03.12.2024

August Endell's form-feeling and Impressionism

Philosophie et littérature
Par Jane Schmidt-Boddy

Claude Monet, Saint Germain l'Auxerrois, 1867, huile sur toile, 79 x 98 cm, Berlin, Alte Nationalgalerie. Source : Staatliche Museen zu Berlin / Jörg P. Anders (CC BY-NC-SA).

une foule de passants devant l'église Saint-Germain-l'Auxerrois à Paris
Claude Monet, Saint Germain l'Auxerrois, 1867, huile sur toile, 79 x 98 cm, Berlin, Alte Nationalgalerie. Source : Staatliche Museen zu Berlin / Jörg P. Anders (CC BY-NC-SA).

« Few things are nicer than sitting in silence in the tram and watching strangers—not in order to eavesdrop on them surreptitiously, but rather in order to experience in an observing, feeling way [1] ». This passage is from a small book titled Die Schönheit der großen Stadt (The Beauty of the Metropolis) by August Endell. Published in 1908, the book makes a case for the affectivity of form, observable everywhere—in nature, in art, among strangers in the tram.

August Endell, Die Schönheit der grossen Stadt, Stuttgart : Strecker & Schröder, 1908. SLUB Dresden. Source : SLUB Dresden, Public Domain Mark 1.0.

Its author, Endell, was a person who moved fluidly between disciplines. Born in 1871 in Berlin, he was a philosopher with a scientific bent who also became an architect, designer and aesthetic theorist. He is best known today for his outrageous design of the ornamental façade of Atelier Elvira in Munich, completed in 1898 but dismantled by the Nazi Party in 1937. Beyond this Jugendstil extravaganza and other architectural projects, Endell founded a private design school in Berlin (Schule für Formkunst) and later directed the Akademie für Kunst und Kunstgewerbe (Academy for Art and Applied Art) in Breslau (now Wrocław, Poland). All the while, he published numerous theoretical essays on aesthetic theory, influenced by psychological aesthetics and the artistic and literary circles of his time.

In his 1905 review of the Deutscher Künstlerbund exhibition in Berlin, Endell sought to grasp the essence of Impressionism [2]. He described how these artists sought to depict the world as it is seen in perception: « The effort to depict what one sees, setting aside preconceived notions, is unmistakable in this development […]. Yet, it was only in 19th-century France that the French Impressionists—Manet, Monet, Renoir, and Cézanne— fully achieved this goal. [3] » By this time, Impressionist painting had reached the German public through influential critics like Julius Meier-Graefe and Karl Scheffler, as well as through exhibitions, notably by the Berlin Secession, founded in 1898 and led by Max Liebermann, another key advocate for Impressionism in Germany [4]. Endell followed these publications and exhibitions closely and formed personal connections within Berlin’s art scene. In his book Die Schönheit der großen Stadt, he referenced works recently acquired for Berlin collections, such as Claude Monet’s Saint-Germain-l’Auxerrois (1867), acquired by Hugo von Tschudi for the Nationalgalerie in 1906, and Édouard Manet’s Une botte d’asperges (1880), purchased by Liebermann from art dealer Paul Cassirer in 1907 [5].

For Endell, such Impressionist works detached form from the concept of fixed shapes, emphasizing instead appearances that are continuously transformed by air, light, and movement. In the following, I will consider how Endell’s thoughts on form, particularly his notion of « form-feeling » (Formgefühl), relate to Impressionist ideas. As it will turn out, this connection becomes evident when considering the descriptions of his experiences while strolling through Berlin. In the ephemeral appearance of form, he discovered an encompassing rhythmic structure.

Photographie en noir et blanc de l'ATelier Elvira à Munich

Façade de l'Atelier Elvira à Munich (1898), au 15 Von-der-Tann-Strasse. Photographie publiée dans la revue Die Kunst, 1900, vol. 2, p. 298.

Nature morte représentant une botte d'asperges blanches

Édouard Manet, Botte d'asperges, 1880, huile sur toile, 46 x 55 cm, Cologne, Wallraf-Richartz-Museum & Fondation Corboud. Source : Museen Köln.

