:
Both are right (...), both the grip that tears the ground from under our feet and the endeavour to establish solid ground for the investigation of simple facts.[10]

The work is mentioned once more in the second volume, when the first-person narrator seeks to get to know the city of Paris in the footsteps of various artists.

Ilya Repin Barge Haulers on the Volga 1870

State Russian Museum, Saint Petersburg

Fine Arts

  • AedW I, p. 60
  • Motif group: Work
 as an example of Russian realism:
The faces of the ragged, bearded serfs, stomping barefoot or in torn sandals and straw boots through the shore sand, were extinguished, devoid of hope.
 Konstantin Savitsky Repairing the Railway 1874

Tretyakov Gallery, Moscow

Fine arts

  • AedW I, p. 60
  • Motif group: Work
 as an example of Russian realism:
It was the year eighteen hundred seventy-four, when the road workers on the dusty embankment, watched over by soldiers, braced themselves over the fully laden carts. In the bleakness, the devaluation of their lives, they had never heard of the revolutions in France, of the Commune.
 Wassili Perow Troika 1866

Tretyakov Gallery, Moscow

Fine arts

  • AedW I, p. 60
  • Motif group: Work
 as an example of Russian realism:
The children in front of the sleigh were emaciated, their features waxen, dull with exhaustion.
 Nikolai Yaroshenko The Stoker, 1878

Tretyakov Gallery, Moscow

Fine Arts

  • AedW I, p. 60
  • Motif group: Work
 as an example of Russian realism:
(...) there was Yarosenko's stoker, scorched with red embers, slumped over, locked in the low furnace room, holding the poker in his swollen thick-veined hands.
 Gustave Courbet The Stone Breakers 1849-50

formerly Dresden, Picture gallery; burnt

Fine arts

  • AedW I, p. 60f.
  • Motif group: Work
 As an example of French realism:
Courbet's stone knockers were not granted relief either, but their work in the rubble was no longer marked by hopelessness.
 Gustave Doré London: a pilgrimage

Illustrations in William Blanchard Jerrold's London: a Pilgrimage (1872), 180 wood engravings in all
Fine arts

  • AedW I, p. 61
  • Motif group: Work
 representation of workers and their lives:
'... they were not, however, exposed to abandonment by the wet, but toiled in a living circle.[11][12][13]
 Jean-François Millet The Gleaners, 1857

Musée d'Orsay, Paris

Fine arts

  • AedW I, p. 61f.
  • Motif group: Work
 Description and interpretation of the painting as well as of the motif's background in connection with remarks on realism, in which working people are depicted in works of art and their images are elevated to the salons of society:
by taking the sweaty figures, with their earthy features, their loamy weight, away from where they had hitherto persevered anonymously, and placing them among the well-groomed portraits, the nymphs and shepherdesses, he did something that was tantamount to a revolutionary cause.[14]
 Jean-François Millet Man with a Hoe, circa 1860 and circa 1862

J. Paul Getty Museum, Los Angeles

Fine arts

  • AedW I, p. 62.
  • Motif group: : Work
 Description and interpretation of the painting as well as of the motif's background in connection with remarks on realism, in which working people are depicted in works of art and their images are elevated to the salons of society:
by taking the sweaty figures, with their earthy features, their loamy weight, away from where they had hitherto persevered anonymously, and placing them among the well-groomed portraits, the nymphs and shepherdesses, he did something that was tantamount to revolutionary concern.[15]
 Jean-François Millet the Digger 1850

Duluth Tweed Museum of Art, Minnesota

Fine arts

  • AedW I, S. 62
  • Motif group: : Work
 Interpretation of the painting in connection with remarks on realism, in which working people are depicted in works of art and their likenesses are elevated to the salons of society.
 Jean-François Millet The Sower, 1850

Museum of Fine Arts, Boston

Fine Arts

  • AedW I, p. 62
  • Motif group: Work
 Interpretation of the painting in the context of remarks on realism, in which working people are depicted in works of art and their likenesses are elevated to the salons of society.[15]
 Jean-François Millet The Angelus, 1857/1859

Louvre, Paris

Fine Arts

  • AedW I, p. 62
  • Motif group: Work
 Interpretation of the painting in the context of remarks on realism, in which working people are depicted in works of art and their likenesses are elevated to the salons of society.[15]
 Léon Augustin Lhermitte Paying the Harvesters, 1892

Musée d'Orsay, Paris

Fine arts

  • AedW I, p. 63
  • Motif group: Work
 Listed as an example of the representation of the self-confidence of the working class in France after the Revolution:
The harvesters in Lhermitte's painting were paid their daily allowance by the steward, standing upright, without humility.
 Constantin Meunier Monument to Labour, Brussels - The Dockers, 1880

Quartier de Laeken, Brussels

Fine arts
Consisting of five sculptures and four reliefs (L'Industrie, La Mine, La Moisson et Les Dockers), this work of art remained unfinished until Meunier's death in 1905 and was completed in 1930 by the architect Mario Knauer.


