Marianne Brandt's Experimental Landscapes in Painting and Photography during the National Socialist Period

摘要

This essay examines the profound changes in Marianne Brandt's life and work after her failed attempt to leave Germany in the spring of 1933. It shows that both because of photography's status as one of the central media of Modernism, and due to its indexical qualities, this medium holds a very special place in Brandt's troubled and troublesome oeuvre from the time of National Socialism.