Works of art in the "aesthetics of resistance"

Eugène Delacroix : The Dante Bark . One of over 100 mentioned works of art and at the same time a symbol for the influence of Dante's Divina Commedia

The multitude of works of art in the “Aesthetics of Resistance” , which Peter Weiss incorporated into his novel The Aesthetics of Resistance , form a kind of musée imaginaire (imaginary museum) with more than a hundred named artists and as many works of art , mainly the visual arts and of literature , but also of music and the performing arts .

Peter Weiss wrote the three-volume, 1000-page novel between 1971 and 1981. The plot is set between 1936 and 1945, the locations are Nazi Berlin, Spain during the civil war , Paris before the Second World War and Stockholm as one of the places of refuge for German exiles . The figures are based on real personalities, the main actors organize themselves in the resistance group of the so-called Red Orchestra . Representations of artists, works of art, their contexts and backgrounds are included in the storyline and form a network of mutual interdependencies. The reception takes place in multilayered considerations by the protagonists of the novel, through the reference to historical and political events, to mythological set pieces, to artist biographies, to dream images or in critical questioning:

“If we want to take care of art and literature, we have to treat it against the grain, that is, we have to eliminate all privileges associated with it and place our own claims on them. In order to come to ourselves (...), we not only have to recreate the culture, but also the entire research by placing it in relation to what concerns us. "

- Peter Weiss : The Aesthetics of Resistance, Volume I, Page 41.

List of works of art

The following list contains around one hundred works of art of the visual arts, literature and music that are extensively discussed, named, enumerated or included in the Aesthetics of Resistance . In addition, motifs from mythology as well as events and places that are directly related to Peter Weiss' art receptions are included in the list. The works of art and backgrounds are largely arranged in the order in which they appear in the book. Exceptions are motifs which, after a brief mention, are given a more detailed description on later pages. The approximately one hundred artists depicted in the novel can be found in the list of artists in the “Aesthetics of Resistance” .

By clicking on the arrow in the table headings, the list can be sorted differently; a detailed description of the sorting options can be found after the table .

