Museum Folkwang
Der Sturm / Neue Nummer
  • Oskar Kokoschka
  • Der Sturm / Neue Nummer, 1910/1911

  • Der Sturm / New Issue
  • Colour lithograph
  • 68 x 46 cm
  • Printing Press Kunstanstalt Arnold Weylandt, Berlin
  • Acquired 2010 with support of the Folkwang-Museumsverein
  • Inv. DPM 21968
  • Commentary›Der Sturm‹ magazine
    When on 3 March 1910 the first issue of ›Der Sturm‹ (The Storm) magazine (edited by Herwarth Walden) was published, no-one could have known that, alongside ›Die Aktion‹, edited by Franz Pfempfert, it would become the most important avant-garde art journal of its day. Until 1932 it addressed topics from the worlds of literature, music and the visual arts, primarily with a view to promoting new artistic trends, in particular Expressionism. Moreover Walden established the name ›Der Sturm‹ as an umbrella brand for various activities and initiatives, including a gallery (as of 1912), an art school headed by Georg Muche (as of 1916), a theatre (as of 1918) and a bookstore, which hosted ›Sturm evenings‹ (readings). Kokoschka became a notable illustrator and author, particularly of the early issues of the magazine, taking over as editorial director of the Vienna office in 1911.

    The poster
    An injured man points to a wound in his chest. The motif, surprising for a magazine advertisement, is in line with the Expressionist approach of not going by external appearances, but focussing on the inner condition. Here Kokoschka used a self-portrait as the Man of Sorrows as a vehicle for the ideas of a new art promoted by the magazine.

    Kokoschka was one of the avant-garde artists in Vienna after 1900 who continually found themselves confronted with hostility from the bourgeois press. He was pelted with abuse, insults and defamatory remarks. This was a fate he shared above all with Egon Schiele (1890-1918). Kokoschka repeatedly publicly countered these attacks with shocking and provocative pictures and actions. These included plays such as ›Mörder, Hoffnung der Frauen‹ (Murderer, Hope of Women), which premiered at the ›Sommertheater in der Kunstschau‹ in Vienna in 1909. Tickets for the play sold out within hours – for the Viennese artist could sense the scandal long before it reared its ugly head. The poster and the play were publicly slammed in the usual form, a reflex Kokoschka could expect. He was reviled as a degenerate artist, enfant terrible, corrupter of youth and delinquent.

    As Kokoschka felt he was being treated like a criminal, or at least like an outcast, he sought to show this by his appearance: he had his head completely shaved. Thus in 1910, with shaven head, he created the preliminary sketch for the poster (the draft for the poster in oil is at the Museum of Fine Arts, Budapest). Using the motif of the Man of Sorrows, Kokoschka made use of Christian iconography.
    Kokoschka himself commented: »At that time I sketched a poster for a new issue of ›Sturm‹, a self-portrait against a red background, which I again used with a different overprint on 26 January 1912 for my lecture ›Vom Bewusstsein der Gesichte‹ (On the Awareness of Visions) at an event by the Academic Association for Literature and Music in Vienna. The poster shows me with a completely shaven head like a convict and pointing to a wound in my chest with my finger; it was intended as a reproach to the people of Vienna. However, some years later during the War a Russian bayonet really did pierce my lungs at this spot.«

    The poster belongs to a small group of early Expressionist posters by Kokoschka, Ernst Ludwig Kirchner, Max Pechstein and Max Oppenheimer that constitute a turning point in the history of poster design. Moreover, Kokoschka was linked to Museum Folkwang as of 1910, for that was the year Osthaus organized a major monograph for him in Hagen. Another version of the poster can be found in the Osthaus Collection at Deutsches Museum für Kunst in Handel und Gewerbe (German Museum of Art in Commerce and Trade), today located at Kaiser Wilhelm Museum in Krefeld. The poster ›Der Sturm / Neue Nummer‹ (Der Sturm / New Issue) is a further key piece of Expressionist art complementing the existing collection of Kokoschka’s works at Museum Folkwang.