Max Liebermann, Allée à Laren (Hollande), 1896, craie noire, rehauts de blanc sur papier gris, 35,8 x 26,9 cm; Berlin, Kupferstichkabinett. Source : Staatliche Museen zu Berlin, Kupferstichkabinett / Jörg P. Anders Public Domain Mark 1.0.

Endell’s notion of form-feeling

Endell used the term form-feeling in several texts to describe people’s ability to perceive form and formal patterns in their environment and to grasp their « emotive effects (Gefühlswirkung) [6]». He set out his primary aesthetic theories while in Munich, beginning with Um die Schönheit (1896). The term form-feeling first appears in a short article called « Formenschönheit und dekorative Kunst » (1897), where Endell frames it as the motor behind stylistic change in art and architecture.

The concept of style being based in form-feeling was not unique to Endell, however. Art historian Heinrich Wölfflin, for instance, formulated a similar idea in 1888, interpreting form-feeling as the psychological intuition of style [7]. Wölfflin proposed that style is not the result of individual architects’ experiments, but a collective disposition towards form. While Endell’s writing is not primarily rooted in art history like Wölfflin’s, he also saw form-feeling as definitive for the emergence of a new stylistic period, even a new art, that could affect people with « forms that mean nothing and represent nothing and remind us of nothing [8] ».

For Endell, form and feeling are inseparable; he assumed that there are regular relations linking forms to specific feelings and held that « every form, and there is an infinite number of them, awakens a different feeling [9] ». Endell perceived this connection as a hard-wired truth—deeply ingrained as the very psychological blueprint of experience—whereby lines, planes and colors generate the same feelings in all viewers [10]. From today’s perspective, Endell’s universalism might seem somewhat extreme. Nevertheless, it spells out an attitude that had momentum in German art discourse around 1900; in fact, that period saw many formulations of the idea that « feeling is form and form is feeling [11]».

When Endell called on his readers to fearlessly embrace new forms, he seemed to be making a case for abstraction in art (before artists like Wassily Kandinsky). Nevertheless, he did not try to develop nor argue for a grammar with discrete, fixed forms. Rather, form-feeling is more concerned with how form is seen and experienced in perception in the first place. The concept likely originated from empathy-centered, psychological aesthetics in the mid-nineteenth century, as Jean-Michel Fortis and David Romand have shown [12]. In the hands of art theorists like Endell, it was used as a concept for understanding people’s affective relation towards form as a whole.  A key question was what explains form-feeling; in other words, what allows one to grasp formal patterns, to see form in the first place?

Max Liebermann, Biergarten à Munich, 1884, huile sur bois, 95 x 68,5 cm, Munich, Bayerische Staatsgemäldesammlungen - Neue Pinakothek. Source : Bayerische Staatsgemäldesammlungen CC BY-SA 4.0.

Form-feeling and seeing

When Endell asks, « What, then, is the explanation of this form-feeling? [13]», he looks to the psychology of perception for answers. He proposed that feelings arise from the speed and direction of eye movement. This was not a metaphor. To truly experience form’s feelings, we must literally gauge its lines with our eyes and follow them from top to bottom and from side to side. Although this might seem unrealistic when taken literally, it emphasizes not only the speed of physical movement – in particular, the eyes (as Endell claimed) – but also the importance of finding formal patterns and structures in the environment. For example, consider the experience of looking at a tree. According to Endell, we should not just glance over it, but carefully observe the intricate form of its roots, the arrangement of its leaves and the textures of its bark. By following every bend and curve with our eyes, we engage with the tree’s form, « in short, we must share in the experience of every change of form [14] ».

In discussing these ideas, Endell was engaging with progressive concepts from psychology and was taking on the implicit suppositions of his doctoral advisor, Theodor Lipps. While in Munich, Endell had joined Lipps’s lectures and started, but never submitted, a thesis on a theory of feeling. Lipps also theorized form-feeling. In his book Raumästhetik (1897), he describes it as a sense for « mechanical activities » that enables people to grasp general geometrical patterns. He writes, « When I speak of a feeling of the mechanical regularity of beautiful geometrical forms, I mean a feeling [15] ». This feeling helps us to assign value to the articulation of parts within a pattern and the overall structure. Form-feeling in this sense can be understood as the « feeling for mechanical regularity [16] ».

