Tagebücher 1918 - 1937 (German Edition)

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The editorial plan calls for all nine volumes to be fully transcribed and published by Three volumes have been published, covering the years to both volume 2 and volume 3 appeared in ; volume 4 came out in The remaining volumes are scheduled to appear beginning in spring , although the earliest materials will not be published until The volumes range from to 1, pages.

In addition, the press is providing, by subscription, two CD-ROMs that contain the entire text: the first CD issued with Volume 3 has the full texts; the second one will include the fully edited text with the indexes consolidated for electronic searching. The basic format for each volume begins with a concise, but thorough biographical overview for the years covered, followed by the transcribed text vol. Valuable aids for access into the text follow: a name index that identifies all the persons, works art, literature, music, theater , important places, institutions and periodicals mentioned in the text of each volume and that gives all the entry dates relevant for that volume.

These indexes vol.

Harry Graf Kessler - Wikipedia

Each volume ends with an index of Kessler's publications, talks and projects and a nine to ten page index of all the sites where entries were written for the specific years of each volume. In approaching these volumes, an essential factor is to understand that Kessler's focus in his entries was not upon his own life.

He focused, instead, on the events and people that he encountered daily and on issues that occupied his attention. In a very real sense, these are not personal diaries, but journals that record his curiosity and lively reflections about his world and his times. Kessler's daily entries tend to fall into brief naming of events and people or long descriptions and analyses of current projects, visits and travel.

Given the paucity of or often oblique references to personal information in the journals, Laird M.

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In the first years of his entry into Berlin society in the s, however, Kessler's entries provided concise, pithy descriptions of people he met and events he attended with friends. During these years, the extensive friendships made during his military service, his wide contacts in high Berlin society where he was well received and his continuing interest in music and theater all allowed him to record a valuable view into the life of the upper classes in Wilhelmine Germany.

See, for example, his evocative descriptions of court balls in Berlin vol.

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Herein lies one of the great gifts in these two volumes for art and cultural historians: Kessler's extraordinary recounting of conversations that took place during visits to the studios and homes of major living modernist artists in France, Germany and England. He recorded these informal conversations in apparently almost verbatim detail written in French, German or English.

The visits to artists began in December as an essential part of his work on the journal Pan and continued throughout his life.

Harry Graf Kessler

One of his first visits set the pattern for his genuine concern for the artists and their work: accompanied by Julius Meier-Graefe, Kessler traveled to Leipzig to meet Max Klinger in his studio in a former industrial warehouse vol. Writing at length, Kessler carefully described the studio with its display of paintings and sculptures, comparing them with works he had studied in museums. He provided an incisive verbal portrait of the artist and recorded the artist's comments about his own work and the work of other artists.

Supporting the publication of Pan was the first significant art project that Kessler undertook. It was followed by various cultural projects, including the following: his efforts from through to turn the city of Weimar into an exemplary center for modern art; his work with Elizabeth Forster-Nietzsche to establish the Nietzsche Archive in Weimar; his crucial role in organizing the Deutsche Kunstlerbund in ; and his opposition to governmental policies concerning the German art exhibition at the St.

Louis World's Fair.


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The entries in volumes 2 and 3 provide valuable glimpses, albeit often brief or incomplete, into personalities and actions taken in connection with these complicated affairs between and Through all of this, Kessler's journal records his constant motion, traveling restlessly between Weimar, Berlin, Paris and London. What marks his writing during these years, beginning with his Italian trip in , is the shift to multiple-page entries devoted to aesthetic and historic consideration of art from ancient civilizations to the present.

Author Stephen D.

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