  • AedW I, p. 63
  • Motif group: Work
 Listed as an example of the representation of the self-confidence of the working class in France after the revolution:
Meunier's miners, dockers stood up in motionlessness, in deep earnestness, strength pervaded them, but they did not raise their hands.[16]
 Vladimir Tatlin Monument to the Third International (Tatlin Tower), 1917

Tatlin Tower and Worker and Kolkhoz Woman by Vera Mukhina 2000

Building
The design was intended as a symbol of the new Soviet society and envisaged a 400-metre-high tower as a machine-driven structure whose axis was to be able to align itself with the stars. The five-metre-high model caused a sensation at the World Exhibition of Decorative Arts in Paris in 1925, but was never realised. It is considered an architectural icon.[17]


  • AedW I, p. 66f.
 In the protagonists' discussion of the significance of the Russian avant-garde for the revolution, this design is an example of the limits it encountered that is not explicitly mentioned:
It was a revolt of art, a revolt against the norms. The unrest in society, the latent violence, the urge for an upheaval was well expressed, but the workers and soldiers, in November Seventeen, had never seen or heard of these artistic parables.
 Albrecht Dürer The Prodigal Son 1496

Copper engraving

Fine arts

  • AedW I, p. 76
 Comparison with Dürer's engraving of the Melencolia, which the latter created in 1514, it:
clearly indicated the separation between hierarchical art and that which was entirely of its own accord and had to make its choice entirely on its own.[18]

In this context, The Prodigal Son is assigned to Christian iconography, while the Melencolia is assigned to Neoplatonic ideas. The image of the Melencolia is taken up again in the third volume of the novel.[19] ff.

Greek mythology Mnemosyne, 2nd Century AD

National Archaeological Museum of Tarragona

Mythology
Mnemosyne is considered the goddess of memory and mother of the new muses.


  • AedW I, p. 77;
  • AedW III, p. 134
 It is contrasted with the fascist iconoclasts and book burnings:
It protects what our own knowledge contains in the overall achievements. She whispers to us what our emotions desire. Whoever presumes to cultivate, to chastise, this stored good is attacking us and condemning our discernment.[20]

Towards the end of the novel, the protective character of memory and its importance for art is taken up again:

Mneme, protected by the goddess Mnemosyne, guides us in artistic activities, and the more we have absorbed the phenomena of the world, to the richer combinations we could bring them, to the diversity, from which the state of our culture can be read[21]
 Dante Alighieri Divine Comedy, 1307-1321

Verse narrative

Literature
The Divine Comedy is considered one of the major works of world literature. It is about the journey of a first-person narrator through the three realms of the dead: hell, purgatory to paradise.

  • AedW I, p. 79 ff.
 The Divine Comedy occupies a central position, as it is not only discussed in detail, but Peter Weiss' novel itself is reminiscent in parts of a wandering through worlds. The protagonists reflect on the insights and worlds that open up to them with Dante and thus on the importance of education for the working class:
It was not enough to draw attention to the fact that the libraries were open, first you had to overcome the generational obsession that the book was not there for you.[22]
 James Joyce Ulysses 1914-1921

novel

Literature
Considered one of the most important works of Irish literature, this novel describes in 18 episodes 16 June 1904, a day in the life of Leopold Bloom, an advertising canvasser. In the style of Homer's Odysseus in the Odyssey, the protagonist wanders through Dublin.


  • AedW I, p. 79
 Ulysses is classified by the protagonists as just as disturbing, rebellious, formally and thematically alien as Dante's Divina Commedia and thus placed in relation to it.
 Piero della Francesca Finding and testing the true cross from the cycle

The History of the True Cross, c. 1466
Basilica of San Francesco, Arezzo

Visual arts
The ten-part cycle depicts the story of Christ's cross according to the Golden Legend by Jacobus de Voragine. Three of the ten scenes are singled out. This one depicts the presumed excavation of the crosses of Golgotha in 324, which was relocated to Arezzo. The cross of Christ can be identified by the fact that it brings a dead man back to life.

  • AedW I, p. 84
 The protagonists reflect on the segregation of classes that is inherent in the paintings and question what lessons they themselves, as seekers, can learn from the exclusive, sophisticated art of the rulers and the privileged. In this one, it is the "geometrically fancy walls" of the city view of Arezzo, "the green-blue of the sky taken up by the strangely unspoiled ground, all this was of a vision that eschewed all emotion."[19]
 Piero della Francesca The Victory of Constantine over Maxentius from the cycle

The Legend of the True Cross, c. 1466
Basilica of San Francesco, Arezzo

Visual arts
The ten-part cycle depicts the story of the Cross of Christ according to the Golden Legend by Jacobus de Voragine. Three of the ten scenes are singled out. This one depicts the Battle of Milvian Bridge in 312, in which the Roman Emperor Constantine the Great defeats his rival Maxentius. It is regarded as the introduction of the Constantinian shift, with which Christianity began to rise.

  • AedW I, p. 84
  • Motif group: War
 The protagonists reflect on the class segregation that is inherent in the paintings and question what teaching material the exclusive, sophisticated art of the ruling and privileged can offer for themselves as seekers. In this context, it is especially the two battle paintings of the cycle and the constructed depiction of the soldiers that receive their attention.
 Piero della Francesca The Battle between Heraclius and Chosroes from the cycle

The Legend of the True Cross, c. 1466
Basilica of San Francesco, Arezzo

Visual arts The ten-part cycle depicts the story of the Cross of Christ according to the Golden Legend by Jacobus de Voragine. Three of the ten scenes are singled out. This one depicts a battle for the Christian cross in the year 627, in which the Persian king Chosrau II is defeated by the Eastern Roman emperor Heraclius.

  • AedW I, p. 85
  • Motif group: War
 The protagonists reflect on the class segregation that is inherent in the paintings and question what teaching material the exclusive, sophisticated art of the ruling and privileged can offer for themselves as seekers. In this context, it is especially the two battle paintings of the cycle and the constructed depiction of the soldiers that receive their attention
 Hieronymus Bosch The Haywain Triptych, c. 1490

Museo del Prado

Fine arts

  • AedW I, p. 86
 Example of a list in which Peter Weiss explains how the faces of the servants and maids stood out in the works that were nevertheless dedicated to the favoured:
"In Mantegna and Masaccio, Grien, Grünewald and Dürer, in Bosch, Brueghel and Goya, the working people already came to the fore".

