Abstract
A unique approach to still life painting, an animation of the inanimate, developed in the works of German expressionist artists during the period between 1910 and 1914. This essay considers how this approach relates to issues raised by Georg Simmel and Alois Riegl about social experience and art within the modern world. The works of Ernst Ludwing Kirchner, it is argued, can be seen to exemplify this approach, but also differ from it in the way their design and use of textiles, incorporation of cubist concerns about space, and references to bohemian sociability involve the artist's lived experience of the studio.
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