Illustration / chronology	Artist / origin	Work / classification	In the novel
	Antiquity	Pergamon Altar first half of the 2nd century BC Chr. Berlin, Pergamon Museum Building The Pergamon Altar is a monumental altar that was erected under Eumenes II near the city of Pergamon in Asia Minor . After excavations by the German engineer Carl Humann from 1878 onwards, it was transferred to Berlin and exhibited there in a specially constructed museum building. The altar is a good 35 meters wide and 33 meters deep, the base is surrounded by a high relief depicting the battle of the giants against the Olympic gods . AedW I, pp. 7-15, 36-53, 316 f., 328; AedW III, pp. 20, 171 f., 187, 267 f.	discussed in detail: The description of the Pergamon Altar and the gigantomachy represented by it form the introduction to the novel. The protagonists question the viewer's point of view: they see the victorious gods as symbols of the rulers who had the monumental work of art created by the exploited; war is stylized as a myth. They identify with the beaten children of the Ge and discuss the role of Heracles . This is followed by reflections on the significance of the Pergamon Altar in the history of Pergamon, the excavations of the altar and the transfer of the art treasures to Germany. One conclusion of the first-person narrator is “that works like those that come from Pergamon would have to be interpreted again and again until a reversal would be achieved and the earth-born awakened from darkness and slavery and showed themselves in their true appearance.” Further thought processes about the Pergamon Altar are included in the course of the novel and conclude the entire work with the last chapter, so that this motif frames the novel as it were.
	Greek mythology	Gigantomachy Mythology The gigantomachy is the struggle of the giants , the children of the earth mother Ge , against the Olympian gods, described in Greek mythology by Homer , Apollodor and others . With the help of the mortal hero Heracles, the gods conquered. AedW I, p. 7 ff.	discussed or mentioned: The representation and reception of the gigantomachy occupies a central space with the description of the Pergamon Altar in the introduction and is taken up several times in the course of the novel. It stands as a symbol for the struggle of the resistance against fascism. “With stones only (...) they can defend themselves against the armored and heavily armed men, they kneel, crawl, they break and fall into the torn pavement, exposed to water cannons, gas grenades and machine guns. She saw the struggle in our occupied city, our occupied country, and it didn't help that Ge begged for mercy for her son Alcyoneus , he was in Athena's power, the killing bite of the snake in his chest wasn't enough for her, she wanted the rest of it Mangling. The unarmed, who gathered behind barricades, were condemned to be exterminated by the chosen ones, who had acquired impressive names and spread around the world that they were unbeatable, that they had the highest world order in mind. "
	Greek mythology	Ge Mythology The goddess Ge or Gaia is the earth mother or earth personified in Greek mythology. AedW I, p. 10 ff .; AedW III, p. 20	discussed or mentioned: The motif of the Ge becomes the figure of the identification of the protagonists: “It produced Uranos , the sky, Pontus , the sea, and all the mountains. She had given birth to the giants , titans , Cyclopes and Erinyes . This was our gender. We examined the history of the earthly. ” The picture is taken up again in the 3rd book when the first-person narrator recognizes Ge's face in his sick mother.
	Greek mythology	Heracles Mythology Heracles or Hercules is a hero of Greek mythology who is famous for his strength and who was admitted to Olympus as an immortal . The attribute represented by him is, in addition to the club, bow and quiver, the skin of the Nemean lion , which according to legend he defeated in battle. AedW I, pp. 18-25, 62, 314 ff. AedW III, pp. 169, 267 f. and more	discussed in detail: The motif of Heracles is a central, recurring parable and stands as a critically questioned symbol for the oppressed or the working class. The absence of his figure in the Pergamon Altar leads to the recurring element of the search for Heracles, which ends at the end of the novel.
	Antiquity	Market gate of Miletus around 120 BC Chr. Berlin, Pergamon Museum Building The gate building is a Roman gate building from the city of Milet in Asia Minor , which has been in the possession of the Berlin Collection of Antiquities since 1903 . AedW I, pp. 15, 324 f., 327	discussed or mentioned: The protagonists also visit this building during their visit to the Pergamon Museum. The history of the city of Miletus is taken up again elsewhere in the novel in the portrayal of antiquity as a wealth-accumulating slave-holding society.
	antiquity	Ishtar Gate 6th century BC Chr. Berlin, Pergamon Museum Structure The Ishtar Gate was one of the gates in the city wall of Babylon, one of the most important cities of ancient times , and was built under Nebuchadnezzar II . It has been in the collection of the Vorderasiatisches Museum in the south wing of the Pergamon Museum since 1930 . AedW I, p. 15	discussed or mentioned: When visiting the Pergamon Museum, the protagonists walk along this building, "getting a few centuries deeper."
	Paul Otto	Wilhelm von Humboldt monument 1883, marble statue Berlin, Unter den Linden Fine arts monument to Wilhelm von Humboldt (1765–1835), universal scholar who is particularly pioneering in cultural studies and education . AedW I, p. 15	discussed or mentioned: As they walk through Berlin, the protagonists point to "the Humboldt brothers who are enthroned in armchairs with griffin feet and ponder over open books" .
	Reinhold Begas	Alexander von Humboldt monument 1883, marble statue Berlin, Unter den Linden Fine arts Monument to Alexander von Humboldt (1769–1859), natural scientist who was also called “world scientist” because of his erudition. AedW I, p. 15	discussed or mentioned: As they walk through Berlin, the protagonists point to "the Humboldt brothers who are enthroned in armchairs with griffin feet and ponder over open books" .
	Arthur Rimbaud	Une Saison en enfer (A time in hell) 1873 collection of poems Literature The collection of poems is considered a highly poetic final account of the philosophy of Rimbaud, who was 19 at the time it was written, but also linguistically dense and difficult to access. Rimbaud's work had a profound influence on the literature and art of the 20th century, particularly Expressionism and Surrealism. AedW I, p. 58; AedW II, p. 68	discussed or mentioned: In the question of the novel about the possibilities of the poorly educated working class to appropriate culture, the protagonists use Rimbaud as an example to discuss the intelligibility of language in relation to its trivialization: “Both are correct (...), the grip that holds the ground for us tear away from under your feet, as well as the endeavor to create a solid basis for the investigation of simple facts. ” The work is mentioned again in the second volume when the first-person narrator tries to get to know the city of Paris on the trail of various artists.
	Ilya Repin	Treidler on the Volga 1870–1873, oil on canvas, 131.5 × 281 cm St. Petersburg, Russian Museum Visual arts AedW I, p. 60 Subject group: work	discussed or mentioned: as an example of Russian realism: "The faces of the ragged, bearded serfs who stamped barefoot or in torn sandals and straw boots through the shore sand were extinguished, devoid of hope."
	Konstantin Sawizki	Repair work on the railroad 1874, oil on canvas, 100 × 175 cm Moscow, Tretyakov Gallery Visual arts AedW I, p. 60 Subject group: work	discussed or mentioned: as an example of Russian realism: “It was the year eighteen hundred and seventy-four when the road workers on the dusty embankment, watched by soldiers, pushed themselves over the fully loaded carts. In the desolation, the devaluation of their lives, they had never heard of the revolutions in France, of the Commune. "
	Vasily Perov	Troika 1866, oil on canvas, 123.5 × 167.5 cm Moscow, Tretyakov Gallery Visual arts AedW I, p. 60 Subject group: work	discussed or mentioned: as an example of Russian realism: "The children in front of the sledge were emaciated, their facial features waxen, dull with exhaustion."
	Nikolai Yaroshenko	The Stoker 1878, oil on canvas, 124 × 89 cm Moscow, Tretyakov Gallery Visual arts AedW I, p. 60 Subject group: work	discussed or mentioned: as an example of Russian realism: "(...) there was Jarosjenkos, scorched with red embers, slumped in on himself, locked in the low stove room, holding the poker in his swollen, thickly veined hands."
	Gustave Courbet	Die Steinklopfer 1849/50, oil on canvas, 165 × 257 cm formerly Dresden, Gemäldegalerie; burned Visual arts AedW I, pp. 60f. Subject group: work	discussed or mentioned: as an example of French realism: "The stone knockers from Courbet were not given any relief either, but their work in the rubble was no longer characterized by hopelessness."
	Gustave Doré	London: a pilgrimage 1872, illustrations in William Jerrold's tale about London, 180 wood engravings in total Visual arts AedW I, p. 61 Subject group: work	discussed or mentioned: as an example for the representation of workers and their living environment: "... but they were not exposed to the abandonment of Wet, but toiled in a living circle."
	Jean-François Millet	Gleaners (Des glaneuses) 1857, oil on canvas, 84 × 111 cm Paris, Musée d'Orsay Visual arts AedW I, p. 61f. Subject group: work	discussed or mentioned: Description and interpretation of the painting as well as the motif background in connection with explanations of realism, in which the workers are depicted in works of art and their images are lifted into the salons of society: “by removing the sweaty figures with their earthy features, their clayey weight from where they had previously remained anonymously, and placed between the neat portraits, the nymphs and shepherdesses, he did something that was tantamount to the revolutionary cause. "
	Jean-François Millet	Man with the Hoe 1863, oil on canvas, 80 × 99 cm USA, private collection Visual arts AedW I, p. 62 Motif group: work	discussed or mentioned: Interpretation of the painting in connection with explanations of realism, in which the workers are depicted in works of art and their images are lifted into the salons of society.
	Jean-François Millet	Two men with spades 1855/1856, oil on canvas, 81 × 100 cm Minnesota, Duluth Tweed Museum of Art Visual arts AedW I, p. 62 Motif group: work	discussed or mentioned: Interpretation of the painting in connection with explanations of realism, in which the workers are depicted in works of art and their images are lifted into the salons of society.
	Jean-François Millet	Sower 1850/1851, oil on canvas, 101 × 82.5 cm Boston, Museum of Fine Arts Visual arts AedW I, p. 62 Motif group: work	discussed or mentioned: Interpretation of the painting in connection with explanations of realism, in which the workers are depicted in works of art and their images are lifted into the salons of society.
	Jean-François Millet	The ringing of the angelus 1857/1859, oil on canvas, 55.5 × 66 cm Paris, Louvre Visual arts AedW I, p. 62 Motif group: work	discussed or mentioned: Interpretation of the painting in connection with statements on realism, in which the workers are depicted in works of art and their images are lifted into the salons of society: "But now they could no longer be refused, frightening, even when they were standing by the evening bell."
	Léon Augustin Lhermitte	Paying the Harvesters 1892, oil on canvas, 214 × 272 cm Paris, Musée d'Orsay Visual arts AedW I, p. 63 Subject group: work	discussed or mentioned: Enumerated as an example of the representation of the self-confidence of the working class in France after the revolution: "The harvest workers in the picture of Lhermitte received their daily allowance from the manager, standing upright, without humility."
	Constantin Meunier	Monument of Labor 1880, bronze and stone relief Brussels, Quartier de Laeken Fine arts The work of art, consisting of five sculptures and four reliefs ( L'Industrie, La Mine, La Moisson et Les Dockers ), remained unfinished until Meunier's death in 1905 and was completed in 1930 by the architect Mario Knauer. AedW I, p. 63 Subject group: work	discussed or mentioned: Enumerated as an example of the representation of the self-confidence of the working class in France after the revolution: "Meunier's miners, dockworkers loomed in motionlessness, in deep seriousness, strength penetrated them, but they did not raise their hands."
	Vladimir Tatlin	Monument for the Third International (Tatlin Tower), 1917, model draft lost Building The design was intended as a symbol of the new Soviet society and envisaged a 400-meter-high tower as a machine-operated building whose axis should be able to align with the stars. The five-meter-high model caused a sensation at the World Decorative Art Exhibition in Paris in 1925, but was never realized. It is considered an architectural icon . AedW I, p. 66f.	content included In the discussion between the protagonists about the importance of the Russian avant-garde for the revolution, this draft is an example, not explicitly mentioned, of the limits it reached: “It was a revolt of art, an uprising against norms. The unrest in society, the latent violence, the urge for upheaval were clearly expressed, but the workers and soldiers, in November seventeen, had never seen or heard of these artistic parables. "
	Albrecht Dürer	The prodigal son 1496/97, copper engraving, 24.8 × 18.6 cm Visual arts AedW I, p. 76	discussed or mentioned: In comparison with Dürer's graphic of Melencolia , which he created in 1514, it “clearly showed the separation between hierarchical art and that which was entirely on its own and had to make its own choice.” The prodigal son becomes the Christian Associated with iconography , Melencolia, however, Neo-Platonic ideas . The image of Melencolia is taken up again in the third volume of the novel.
	Greek mythology	Mnemosyne Mythology Mnemosyne is considered the goddess of memory and mother of the new muses . AedW I, p. 77; AedW III, p. 134	discussed or mentioned: It is juxtaposed with the fascist iconoclasts and book burnings : “It protects that which, in the overall achievements, contains our own knowledge. She whispers to us what our impulses demand. Anyone who presumes to breed and chastise this stored good will attack us and condemn our ability to discern . ” Towards the end of the novel, the protective character of memory and its significance for art is taken up again: the mnemes, protected by the goddess Mnemosyne, guide us to artistic activities, and the more we would have absorbed in us of the phenomena of the world, the richer combinations we could bring them, to the diversity from which the status of our culture can be read.
	Dante Alighieri	Divina Commedia (The Divine Comedy) 1307–1321, verse narration Literature The divine comedy is considered to be one of the major works of world literature. It is about the journey of a first-person narrator through the three realms of the dead: hell , purgatory to paradise . AedW I, p. 79 ff.	discussed in detail: The Divine Commode occupies a central position, as it is not only discussed in detail, but also reminds Peter Weiss' novel in parts of a journey through worlds. The protagonists reflect on the knowledge and worlds that open up to them with Dante and thus on the importance of education for the working class: “It was not enough to draw attention to the fact that the libraries were open, first the generation-old obsession that the book was not there for you to be overcome. "