Lipps suggests that forms come into being through our interaction with the environment, following physical-mechanical principles of perception. For instance, when we observe the repetitive patterns of waves on a shore, we are not just seeing their physical form but also experiencing a dynamic interaction that evokes a sense of rhythm and regularity. Lipps explains: « In nature, we not only find causal connections within this or that group of things, but we also discover the most general laws of spatial phenomena. However, these general regularities do not have the given concrete forms of things as their specific carriers but are bound to ‹ abstract › forms that are only contained in them as components [17] ».

Lipps’s theory is especially relevant to the idea that form-feeling affords the grasp of formal patterns. Form-feeling is about how and where people perceive form, which is not simply tied to the physical shape of things but is instead fleeting, in perpetual becoming, and can be perceived anywhere. This notion of form is precisely what Endell saw in the Impressionist works on display at the Deutscher Künstlerbund in 1905. And it is these structured moments of momentary form that he captures while strolling through the modern metropolis, which gradually reveals itself as Berlin, in his book Die Schönheit der großen Stadt [18].

Dessin d'un canal à Leyde

Max Liebermann, Kanal in Leyden (canal à Leyde), reproduit dans Karl Scheffler, Max Liebermann, Munich / Leipzig, R. Piper & Co, s.d. [1906], p.68-69

Seeing Berlin through an impressionist lens

Where others saw formlessness, Endell saw form—in blank walls, steam, electric light, bustling traffic and hordes of pedestrians. Moving through the city, he described how the interplay of light and shadow, color, rain and sun transform the metropolis from an apparently homogeneous and uninspiring modern cityscape into a dynamic play of forms. Impressionism drew much inspiration from the atmosphere and immediacy of urban life. While not all artists embraced urbanization and industrialization, « the reality of cities was accepted unconditionally », as Hubertus Kohle recently noted [19]. This is also true for Endell. On his long, aimless walk through Berlin, he observed everyday life on the surface, registering the perpetual influx of stimuli caused by urban life. He paid attention not to the utility of things but their fleeting aesthetic impressions.

Endell wrote, « Impressionism, impression painting (die Eindrucksmalerei), is content with one point of view, with one impression, but it is given completely genuine, with all its beauty [20] ». If Impressionist paintings captured one perspective, Endell captured a rhythm of many moments of form. For example, when writing of the gas lights along a canal, between a tall row of trees, he observed that « the gas lamps have the effect of points of light, which are joined by the wandering carriages and automobiles: a subtle, blinking web of stars spreads over the dark masses [21] ».

When referring to such light effects, Endell referenced a drawing by the Impressionist painter and printmaker Max Liebermann, titled Kanal in Leyden (canal in Leiden). Previously, this work had been reproduced in the journal Kunst und Künstler and later in Karl Scheffler’s book on Liebermann [22]. Looking at Liebermann’s drawing, Scheffler emphasized the structure and regularity encoded in the image, such as the evenly spaced rows of trees. He explained that « through such energetic parallels, Liebermann secures the rhythm of his pictures and provides vivid focal points that enhance the feeling for space (Raumgefühl) [23] ». This rhythmic feeling for space is understood by Scheffler as form-feeling. Similarly, Endell saw in the silent but ever-changing forms of his surroundings « a rhythmically changing space-life (Raumleben) [24] ».

Endell did not just describe the effects of new materials such as gas light, glass and steel, or urban and industrial spaces as elements of beauty; he also described the people in the city as formal elements: « Man creates through his gestalt what the architect and the painter call space, which is very different from what is meant by space in mathematics or epistemology [25]». People, he notes, have rarely been painted in this way. However, he saw this sense of space in Claude Monet’s painting Les Déchargeurs de charbon. Endell could have seen this work in Berlin in a 1905 exhibition at Salon Paul Cassirer at Viktoriastraße 35 [26]. The parallel rows of coal men, the spaces between them and their rhythmic pattern capture a fleeting moment, not perceived in isolation as a « matter-of-fact form (sachliche Form) », but as a rhythmic pattern, an « hour of life (Stundenleben) » in constant flux [27]. As they move, each person becomes a shifting point, enough to constantly alter the impression, yet here they are captured within a structured form (to be sure, Stundenleben might also refer to the rhythmic distribution of work time within an industrial framework).