Bosch's haywain is not explicitly mentioned, the background arises from the epitaph on Hodann's life, the monument that Peter Weiss wanted to set to the doctor and sex educator Max Hodann in the novel, but which was not included in the published version.

 Nicolas Poussin Et in arcadia ego, 1637-1638

Paris, Louvre


Visual arts
The motif, taken up many times in art, in which the shepherds of Arcadia are confronted with death, is translated by the phrase Also I was in Arcadia and amounts to the further phrase Memento mori.

  • AedW I, p. 86
  • AedW II, p. 31
 Example of an enumeration in which Peter Weiss explains how the faces of the servants and maids stood out in works that were nevertheless dedicated to the favoured:
"The shepherds and fishermen, who had accepted their decorative functions, suddenly lost, in pictures by Poussin, their simplicity and gentleness (...)."[23]

In a later place, Peter Weiss develops the influence of Géricaults from the interpretation that the Golden Age already contains the moment of terror, the discovery of the tomb and the resigned experience of natural law. Later, Peter Weiss, from the interpretation that the Golden Age already contains the moment of terror of the discovery of the tomb and the resigned experience of the law of nature, develops the influence on Théodore Géricault's painting Raft of the Medusa.[24]

 Georges de La Tour Saint Joseph the carpenter, c. 1640

Paris, Louvre

Fine arts

  • AedW I, p. 86
  • Motif group: Work
 Example of a list in which Peter Weiss explains how the faces of the servants and maids stood out in the works that were nevertheless dedicated to the favoured:
"A blacksmith, a carpenter became so outstanding with their work at La Tour that they took up the picture space alone (...)".
 Jean Siméon Chardin The Laundress, 1733

St. Petersburg, Hermitage Museum

Fine arts

  • AedW I, p. 86
  • Motif group: Work
 Example of a list in which Peter Weiss explains how the faces of the servants and maids stood out in the works that were, after all, dedicated to the favoured:
"Vermeer, Chardin did not reserve maturity, beauty for the superiors, but gave them to the seamstress, the washerwoman, the maid".
 Jan Vermeer The Milkmaid (Vermeer), c. 1660

Amsterdam, Rijksmuseum

Visual arts

  • AedW I, p. 86
  • Motif group: Work
 Example of a list in which Peter Weiss explains how the faces of the servants and maids stood out in the works that were, after all, dedicated to the favoured:
"Vermeer, Chardin did not reserve maturity, beauty for the superiors, but gave them to the seamstress, the washerwoman, the maid".
 Giotto di Bondone Annunciation to Saint Anne 1304-1306

Cycle of the Life of Joachim
Padua, Scrovegni Chapel

Fine arts

  • AedW I, p. 88 f.
 An allegory in the first-person narrator's dream, in which he matches the images of his barren flat with Bondone's cycle and a surreal scene emerges. In the memories of his parents, the father appears as Joachim and the mother as Anna:
"My mother knelt, in a long brown petticoat, like Anna, to whom something was announced through the wall, on the floor, in front of the wooden frame that was my bed.
 Giotto di Bondone Death of the Knight of Celano, 1295

Assisi, Upper Basilica of San Francesco d'Assisi

Visual arts

  • AedW I, S. 88 f.
 Symbolism in the dream of the first-person narrator, in which various frescoes flow into the images of the first-person narrator, here the sparse empty flat transitions to a projection of the laid table.
 Giotto di Bondone Legend of St Francis, Vision of the Flaming Chariot, 1297-1300

Assisi, Basilica of San Francesco d'Assisi

Fine arts

  • AedW I, pp. 89, 92
 Symbol in the first-person narrator's dream with a surreal resurrection image of the father from the kitchen floor and a vision of flight:
"From the first crack I already knew that someone was buried there, and when the plank that had broken loose opened sideways, I also immediately recognised my father's hand, dusty all over, with the broad joint, the strong knuckles, his arm emerging from the mortar, his face still in the tow stuffed between the planks, I wanted to help him, but I was hanging so far out of the window that the next movement would throw me out.[25]
 Johann Wolfgang von Goethe Wilhelm Meister's Journeyman Years, 1821-29

novel

Literature

  • AedW I, p. 134
 Example of the range of the social novel in which the educated bourgeoisie is represented:
"Because from Wilhelm Meister onwards to the Buddenbrooks, the world that set the tone in literature was seen through the eyes of those who owned it, the household could be encompassed with such attention to detail and the personality in the richness of all stages of development".
 Thomas Mann Buddenbrooks, 1901

Literature

  • AedW I, S. 134
 ::"Because from Wilhelm Meister onwards to the Buddenbrooks, the world that set the tone in literature was seen through the eyes of those who owned it, the household could be encompassed with such attention to detail and the personality in the richness of all stages of development".
 Pierre-Nolasque Bergeret Colonne Vendôme, 1806-1810

Victory Column Place Vendôme, Paris

Fine Arts
The 44-metre-high column with a statue of Napoleon I was toppled during the Paris Commune uprising on 16 May 1871.

  • AedW I, p. 152f.
  • Motif group: Resistance / Uprising
 "In the rubble, in a cloud of dust, lay the emperor, toga and laurel wreath. His betrayal of the revolution had been atoned for."
John Heartfield The meaning of the Hitler salute, Motto: Millions stand behind me, 1932

Rotogravure

Visual arts

  • AedW I, p. 158
 Example of the cultural contributions in the Arbeiter Illustrierte (AIZ) magazine.
Background Urgent Call for Unity,1932

Appeal

With the Urgent Appeal in June 1932, well-known personalities called for tactical cooperation between the SPD and the KPD against the strengthening NSDAP.