	James Joyce	Ulysses 1914–1921, novel Literature The novel is considered one of the most important works of Irish literature and describes, in 18 episodes, June 16, 1904, a day in the life of the advertising agent Leopold Bloom . Based on Homer's wanderings of Odysseus, the protagonist wanders through Dublin. AedW I, p. 79	discussed or mentioned: Ulysses is classified by the protagonists as just as unsettling, rebellious, formally and thematically alien as Dante's Divina Commedia and thus placed in relation to her.
	Piero della Francesca	Finding and testing the true cross from the cycle The Legend of the True Cross around 1466, fresco, 356 × 747 cm Arezzo, San Francesco Fine arts The ten-part cycle presents the story of the cross of Christ according to the Legenda aurea by Jacobus de Voragine . Three of the ten scenes are selected. This represents the alleged excavation of the crosses of Golgotha in the year 324, which was moved to Arezzo . The cross of Christ can be identified by the fact that it brings a dead person to life. AedW I, p. 84	discussed or mentioned: The protagonists consider the class separation that is laid out in the pictures and question what teaching material the exclusive, demanding art of the rulers and the privileged can offer for them as seekers. On this it is the "geometrically fancy walls" of the cityscape of Arezzo, "the green-blue of the sky that was absorbed by the strangely intact ground, all of this was from a vision that avoided any emotion."
	Piero della Francesca	The victory of Constantine over Maxentius from the cycle The legend of the true cross around 1466, fresco, 329 × 747 cm Arezzo, San Francesco Fine arts The ten-part cycle presents the story of the cross of Christ according to the Legenda aurea by Jacobus de Voragine . Three of the ten scenes are selected. This depicts the battle of the Milvian Bridge in 312, in which the Roman Emperor Constantine the Great defeated his rival Maximus . It is regarded as the introduction of the Constantinian turning point , with which Christianity came to the ascent. AedW I, p. 84 Motif group: War	discussed or mentioned: The protagonists consider the class separation that is laid out in the pictures and question what teaching material the exclusive, demanding art of the rulers and the privileged can offer for them as seekers. It is in particular the two battle paintings of the cycle and the constructed representation of the soldiers that get their attention.
	Piero della Francesca	The battle between Heraclius and Chosroes from the cycle The legend of the true cross around 1466, fresco, 329 × 747 cm Arezzo, San Francesco Fine arts The ten-part cycle presents the story of the cross of Christ according to the Legenda aurea by Jacobus de Voragine . Three of the ten scenes are selected. This depicts a battle for the Christian cross from the year 627, in which the Persian King Chosrau II is defeated by the Eastern Roman Emperor Herakleios . AedW I, p. 85 Group of motifs: War	discussed or mentioned: The protagonists consider the class separation that is laid out in the pictures and question what teaching material the exclusive, demanding art of the rulers and the privileged can offer for them as seekers. It is in particular the two battle paintings of the cycle and the constructed representation of the soldiers that get their attention.
	Hieronymus Bosch	Hay cart triptych around 1490, oil on wood, middle section 135 × 100 cm Madrid, Prado Visual arts AedW I, p. 86	content included: Example of a list in which Peter Weiss explains how the faces of the farmhands and maidservants stood out in the works that were dedicated to the preferred: “ At Mantegna and Masaccio , Grien , Grünewald and Dürer , at Bosch , Brueghel and Goya , the workers stepped already in the foreground. ” The Bosch hay wagon is not mentioned explicitly, the background arises from the epitaph about Hodann's life , the memorial that Peter Weiss wanted to set for the doctor and sex educator Max Hodann in the novel, but not in the published version has been recorded.
	Nicolas Poussin	Et in arcadia ego 1637–1638, oil on canvas, 87 × 120 cm Paris, Louvre Fine arts The motif that is often taken up in art, in which the shepherds of Arcadia are confronted with death, is translated into Arcadia with the phrase I was too , and amounts to the further phrase Remember that you must die . AedW I, p. 86; AedW II, p. 31	discussed or mentioned: Example of a list in which Peter Weiss explains how the faces of the servants and maidservants emerged in the works that were dedicated to the preferred: "The shepherds and fishermen who had accepted their decorative functions suddenly lost, in pictures by Poussin , their simplicity and gentleness (...). ” At a later point, Peter Weiss developed the influence on Géricault's painting Raft of the Medusa from the interpretation that the Golden Age already contained the horror of the discovery of the tomb and the resigned experience of the natural law .
	Georges de La Tour	Joseph as a carpenter around 1640, oil on canvas, 137 × 101 cm Paris, Louvre Fine arts AedW I, p. 86 Subject group: work	content included: Example of a list in which Peter Weiss explains how the faces of the servants and maidservants emerged in the works that were dedicated to the preferred ones: “A blacksmith, a carpenter at La Tour were so outstanding with their work that they alone were able to visualize (...) received. "
	Jean Siméon Chardin	The Laundress 1733, oil on canvas, 37 × 42.5 cm St. Petersburg, Hermitage Fine arts AedW I, p. 86 Subject group: work	content included: Example of a list in which Peter Weiss explains how the faces of the servants and maidservants emerged in the works that were dedicated to the preferred: “Vermeer, Chardin did not keep maturity and beauty from the superiors, but left them to the seamstress, the laundress to come to the maid. "
	Jan Vermeer	Maid with milk jug 1658–1660, oil on canvas, 45 × 41 cm Amsterdam, Rijksmuseum Fine arts AedW I, p. 86 Subject group: work	content included: Example of a list in which Peter Weiss explains how the faces of the servants and maidservants emerged in the works that were dedicated to the preferred: “Vermeer, Chardin did not keep maturity and beauty from the superiors, but left them to the seamstress, the laundress to come to the maid. "
	Giotto di Bondone	The Annunciation to Anna from the cycle Scenes from the Life of Jesus and the Life of the Blessed Virgin Mary and Her Parents 1304–1306, fresco, 38 scenes Padua, arena chapel Fine arts AedW I, p. 88 f.	discussed or mentioned: Symbol in the dream of the first-person narrator, in which he uses the images of his barren apartment with the cycle by Bondone and a surreal scene is created. In the memories of the parents, the father appears as Joachim and the mother as Anna: “My mother was kneeling, in a long brown petticoat, like Anna, who was being announced through the wall, on the floor, in front of the wooden frame that held my bed was. "
	Giotto di Bondone	The death of the noble von Celano from the cycle The legend of St. Francis 1297-1300, fresco, 28 scenes Assisi, Basilica of San Francesco Fine arts AedW I, p. 88 f.	discussed or mentioned: Symbol in the dream of the first-person narrator, in which various frescoes flow into the images of the first-person narrator, here the barely empty apartment changes to a projection of the table.
	Giotto di Bondone	Saint Francis in a fiery chariot from the cycle The legend of Saint Francis 1297–1300, fresco, 28 scenes Assisi, Basilica of San Francesco Fine arts AedW I, pp. 89, 92	discussed or mentioned: Symbol in the dream of the first-person narrator with a surreal resurrection image of the father from the kitchen floor and a flight vision: “From the first crack I knew that someone was buried there, and when the broken plank opened sideways, I immediately recognized the one above and Over my father's dusty hand, with the wide joint, the strong ankles, his arm emerged from the mortar, his face was still in the tow that was stuffed between the planks, I wanted to help him, but I was hanging so far out of the window that the next impulse would throw me out. "
	Johann Wolfgang von Goethe	Wilhelm Meister's Wanderjahre 1821/29, novel Literature AedW I, p. 134	discussed or mentioned: Example of the span of the social novel in which the educated bourgeoisie is represented: “Because from Wilhelm Meister to the Buddenbrooks, the world that set the tone in literature was seen through the eyes of those who owned it such attention to detail and personality are encompassed in the richness of all stages of development. "
	Thomas Mann	The Buddenbrooks 1901, novel Literature AedW I, p. 134	discussed or mentioned: Example of the span of the social novel in which the educated bourgeoisie is represented: “Because from Wilhelm Meister to the Buddenbrooks, the world that set the tone in literature was seen through the eyes of those who owned it such attention to detail and personality are encompassed in the richness of all stages of development. "
	Pierre-Nolasque Bergeret	Colonne Vendôme 1806–1810, Victory Column Paris, Place Vendôme Fine arts The 44 meter high column with a statue of Napoleon I was overthrown on May 16, 1871 during the uprising of the Paris Commune . AedW I, p. 152f. Motif group: resistance / elevation	discussed or mentioned: Description of the fall: “In the rubble, in a cloud of dust, lay the Emperor, with a toga and a laurel wreath. His betrayal of the revolution had been atoned for. "
Illustration	John Heartfield	The meaning of the Hitler salute. Motto: Millions stand behind me 1932, photo montage, 36.2 × 26.67 cm Fine arts AedW I, p. 158	content included: Example of the cultural contributions in the Arbeiter Illustrierte (AIZ).
	background	Urgent appeal 1932, appeal With the urgent appeal in June 1932, well-known personalities called for tactical cooperation between the SPD and KPD against the growing NSDAP. AedW I, p. 158 f.	discussed or mentioned: List of artists who supported the urgent appeal, as well as inclusion of later calls that were initiated by Willi Münzenberg , editor of the AIZ.
	background	Lutetia district 1935–1937, merger The Lutetia Circle was a committee made up of artists and politicians from various currents, primarily from the SPD and KPD environment, who met for several meetings between 1935 and 1937 in the Hôtel Lutetia in Paris to reach an anti-fascist consensus against the Nazi regime Find. Ae dW I, p. 159, p. 167 f.	discussed or mentioned: List of artists who took part in the Lutetia Circle and allusion to Heinrich Heine's essay Lutetia .
	Klaus Neukrantz	Barricades on Wedding 1931, novel of a street from the Berlin May days, Literature novel about the May riots from May 1st to 3rd, 1929 in Berlin AedW I, pp. 161, 182	discussed or mentioned: Description of the May riots based on and discussion of the novel by Neukrantz. The novel is then taken up again and compared with Kafka's Das Schloss . This is the targeted portrayal of a historical event, while Kafka thinks through the subject like a labyrinth. The books "clearly showed how the differences were interdependent, how they complemented one another and could not do without one another."
	Heinrich Heine	Lutetia 1854, essay on politics, art and popular life Literature In this essay, Heine describes his ambivalent relationship to Marxist philosophy , the concerns of which he recognizes and through which he nevertheless fears the destruction of his cultural values. AedW I, p. 164	discussed or mentioned: Excerpt from Heine's work as an ironic allusion to the participants of the Lutetia circle : “Well, gathered with the best of intentions, if they had been careful, they would have heard what Heine had to say to them (...) went into the epoch, in who would rule the sinister iconoclasts, the communists, break all marble statues of beauty, smash all the tinsel of art, cut the poet's laurel groves and plant potatoes there and turn bags out of his poetry books to keep coffee and tobacco in them. "
	George grosz	Café 1919, oil on canvas Fine arts AedW I, p. 169f.	content included: Example of art that could express the feelings of the first-person narrator, the hatred of greed and self-interest, the murderous disgust for exploitation, subjugation and torture: “We rarely found this feeling in art, expressed in literature, in the slightest in the pictures of Grosz and Dix, Heartfields collages came closest to her, clearly defined she came across to us in Lenin's April theses . "
Illustration	Otto Dix	Triumph of Death 1934, oil on canvas Stuttgart, Art Museum Fine arts AedW I, p. 170 Motif group: Pictures of horror	content included: Example of art that could express the feelings of the first-person narrator.
Illustration	John Heartfield	War and Corpses - The Last Hope of the Rich 1932, photomontage Fine arts AedW I, p. 170 Subject group: War	content included: Example of art that could express the feelings of the first-person narrator.
	Pieter Brueghel the Elder	The fight between carnival and Lent 1559, oil on wood, 118 × 164.5 cm Vienna, Kunsthistorisches Museum Fine arts AedW I, p. 172	discussed or mentioned: Description of the painting in many details, the content as a poor dream of gluttony with the conclusion: “There was not a trace of pleasure and sociability in the paintings that depicted popular life.” Peter Weiss draws a circle from a total of seven paintings to Pieter Brueghel Franz Kafka's novel Das Schloss and introduces this comparison with the statement: “Brueghel and Kafka had painted world landscapes , thin, transparent, but in earth tones, their pictures were at the same time luminous and dark, they looked massive, heavy as a whole, glowing, and clear them in their details. "
	Pieter Brueghel the Elder	The gloomy day 1565, oil on panel, 118 × 163 cm Vienna, Kunsthistorisches Museum Fine arts AedW I, p. 174	discussed or mentioned: Listed as an example of Brueghel's representations of farm workers, artisans, farmers and others who are all joyless and marked by "almost stupid dullness" in all their activities "whether they cut crops from the willow trees under a stormy sky (...)"
	Pieter Brueghel the Elder	Tower of Babel 1563, oil on wood, 114 × 155 cm Vienna, Kunsthistorisches Museum Fine arts AedW I, p. 174	discussed or mentioned: Listed as an example of Brueghel's representations of farm workers, craftsmen, farmers, "(...) whether they built the enormous housing of the Babylonian Tower around the rocky peaks,"
	Pieter Brueghel the Elder	Carrying the Cross 1564, oil on wood, 124 × 170 cm Vienna, Kunsthistorisches Museum Fine arts AedW I, p. 174	discussed or mentioned: Listed as an example of Brueghel's representations of farm workers, craftsmen, farmers, "(...) whether they led Jesus to the crucifixion,"
	Pieter Brueghel the Elder	Peasant Dance 1568, oil on panel, 114 × 164 cm Vienna, Kunsthistorisches Museum Fine arts AedW I, p. 174	discussed or mentioned: Listed as an example of Brueghel's portrayals of farm workers, craftsmen, farmers, "(...) or whether they turned in a round dance at the fair."
	Pieter Brueghel the Elder	Landscape with the fall of Icarus 1558, oil on panel, 73.5 × 112 cm Brussels, Musées royaux des Beaux-Arts de Belgique Fine arts AedW I, p. 174	discussed or mentioned: Description of the painting with reference to the indifferent attitude of the people in the picture and the depiction of the aphorism: “No plow stops for the sake of a dying man. (...) The interwoven motif of the proverb focused on the imperturbability of earthly work, but also held on to its heaviness and joylessness. "
