Abstract
Modernism after Wagner, Juliet Koss's highly anticipated study of the historical and conceptual basis for the Gesamtkunstwerk, identifies and attempts to rectify numerous lacunae in our most enduring narratives about modernism. This book stands as a testament to just how much work there was and remains to be done. In a loose way, it demarcates a vast field that will be mined by scholars for decades to come and it forcefully challenges art historians to acknowledge the urgency of this work. Koss's scrupulously researched book is best appreciated as a valuable addition to the Anglophone literature on nineteenth-century German art, which remains woefully slim. Readers with the inclination to extrapolate the Gesamtkunstwerk to interwar European art, post-Cagean aesthetics, and contemporary art, in contrast, will find substantial fuel for the fire in the heterogeneous anthology assembled by Anke Finger and Danielle Follett, The Aesthetics of the Total Artwork. True...
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