Des déchargeurs décharges des barges de charbon sur les quais de Seine à Paris

Claude Monet, Les déchargeurs de charbon, 1875, huile sur toile, 54 x 65,5 cm, Paris, musée d'Orsay. Source : RMN-Grand Palais (musée d'Orsay) / Jean-Gilles Berizzi.

Max Liebermann, Brasserie de campagne à Brannenbourg, 1893, huile sur toile, 70 x 100 cm, Paris, musée d'Orsay. Source : RMN-Grand Palais (musée d'Orsay) / Hervé Lewandowski.

German Impressionism

Impressionism was seen to grasp momentary, fleeting appearances imbued with feeling and intentionality [28]. At the time, critics like Scheffler remarked on the persistent clichéd idea that Impressionism was merely concerned with superficial impressions [29]. He argued, « Anyone who believes that Impressionism came about because a few painters made the scientific discovery of the stimuli produced by air and light in their encounter with the material fails to recognize the depth of the Impressionist art movement [30]».

 

Max Liebermann, Autoportrait aux pinceaux et à la palette, 1908, huile sur toile, 97 x 77 cm, Saarbrücken, Saarlandmuseum, Moderne Galerie. Source : Bildarchiv Saarlandmuseum / Maaß, Raphael, CC BY-NC-ND-4.0.

The belief that Impressionism delved deeper than merely depicting retinal impressions (Netzhauteindrücke) was shared by the three central figures of German Impressionism: Max Liebermann, Lovis Corinth and Max Slevogt. Each, in their own way, emphasized the significance of feeling in perception. Liebermann declared, « feeling is everything » in his essay, titled « Die Phantasie in der Malerei », which originally appeared in the journal Neue Rundschau (1904) and was later published as a book in 1916 [31]. Rather than merely reproducing what might be considered neutral facts of perception, artists could merge visual impressions and feelings into a comprehensible image (Liebermann used the term « imagination » to describe this ability). Corinth similarly highlighted a subjective element in Impressionism that, he believed, filters perception, reflecting not some outer « reality » but the individual who perceives it [32]. And when Slevogt affirmed his commitment to Impressionism in 1928, he did so with one caveat: « I do not assume at all that a human eye only ”sees” [33]».

This emphasis on the role of feeling in Impressionism was not confined to these artists, nor was it seen as purely an individual experience. Scheffler understood Impressionism as a collective disposition towards form, facilitated by form-feeling. Indeed, he declared Impressionism as an instance of form-feeling, a shared style that encapsulates a timely feeling for form. Similarly, Endell saw Impressionism as concerned with more than just individual perspectives. He understood it as an approach through which collective life could be understood. Impressionism was a way to encounter the environment, grasp formal patterns and experience belonging, transcending nationhood, for example. As Endell put it, « It is [neither] the terrain and its shape that emerged in the course of time, [nor] landscape and cities, as they are, but as they are felt, experienced, as far as we are concerned [34] ».

Lovis Corinth, Autoportrait au chevalet, 1919, huile sur toile, 126 x 105,8 cm, Berlin, Alte Nationalgalerie. Source : Staatliche Museen zu Berlin, Nationalgalerie / Jörg P. Anders Public Domain Mark 1.0.

Max Slevogt, Autoportrait sur la terrasse de Neukastel, 1918-1919, huile sur toile, 95,5 x 75,5 cm, Saarbrücken, Saarlandmuseum, Moderne Galerie. Source : Bildarchiv Saarlandmuseum / Maaß, Raphael, CC BY-NC-ND-4.0.

une foule de passants devant l'église Saint-Germain-l'Auxerrois à Paris

Claude Monet, Saint Germain l'Auxerrois, 1867, huile sur toile, 79 x 98 cm, Berlin, Alte Nationalgalerie. Source : Staatliche Museen zu Berlin / Jörg P. Anders (CC BY-NC-SA).