	Pieter Brueghel the Elder	The Bethlehemite Child Murder 1565–1567, oil on panel, 111 × 160 cm Vienna, Kunsthistorisches Museum Fine arts AedW I, p. 174f. Motif group: Bethlehemite child murder	discussed or mentioned: Description of the painting with reference to the nameless despair and the inescapability of the gruesome: “What happened between the inhabitants and the mercenaries, who were their kind, who only, as always, carried out the orders of their superiors, was unbearable, and it in his constant gestures of horror, of cold slaughter, stamped forever in the iconic white surface. ” This train of thought is continued in the description of Franz Kafka's novel Das Schloss : “ This being surprised under supposed shelter, this sudden one The incursion of the unimaginable had also become something permanent in the land surveyor's story. "
	Franz Kafka	The castle unfinished novel, 1922 Literature The novel describes the unsuccessful struggle of the surveyor K. for recognition, through a mysterious system, which is represented by an all-dominating castle and its representatives. AedW I, p. 178 ff.	discussed in detail: Description and explanations of the insights the narrator draws from the novel for himself. In particular, he sees parallels to the reality of the oppressed and exploited in the non-questioning of rule and the resulting hopelessness, and that precisely because of this, the situation arises that the position that everyone occupies in society is not questioned, but only about it Recognition is fought, even when it comes to doing unrelated work: “The impression was suddenly given that something important, with serious consequences, was going on, an enormous, worldwide operation that we had to serve as tiny parts of the machine park . This is how the voice of imperialism sounded to those who had hitherto been too weak to acquire knowledge of the connections between economic processes. But even when we had gained an insight, we stayed the same distance from this whirring, although we were involved as stokers, mechanics, porters, cart pushers. "
	Romain Rolland	Jean Christophe 1904–1912, novel Literature AedW I, p. 185	discussed or mentioned: Example in the development of workers' education : "The language that was connected with our everyday dealings had expanded, suddenly we understood poems that apparently had nothing to do with our stamp cards, our inventory lists, our wage negotiations and union meetings."
	André Gide	The counterfeiters 1925, novel Literature AedW I, p. 185	discussed or mentioned: Example in the development of workers' education.
	Knut Hamsun	Hunger 1890, novel Literature AedW I, p. 185	discussed or mentioned: Example in the development of workers' education.
	Elias Canetti	The glare 1931/32, novel Literature The main character of this novel, the book collector Peter Kien, lives in his library of 25,000 volumes. Confronted with the meanness of life, he falls mad and burns himself and his world of books in a kind of auto-da-fe . AedW I, p. 186	discussed or mentioned: Example in the development of workers' education : “We started stammering, and while reading (...) we kept returning to the zero point, where our own lives had started. (...) If the building blocks were books for us, Prefessor Kien, Canetti's book man, perished between literature. "
	Louis-Ferdinand Celine	Journey to the End of the Night 1932, novel Literature AedW I, p. 186	discussed or mentioned: Example in the development of workers' education : “When artists who came from the bourgeoisie expressed their weariness, their lack of belonging, they might still be stuck in their origins by digging into individual pain, but with writing they were still there, themselves to approach those who saw an unnecessary, luxurious expense in their work. "
	Antoni Gaudí	Sagrada Família unfinished basilica, begun in Barcelona in 1882 Building The basilica was designed by architect Francisco del Villars started in the Gothic Revival style. At the end of 1883 Antoni Gaudí took over the construction management and completely redesigned the designs. Instead of buttresses and supporting pillars, he developed a hyperbolic - parabolic vault system in a complex structure, which is supported by tree-like branching columns. Gaudí died in 1926 as a result of a tram accident. The building has remained unfinished to this day. AedW I, pp. 193-197, 199 f., 208	discussed in detail: Description of the building and discussion of the political contradictions that the first-person narrator ponders over during the tour. The cathedral stands as a symbol of the “banality of an empty, lying religion” and is comparable to the tendencies of the revolutionary movement, which is held down by its leadership in petty-bourgeois idealism.
	Antoni Gaudí	Hope portal east facade of the Sagrada Família, 1891–1900 Barcelona Fine Arts AedW I, p. 208 Group of subjects : Bethlehemite child murder	discussed or mentioned: The motif of the Bethlehemite child murder, discussed several times in the novel, can also be found in a group of sculptures at the Sagrada Família : “The armored warrior, with the cast iron sword in one hand, throwing up the kidnapped child with the other, the woman pleading for a halt next to him the children's corpse hanging down the chattering geese. "
	Antoni Gaudí	Casa Batlló 1877, Barcelonabuilding, Passeig de Gracia Building AedW I, p. 195	discussed or mentioned: The building is also visited by the protagonists during their stay in Barcelona.
	Antoni Gaudí	Casa Milà 1906–1910, Barcelonabuilding, Passeig de Gràcia Building AedW I, p. 195	discussed or mentioned: The building is also visited by the protagonists during their stay in Barcelona.
	Claude Joseph Rouget de Lisle	Marseillaise 1792, song, French national anthem Music AedW I, p. 208	discussed or mentioned: Controversy about the necessity of slogans and their banalization of the context, compared to Gaudí's Sagrada Família : “Every movement needed its simplifications and summaries, including the text of the Marseillaise, the International had words for those concerned that they had long known by heart but wanted to hear again and again. "
	Eugène Pottier (text), Pierre Degeyter (melody)	Die Internationale 1871/1888, song, hymn of the socialist labor movement Music AedW I, p. 208	discussed or mentioned: Controversy about the necessity of slogans and their banalization of the context, compared to Gaudí's Sagrada Família : “Every movement needed its simplifications and summaries, including the text of the Marseillaise, the International had words for those concerned that they had long known by heart but wanted to hear again and again. "
	Miguel de Cervantes	Don Quixote 1605/1615, novel Literature With the ingenious junker Don Quixote von der Mancha , Cervantes parodies the contemporary popular novels of chivalry with the admonition how excessive reading of them could be maddening. AedW I, pp. 208f., 242, 257	content included: The character Don Quixote is performed repeatedly, especially during the stay of the first-person narrator in Spain: as an epic of Spain, "in which frenetically the overcoming of evil, justice, human dignity was sought and in which failure due to falsehood was always malice and deceit prevailed “ , as a motif of a mural in Albacete, in the thought of heroic productions.
	background	International Brigades The International Brigades were voluntary associations that fought on the side of the Spanish Republic in the Spanish Civil War from 1936 to 1938 against the fascist associations of the Spanish National Coalition led by Franco . AedW I, p. 224	discussed or mentioned: List of artists who joined or supported the International Brigades.
	Richard Wagner	Tannhäuser Overture 1842–1845, opera Music AedW I, p. 225	discussed or mentioned: Symbol in a gathering of internationalists in a former palace in Albacete that served as an infirmary. The role music from Wagner and others , which was just there, was played on an art piano : “The red flag, which hung from the glass roof high up to the gallery on the first floor, (...) was part of the attempt to bring about a change in the essence of the requisitioned building , but the perforated rolls that had been pushed into the piano case at the beginning of the meeting had (...) rather hammered down the ghost. "
	Pietro Mascagni	Cavalleria rusticana 1890, opera Music AedW I, p. 225	discussed or mentioned: Symbol in a gathering of internationalists in a former palace in Albacete that served as an infirmary. On a synthetic playing piano the existing flat there was role music by Mascagni and other hook.
	Jean Sibelius	Valse triste 1904, waltz Music AedW I, p. 225	discussed or mentioned: Symbol in a gathering of internationalists in a former palace in Albacete that served as an infirmary. On a synthetic playing piano the existing flat there was roll music of Sibelius and other hook.
	Giuseppe Verdi	March from Aida 1871, opera Music AedW I, p. 256	discussed or mentioned: Symbol in a gathering of internationalists in a former palace in Albacete that served as an infirmary. At the end of the gathering, Verdi's role music, which was just there, was played on an art piano .
	Francisco de Goya	Los Caprichos 1796–1797, 80 aquatint etchings Fine arts The graphic series with numerous portraits is a criticism of Spanish social life, especially of the nobility and clergy. AedW I, p. 271	discussed or mentioned: The first-person narrator describes his ideas of the country and republic of Spain as being shaped, among other things, by Goya's satirical papers by the Caprichos .
	Francisco de Goya	Desastres de la Guerra 1810–1814, 82 etchings Fine arts The etchings from the Horrors of War series depict the atrocities committed by Napoleon's soldiers in the fight against the rebellious Spanish population. AedW I, p. 271 Motif group: War	discussed or mentioned: The first-person narrator's ideas of the country and republic of Spain are shaped , among other things, by Goya's graphic series Der Desastres . In the novel, they are considered a metaphor in the sense of the title of the first sheet of the series Sad Foreboding of What Must Happen .
	middle Ages	Castillo de Dénia 11th and 12th centuries Dénia Building The Castillo is the ruin of a fortress from the Arab period on the castle hill of Dénia. The early history of Dénias with influences from Phoenician , Greek , Carthaginian and Roman settlers is not proven, just as controversial is the assumption that Dénia is identical with the city of Hemeroskopeion or that the name is derived from a Phoenician Diana temple . AedW I, pages 314, 320 ff.	discussed or mentioned: Description and examination of the Spanish history of colonialism from antiquity through the Reconquista to the Spanish Civil War
Illustration	Pablo Picasso	Guernica 1937, oil on canvas, 349 × 776 cm Madrid, Museo Reina Sofía Fine arts The painting was created as a reaction to the destruction of the Spanish city of Guernica by the air raid by the German Condor Legion on April 26, 1937. AedW I, pp. 332-337, 339 f., 343, 348; AedW II, p. 38, 57, 299 Group of motifs: Bethlehemite child murder Group of motifs: War Group of motifs: Fright images	discussed in detail: Discussion and interpretation of the painting both on the basis of the creation process documented photographically by Dora Maar , the art-historical debate of the contemporary novel as well as a detailed comparison with myths, motifs and in connection with other works of art. “Picasso most clearly expressed the impossibility of doing justice to the experience of other people, he only relied on his own perceptions, his subjective associations. It was not a matter of naming the number of bombs dropped, houses destroyed, wounded and dead. That could be read elsewhere. He waited until the clouds of smoke and dust had broken up, until the moans and screams had ceased, only then, by himself, in the room alone with the painting surface, did he wonder what Guernica was and when it was taking shape for him, as an open city, as a city of the worthless, it became a tremendous reminder against visits of the kind that might come. Guernica was at the beginning of a series, the end of which was not yet in sight. "
	Greek mythology	Nike Mythology The goddess of victory Nike is almost always depicted with wings in art. AedW I, pp. 333, 341	discussed or mentioned: The goddess Nike is recognized in the novel in Picasso's Guernica , “This lump of hands stretched out towards the waving mane on the cloud-like arm, carrying the poor kerosene chandelier, (...) and there was something special about this ancient light, that with such sweeping gestures through the narrow hatch it was popped in by a Nike, whose other hand rested in the shape of a star between her breasts. " as in the figure of the femme du peuple in Delacroix ' Freedom leads the people :" ... with the face turned to one side Like Nike, who stretched her immense profile in Picasso's pictorial space. In its fleshy fullness, the fist clenched around the drawn gun, the heavy thigh pretended, it indicated the stage at which the idea turns into material violence. "
	Greek mythology	Minotaur Mythology Son of Queen Pasiphae of Crete and the Cretan bull , born with the body of a human and the head of a bull. AedW I, p. 334 ff.	discussed or mentioned: In the dispute over Picasso's Guernica , the representation of the bull with the mythological hybrid creatures of the Minotaur is used: "And when the bull was more human, (...) we thought in the Taurus the durability of the Spanish people shown to be seen." In addition, is the Questioned the meaning in Picasso's world of motifs and used his etching Minotauromachy for a further comparison .
	Greek mythology	Pegasus Mythology Pegasus the child of the sea god Poseidon and the gorgon Medusa , he emerged from Medusa's neck when she was beheaded by the hero Perseus . But Perseus could only kill Medusa, whose gaze turned everyone to stone, by only looking at her in a mirror. AedW I, pp. 334, 339	discussed or mentioned: In the first versions of Picasso's Guernica , Pegasus initially had a central representation, but he is missing in the final version. The protagonists discuss the meaning of this lack and develop it further in mythology: “Turning away from the Gorgon, only catching her grimaceous face in a mirror, Perseus had killed her, and this evasion was also Picasso's own. The attacking violence remained invisible in his image. (...) Perseus, Dante, Picasso remained intact and handed down what their mirror had caught, the head of Medusa, the circles of the inferno, the shattering of Guernica. "
	Greek mythology	Medusa Mythology Medusa is the daughter of the sea deities Phorkys and Keto . Out of jealousy, Pallas Athene turned her into a gorgon , a winged monster with snake hair, scale armor, glowing eyes and a protruding tongue. The sight of Medusa made everyone turn to stone as protection against enemies who might have killed them for their mortality. AedW I, p. 339, AedW II, p. 14, p. 65	discussed or mentioned: The myth of Medusa, taken up in the discussion of the Pegasus picture, has further references in the course of the novel, for example in the title of the picture by Géricault and in the 2nd volume in the description of the city of Paris.
Illustration	Pablo Picasso	Franco's dream and lie 1937, etchings, plates with 18 pictures on 2 plates, 38 × 57 cm Fine arts AedW I, p. 335	discussed or mentioned: Description and inclusion of the etchings in the interpretation of the painting Guernica : "In the sequence of images (...) the mollusc-like, trunk-covered caudillo first attacked the image of the arts with a pickaxe and, surrounded by barbed wire, offered sacrifices to the idol of money, Then the bull furiously took him on the horn, and the tear-streaked faces of the people rose towards the stages of the duel for life and death, until in the end only the crouching woman remained, in front of the burning ruins of the house with the child's body inside to the poor."