  • AedW I, p. 158 f.
 Enumeration of artists who supported the urgent appeal and inclusion of later appeals initiated by Willi Münzenberg, editor of the AIZ.
Background Lutetia Circle,1935-1937

Association

The Lutetia Circle was a committee of artists and politicians of various currents, mainly from the SPD and KPD groups, who met for several conferences at the Hôtel Lutetia in Paris between 1935 and 1937 in order to find an anti-fascist consensus against the Nazi regime.

  • AedW I, p. 159, p. 167 f.
 Weiss describes a list of artists who participated in the Lutetia Circle and allusion to Heinrich Heine's essay Lutetia.
 Klaus Neukrantz Barrikaden am Wedding,1931

Novel of a street from the Berlin May Days
Literature

Novel about the May riots of 1 to 3 May 1929 in Berlin

  • AedW I, p. 161, 182
 In Peter Weiss' book, Neukrantz's book "Barrikaden am Wedding" is extensively acknowledged.[26][27] The first-person narrator juxtaposes it with Franz Kafka's novel, The Castle and reflects extensively on the potential value of both works for the workers' movement. The latter is a purposeful depiction of a historical event, whereas Kafka thinks the subject through in a labyrinthine way. The books "clearly showed how the diversities were dependent on each other, how they complemented each other and could not get along without each other.[28]
 Heinrich Heine Lutetia, 1854

Essay on Politics, Art and Popular Life
Literature
In this essay, Heine describes his ambivalent relationship to Marxist philosophy, whose concerns he acknowledges and yet through which he fears the destruction of his cultural values.

  • AedW I, p. 164
 Excerpt from Heine's work as an ironic allusion to the participants of the Lutetia Circle:

"Now once assembled under the best of intentions, they would have heard, had they been clairaudient, what Heine had to say to them, (...) referring to the epoch in which the sinister iconoclasts, the Communists, would come to rule, break all the marble statues of beauty, smash all the tinsel of art, cut down the poet's laurel groves and plant potatoes there, and turn his poetry books into bags to keep coffee in them and shove tobacco. "[29][30]

George Grosz Café, 1919


Fine arts

  • AedW I, p. 169f.
 Example of art that could express the feelings of the first-person narrator, the hatred of greed and selfishness, the murderous loathing of exploitation, subjugation and torture:
"Only rarely did we find this sentiment expressed in art, in literature; it appeared in rudimentary form in the paintings of Grosz and Dix, Heartfield's collages came closest to it, and then it confronted us in a clearly defined way in Lenin's April Theses."
Otto Dix Triumph of Death, 1934

Staatsgalerie Stuttgart

Fine Art

  • AedW I, p. 170
  • Motif group: Images of horror
 Example of art that could express the feelings of the first-person narrator.
John Heartfield War and corpses - The last hope of the rich, 1932

Photomontage

Visual arts

  • AedW I, p. 170
  • Motif group: War
 Example of art that could express the feelings of the first-person narrator.
 Pieter Bruegel the Elder The Fight Between Carnival and Lent, 1559

Kunsthistorisches Museum

Fine arts

  • AedW I, p. 172
 Description of the painting in many details, content as a poor dream of gluttony with the conclusion:
"There was not a trace of pleasure and conviviality in the paintings depicting folk life".

Peter Weiss draws an arc from a total of seven paintings by Pieter Brueghel to Franz Kafka's novel The Castle and introduces this comparison with the statement:

"Brueghel and Kafka had painted world landscapes, thin, transparent, yet in earth tones, their pictures were simultaneously luminous and dark, they seemed massive, heavy as a whole, glowing, overly clear in their details".
 Pieter Bruegel the Elder The Gloomy Day, 1565

Kunsthistorisches Museum

Fine Art

  • AedW I, p. 174
 Listed as an example of Brueghel's depictions of farm workers, artisans, peasants and others, all of whom are joyless and drawn with "almost stupid dullness" in all their activities
"whether, under stormy skies, they were cutting crops from the willow trees (...)".
 Pieter Bruegel the Elder The Tower of Babel 1563

Kunsthistorisches Museum

Fine Art

  • AedW I, S. 174
 Listed as an example of Brueghel's depictions of farm workers, craftsmen, peasants,
"(...) whether they, built the monstrous enclosure of the Tower of Babylon around the rocky peaks."
 Pieter Bruegel the Elder The Procession to Calvary, 1564

Kunsthistorisches Museum

Fine arts

  • AedW I, p. 174
 Listed as an example of Brueghel's depictions of farm workers, craftsmen, peasants, "(...) whether they, led Jesus to crucifixion,"
 Pieter Bruegel the Elder The Peasant Dance, 1568

Kunsthistorisches Museum

Fine arts

  • AedW I, p. 174
 Listed as an example of Brueghel's depictions of farm workers, craftsmen, peasants, "(...) or whether they were spinning in the round dance at the fair."
 Pieter Bruegel the Elder Landscape with the Fall of Icarus,1558

Royal Museums of Fine Arts of Belgium

Fine arts

  • AedW I, p. 174
 Description of the painting with reference to the indifferent attitude of the persons in the picture and the depiction of the aphorism:
"Kein Pflug bleibt stehn um eines Sterbenden willen. (...) The interwoven motif of the proverb was directed at the steadfastness of earthly work, but also held to its heaviness and joylessness."
 Pieter Bruegel the Elder Massacre of the Innocents, 1565-1567

Kunsthistorisches Museum

Fine arts

  • AedW I, p. 174f.
  • Motif group: Massacre of the innocent
 Description of the painting with reference to the nameless despair and the inescapability of the horrific:
"What took place between the inhabitants and the mercenaries, who were their equals, who were only, as always, carrying out the orders of their superiors, was unbearable, and yet it stood, in its constant gesture of horror, of cold slaughter, stamped forever in the iconic white surface".