Impressionism as form-feeling

By way of conclusion, I want to highlight how the grasp of formal patterns in the environment, be it in nature or in the urban or industrial environment, afforded by form-feeling, could be extended to fellow humans. As Endell put it, « the vibrant and diverse crowd can be compared to a forest »; its forms can be experienced and « collective life becomes clearly palpable and acquires a visible form (Gestaltung) [35] ». Here, we might consider Monet’s Saint-Germain-l’Auxerrois, a painting that depicts an open space filled with pedestrians. The individuals — captured in motion — seem to dissolve into an anonymous crowd, forming a dynamic, unified system, an urban feature that can itself be perceived as structured form.

Yet, form-feeling involves not just observing but also understanding other people by perceiving them as forms. Endell emphasizes impressions of form as the emotional fabric that binds people. In this way, he sought to study the impressions that everyday forms of human life present. He described observing his fellow city dwellers as silent forms, being affected by them in the fleeting moments of passing. The following passage provides a good illustration of this notion:

“ It is in the metropolis that one can get to know people from a perspective that is endlessly appealing, a perspective that inevitably remains hidden in smaller communities. In the latter, everyone knows everyone else; the other is a seeking, demanding person. One must talk when one meets the other, must greet, must establish some kind of relationship. In the metropolis, one passes by hundreds and thousands daily, keeping silent like a stranger, as if passing by trees in a forest. The people are only appearances; they are organizations for themselves, organizations whose inner coherency does not affect us, but whose gestalt is accessible to us like the forms of mountains and trees. ”

August Endell, Die Schönheit der großen Stadt, Stuttgart, Strecker & Schröder, 1908 p. 67; here cited after Endell 2014, p. 128.