Illustration	Pablo Picasso	Mother with a dead child on a ladder 1937, drawing Madrid, Museo Reina Sofía Fine arts AedW I, p. 335 Group of subjects : (Bethlehemitic) child murder	discussed or mentioned: The motif of a mother with a dead child, especially in the horror images of the Bethlehemite child murder , is repeatedly taken up in the novel. In the discussion of the painting Guernica , it forms an iconographic transition to the image of the Minotauromachy. In other parts of the novel, the motif is found in Pieter Brueghel, as a fresco by Giotto di Bondone in the arena chapel and as groups of sculptures on Antoni Gaudí's Sagrada Família .
	Guido Reni	Bethlehem child murder 1611–1612, oil on canvas, 268 × 170 cm Bologna, Pinacoteca Nazionale Fine arts AedW I, p. 335 Group of subjects : Bethlehemite child murder	content included: The motif of a mother with a dead child, especially in the horror images of the Bethlehemite child murder , is repeatedly taken up in the novel. In the discussion of the painting Guernica , it forms an iconographic transition to the image of the Minotauromachy. The painting by Reni serves as an example, as are the aforementioned works of art by Breughel and the sculptural group by Gaudí.
	Nicolas Poussin	Bethlehem child murder around 1628–1629, oil on canvas, 147 × 171 cm Chantilly, Musée Condé Fine arts AedW I, p. 335 Group of subjects : Bethlehemite child murder	content included: The motif of a mother with a dead child, especially in the horror images of the Bethlehemite child murder , is repeatedly taken up in the novel. In the discussion of the painting Guernica , it forms an iconographic transition to the image of the Minotauromachy. The painting by Poussin serves as an example here, as are the aforementioned works of art by Breughel and the sculptural group by Gaudí.
Illustration	Fernand Leger	Nudes in the forest 1909–1911, oil on canvas Otterlo, Rijksmuseum Kroller-Muller Fine arts AedW I, p. 336	discussed or mentioned: Inclusion in the interpretation of the painting Guernica , especially the formal language, forces the viewer to build and combine. The gaze is woken up.
Illustration	Lyonel Feininger	The Cathedral of Socialism 1919, etching Fine arts AedW I, p. 336	content included: Not explicitly mentioned in the description of Picasso's Guernica , but listed as a comparative example of how our gaze is roused : “The lines of flight of the contours on Feininger's houses opened up a whole city”.
	Franz Marc	The Tower of the Blue Horses 1913, oil on canvas, 200 × 130 cm formerly Berlin, Kronprinzenpalast; missing since 1945 Fine arts AedW I, p. 336	discussed or mentioned: In the description of Picasso's Guernica, a comparative example shows how our gaze is awakened : "The meteoric, spray- like forms on the tower of the blue horses revealed a vitality that conventional means of illustration could never achieve."
	Franz Marc	Tierschicksale 1913, oil on canvas, 196 × 266 cm Basel, Kunstmuseum Fine arts AedW I, p. 336	content included: The “meteoric spraying forms” that are attributed to the tower of the blue horses in the novel , as well as the reference to Picasso's painting, are increasingly focused on the fate of animals .
Illustration	Pablo Picasso	Minotauromachy 1935, etching, 49.6 × 69.6 cm Fine arts AedW I, p. 336	discussed or mentioned: Inclusion of the etching in the interpretation of the painting Guernica , the motif world of the Minotauromachy stands for the personal-sexual relation in contrast to the representation in the painting with the public-political background. However, it is recognized as "the well from which the Guernica image rose."
	Henri Rousseau	The War - Ride of Discord 1894, oil on canvas, 114 × 195 cm Paris, Musée d'Orsay Fine arts AedW I, p. 340 Subject group: War	discussed or mentioned: Inclusion in the interpretation of the painting Guernica : “The picture screamed and reminded of all previous stages of oppression. It was close to another visualization, in the center of which a long stretching black horse flew, with a rider in a torn, waving dress, carrying sword and torch, and underneath lay the naked fallen, broken. "
	Andrea Mantegna	The Lamentation of Christ around 1490, oil on canvas, 200 × 130 cm Fine arts AedW I, p. 341	discussed or mentioned: Named as the root of Picasso's Guernica in the motif of the Lamentation of Christ: "Picasso's work led back to the Pietà of Mantegna and the Master of Avignon, to the Apocalypse of Beatus of Libana and the cave drawings of the Stone Age."
	Enguerrand Quarton (Master of the Pietà of Avignon)	Pietà by Villeneuve-lès-Avignon around 1455, tempera and gold on wood, 162 × 218 cm Paris, Louvre Fine arts AedW I, p. 341	discussed or mentioned: Named as the root of Picasso's Guernica in the motif of the Lamentation of Christ: "Picasso's work led back to the Pietà of Mantegna and the Master of Avignon, to the Apocalypse of Beatus of Libana and the cave drawings of the Stone Age."
	Beatus of Liébana	Apocalypse of Saint-Sever in the middle of the 11th century, illumination Fine arts AedW I, p. 341 Motif group: horror pictures	discussed or mentioned: Description of the apocalypse depicted here as one of the roots in Picasso's Guernica : "The miniature of Beatus, from the eleventh century, showed the components of the composition used by Picasso in an as yet undisguised landscape."
	Eugène Delacroix	Freedom leads the people 1830, oil on canvas, 259 × 325 cm Paris, Louvre Fine arts The painting is an allegorical representation of the July Revolution of 1830 , with which the Bourbon regime in France was finally overthrown and the bourgeoisie came to power. AedW I, pp. 341-344, 347-349 AedW II, pp. 19, 27, 40 Motive group: resistance / elevation	discussed in detail: Description and interpretation of the painting, iconographic classification and comparison with Picasso's Guernica and Géricault's raft of the Medusa . The protagonists see the terrible thing in the painting in the fact that they know what followed July 1830: “The people, gathered under the ideal of freedom, had already been betrayed, the craft of the uprising had carried out it as it did four decades before, with its victims it had paved the way for higher classes. "
	Honoré Daumier	Rue Transnonain, le 15 avril 1834 1834, chalk lithograph, 36.5 × 53.2 cm Fine arts This graphic also shows a scene from the July Revolution of 1830 . AedW I, p. 343; AedW II, p. 33 Group of motifs: Resistance / Elevation	discussed or mentioned: Discussion as opposite of Delacroix ' Freedom guides the people and as influenced by Géricault's raft of the Medusa .
	Théodore Géricault	The raft of Medusa 1818/19, oil on canvas, 491 × 716 cm Paris, Louvre Fine arts The painting is related to the events surrounding the French frigate Méduse , which ran aground on the West African coast in June 1816. A makeshift raft was constructed for 147 passengers and crew members, which, insufficiently equipped with water and food, floated in the open sea for ten days. Only 15 people survived. The disaster attracted attention across Europe and led to a government scandal due to the poorly executed rescue operation. AedW I, pp. 343-345, 347-350 AedW II, pp. 7-19, 21-23, 26-33, 41, 66f., 119f., 122f. Motif group: horror pictures	discussed in detail: Intensive discussion, description and interpretation as well as illuminating the background of the painting. It is related to Picasso's Guernica as a representation of horror and compared in the historical representation to Delacroix ' Freedom leads the people . “Géricault's picture, however, was a dangerous attack on established society.” The artist's biography and the political background to the Méduse affair are also discussed, as are personal reports from survivors. In the second volume of the novel, Peter Weiss takes up artist and work again and describes the creative process with a large number of studies and drafts. From the initially political reading of the picture, various, sometimes overlapping narrative levels are directed to a personal level of experience, the political catastrophe turns into a personal-existential crisis.
	Francisco de Goya	The shooting of the insurgents on May 3, 1808 1814, oil on canvas, 266 × 345 cm Madrid, Prado Fine arts On May 2nd, 1808, there was an uprising of the population in Spain, which was occupied by Napoleonic troops. Forty-five insurgents were rounded up on the hill of Principe Pio on the night of May 2nd and 3rd and shot. AedW I, p. 313, 340, 345-350 AedW II, p. 153, 155, 299 Group of motifs: Resistance / Elevation . Group of motifs: Images of horror	discussed in detail: Discussion and interpretation of the painting, initially related to Picasso's Guernica and compared with Géricault's raft of the Medusa , the picture is taken up many times in later chapters. With the description and interpretation of the picture, the protagonists argue about the martyr's death: “If he does not express (...) what can be achieved in this span between birth and death, his gesture is not full of pride and superiority because he lets go of everything and offers his whole body to the end, knowing that he has not lived uselessly. "
	Francisco de Goya	The fight at the Puerta del Sol on May 2, 1808 1814, oil on canvas, 266 × 345 cm Madrid, Prado Fine arts On May 2nd, 1808, there was an uprising of the population in Spain, which was occupied by Napoleonic troops. AedW I, p. 345 Motive group: resistance / elevation	content included: This painting, which is not explicitly mentioned in the novel, forms the counterpart to the shooting of the insurgents and depicts the events that preceded the executions, the struggle of the Madrid against the Napoleonic troops. Both pictures were intended by Goya as an ensemble, the concrete historical statement is seen as a testimony-bearing impulse, which is also inherent in Peter Weiss' novel itself.
	Eugène Delacroix	The Dante Barque 1822, oil on canvas, 189 × 241 cm Paris, Louvre Fine arts The painting depicts the eighth song of hell from the Divina Commedia , in which Dante and Virgil are sailing across the river of the damned in the narrow boat of the ferryman Phlegias . AedW I, p. 347	discussed or mentioned: In Delacroix's interpretation of Die Freiheit, the people are listed as a comparison to previously created paintings: "Up until now he had put his extravagant fantasies into journeys to hell and slaughter". The mention of this painting also means going back to the review of Dante's Divine Comedy .
	Eugène Delacroix	The Chios Massacre 1824, oil on canvas, 419 × 354 cm Paris, Louvre Visual arts The painting depicts the Chios massacre committed by the Ottomans during the Greek Revolution in April 1822 . AedW I, p. 347 Group of motifs: Pictures of horror	discussed or mentioned: The painting is related to Picasso's Guernica , and in Delacroix's interpretation Die Freiheit leads the people as a comparison to previously created paintings: "Up until now he had put his extravagant fantasies into hell and carnage".
	Théodore Géricault	Wounded cuirassier leaves the battlefield 1814, oil on canvas, 294 × 358 cm Paris, Louvre Visual arts AedW I, p. 347	content included: Example of the paintings by Géricault, which he painted in front of the raft of the Medusa : “Likewise, Géricault's vision emerged from a haunted, disturbed life in which the irrepressibility, the constant flight from oneself was initially expressed in the military campaigns and the collapse of the Napoleonic Empire ( ...) "
	Théodore Géricault	Four young men holding a running horse 1817, oil on canvas Rouen, Musée des Beaux-Arts Visual arts AedW I, p. 347	content included: Example of Géricault's paintings, which he painted in front of the raft of the Medusa : “Likewise, Géricault's vision emerged from a haunted, disturbed life in which the instability, the constant flight from oneself initially found its expression (...) in broad and violently painted martial scenes . "
	Théodore Géricault	The Derby by Epson 1821, oil on canvas, 91 × 122 cm Paris, Louvre Visual arts AedW I, pp. 347, 349	discussed or mentioned: Example for the personal background of Théodore Géricault: "Likewise, Géricault's vision emerged from a hurried, disturbed life in which the irrepressibility, the constant flight from oneself (...) later in wild horses." At the same time, the narrator notes, that the painter painted the dream of his death in this picture .
	Jan Vermeer	The lace maker around 1665, oil on canvas, 24.5 × 21 cm Paris, Louvre Visual arts AedW I, p. 353	discussed or mentioned: (motif group work) Resumption of the topic of work in the performing arts with the idea “that only the artistic depiction of a seamstress, a lace maker, a mower or thresher, a maid harvesting grapes or a blacksmith gives our work a value. Only in the work of art does the work have cultural significance; there it has become art. "
	Adolph Menzel	The iron rolling mill 1875, oil on canvas, 153 × 253 cm Berlin, Alte Nationalgalerie Visual arts AedW I, pp. 353–358 Group of subjects : work	discussed in detail: Description and interpretation of the painting in connection with the first-person narrator's thoughts on the culture of the workers and the fascination that this representation exudes. With further consideration he develops a criticism of the codification of the conditions through the picture: “The men, with their furrowed faces and their fists clenched around their tools, with their furrowed faces and their fists clenched around their tools, were detached from the social knowledge, documentation and organizations (... I saw) whom Menzel's mastery had placed in front of the admiring public, the German worker from Bismarck's and Wilhelm's empire, undisputed by the Communist Manifesto, in his only power to be brave and loyal. ” The painting rather symbolizes the expansion of the industrial imperialism, Peter Weiss relates it to two other pictures by Menzel in a triptych of modern German history : in the exhibition in the National Gallery it is flanked by the paintings King Wilhelm's Departure for the Army in 1870 and Das Ballsouper .
	Adolph Menzel	Departure of King Wilhelm I for the army on July 31, 1870 1871, oil on canvas, 63 × 78 cm Berlin, Alte Nationalgalerie Fine arts The painting represents the prelude to the Franco-German War of 1870. AedW I, p. 355 f.	discussed or mentioned: Left part of the triptych on German history , which the first-person narrator recognizes in the arrangement of Menzel's three paintings in the National Gallery, it represents the prelude to the Franco-Prussian War of 1870: “On the left the event that was said to be the heartbeat of the Nation would be expressed in it. "
	Adolph Menzel	Das Ballsouper 1878, oil on canvas, 71 × 90 cm Berlin, Alte Nationalgalerie Visual arts AedW I, p. 355 f.	discussed or mentioned: Right part of the triptych on German history , which the first-person narrator recognizes in the arrangement of Menzel's three paintings in the Nationalgalerie: “On the one hand, the enthusiastic greeting of war, the education to bow down, to lick saliva, on the other hand, the glorification pompous splendor. Hardest toil in the middle to create wealth for those on the right and left. (…) The central piece with the men in leather aprons, swinging heavy poles and tongs, showed all the deceit that was committed against the working class. "