This train of thought is continued in the following description of Franz Kafka's novel The Castle:

"This being taken by surprise under supposed shelter, this sudden irruption of the unimaginable had also become something existing in the story of the surveyor."
 Franz Kafka The Castle, 1922

unfinished novel

Literature The novel depicts the futile struggle of the surveyor K. for recognition, through a mysterious system represented by an all-dominating castle and its representatives.

  • AedW I, p. 178 ff.
 Description and explanations of what the first-person narrator learns from the novel. In particular, he sees parallels to the reality of the oppressed and exploited in the non-questioning of domination and the resulting hopelessness, and that it is precisely this that creates the situation in which the position that everyone occupies in society is not questioned, but only fought for its recognition, even if it is to do unrelated work:

"It was only suddenly felt that something important, momentous was going on, an immense, worldwide operation that we, as tiny components of the machinery, had to serve. This is how the voice of imperialism sounded to those who had hitherto been too weak to acquire knowledge about the interrelationships of economic processes. But even when we had gained an insight, we too remained equally far removed from this whirring, although we were involved in it as stokers, mechanics, load carriers, cart pushers."[31]

 Romain Rolland Jean Christophe,1904–1912

Novel
Literature

  • AedW I, S. 185
 For example, in the development of workers' education:
"the language that was related to our everyday dealings had expanded, suddenly we understood poems that seemed to have nothing to do with our time cards, our inventory lists, our wage negotiations and union meetings".
 André Gide Counterfeiters, 1925

Novel

Literature

  • AedW I, p. 185
 Used as an example in the development of workers' education.
 Knut Hamsun Hunger, 1890

Novel

Literature

  • AedW I, S. 185
 Used as an example in the development of workers' education.
 Elias Canetti Die Blendung,1931-1932

novel
Literature
The main character of this novel, the book collector Peter Kien, lives in his 25,000-volume library. Confronted with the meanness of life, he falls into madness and burns himself and his world of books in a kind of auto-da-fé.

  • AedW I, p. 186
 Used in the development of workers' education:
"We had begun stammering, and in reading (...) we always returned to the zero point where our own lives had begun. (...) If the building blocks were books for us, however, Prefessor Kien, Canetti's book man, got around between literature."
 Louis-Ferdinand Céline Journey to the End of the Night,1932

Novel

Literature

  • AedW I, p. 186
 Used in the development of workers' education:
"When artists who came from the bourgeoisie expressed their weariness, their unbelonging, they might still be stuck in their origins by digging in their individual pain, but by writing they were nevertheless drawing closer to those who saw their activity as an unnecessary, luxurious expense."
 Antoni Gaudí Sagrada Família, begun in 1882

unfinished basilica, Barcelona

Building Construction of the basilica was begun by the architect Francisco del Villars in the neo-Gothic style. At the end of 1883, Antoni Gaudí took over the construction management and completely redesigned the plans. Instead of flying buttresses and supporting pillars, he developed a hyperbolic-parabolic vault system in a complex structure supported by tree-like branching columns. Gaudí died in 1926 as a result of a tram accident. The building remains unfinished to this day.

  • AedW I, pp. 193-197, 199 f., 208
 Description of the building and discussion of the political contradictions that the first-person narrator reflects on during the visit. The cathedral stands as a symbol of the "banality of an empty mendacious religion"[32] and is comparable to the tendencies of the revolutionary movement, which is held down by its leadership in petty-bourgeois idealism.[33]
 Antoni Gaudí Portal of Hope, 1891-1900

East façade of the Sagrada Família Barcelona

Fine arts

  • AedW I, p. 208
  • Motif group: Bethlehemite infanticide
 The motif of the Bethlehemite infanticide, discussed several times in the novel, is also found at the Sagrada Família in a sculptural group:
"the armoured warrior, with the cast-iron sword in one hand, flinging up the stolen child with the other, the woman pleading for a halt next to the child's corpse hanging down to the cackling geese."
 Antoni Gaudí Casa Batlló, 1877

Building Barcelona, Passeig de Gràcia

Building

  • AedW I, p. 195
 The building is also visited by the protagonists during their stay in Barcelona.
 Antoni Gaudí Casa Milà, 1906-1910

Building Barcelona, Passeig de Gràcia

Building

  • AedW I, p. 195
 The building is also visited by the protagonists during their stay in Barcelona.
 Claude Joseph Rouget de Lisle La Marseillaise, 1792

Song
French National Anthem

Music

  • AedW I, p. 208
 A discussion about the necessity of slogans and the banality of contexts, compared to Gaudí's Sagrada Família:
"Every movement needed its simplifications and summaries, also the text of the Marseillaise, the Internationale had words for those concerned that they had long known by heart and yet wanted to hear again and again".
 Eugène Pottier (Text),

Pierre Degeyter (Melody)

 The Internationale1871-1888

Song
Hymn of the Socialist Workers' Movement

Music

  • AedW I, p. 208
 A discussion about the necessity of slogans and the banality of contexts, compared to Gaudí's Sagrada Família:
"Every movement needed its simplifications and summaries, also the text of the Marseillaise, the Internationale had words for those concerned that they had long known by heart and yet wanted to hear again and again".
 Miguel de Cervantes Don Quixote, 1605-1615

Novel

Literature With the sensuous Squire Don Quixote of La Mancha, Cervantes parodies the contemporary popular romances of chivalry with the admonition of how their excessive reading could rob the mind.