[1] August Endell, Die Schönheit der großen Stadt, Stuttgart, Strecker & Schröder, 1908, p. 67. Translation as cited in August Endell, « The Beauty of the Metropolis », translated by Zeynep Çelik Alexander, Grey Room, 2014, 56, p. 116–138, here p. 128 (doi:10.1162/GREYa00152).
[2] This refers to « Eindruckskunst » (1905) and « Unsere Impressionisten » (1905), in August Endell / Helge David, Vom Sehen. Texte 1896–1925 über Architektur, Formkunst und « Die Schönheit der großen Stadt », Birkhäuser, Basel / Berlin / Boston, 1995, p. 132–137, 137–141.
[3] Endell 1905 « Eindruckskunst », p. 134.
[4] As editior of the journal Kunst und Künstler, founded in 1902, Karl Scheffler reproduced Impressionist works. In 1906, he also published the book Max Liebermann, Munich / Leipzig, R. Piper & Co, no date [1906]. Meier-Graefe, too, promoted Impressionism, particularly with the book Impressionisten: Guys – Manet – Van Gogh – Pissarro – Cézanne, mit einer Einleitung über den Wert der französischen Kunst und sechzig Abbildungen, Munich, Piper, 1907.
[5] For Liebermann’s acquisition of Manet’s painting, see Christina Feilchenfeld, « Max Liebermann und der Kunstsalon Cassirer – Die Rekonstruktion einer Zusammenarbeit von Kunsthändler und Künstler anhand ausgewählter Beispiele aus dem Paul und Cassirer & Walter Feilchenfeld Archiv in Zürich », Wenn Bilder sprechen. Provenienzforschung zu Max Liebermann und seinem Netzwerk, ed. Lucy Wasensteiner, Meike Hopp and Alive Cazzola, Heidelberg, arthistoricum.net, 2022, p. 115–126, https://doi.org/10.11588/arthistoricum.1118.c15362, here p. 119. For an account of the acquisition of Impressionist works for the Nationalgalerie, see Ralph Gleis, « Wege des Impressionismus ins Museum. Caillebottes Vermächtnis und Tschudis Erwerbungen », Gustave Caillebotte. Maler und Mäzen des Impressionismus, ed. Ralph Gleis (exh. cat. Alte Nationalgalerie, Berlin), Munich, Hirmer, 2019, pp. 64–79.
[6] August Endell, « Formenschönheit und dekorative Kunst. II. Die gerade Linie », Dekorative Kunst, 1898, 2-9, p. 119–121, here p. 119.
[7] Heinrich Wölfflin, Renaissance und Barock, Munich, Theodor Ackermann, 1888, p. 58.
[8] August Endell, « Formenschönheit und dekorative Kunst. I. Die Freude an der Form », Dekorative Kunst, 1897, 1-2, p. 75–77, here p. 75.
[9] August Endell, « Möglichkeit und Ziele einer neuen Architektur », Deutsche Kunst und Dekoration, 1897–98, 1, p. 141–153, here p. 142.
[10] For Endell’s universalism, see Jane Boddy, Hanna Brinkmann, Eva Specker, Michael Forster, Helmut Leder, « The universality of aesthetic effects: An empirical and historical assessment of a persistent idea », Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft, 2023, 68-2, p. 147–169.
[11] Karl Scheffler, « Kunstbildung », Moderne Kultur. Ein Handbuch der Lebensbildung und des guten Geschmacks, 2-1, Grundbegriffe: Die Häuslichkeit, ed. Ed. Heyck, Stuttgart / Leipzig, Deutsche Verlags-Anstalt, no date [1907], p. 65.
[12] Jean-Michel Fortis, « Sapir’s form-feeling and its aesthetic background », History and Philosophy of the Language Sciences, 2014: https://hiphilangsci.net/2014/10/15/sapirs-form-feeling-and-its-aesthetic-background/ [last accessed on July 8, 2024]; David Romand, « More on formal feeling/form-feeling in language science : Heinrich Gomperz’ concept of ‘formal logical feeling’ (logisches Formalgefühl) revisited », Histoire Epistémologie Langage, 2019, 41-1, p. 131–157 (doi.org/10.1051/hel/2019001).
[13] Endell 1897, p. 76.
[14] Endell 1897, p. 75.
[15] Theodor Lipps, Raumästhetik und geometrisch-optische Täuschungen, Leipzig, Barth, 1897, p. 35.
[16] Lipps 1897, p. 38.
[17] Theodor Lipps, Ästhetik–Psychologie des Schönen und der Kunst, 2 vols., vol. 1, p. 224–225.
[18] The link between Endell’s book and Impressionism has been described by Alexander Eisenschmidt from the perspective of urbanism and critique of the modern city, see Alexander Eisenschmidt, « Visual discoveries of an urban wanderer: August Endell’s perception of a beautiful metropolis », Architectural Research Quarterly 11.1 (2007), p. 71–80 (doi:10.1017/S1359135507000516).
[19] Hubertus Kohle, « Celebrating the present. The Impressionists and the city », Monet and the Impressionist city scape, ed. Ralph Gleis and Josephine Hein (exh. cat. Alte Nationalgalerie, Berlin 2024/2025), Munich, Hirmer, 2024, p. 50–56, here p. 50.
[20] This is from Endell 1905, « Eindruckskunst », p. 136.
[21] Endell 1908, p. 65 / Alexander p. 127.
[22] Kunst und Künstler, 1, 1902, p. 13; Scheffler [1906], between p. 68 and 69.
[23] Scheffler [1906], p. 72.
[24] Endell 1908, p. 71; here cited after Endell 2014, p. 130.
[25] Ibid.
[26] Bernhard Echte and Walter Feilchenfeldt, Den Sinnen ein magischer Rausch. Kunstsalon Cassirer, vol. 3, Wädenswil, Nimbus, 2013, p. 58.
[27] Endell 1908, p. 72–73; here cited after Endell 2014, p. 130–131.
[28] German Impressionism is often marked for placing an emphasis on feeling. See Jutta Hülsewig-Johnen, « Sonnenlicht und Gemütlichkeit. Die sanfte künstlerische Revolution », Der deutsche Impressionismus, ed. Jutta Hülsewig-Johnen and Thomas Klein (exh. cat. Kunsthalle Bielefeld, 2009/2010), Cologne, DuMont Buchverlag, 2009, p. 11–24, here p. 20–22.
[29] For Impressionists like Monet, sensory immediacy does not exist in the way it is often understood. For a recent study on Monet’s interpretation of the instant, along with other short unities of experienced time—such as the moment or impression—see André Dombrowski, Monet’s Minutes: Impressionism and the Industrialization of Time, New Haven, London, Yale University Press, 2023).
[30] Scheffler [1907], p. 66.
[31] Max Liebermann, Die Phantasie in der Malerei, Berlin, Bruno Cassirer, 1916.
[32] Lovis Corinth, Das Erlernen der Malerei, Berlin, Paul Cassirer, 1908, np.
[33] Max Slevogt, untitled preface, Max Slevogt. Gemälde – Pastelle – Zeichnungen: zu seinem 60. Geburtstag (exh. cat. Preußische Akademie der Künste, October–November 1928), Berlin, Bruno Cassirer, 1928, p. 5–6, here p. 5.
[34] Endell 1908, p. 15. Translation my own.
[35] Endell 1908, p. 82; here cited after Endell 2014, p. 135.