	Robert Koehler	The Strike 1886, oil on canvas, 181.5 × 275.6 cm Berlin, German Historical Museum Visual arts AedW I, pp. 357–359 Motive group: work Motive group: Resistance / elevation	discussed or mentioned: Description and discussion of the painting as a counterpart to Menzel's iron rolling mill , which depicts the workers as the acting subjects.
	Edvard Munch	Workers on their way home around 1914, oil on canvas, 130.7 × 160.8 cm Copenhagen, Statens Museum for Kunst Visual arts AedW I, p. 360 Motif group: work	discussed or mentioned: Described and depicted as a symbol of a life path , “because everything was there that I had experienced in my own body, the morning-tired pounding to the factory, the extinct retreat after the shift, the bondage to work, the hatred of this bondage and the The compulsion to take the work that came up, the stifled sore of having to work for others, and the fear of losing this job. "
	Théodore Géricault	The murderers carry the body of Fualdès to the Aveyron from the series The murder of Antoine-Bernardin Fualdès around 1818, sepia drawing, 21.5 × 28.7 cm Paris, Musée des Beaux-Arts Fine arts Series of drawings on the murder of the administrative officer Antoine-Bernardin Fualdès in 1817, which was followed by a judicial scandal and a contemporary media spectacle in 1818. AedW II, p. 10	discussed or mentioned: In the second volume of the novel, Peter Weiss takes up the discussion of Géricault's painting The Raft of Medusa and deals intensively with the creative process. The process begins with a series of drawings about the murder of Antoine-Bernardin Fualdès, with which Géricault adapted a daily political event of the sensational press of the time into an artistic form.
	Jean-Baptiste Henri Savigny and Alexander Corréard	The shipwreck of the frigate Medusa in 1821, Paris report Literature Savigny and Corréard were survivors of the Méduse disaster, who published a detailed report five years after the events. AedW II, pp. 9-13	discussed or mentioned: The report by Savigny and Corréard is included in the creative process of Géricault's painting Raft of the Medusa . The narrative levels overlap due to the sometimes literal reproduction. With the description of the shipwreck, the first-person narrator depicts Géricault's engagement with the background. Both the book and the picture draw the narrator into the events. "The dismay and despair, the confusion and the numbness were portrayed with such tangibility that the reader felt himself to be in the middle of the stranded."
	Théodore Géricault	Studies on the Raft of Medusa 1818–1819, sketch, 28 × 38 cm Paris, Louvre Visual arts AedW II, p. 14ff.	discussed or mentioned: Géricault's work process is discussed on the basis of the five compositional studies that deal with the subjects of mutiny , cannibalism , sighting of the brig , greeting a lifeboat and rescue .
	Johann Heinrich Füssli	Ugolino and his sons in the Hunger Tower 1809, steel engraving by Moses Haughton after the painting by JH Füssli (1806), 51.2 × 37.7 cm Zurich, Kunsthaus Fine arts Ugolino della Gherardesca (1220–1289) was a Tuscan nobleman of Sardinian origin and one of the leading politicians of the city republic of Pisa. At the instigation of his political rival, Archbishop Ruggieri , he was imprisoned in 1289, together with two sons and two grandchildren, in what was later to be known as the Hunger Tower of Pisa and left to starve. Ugolino is included as a figure in Dante's Divine Comedy , banished together with Ruggieri to the ice of the second ring in the ninth and deepest circle of hell. AedW II, p. 16 Divina, Canto XXXII, 124-140 and XXXIII, 1-90	content included: The first-person narrator sees Count Ugolino as a template for the sketch of cannibalism for Géricault's raft of the Medusa . The novel thus makes another reference to Dante's Divine Comedy .
	Greek mythology	Hippolytus son of the hero Theseus and the Amazon queen Hippolyte Literature Phaidra, the second wife of Theseus, is enchanted by Aphrodite , so that she falls in love with her stepson Hippolytos. When the latter rejects her love, she commits suicide, but leaves behind the false accusation that Hippolytus pursued her. When Theseus finds Phaidra dead, he curses Hippolytus. The latter flees, but Poseidon sends a sea monster and the horses on Hippolytus' chariot shy away. He falls from the car, gets caught in the reins and is dragged to death. AedW II, p. 17 ff.	discussed or mentioned: Géricault's relationship with his stepmother is described in a symbolic translation of the myth and woven into the work process on the raft of the Medusa, accompanied by hallucinations .
	Jacques-Louis David	The oath of the Horatians 1784, oil on canvas, 330 × 425 cm Paris, Louvre Fine arts The painting of the Horatians , created in the pre-revolutionary crisis years , is considered to be the introduction to revolutionary classicism. AedW II, p. 23	content included: In the ranking of David's pictures it becomes clear, "how after the classicist spirit of the revolution, after the idealistic soaring, the beginning of the megalomania of the empire could be found immediately."
	Jacques-Louis David	The Sabine Women 1799, oil on canvas, 385 × 522 cm Paris, Louvre Visual arts AedW II, p. 23 Motif group: War	content included: In the ranking of David's pictures it becomes clear, "how after the classicist spirit of the revolution, after the idealistic soaring, the beginning of the megalomania of the empire could be found immediately."
	Jacques-Louis David	The anointing of Emperor Napoleon I and the coronation of Empress Josephine in the Cathedral of Notre Dame de Paris on December 2, 1804 1805–1807, oil on canvas, 610 × 931 cm Paris, Louvre Visual arts AedW II, p. 23	content included: In the ranking of David's pictures it becomes clear, "how after the classicist spirit of the revolution, after the idealistic soaring, the beginning of the megalomania of the empire could be found immediately."
	Théodore Géricault	Studies of Severed Limbs 1818, Paris Oil Study , Louvre Visual arts AedW II, p. 23 Group of motifs: Pictures of horror	discussed or mentioned: Example of one of Géricault's numerous studies on anatomical models, the origin of which were incorporated into the novel.
	Théodore Géricault	Studies after the beheaded in 1818, oil on canvas, 50 × 61 cm Stockholm, National Museum Visual arts AedW II, pp. 23, 119 f. Motif group: horror pictures	discussed or mentioned: The picture is initially used as an example for Géricault's further studies. A description of the representation of the guillotined follows a few chapters later, in connection with the “Studies of the Definitive” and the work of Charles Meryon.
	Théodore Géricault	Insane player around 1822, oil on canvas, 60 × 50.01 cm Gent, Musée du Ghent Visual arts AedW II, p. 23	discussed or mentioned: Example of works by Géricault that were created after the creation of the raft of the Medusa : “What was vital in Géricault stood on the side of renewal; this was expressed in the choice of his subjects, in his painting style, in the spread of color, the Treatment of forms, but his life was that of one who was cramped, encapsulated, the hatred of arrogance, the vanity of society drove him to collapse when in the end he stayed almost exclusively in prisons, asylums and mortuaries. "
	Théodore Géricault	Insane Kleptomaniac around 1822, oil on canvas, 77 × 64.5 cm Paris, Louvre Visual arts AedW II, p. 23	discussed or mentioned: Example of works by Géricault that were created after the creation of the raft of the Medusa : “What was vital in Géricault stood on the side of renewal; this was expressed in the choice of his subjects, in his painting style, in the spread of color, the Treatment of forms, but his life was that of one who was cramped, encapsulated, the hatred of arrogance, the vanity of society drove him to collapse when in the end he stayed almost exclusively in prisons, asylums and mortuaries. "
	Théodore Géricault	Liberation of the victims of the Inquisition in 1823, sketch Paris, Louvre Fine arts Sketch for a planned painting that Géricault could no longer implement due to illness. AedW II, p. 27	discussed or mentioned: Mention in the portrayal of Géricault's death: "And yet, up to the last few hours, he planned great compositions that dealt with the horrors of slavery and the liberation of the victims of the Inquisition."
	Théodore Géricault	The Flood 1815–1816, oil on canvas, 97 × 130 cm Paris, Louvre Visual arts AedW II, p. 31f.	discussed or mentioned: Description and interpretation as symptomatic of Géricault's life: There is no saving ark in the picture. "Géricault astonished us by allowing us to look into the process of a passionate psychological event."
	Nicolas Poussin	Winter (Deluge) 1660–1664, oil on canvas, 118 × 160 cm Paris, Louvre Visual arts AedW II, p. 31f.	discussed or mentioned: Description and comparison with Géricault's painting Deluge . Poussin's picture served as a template.
	Théodore Géricault	Head of a white horse (Tete de cheval blanc) around 1815, oil on canvas, 65.4 × 55.4 cm Paris, Louvre Visual arts AedW II, p. 32	discussed or mentioned: Mentioned and described as being made in the same period as the painting The Flood , with reference to the tenderness displayed in this picture.
	Théodore Géricault	The Lime Distillery 1822–1823, oil on canvas, 50 × 60 cm Paris, Louvre Visual arts AedW II, p. 32	discussed or mentioned: Description and interpretation of the painting in connection with the last year of Géricault's life as well as the statement that it shows no decisive development: “There was no help, no salvation for him, the unheard of energies that were stored in him could only be found in the creating temporary relief, while he was here for a short time, painting was the instrument with which he encountered the internal overpressure, the madness hung over him constantly, as a rebellion against the stasis. "
	Michelangelo Buonarroti	The Last Judgment 1534–1541, fresco Rome, Sistine Chapel Visual arts AedW II, p. 33	discussed or mentioned: In Michelangelo's work, the influence on Géricault's raft of the Medusa is recognized and at the same time its involvement in art history: “ Daumier, Courbet, Degas , in his style, also pointed out how he himself continued lines that had emanated from Michelangelo, Tintoretto , Caravaggio von Gogh, with the stroke of her brush towards Géricault. (…) With his give and take he stood in the universal relationships and connections that make up the basis of artistic activity. ” The direct influence of the painting The Last Judgment , which art historians have recognized, is not named in the novel.
	Honoré Daumier	Allegory of the Republic 1848, oil on canvas, 73 × 60 cm Visual arts AedW II, p. 33	discussed or mentioned: Discussion as a continuation of Géricault's raft of the Medusa and classification in the sequence of art history: “How he himself continued lines that had originated from Michelangelo, Tintoretto , Caravaggio , so Daumier, Courbet, Degas , in his own way also from Gogh, pointed out the stroke of her brush towards Géricault. (...) With his give and take he stood in the universal relationships and connections that make up the basis of artistic activity. "
	Vincent van Gogh	Agostina Segatori in the Café du Tambourin 1887, oil on canvas, Amsterdam, Rijksmuseum Fine arts Agostina Segatori was the owner of the café Le Tambourin , patron and temporary lover of Van Gogh. AedW II, p. 34 f.	content included: In the depiction of an imaginary scene in which the protagonists meet the artist in Montmartre, the Café Le Tambourin is mentioned: “He came towards us from a steep alley, in his sheepskin coat , with his rabbit fur hat , with a shaggy red beard , under his arm a damp picture that he had painted that morning on Place Pigalle, and for which he wanted to find a place on the overcrowded walls of Café Tambourin. "
	Vincent van Gogh	Blooming plum tree (after Hiroshige) 1887, oil on canvas Fine arts AedW II, p. 35	content included: Example of a painting by Van Gogh based on a woodcut by the Japanese artist Utagawa Hiroshige ; In the novel, while depicting an imaginary scene, the Japanese woodcuts hanging in Café Tambourin are mentioned alongside numerous paintings by Van Gogh .
	Camille Corot	The Italian Agostina 1866, oil on canvas, 138.8 × 95 cm Washington DC, National Gallery of Art Fine arts AedW II, p. 34f.	content included: In the depiction of an imaginary scene of the encounter with Van Gogh in Montmartre, Van Gogh meets “Corot, Monet , Seurat , whom he did not recognize”. A relationship is established through Agostina Segatori , the owner of Café Le Tambourin , which was painted by Corot in 1866 and who was Van Gogh's patron about twenty years later.
	place	Bateau-Lavoir Paris, Montmartre, Rue Ravignan Le Bateau-Lavoir was a house on Montmartre in Paris on Rue Ravignan, which went down in art history because at the turn of the 20th century a group of artists who would later become famous rented and lived there studios. In 1908 a much discussed banquet for Henri Rousseau was held here. AedW II, p. 37f.	discussed or mentioned: Description of the house and the surrounding area: “The outsiders of the culture had withdrawn to this corner because they could find cheap shelter here. Utrillo, Picasso, Gris, Braque, Herbin, Apollinaire, Laurencin, Brancusi, Severini, Modigliani, Derain, Reverdy, Salmon, Gertrude Stein and Max Jacob were accommodated in the stables or were guests. "
Illustration	Pablo Picasso	Les Demoiselles d'Avignon 1907, oil on canvas, 245 × 235 cm New York, Museum of Modern Art Visual arts AedW II, p. 38	discussed or mentioned: The painting is mentioned as a work created in the Bateau-Lavoir and thus illustrates the importance of the place as a place of creativity in the dawn of modernity.
	Ernest Meissonier	The barricades in the Rue de la Mortellerie 1848–1849, oil on canvas, 29 × 22 cm Paris, Louvre Fine arts The painting depicts a scene from the June uprising in France in 1848. After the reign of the "citizen-king" Louis-Philippe of Orléans had ended in February and the Second French Republic was proclaimed, it came about between the 23rd and 27th of February due to social conflicts June 1848 to riots. AedW II, p. 40 Group of motifs: Resistance / Elevation	discussed or mentioned: The first-person narrator regards the picture as a counterpart to Delacroix's painting of the barricades: "Not wider than the span of a hand, without decorative ingredients and noticeable composition, sober as a report, convey what the painter had seen in June forty-eight."
	Fra Angelico	Coronation of the Virgin around 1430, oil on panel, 209 × 206 cm Paris, Louvre Fine arts Below the main scene of this painting is a detailed frieze with scenes from the life of Dominic , founder of the Dominican Order . AedW II, p. 41	discussed or mentioned: A list of paintings that the first-person narrator perceived on his last visit to the Louvre, more detailed explanations are noted in Peter Weiss' notebooks, in which he particularly deals with the scenes from the life of Dominic.
	Simone di Martino	Carrying the Cross around 1336–1342, oil on panel, 30 × 21 cm Paris, Louvre Visual arts AedW II, p. 41 Group of motifs: horror images	discussed or mentioned: List of paintings that the narrator saw on his last visit to the Louvre.
	Bernat Martorell	The Flagellation of Saint George 1435, oil on panel, 107 × 53 cm Paris, Louvre Fine arts The picture is part of an altarpiece, the panels of which are distributed in various collections in Paris, Chicago, Berlin. AedW II, p. 41 Group of motifs: horror images	discussed or mentioned: List of paintings that the narrator saw on his last visit to the Louvre and description of the images of torture (“what people always did to one another”).
