Marion Deshmukh (1945-2019) was the Robert T. Hawkes Professor of History at George Mason University where she served as Department Chair from 1984 to 1995 and from 2006 to 2007. Her publications include works and exhibition catalog essays on Max Liebermann, on German academies and art unions, on Berlin’s National Gallery of Art since 1945 and on East German painters since 1990. She curated a Max Liebermann graphics show at the Goethe-Institut, Washington, D.C., (Max Liebermann, Works on Paper, 2006) and an exhibit, co-curated with the Wende Museum, also at the Goethe Institut, (Iconoclash! Political Imagery from the Berlin Wall to German Unification, 2009–10).

Published in Association with the German Historical Institute, Washington, D.C. and the Centre Allemand d'histoire de l'art/Deutsches Forum für Kunstgeschichte, Paris

• List of IllustrationsAcknowledgementsIntroductionPART I: LIEBERMANN’S INTERNATIONAL CONNECTIONS AND TRAININGChapter 1. Internationalism for the Nation: Max Liebermann as a Cultural PoliticianPeter ParetChapter 2. Weimar Beginnings: Liebermann and MunkacsyHendrik ZieglerChapter 3. Liebermann’s HollandHolly RichardsonPART II: THE FRENCH CONNECTIONChapter 4. German Impressionism?Thomas GaehtgensChapter 5. Liebermann and MilletAndrea MeyerChapter 6. Liebermann and his French Critics: Art and Politics from the 1870s to the 1930sMathilde ArnouxChapter 7. Max Liebermann’s Art Collection: A Reconstruction from Letters and DocumentsAnnegret JandaChapter 8. History and Modernity: Liebermann’s Late Garden PaintingsBarbara GaehtgensPART III: GERMAN CULTURAL CRITICISMChapter 9. Criticism, Conflict and ControversyMatthias EberleChapter 10. How Modern is Modern? Max Liebermann and the Discourses of Modernism in 1906Françoise Forster-HahnChapter 11. Who’s Afraid of Delilah? Liebermann Portraying WomenMargreet NouwenChapter 12. Kreigszeit and the Discourse of War ImageryTimothy BensonPART IV: INTERNATIONAL POLITICS AND INTERNATIONAL MODERNISMChapter 13. Max Liebermann’s Role in  RussiaMarina Dmietreva-EinhornChapter 14. Paintings and Drawings by Max Liebermann: A British Intervention against European FascismSusan M. KingChapter 15. The Art of the Deal, Collecting Max Liebermann in AmericaChristopher WithChapter 16. Sonderwege Historical and Art Historical:  The Case of Max LiebermannMarion DeshmukhChronological TimelineNotes on ContributorsBibliographyIndex

Marion Deshmukh (1945-2019) was the Robert T. Hawkes Professor of History at George Mason University where she served as Department Chair from 1984 to 1995 and from 2006 to 2007. Her publications include works and exhibition catalog essays on Max Liebermann, on German academies and art unions, on Berlin’s National Gallery of Art since 1945 and on East German painters since 1990. She curated a Max Liebermann graphics show at the Goethe-Institut, Washington, D.C., (Max Liebermann, Works on Paper, 2006) and an exhibit, co-curated with the Wende Museum, also at the Goethe Institut, (Iconoclash! Political Imagery from the Berlin Wall to German Unification, 2009–10).

Published in Association with the German Historical Institute, Washington, D.C. and the Centre Allemand d'histoire de l'art/Deutsches Forum für Kunstgeschichte, Paris