Pour citer cet article

Jane Schmidt-Boddy, « August Endell’s form-feeling and Impressionism », Impressionnisme.s [en ligne], mis en ligne le 18 Nov 2024 , consulté le 10 Feb 2025. URL: https://impressionnismes.fr/debat/august-endells-form-feeling-and-impressionism/

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August Endell, Die Schönheit der grossen Stadt, Stuttgart : Strecker & Schröder, 1908. SLUB Dresden. Source : SLUB Dresden, Public Domain Mark 1.0.
Façade de l'Atelier Elvira à Munich (1898), au 15 Von-der-Tann-Strasse. Photographie publiée dans la revue Die Kunst, 1900, vol. 2, p. 298.
Édouard Manet, Botte d'asperges, 1880, huile sur toile, 46 x 55 cm, Cologne, Wallraf-Richartz-Museum & Fondation Corboud. Source : Museen Köln.
Max Liebermann, Allée à Laren (Hollande), 1896, craie noire, rehauts de blanc sur papier gris, 35,8 x 26,9 cm; Berlin, Kupferstichkabinett. Source : Staatliche Museen zu Berlin, Kupferstichkabinett / Jörg P. Anders Public Domain Mark 1.0.
Max Liebermann, Biergarten à Munich, 1884, huile sur bois, 95 x 68,5 cm, Munich, Bayerische Staatsgemäldesammlungen - Neue Pinakothek. Source : Bayerische Staatsgemäldesammlungen CC BY-SA 4.0.
Max Liebermann, Kanal in Leyden (canal à Leyde), reproduit dans Karl Scheffler, Max Liebermann, Munich / Leipzig, R. Piper & Co, s.d. [1906], p.68-69
Claude Monet, Les déchargeurs de charbon, 1875, huile sur toile, 54 x 65,5 cm, Paris, musée d'Orsay. Source : RMN-Grand Palais (musée d'Orsay) / Jean-Gilles Berizzi.
Max Liebermann, Brasserie de campagne à Brannenbourg, 1893, huile sur toile, 70 x 100 cm, Paris, musée d'Orsay. Source : RMN-Grand Palais (musée d'Orsay) / Hervé Lewandowski.
Max Liebermann, Autoportrait aux pinceaux et à la palette, 1908, huile sur toile, 97 x 77 cm, Saarbrücken, Saarlandmuseum, Moderne Galerie. Source : Bildarchiv Saarlandmuseum / Maaß, Raphael, CC BY-NC-ND-4.0.
Lovis Corinth, Autoportrait au chevalet, 1919, huile sur toile, 126 x 105,8 cm, Berlin, Alte Nationalgalerie. Source : Staatliche Museen zu Berlin, Nationalgalerie / Jörg P. Anders Public Domain Mark 1.0.
Max Slevogt, Autoportrait sur la terrasse de Neukastel, 1918-1919, huile sur toile, 95,5 x 75,5 cm, Saarbrücken, Saarlandmuseum, Moderne Galerie. Source : Bildarchiv Saarlandmuseum / Maaß, Raphael, CC BY-NC-ND-4.0.
Claude Monet, Saint Germain l'Auxerrois, 1867, huile sur toile, 79 x 98 cm, Berlin, Alte Nationalgalerie. Source : Staatliche Museen zu Berlin / Jörg P. Anders (CC BY-NC-SA).