  • AedW I, pp. 208f., 242, 257
 The figure of Don Quixote is performed repeatedly, especially during the first-person narrator's stay in Spain: as an epic of Spain
"in which there was a frenetic search for overcoming evil, for justice, for human dignity, and in which the failure of falsehood, wickedness, deceit always prevailed"[34]

as the motif of a mural in Albacete, in trains of thought on heroic productions.

Background International Brigades



The International Brigades were volunteer units that fought on the side of the Spanish Republic against the Franco-led fascist units of the National Spanish Coalition during the Spanish Civil War from 1936 to 1938.

  • AedW I, p. 224
 List of artists who joined or supported the International Brigades.
 Richard Wagner Tannhäuser (opera), 1842-1845

Opera

Music

  • AedW I, p. 225
 Emblematic of a gathering of internationalists in a former palace in Albacete that served as an infirmary. The role music by Wagner and others who were there was played on a pianola:
“The red flag that hung from the glass roof high up to the gallery on the first floor (...) was part of the attempt to bring about a change in the nature of the requisitioned building , but the perforated rolls that had been pushed into the piano case at the beginning of the meeting (...) had rather hammered in the ghostliness.”
 Pietro Mascagni Cavalleria rusticana, 1890

Opera

Music

  • AedW I, p. 225
 Emblematic of a gathering of internationalists in a former palace in Albacete that served as an infirmary. The role music by Mascagni and others who were there was played on a pianola.
Jean Sibelius Valse triste,1904

Waltz

Music

  • AedW I, p. 225
 Emblematic of a gathering of internationalists in a former palace in Albacete that served as an infirmary. The role music by Mascagni and others who were there was played on a pianola.
 Giuseppe Verdi March from Aida, 1871

Opera

Music

  • AedW I, p. 256
 Emblematic of a gathering of internationalists in a former palace in Albacete that served as an infirmary. The role music by Mascagni and others who there was played on a pianola.
 Francisco de Goya Los caprichos, 1796-1797

80 aquatint etchings

Fine Arts This series of prints with numerous portraits is a critique of Spanish social life, especially of the nobility and the clergy.

  • AedW I, p. 271
 The first-person narrator describes his ideas about the country and the republic of Spain as influenced, among other things, by Goya's satirical works, the Caprichos.
 Francisco de Goya The Disasters of War,1810-1814

82 etchings

Fine Arts The etchings from the series Schrecken des Krieges (Horrors of War) depict the atrocities of Napoleon's soldiers in the fight against the rebellious Spanish population.

  • AedW I, p. 271

Subject group: War

 The first-person narrator's ideas about the country and the republic of Spain are influenced, among other things, by Goya's graphic series of disasters. They are used in the novel as a metaphor in the sense of the title of the first sheet in the series "Sad Forebodings of What is Going to Happen".[35]
 Middle Ages Castillo de Denia, 11th and 12th century

Dénia

Building The Castillo is the ruin of a fortress on the castle hill of Dénia dating from the Arabic period. The early history of Dénia, with influences from Phoenician, Greek, Carthaginian and Roman settlers, is not proven. Equally controversial is the assumption that Dénia is identical with the city of Hēmeroskopeion or that the name derives from a Phoenician temple of Diana.

  • AedW I, p.314, 320 ff
 Description and examination of the Spanish history of colonialism from antiquity through the Reconquista to the Spanish Civil War.[36]
Pablo Picasso Guernica, 1937

Madrid, Museo Reina Sofía

Fine Art
The painting was made in reaction to the destruction of the Spanish town of Guernica by the air raid of the German Condor Legion on 26 April 1937.

  • AedW I, pp. 332-337, 339 f., 343, 348;
  • AedW II, pp. 38, 57, 299
  • Motif group: Bethlehemite infanticide
  • Motif group: War
  • Motif group: Images of horror
 Discussion and interpretation of the painting, both on the basis of the process of creation documented photographically by Dora Maar, the art-historical debate of the contemporary novel, and in detailed comparison with myths, motifs and in the context of other works of art.
"Picasso had most clearly expressed the impossibility of doing justice to the experience of other people, relying only on his own perceptions, his subjective associations. He was not interested in naming the number of bombs dropped, the number of houses destroyed, the number of wounded and dead. That could be read elsewhere. He waited until the clouds of smoke and dust had dispersed, until the moaning and screaming had died down, and only then, alone in the room with the painting surface, did he ask himself what Guernica was, and when it took shape before him, as an open city, as a city of the homeless, did it become a tremendous warning of the kind of visitations that could still come. Guernica was the beginning of a series whose end was not yet in sight".[37][38]
 Greek mythology Nike

Mythology

The goddess of victory Nike is almost invariably depicted with wings in art.

  • AedW I, p. 333, 341
 The goddess Nike is recognised in the novel both in Picasso's Guernica,
"Towards the waving mane stretched this clump of hands on the cloud-like arm, bearing the poor paraffin candlestick, (...) and there was something peculiar about this ancient light, which with such sweeping gesture was pierced in through the narrow hatch by a Nike whose other hand rested in the shape of a star between the breasts."[39]

as in the figure of the femme du peuple in Delacroix's Liberty Leads the People:

"... with her face turned to one side, resembling the Nike who stretched her immense profile into Picasso's pictorial space. In her fleshy fullness, her fist clenched around her shanked gun, her heavy thigh thrust forward, she indicated the stage at which idea becomes material violence."[40]
 Greek mythology Minotaur

Mythology

Son of Queen Pasiphae of Crete and the Cretan bull, born with the body of a man and the head of a bull.