• List of IllustrationsAcknowledgementsIntroductionPART I: LIEBERMANN’S INTERNATIONAL CONNECTIONS AND TRAININGChapter 1. Internationalism for the Nation: Max Liebermann as a Cultural PoliticianPeter ParetChapter 2. Weimar Beginnings: Liebermann and MunkacsyHendrik ZieglerChapter 3. Liebermann’s HollandHolly RichardsonPART II: THE FRENCH CONNECTIONChapter 4. German Impressionism?Thomas GaehtgensChapter 5. Liebermann and MilletAndrea MeyerChapter 6. Liebermann and his French Critics: Art and Politics from the 1870s to the 1930sMathilde ArnouxChapter 7. Max Liebermann’s Art Collection: A Reconstruction from Letters and DocumentsAnnegret JandaChapter 8. History and Modernity: Liebermann’s Late Garden PaintingsBarbara GaehtgensPART III: GERMAN CULTURAL CRITICISMChapter 9. Criticism, Conflict and ControversyMatthias EberleChapter 10. How Modern is Modern? Max Liebermann and the Discourses of Modernism in 1906Françoise Forster-HahnChapter 11. Who’s Afraid of Delilah? Liebermann Portraying WomenMargreet NouwenChapter 12. Kreigszeit and the Discourse of War ImageryTimothy BensonPART IV: INTERNATIONAL POLITICS AND INTERNATIONAL MODERNISMChapter 13. Max Liebermann’s Role in  RussiaMarina Dmietreva-EinhornChapter 14. Paintings and Drawings by Max Liebermann: A British Intervention against European FascismSusan M. KingChapter 15. The Art of the Deal, Collecting Max Liebermann in AmericaChristopher WithChapter 16. Sonderwege Historical and Art Historical:  The Case of Max LiebermannMarion DeshmukhChronological TimelineNotes on ContributorsBibliographyIndex

Marion Deshmukh (1945-2019) was the Robert T. Hawkes Professor of History at George Mason University where she served as Department Chair from 1984 to 1995 and from 2006 to 2007. Her publications include works and exhibition catalog essays on Max Liebermann, on German academies and art unions, on Berlin’s National Gallery of Art since 1945 and on East German painters since 1990. She curated a Max Liebermann graphics show at the Goethe-Institut, Washington, D.C., (Max Liebermann, Works on Paper, 2006) and an exhibit, co-curated with the Wende Museum, also at the Goethe Institut, (Iconoclash! Political Imagery from the Berlin Wall to German Unification, 2009–10).

Published in Association with the German Historical Institute, Washington, D.C. and the Centre Allemand d'histoire de l'art/Deutsches Forum für Kunstgeschichte, Paris

• List of IllustrationsAcknowledgementsIntroductionPART I: LIEBERMANN’S INTERNATIONAL CONNECTIONS AND TRAININGChapter 1. Internationalism for the Nation: Max Liebermann as a Cultural PoliticianPeter ParetChapter 2. Weimar Beginnings: Liebermann and MunkacsyHendrik ZieglerChapter 3. Liebermann’s HollandHolly RichardsonPART II: THE FRENCH CONNECTIONChapter 4. German Impressionism?Thomas GaehtgensChapter 5. Liebermann and MilletAndrea MeyerChapter 6. Liebermann and his French Critics: Art and Politics from the 1870s to the 1930sMathilde ArnouxChapter 7. Max Liebermann’s Art Collection: A Reconstruction from Letters and DocumentsAnnegret JandaChapter 8. History and Modernity: Liebermann’s Late Garden PaintingsBarbara GaehtgensPART III: GERMAN CULTURAL CRITICISMChapter 9. Criticism, Conflict and ControversyMatthias EberleChapter 10. How Modern is Modern? Max Liebermann and the Discourses of Modernism in 1906Françoise Forster-HahnChapter 11. Who’s Afraid of Delilah? Liebermann Portraying WomenMargreet NouwenChapter 12. Kreigszeit and the Discourse of War ImageryTimothy BensonPART IV: INTERNATIONAL POLITICS AND INTERNATIONAL MODERNISMChapter 13. Max Liebermann’s Role in  RussiaMarina Dmietreva-EinhornChapter 14. Paintings and Drawings by Max Liebermann: A British Intervention against European FascismSusan M. KingChapter 15. The Art of the Deal, Collecting Max Liebermann in AmericaChristopher WithChapter 16. Sonderwege Historical and Art Historical:  The Case of Max LiebermannMarion DeshmukhChronological TimelineNotes on ContributorsBibliographyIndex