By 1914 the concept of Expressionism permeated German culture at many levels. Through lacking stylistic cohesion, the movement was united by a rejection of Impressionism and by a search for an inner reality behind the external world of appearances.
The author examines the urban artistic communities in Munich, Berlin and Dresden, including Die Brücke, Der Blaue Reiter and Die Pathetiker. She goes on to consider the work of second-generation Expressionists such as Otto Dix and Georg Grosz.
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