  • AedW I, p. 334 ff.
 In the discussion about Picasso's Guernica, the depiction of the bull is equated with the mythological hybrid of the Minotaur:
"And since the bull became more and more human, (...) we thought we saw the durability of the Spanish people represented in the Taurus."[41][38]

Furthermore, its importance in Picasso's world of motifs is questioned and his etching Minotauromachy is used for further comparison.

 Greek mythology Pegasus

Mythology

Pegasus, the child of the sea god Poseidon and the gorgon Medusa, he sprung from Medusa's neck when she was beheaded by the hero Perseus. But Perseus could only kill Medusa, whose gaze turned everyone to stone, by only looking at her in a mirror.

  • AedW I, p. 334, 339
 In the first versions of Picasso's Guernica, Pegasus initially occupied a central representation; in the final version he is finally missing. The protagonists discuss the significance of this absence and develop it further on mythology:

"Turning away from the Gorgo, only catching her grimacing face in a mirror, Perseus had killed her, and this evasion was also Picasso's. The attacking violence remained invisible in his painting. (...) Perseus, Dante, Picasso remained whole and handed down what their mirror had caught, the head of Medusa, the circles of the Inferno, the blasting of Guernica."[42]

 Greek mythology Medusa



Mythology
Medusa is the daughter of the sea deities Phorcys and Ceto. She was transformed out of jealousy by Athena into a Gorgon, a winged monster with serpentine hair, scaly armour, glowing eyes and a tongue hanging out. The sight of Medusa turned everyone to stone as protection against enemies who could have killed her because of her mortality.

  • AedW I, p. 339
  • AedW II, p. 14, p. 65
 The myth of Medusa, taken up in the discussion of the Pegasos painting, has further references throughout the novel, for example in the title of the painting by Géricault and in the 2nd volume in the description of the city of Paris.
Pablo Picasso The Dream and Lie of Franco, 1937

etchings, picture plates with 18 pictures on 2 plates

Fine arts

  • AedW I, p. 335
 Description and inclusion of the etchings in the interpretation of the painting Guernica:
"In the sequence of images (…) the mollusc-like, trunk-covered caudillo first attacked the image of the arts with a pickaxe and, surrounded by barbed wire, offered sacrifices to the idol of money, then the bull furiously took his horn, and the tears streamed down them People's faces rose towards the stations of the duel of life and death, until in the end only the squatting woman remained, in front of the burning ruins of the house, with the corpse of the child in her arms."[43][44]
Pablo Picasso Mother with dead child, 1937


Madrid, Museo Reina Sofía

Fine arts

  • AedW I, p. 335

Motif group: (Bethlehemite) infanticide

 The motif of a mother with a dead child, particularly in the horrific images of the Massacre of the Innocents in Bethlehem, is taken up repeatedly in the novel. In the discussion of the painting Guernica, it forms an iconographic transition to the painting of the Minotauromachy. Elsewhere in the novel, the motif can be found in Pieter Brueghel, as a fresco by Giotto di Bondone in the Arena Chapel, and in sculptural groups on Antoni Gaudí's Sagrada Família.[43][44]
 Guido Reni Massacre of the Innocents (Reni), 1611–1612

Bologna, Pinacoteca Nazionale di Bologna

Fine arts

AedW I, p. 335 Motif group: Bethlehemite infanticide

The motif of a mother with a dead child, particularly in the horrific images of the Massacre of the Innocents in Bethlehem, is taken up repeatedly in the novel. In the discussion of the painting Guernica, it forms an iconographic transition to the painting of the Minotauromachy. The painting by Reni serves as an example here, as do the works of art by Breughel and the sculptural group by Gaudí mentioned earlier.[43][44]
 Nicolas Poussin Massacre of the Innocents, 1625–1629

Musée Condé, Chantilly

Visual arts

  • AedW I, p. 335
  • Motif group: Bethlehemite infanticide
 The motif of a mother with a dead child, particularly in the horrific images of the Massacre of the Innocents in Bethlehem, is taken up repeatedly in the novel. In the discussion of the painting Guernica, it forms an iconographic transition to the painting of the Minotauromachy. The painting by Reni serves as an example here, as do the works of art by Breughel and the sculptural group by Gaudí mentioned earlier.[43][44]
Fernand Léger
 Franz Marc
 Franz Marc
Pablo Picasso
 Henri Rousseau
 Andrea Mantegna
 Enguerrand Quarton

(Meister des Pietà von Avignon)

 Beatus von Liébana
 Eugène Delacroix
 Honoré Daumier
 Théodore Géricault
 Francisco de Goya
 Francisco de Goya
 Eugène Delacroix
 Eugène Delacroix
 Théodore Géricault
 Théodore Géricault
 Théodore Géricault
 Jan Vermeer
 Adolph Menzel
 Adolph Menzel
 Adolph Menzel
 Robert Koehler
 Edvard Munch
 Théodore Géricault
 Jean-Baptiste Henri Savigny and Alexander Corréard
 Théodore Géricault
 Johann Heinrich Füssli
 Greek Mythology
 Jacques-Louis David
 Jacques-Louis David
 Jacques-Louis David
 Théodore Géricault
 Théodore Géricault
 Théodore Géricault
 Théodore Géricault
 Théodore Géricault
 Théodore Géricault
 Nicolas Poussin
 Théodore Géricault
 Théodore Géricault
 Michelangelo
 Honoré Daumier
 Vincent van Gogh
 Vincent van Gogh
 Camille Corot
 Location
 Pablo Picasso
 Ernest Meissonier
 Fra Angelico
 Simone Martini
 Bernat Martorell
 Stefano di Giovanni
 Location
P.G. Lotorew
 Hugo Rheinhold
 Eugène Sue
 Charles Meryon
 Jan Vermeer
 Otto Stockhausen
 Charles Meryon
 William Blake
 Albrecht Altdorfer
Hans Tombrock
 Bertolt Brecht
 Pieter Bruegel the Elder
 Pieter Bruegel the Elder
 Käthe Kollwitz

Green wind. Green branches.
The ship out on the sea
and the horse on the mountain.
With the shadow at the waist
she dreams on her balcony,
green flesh, green hair,
with eyes of cold silver.