	Stefano di Giovanni Sassetta	Blessed Ranieri Rasini frees the poor, who have written to him for help, from the Florence prison 1439–1444, oil on panel, 45 × 63 cm Paris, Louvre Fine arts The image is part of the predella , an altar panel. AedW II, p. 41 Group of motifs: Resistance / Elevation	discussed or mentioned: Description and personal interpretation of the first-person narrator on his last visit to the Louvre, in contrast to the other pictures, the pictures of torture , he regards this as a metaphor of a utopian moment, promising salvation: "It contained little of a discussion of an entire epoch, did not want to roll up all the questionable issues and complexes that were connected with the creative process, it was just there, existing completely on its own. "
	place	Spiegelgasse Ort, Zurich, Spiegelgasse Hugo Ball opened Cabaret Voltaire on February 5, 1916 in Spiegelgasse in Zurich , which is considered the birthplace of Dadaism . Lenin and Krupskaya lived just a few houses away . AedW II, p. 55ff.	discussed or mentioned: Spiegelgasse "became a symbol of the violent, double, the true and the dreamed revolution."
	PG Lotorew	Portrait of Karl Marx 1917, oil on canvas Moscow, Kremlin (Lenin Museum) Fine arts Lotorev was a Petrograd worker, the painting was given to Lenin in 1818 by a delegation of workers and is now on display in the Lenin Museum. AedW II, p. 64	discussed or mentioned: This Marx portrait is mentioned in a detailed description of Lenin's study.
	Hugo Rheinhold	Monkey with skull 1892, bronze Lenin received this sculpture in 1922 as a gift from the American industrialist and art collector Armand Hammer and placed it on his desk in the Kremlin . AedW II, p. 64	discussed or mentioned: This bronze is mentioned in a detailed description of Lenin's study.
	Eugène Sue	Les Mystères de Paris (The Secrets of Paris) 1843, novel Literature The episodes of the Mystères were first published as feature sections in the daily newspaper Le Journal des Débats and became a literary and social event that dealt with scheming aristocratic parties and especially the Parisian lower-class milieu and its difficult everyday life between work, misery and crime. AedW II, p. 65ff.	discussed or mentioned: In the description and presentation of the novel and its background, a comparison with the present of the novel is put in front: "The melodrama of violent crimes that played out before us today had already found a form a hundred years ago with Sue, which, with its feature- length technique , their obscure, dubious characters, their details, often painted in garish colors, corresponded to current events. ” In connection with the graphics and poems by Charles Meryon, thoughts on Arthur Rimbaud and Friedrich Hölderlin , the first-person narrator looks at the city and especially the changes caused by it Haussmannian urban renewal of Paris in the middle of the 19th century and relates it to the political and social conditions.
	Charles Meryon	Tourelle, Rue de l'Ecole de Médicine 1861, etching Fine arts from the graphic cycle Eaux-Fortes sur Paris AedW II, pp. 66ff., 281	discussed or mentioned: In a compilation of Eugène Sue's secrets of Paris with the graphics and poems by Charles Meryon, thoughts on Arthur Rimbaud and Friedrich Hölderlin , the first-person narrator looks at the city and in particular the changes brought about by Haussmann's urban renewal of Paris in the mid-19th century and puts them in relation to the political and social conditions. A metaphor is the portrayal of Tourelle with the picture of the house in which Jean Paul Marat was murdered in 1793.
	Jan Vermeer	The art of painting 1664/68, oil on canvas, 120 cm × 100 cm Kunsthistorisches Museum, Vienna Fine arts In Vermeer's painting a map by Visscher is included, which shows the Netherlands before the armistice with Spain in 1609 with its undivided provinces . AedW II, p. 75	discussed or mentioned: Symbol with the translation of the map of Belarus , the designation for the united Belarus , in Lenin's study and the map shown in Vermeer's painting.
	Otto Stockhausen	St. Pauli Elbe Tunnel 1911 Building Hamburg, St. Pauli AedW II, p. 76	discussed or mentioned: Description in a dream image of the first-person narrator, in which he is initially transported into his childhood. Through surreal dream transmissions he sees scenes of persecution in which he loses his mother and is at the mercy of his own helplessness in the social and political system.
	Charles Meryon	The morgue ( La Morgue ) 1854, etching, 32 × 27 cm Fine arts from the graphic cycle Eaux-Fortes sur Paris AedW II, p. 121 f.	discussed or mentioned: This cityscape of Paris is used in a discussion of the first-person narrator about violent death, in this picture he incorporates the description of the studies of beheaded by Géricault, his thoughts he calls the study of the definitive .
	William Blake 1757–1827 poet and painter	Living mask made by JS Delville in 1823 Fine arts The artistic work of the English poet, nature mystic and painter was largely rejected by his contemporaries. It was not until the middle of the 19th century that his innovative work received general recognition. AedW II, p. 135	discussed or mentioned: The mask is mentioned in the report by Rosalinde von Ossietzky, the daughter of Carl von Ossietzky, about the persecution and death of her father: “right up to the very last plaster of paris shell that an unknown sculptor who snuck into the death room at night took off his face and was able to bring out of his country, a mask very strange, cold, similar to that of Schiller, of Blake. ”. Blake is also mentioned in the section on Bert Brecht's library: "Blake was lifted up again, no grave could do him justice."
	Albrecht Altdorfer	The Battle of Alexander 1528–1529, oil on linden wood, 158 cm × 120 cm Munich, Alte Pinakothek Fine arts The painting shows the battle of Issus in 333 BC. By Alexander the Great against the Persian king Darius . AedW II, p. 142 Motif group: War	content included: Comparison of the painting with the political situation in Europe at the beginning of the war in 1939; Generally referred to in the novel as a battle picture, it can nevertheless be identified by the description and notes from Peter Weiss' notebooks.
	Hans Tombrock	Discussion of the defeat in the Spanish Civil War at Brecht in Lidingö 1939, charcoal drawing Visual arts AedW II, pp. 142f.	content included: Peter Weiss used the drawing as a template for describing Bertolt Brecht's house in exile in Lidingö. At the same time, a discussion about the artist and his relationship to women is conducted, which can also be transferred to Brecht.
	Bertolt Brecht	Mrs Carrar's Guns 1937, play literature AedW II, p. 147	discussed: The play is included in the plot of the novel, Brecht states here that the play has to be rewritten due to the situation.
	Pieter Brueghel the Elder	De dulle Griet 1563, oil on panel , 115 × 161 cm Antwerp, Museum Mayer van den Bergh Visual arts AedW II, p. 147ff. Subject group: war	discussed or mentioned: Description of the painting in great detail, interpretation as a symbol of the situation in Europe after the Spanish Civil War.
	Pieter Brueghel the Elder	Triumph of Death 1562–1563, oil on panel, 117 × 162 cm Madrid, Prado Fine arts AedW II, p. 147ff. Subject group: war	discussed or mentioned: Description of the painting, interpretation as a symbol of the conditions in Europe after the Spanish Civil War.
	Käthe Kollwitz	Mother with twins 1927/1937, bronze Berlin, Käthe-Kollwitz-Museum Fine arts AedW II, p. 152	content included: The brief mention of the artist in connection with Margarete Steffin, "whose features were reminiscent of a drawing by Käthe Kollwitz" creates a pictorial reference to the worker women she depicts, who stand as a counter-image to Brueghel's Duller Griet , as in this sculpture of the preserving mother becomes clear.
	Federico García Lorca	Romance sonámbulo 1928, poem Fine arts AedW II, p. 153	mentioned: “This green. This green that Lorca sang about ... "
	Francisco Sabatini	Pardo Palace 1772, Madrid Castle Building The former summer residence of the Spanish royal family, north-west of Madrid, was richly decorated with works of art, and from 1940 it served as Franco's residence. AedW II, pp. 153-155	discussed or mentioned: Description as a symbol of feudalism occupied by the International Brigades during the Civil War.
	Francisco de Goya	Family Charles IV. 1800–1801, oil on canvas, 280 × 336 cm Madrid, Prado Fine arts AedW II, p. 155	discussed or mentioned: Description of the painting with the question about the meaning of the client: "You know the picture (...) on which Goya held the royal family, fourteen figures, puffed up, witch-like, doll-like, dumb and fat, in glamorous robes and splendid uniforms."
	Bertolt Brecht	Mother Courage and her children 1938/1939, drama literature AedW II, p. 176	discussed or mentioned: Description of the work on the piece by the Brecht group.
	Bertolt Brecht	The interrogation of Lukullus 1940, radio play literature AedW II, p. 177	discussed or mentioned: Description of the work on the piece by the Brecht group.
	Bertolt Brecht	The Life of Galileo 1939, drama literature AedW II, p. 177	discussed or mentioned: Description of the problems in getting the piece performed.
	background	Engelbrekt uprising Literature The Engelbrekt uprising was a Swedish uprising against the Danish Union King Erich von Pommern under the direction of Engelbrekt Engelbrektsson in the years 1434-1436. AedW II, pp. 176f., 227ff. 306ff. Motif group: resistance / elevation	discussed or mentioned: The uprising was a subject on which Brecht temporarily worked in Swedish exile, but which he ultimately rejected. The first-person narrator takes up the story in his own literary development.
	Bertolt Brecht	Refugee talks 1941/1949, prose pieces literature AedW II, p. 214	mentioned: List of Brecht's work
	Jacob Elbfas painter	Vädersolstavlan (weather sun picture)around 1630, after a painting by Urban the painter (1535) Stockholm, Nikolaikirche Fine arts The painting is the oldest known depiction of Stockholm and shows the Halo apparitions observed on April 20, 1535. AedW II, p. 251	discussed or mentioned: Description of the picture in connection with the presentation of the work of the Brecht group on the Engelbrekt drama .
	Franz Kafka	The Trial 1914–1924 (1925), unfinished novel literature AedW II, p. 314	discussed or mentioned: listed in the extensive list of Brecht's library in a chapter in which the first-person narrator helps with packing: “Brecht valued Kafka because he did not care whether a book was graduated. (...) With the trial and the novel America in hand, (...) he said that actually only the fragment has the stamp of authenticity, because it comes closest to the innermost function of producing. "
	Franz Kafka	America 1911–1914 (1927), unfinished novel literature AedW II, p. 314	discussed or mentioned: listed in the extensive list of Brecht's library in a chapter in which the first-person narrator helps with packing: “Brecht valued Kafka because he did not care whether a book was graduated. (...) With the trial and the novel America in hand, (...) he said that actually only the fragment has the stamp of authenticity, because it comes closest to the innermost function of producing. "
Illustration	George grosz	The face of the ruling class 1921, cycle with 57 political drawings Visual arts AedW II, p. 315	discussed or mentioned: listed in the extensive list of the Brecht's library in a chapter in which the first-person narrator helps with packing.
	Urban Hjärne 1641–1724 poet and scientist	Rosimunda 1665, play Literature Rosimunda is a material that goes back to the life and the resulting legend of the Lombard queen Rosimunda . She was the daughter of the Gepid King Kunimund and the second wife of the Longobard King Alboin , whom she had murdered on June 28, 572 or 573. AedW III, p. 19	discussed or mentioned: Description of the travels of the poet and his play, while the first-person narrator, worried about the health of his mother, wandering about his own childhood.
	middle Ages	Lovö kyrka 12th and 13th centuries, Lovön Church near Stockholm Building AedW III, pp. 66, 83f., 177	discussed or mentioned: Representation and description of some details from this medieval church in a scene from the novel in which Lotte meets Bishop Herbert Wehner in this church.
	Burchard Precht 1661–1738 sculptor and carver	Pulpit in Lovö kyrka around 1700 Lovön near Stockholm Visual arts AedW III, p. 84	discussed or mentioned: Mentioned in a scene in the novel in which Lotte meets Bishop Herbert Wehner in Lovö kyrk a.
	Johann Sylvius 1620–1695 painter	Frescoes in Lovö kyrka around 1690 Lovön near Stockholm Visual arts AedW III, p. 84	discussed or mentioned: Mentioned in a scene in the novel in which Lotte meets Bishop Herbert Wehner in Lovö kyrk a.
		Angkor Wat temple complex, around 1300 Angkor , Cambodia Building The building erected under the rule of Suryavarman II is the largest sanctuary in Indochina and is dedicated to the god Vishnu . Inside there are colored reliefs decorated with gold leaf, which depict historical battles and mythological scenes on 1088 square meters. AedW I 75, 352 AedW III, pp. 97-109	discussed in detail: The novel describes the relief of the south gallery The Royal Parade on the basis of which a dispute about sovereign power consciousness and demanded obedience is conducted.
	Albrecht Dürer	Melencolia I 1514, copper engraving, 23.9 × 18.8 cm Fine arts The Melencolia is one of the three so-called master engravings by Albrecht Dürer, it is considered to be his most enigmatic work and is characterized by a complex iconography and symbolism . AedW III, p. 132ff.	discussed or mentioned: Description and interpretation of the graphic and put by the first-person narrator in connection with the mother's illness: “Surrounded by things of research, building and final exploration, it emerged from a child's existence, in it what our thinking closed Seemed unfathomable. ” The picture was already mentioned in the first part of the novel, when it was compared to the sheet The Prodigal Son by Dürer.
	middle Ages	Dance of Death around 1500, frescoes Berlin, Marienkirche Fine arts The dance of death fresco in the Marienkirche tower hall is one of the most important surviving medieval works of art in Berlin and shows a group of religious and secular representatives of the class, each with a death figure, at a length of 22.6 meters and a height of 2 meters. AedW III, pp. 169-171	discussed or mentioned: Description in a scene in which the protagonists seek protection from a bombing attack in the church, and symbol of the following depiction of the execution and murder of resistance fighters in National Socialist Germany.
	background	Konstnär i landsflykt (artist in exile) 1944, exhibition, Stockholm Visual arts AedW I, p. 252	discussed or mentioned: Presentation of the founding of a cultural association in Sweden, the organization of an exhibition and a list of the participating artists.
	Antiquity	The missing Heracles detail in the Pergamon Altar Visual arts AedW III, p. 267f	discussed or mentioned: Final account of the novel: “(...) and a place in the crowd would be free, the lion's paw would hang there, within reach for everyone, and as long as they didn't let go of each other, they wouldn't see the lion's paw and no one would come , to fill the empty space, they would have to master this single grip themselves, this far reaching and swinging movement with which they could finally sweep away the terrible pressure that weighed on them. "

