Through socio-cultural analysis and by trac-ing the urban trajectories of patrons who do-nated French modern art to the National-galerie in Berlin during the Wilhelmine era (1882-1909), Johanna Heinen proposes new axes of reflection beyond the ethnic and politi-cal interpretations of allegedly avant-garde support. At the center of this analysis are the districts of Tiergarten—renowned both for its liberal environment and as the cradle of avant-garde trends—and Mitte—the traditional business district at the heart of an economi-cally growing Berlin.



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