    The heyday for the Expressionist poster, together with Expressionist film and expressive dance, came directly after World War I.
  • Provenance2010, Weigelt Auktion 70, Kat.-Nr. 96
    2010, Deutsches Plakat Museum im Museum Folkwang
  • Obj_Id: 35,877
  • Obj_Internet_S: Highlight
  • Obj_Ownership_S (Verantw):German Poster Museum
  • Obj_SpareNField01_N (Verantw): 242
  • Obj_Creditline_S:
  • Obj_Title1_S: Der Sturm / Neue Nummer
  • Obj_Title2_S: Der Sturm / New Issue
  • Obj_PartDescription_S (Titelerg):
  • Obj_SpareMField01_M (Alle Titel): Der Sturm / Neue Nummer Der Sturm / New Issue Der Sturm / Neue Nummer [Werbung für die Zeitschrift ›Der Sturm‹]
  • Obj_Dating_S: 1910/1911
  • Jahr von: 1,910
  • Jahr bis: 1,911
  • Obj_IdentNr_S: DPM 21968
  • Obj_IdentNrSort_S: DPM 21968
  • Obj_Classification_S (Objtyp): Poster
  • Obj_Crate_S: 68 x 46 cm
  • Obj_Material_S: Colour lithograph
  • Obj_Technique_S:
  • Obj_SpareSField01_S (Mat./Tech.): Colour lithograph
  • Obj_AccNote_S (Erwerb): Acquired 2010 with support of the Folkwang-Museumsverein
  • Obj_PermanentLocation_S (Standort):
  • Obj_Condition1_S (Druckerei): Kunstanstalt Arnold Weylandt, Berlin
  • Obj_Condition2_S (Auflage):
  • Obj_Subtype_S (Genre):
  • Obj_Rights_S: © Fondation Oskar Kokoschka / VG Bild-Kunst, Bonn 2017
Commentary
Artists
Provenance

›Der Sturm‹ magazine
When on 3 March 1910 the first issue of ›Der Sturm‹ (The Storm) magazine (edited by Herwarth Walden) was published, no-one could have known that, alongside ›Die Aktion‹, edited by Franz Pfempfert, it would become the most important avant-garde art journal of its day. Until 1932 it addressed topics from the worlds of literature, music and the visual arts, primarily with a view to promoting new artistic trends, in particular Expressionism. Moreover Walden established the name ›Der Sturm‹ as an umbrella brand for various activities and initiatives, including a gallery (as of 1912), an art school headed by Georg Muche (as of 1916), a theatre (as of 1918) and a bookstore, which hosted ›Sturm evenings‹ (readings). Kokoschka became a notable illustrator and author, particularly of the early issues of the magazine, taking over as editorial director of the Vienna office in 1911.

The poster
An injured man points to a wound in his chest. The motif, surprising for a magazine advertisement, is in line with the Expressionist approach of not going by external appearances, but focussing on the inner condition. Here Kokoschka used a self-portrait as the Man of Sorrows as a vehicle for the ideas of a new art promoted by the magazine.

Kokoschka was one of the avant-garde artists in Vienna after 1900 who continually found themselves confronted with hostility from the bourgeois press. He was pelted with abuse, insults and defamatory remarks. This was a fate he shared above all with Egon Schiele (1890-1918). Kokoschka repeatedly publicly countered these attacks with shocking and provocative pictures and actions. These included plays such as ›Mörder, Hoffnung der Frauen‹ (Murderer, Hope of Women), which premiered at the ›Sommertheater in der Kunstschau‹ in Vienna in 1909. Tickets for the play sold out within hours – for the Viennese artist could sense the scandal long before it reared its ugly head. The poster and the play were publicly slammed in the usual form, a reflex Kokoschka could expect. He was reviled as a degenerate artist, enfant terrible, corrupter of youth and delinquent.

As Kokoschka felt he was being treated like a criminal, or at least like an outcast, he sought to show this by his appearance: he had his head completely shaved. Thus in 1910, with shaven head, he created the preliminary sketch for the poster (the draft for the poster in oil is at the Museum of Fine Arts, Budapest). Using the motif of the Man of Sorrows, Kokoschka made use of Christian iconography.
Kokoschka himself commented: »At that time I sketched a poster for a new issue of ›Sturm‹, a self-portrait against a red background, which I again used with a different overprint on 26 January 1912 for my lecture ›Vom Bewusstsein der Gesichte‹ (On the Awareness of Visions) at an event by the Academic Association for Literature and Music in Vienna. The poster shows me with a completely shaven head like a convict and pointing to a wound in my chest with my finger; it was intended as a reproach to the people of Vienna. However, some years later during the War a Russian bayonet really did pierce my lungs at this spot.«

The poster belongs to a small group of early Expressionist posters by Kokoschka, Ernst Ludwig Kirchner, Max Pechstein and Max Oppenheimer that constitute a turning point in the history of poster design. Moreover, Kokoschka was linked to Museum Folkwang as of 1910, for that was the year Osthaus organized a major monograph for him in Hagen. Another version of the poster can be found in the Osthaus Collection at Deutsches Museum für Kunst in Handel und Gewerbe (German Museum of Art in Commerce and Trade), today located at Kaiser Wilhelm Museum in Krefeld. The poster ›Der Sturm / Neue Nummer‹ (Der Sturm / New Issue) is a further key piece of Expressionist art complementing the existing collection of Kokoschka’s works at Museum Folkwang.

The heyday for the Expressionist poster, together with Expressionist film and expressive dance, came directly after World War I.