Sorting options

The works of art and backgrounds listed here are largely arranged in the order in which they appear in the book. Exceptions are motifs which, after being briefly mentioned, are given a more detailed description on later pages. By clicking the arrow in the table headings, the list can be sorted differently as follows:

• The works can be sorted in the chronological order in which they were created using the Figure / Chronology column . Works whose images are protected by copyright can usually be reached with a link.
• The names of the artists can be displayed in alphabetical order. This also allows meetings and works by the individual artists to be brought together.
• Via the column Work / Classification , the information can be sorted according to the following subject areas and in this order:

1. Building (which are separated here from the visual arts)
2. Visual arts
3. Performing arts (not represented)
4. literature
5. music
6. mythology

The works of the visual arts are also partially sorted according to motif groups , as far as these are assigned in the following order:

1. Labor / workers and proletariat
2. (Bethlehem) child murder
3. war
4. Horror images
5. Resistance / elevation

The page numbers listed in this column under the abbreviations AEdW I to III refer to the paperback edition, which is paginated according to volumes.

• With the column In the novel the entries can be sorted according to their meaning within the novel:

1. discussed in detail
2. discussed or mentioned
3. listed as an example
4. content included (in this case the work is not explicitly named, but results from the context)

literature

• Peter Weiss: The Aesthetics of Resistance. Volume I to III. Frankfurt (Main) 1988, ISBN 3-518-11501-4 .
• Jens Birkmeyer: Pictures of Terror. Dante's footsteps and the reception of myths in Peter Weiss' novel “The Aesthetics of Resistance”. Dissertation, University of Frankfurt (Main) 1992; also as a PDF file , accessed on May 16, 2010
• Alexander Honold, Ulrich Schreiber (Ed.): The world of images of Peter Weiss. Argument special volume new series Volume 227, Hamburg 1995, ISBN 3-88619-227-X .

Web links

• Klaus Müller-Richter: Peter Weiss and the journey of images. On the research situation (PDF; 180 kB), accessed on May 16, 2010
• Michael Hofmann: Is there an "aesthetic of resistance" shaped by Hinduism? , accessed on May 16, 2010
• Prof. Dr. Fee-Alexandra Haase: Guernica Pablo Picasso's motif in the aesthetics of resistance by Peter Weiss as an object of visualizing storytelling , accessed on May 16, 2010

Individual evidence

1. ↑ Nana Badenberg: The "Aesthetics" and their works of art. An inventory. In: Alexander Honold, Ulrich Schreiber (ed.): The world of images of Peter Weiss. Hamburg 1995, ISBN 3-88619-227-X , p. 115.
2. ↑ ^{a b} The page numbers refer to the Suhrkamp paperback edition (es 1501): Peter Weiss: The aesthetics of resistance. Frankfurt (Main) 1988, ISBN 3-518-11501-4 , Volumes I to III, which is paginated in volumes. In the following, this reference is abbreviated in footnotes with AedW and corresponding to volumes I to III.
3. ↑ AedW I, p. 9 ff.
4. ↑ AedW I, pp. 36 f., 46, 50 ff.
5. ↑ ^{a b} AedW I, p. 53
6. ↑ AedW III, p. 267 f .; Nana Badenberg: Annotated Directory. P. 210 ff.
7. ↑ ^{a b} AedW I, p. 10
8. ↑ AedW III, p. 20
9. ↑ AedW I, p. 58
10. ↑ AedW I, p. 61; see also: William Blanchard Jerrold, Gustave Saré: London: a pilgrimage. London 1872; reprint Anthem press 2006, partly accessible as google book ; more images of Doré's graphics can also be found under geo culture and mirror online
11. ↑ ^{a b c d e} AedW I, p. 62; Nana Badenberg: Annotated Directory. P. 206
12. ↑ AedW I, p. 63; More images on commons
13. ^ Nana Badenberg: Annotated Directory. P. 227
14. ↑ ^{a b} AedW I, p. 76
15. ↑ cf. AedW III, p. 132 ff.
16. ↑ AedW I, p. 77
17. ↑ ^{a b} AedW III, p. 134
18. ↑ AedW I, p. 81
19. ↑ ^{a b c} Further illustrations from the cycle Francescas in commons
20. ↑ ^{a b} AedW I, p. 86
21. ^ Peter Weiss: Notebooks II. P. 925, Nana Badenberg: Annotated Directory. P. 168 f.
22. ^ Nana Badenberg: Annotated Directory. P. 218
23. ↑ Illustration of the entire cycle in commons: Cappella degli Scrovegni
24. ^ Illustration of the cycle in commons: Saint Francis cycle in the Upper Church of San Francesco at Assisi
25. ↑ AedW I, p. 92
26. ↑ AedW I, p. 161 f .; Klaus Neukrantz: Barricades on Wedding. online version nemesis.org
27. ↑ AedW I, S. 182
28. ↑ AedW I, p. 164; Heinrich Heine: Lutetia. Reports on politics, art and popular life : draft of the preface at zeno.org
29. ↑ AedW I, p 178
30. ↑ ^{a b} Peter Weiss: Notebooks II, p. 313
31. ↑ AedW I, p 208
32. ↑ AedW I, p. 209
33. ↑ The 80 graphics are listed in full at wiki commons
34. ^ Nana Badenberg: Annotated Directory. S. 188. The 82 graphics are listed in full at wiki commons
35. ^ Nana Badenberg: Annotated Directory. P. 176 f.
36. ↑ AedW I, p. 348; Nana Badenberg: Annotated Directory. P. 213 ff.
37. ↑ AedW I, p 333
38. ↑ AedW I, p. 341 f.
39. ↑ AedW I, p 334, Nana Badenberg: Annotated directory. P. 215.
40. ↑ AedW I, p. 339
41. ↑ ^{a b c d e} AedW I, p. 335 f .; Nana Badenberg: Annotated Directory. P. 215
42. ↑ AedW I, p. 336; Nana Badenberg: Annotated Directory. P. 180
43. ↑ AedW I, p. 336; Nana Badenberg: Annotated Directory. P. 200
44. ↑ AedW I, p 336
45. ^ Nana Badenberg: Annotated Directory. P. 200
46. ↑ AedW I, p. 336f .; Nana Badenberg: Annotated Directory. P. 215
47. ↑ AedW I, p. 337; Nana Badenberg: Annotated Directory. P. 215
48. ↑ AedW I, p. 341; Nana Badenberg: Annotated Directory. P. 165
49. ↑ AedW I, p 342
50. ^ Nana Badenberg: Annotated Directory. P. 173 f.
51. ↑ AedW I, p 343
52. ↑ AedW I, p 346
53. ^ Nana Badenberg: Annotated Directory. P. 188
54. ^ Nana Badenberg: Annotated Directory. Pp. 176, 215
55. ↑ ^{a b} AedW I, p. 347; Nana Badenberg: Annotated Directory. P. 184
56. ↑ AedW I, p 347
57. ↑ AedW I, p. 349
58. ↑ AedW I, p. 355
59. ^ Nana Badenberg: Annotated Directory. P. 203
60. ↑ AedW I, p. 356; Nana Badenberg: Annotated Directory. P. 203
61. ^ Nana Badenberg: Annotated Directory. P. 184
62. ↑ AedW II, p. 11; Nana Badenberg: Annotated Directory. P. 183
63. ^ Nana Badenberg: Annotated Directory. P. 185; further studies on commons
64. ^ Nana Badenberg: Annotated Directory. P. 185
65. ↑ AedW II, p. 23; Nana Badenberg: Annotated Directory. P. 174
66. ↑ AedW II, p. 33
67. ^ Nana Badenberg: Annotated Directory. P. 205
68. ↑ AedW II, p. 33; Nana Badenberg: Annotated Directory. P. 174
69. ↑ AedW II, p. 34
70. ↑ AedW II, p. 35; Nana Badenberg: Annotated Directory. P. 172
71. ↑ AedW II, p. 38
72. ^ Nana Badenberg: Annotated Directory. P. 167
73. ↑ AedW II, page 41; Peter Weiss: Notebooks II, pp. 125, 225 and 236; Nana Badenberg: Annotated Directory. P. 163
74. ↑ ^{a b c} AedW II, page 41 (page 495)
75. ^ Nana Badenberg: Annotated Directory. P. 225
76. ↑ see a comprehensive reconstruction in commons
77. ^ Peter Weiss: Notebooks II, p. 241 f .; Nana Badenberg: Annotated Directory. P. 201
78. ↑ Peter Weiss: Notebooks I, pp. 652–654 and II, pp. 139, 236–239, 451, 601; Nana Badenberg: Annotated Directory. P. 222
79. ↑ AedW II, p. 59
80. ↑ AedW II, p. 65
81. ↑ AedW II, p. 69; further illustrations from the Eaux-Fortes sur Paris cycle
82. ↑ AedW II, page 75, Nana Badenberg: Annotated directory. P. 230
83. ↑ AedW II, p. 120; Nana Badenberg: Annotated Directory. P. 203
84. ↑ AedW II, p. 142; Peter Weiss: Notebooks II, pp. 277 and 606; Nana Badenberg: Annotated Directory. P. 163
85. ^ Nana Badenberg: Annotated Directory. P. 228
86. ^ Nana Badenberg: Annotated Directory. P. 196
87. ^ Nana Badenberg: Annotated Directory. P. 209
88. ^ Nana Badenberg: Annotated Directory. P. 229
89. ↑ online view: online homepage University of Iowa
90. ↑ AedW I, pp. 83f .; Description of the church and some other images: Lovö Kyrka  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. (Swedish)