From "Romance Sonámbulo",
("Sleepwalking Romance"), García Lorca

 Federico García Lorca
 Francesco Sabatini
 Francisco de Goya
 Bertolt Brecht
Bertolt Brecht
 Bertolt Brecht
 Background
Bertold Brecht
 Jacob Elbfas


Painter

 Franz Kafka
 Franz Kafka
George Grosz
 Urban Hjärne
 Middle Ages
 Burchard Precht
Johan Sylvius
 Suryavarman II
 Albrecht Dürer
 Middle Ages
Background
 Ancient

References
  1. Badenberg & Die Ästhetik und ihre Kunstwerke. Eine Inventur 1995, p. 115.
  2. Pike, David L. (5 September 2018). Passage through Hell: Modernist Descents, Medieval Underworlds. Ithaca: Cornell University Press. p. 78. ISBN 978-1-5017-2947-8.
  3. Weiss Volume 1, p. 9.
  4. Weiss Volume 1, pp. 36, 46, 50.
  5. Weiss Volume 1, p. 53.
  6. Weiss Volume 1, p. 267.
  7. Badenberg & Kommentiertes Verzeichnis 1995, p. 210.
  8. Weiss Volume 1, p. 10.
  9. Weiss Volume 3, p. 20.
  10. Weiss Volume 1, p. 58.
  11. "Originalstiche von Gustave Doré (1832-1883)" (in German). Spiegel-Verlag. Der Spiegel. 6 July 2005. Retrieved 3 March 2022.
  12. Weiss Volume 1, p. 61.
  13. Doré, Gustave; Jerrold, Blanchard (2011). London : a pilgrimage. Easton Press: Norwalk, Connecticut. OCLC 1057895718.
  14. Weiss Volume 1, p. 62.
  15. Badenberg & Kommentiertes Verzeichnis 1995, p. 206.
  16. Weiss Volume 1, p. 63.
  17. Badenberg & Kommentiertes Verzeichnis 1995, p. 227.
  18. Weiss Volume 1, p. 76.
  19. Weiss Volume 3, p. 132.
  20. Weiss Volume 1, p. 77.
  21. Weiss Volume 3, p. 134.
  22. Weiss Volume 1, p. 81.
  23. Weiss Volume 1, p. 86.
  24. Badenberg & Kommentiertes Verzeichnis 1995, p. 218.
  25. Weiss Volume 1, p. 92.
  26. Weiss Volume 1, p. 161.
  27. "Klaus Neukrantz - Barrikaden am Wedding (1931)". Nemesis - Socialist Archive for Fiction (in German). Retrieved 13 April 2022.
  28. Weiss Volume 1, p. 182.
  29. Weiss Volume 1, p. 164.
  30. "Reports on politics, art and folklife, Draft of the preface". Zeno (in German). Berlin. Retrieved 13 April 2022.
  31. Weiss Volume 1, p. 178.
  32. Weiss, Peter (1981). Notizbücher:1971-1980. Edition Suhrkamp, 1067,2 = N.F. 67,2. Vol. 2 (1st ed.). Frankfurt: Suhrkamp. p. 313. ISBN 9783518110676.
  33. Weiss Volume 3, p. 208.
  34. Weiss Volume 1, p. 209.
  35. Badenberg & Kommentiertes Verzeichnis 1995, p. 188.
  36. Badenberg & Kommentiertes Verzeichnis 1995, p. 176.
  37. Weiss Volume 3, p. 348.
  38. Badenberg & Kommentiertes Verzeichnis 1995, p. 213.
  39. Weiss Volume 3, p. 333.
  40. Weiss Volume 3, p. 341.
  41. Weiss Volume 3, p. 334.
  42. Weiss Volume 3, p. 339.
  43. Weiss Volume 3, p. 335.
  44. Badenberg & Kommentiertes Verzeichnis 1995, p. 215.

Bibliography
  • Badenberg, Nana (1995). "Die Ästhetik und ihre Kunstwerke. Eine Inventur". In Honold, Alexander; Schreiber, Ulrich; Badenberg, Nana (eds.). Die Bilderwelt des Peter Weiss (in German) (1st ed.). Hamburg: Argument-Verlag. pp. 114–163. ISBN 9783886192274.
  • Badenberg, Nana (1995). "Kommentiertes Verzeichnis der in der Ästhetik des Wider-stands erwähnten bildenden Künstler und Kunstwerke". In Honold, Alexander; Schreiber, Ulrich (eds.). Die Bilderwelt des Peter Weiss (in German) (1st ed.). Hamburg: Argument-Verlag. pp. 163–231. ISBN 9783886192274.
  • Weiss, Peter (1987). Die Ästhetik des Widerstands Bd. 1 (in German) (2nd ed.). Berlin: Henschelverlag Kunst und Gesellschaft. ISBN 9783362001854.
  • Weiss, Peter (1987). Die Ästhetik des Widerstands Bd. 3 (in German) (2nd ed.). Berlin: Henschelverlag Kunst und Gesellschaft. ISBN 3362001874.
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