Lucy Wasensteiner - The Courtauld Institute of Art

Lucy Wasensteiner

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Dr Lucy Wasensteiner

Associate Lecturer


Dr Lucy Wasensteiner (Watling) specialises in the art and culture of German-speaking Europe between 1871 and 1945, with particular focus on National Socialist cultural policy and its international implications.

She received her MA from The Courtauld Institute of Art on the topic of German modernist culture in exile after 1933. During the 2011/12 academic year she was a DAAD-funded guest scholar at the Degenerate Art Research Centre (Forschungsstelle Entartete Kunst) at the Freie Universität Berlin. Her doctoral thesis, supervised by Dr Shulamith Behr, considered the 1938 London exhibition Twentieth Century German Art, the largest international response to the Hitlerian campaign against ‘degenerate’ art. Dr Wasensteiner is a qualified UK lawyer with in-depth experience in the field of Third Reich-era provenance research. She is interested in applying these research techniques to wider art historical questions. She is also interested in the patterns of reception of German culture in the English-speaking world during the Nineteenth and Twentieth Centuries.

Dr Wasensteiner is currently based in Berlin where she is Assistant Curator at the Max-Liebermann-Villa am Wannsee.


  • BA History of Art: Foundations (2014/15, 2015/16)
  • PG Dip History of Art: Foundations (2014/15, 2015/16)
  • MA History of Art: Special Option “Experiencing Modernism: German Architecture, Art and Design 1900-1930”, together with Dr Robin Schuldenfrei (2016/17)

Research interests

  • The art and culture of German-speaking Europe 1871 – 1945
  • National Socialist cultural policy
  • Art and culture in exile 1933-45
  • Provenance research
  • The reception of German art and culture in the English-speaking world

Conference papers and lectures

  • October 2015: Friedrich-Alexander-Universität Erlangen Nürnberg. Paper: ‘The Reception of German Modernism in 1930s Britain’
  • October 2015: Courtauld Institute of Art. Panel Discussion: Writing the Émigré Experience into British Art, 1915-1955. Paper: ‘Exhibiting Émigré Artists in Britain’
  • Apr 2014: Association of Art Historians, Annual Conference, London. Paper: ‘“If Hitler doesn’t like these pictures, it’s the best thing I’ve heard about Hitler”: “Degenerate art” in London, July 1938’
  • Nov 2013: Tate Gallery, London, Art Writers in Britain Workshop. Presentation: ‘Edith Hoffmann in London, 1933-1951’
  • Oct 2013: Landesarchiv Berlin, 18th Historikertreffen, ‘Kunst und Krieg’. Paper: ‘Reaktionen aus dem Ausland: Die Gegenausstellungen zur “Entarteten Kunst” in London und Paris’
  • Oct 2012: Austrian Cultural Forum, London. Presentation: ‘German and Austrian Modernism in the UK’
  • Sept 2012: German Historical Institute, Moscow, Scholarship Symposium. Paper: ‘Paul Westheim and his Network’
  • Nov 2011: Institute of Germanic and Romance Studies, University of London. Seminar: ‘Investigating the Roots of Twentieth Century German Art
  • Nov 2010: Commission for Provenance Research, Vienna. Paper: ‘The Irmgard Burchard Tableaux: An Anti-Nazi Dealership in 1930s Switzerland’

Recent publications

  • 2017: Chapter: ‘The Reception of German Modernism in 1930s London’, in MacDougall, S. and Dixon, R., Refugees: The Lives of Others (London, forthcoming)
  • 2017: Chapter: ‘Die Idee der Villa in der Kunst Max Liebermanns’, in Faass, M. (ed), Streit am Wannsee (Berlin, 2017)
  • 2016: Review: ‘Marion Deshmuh, Max Liebermann: Modern Art and Modern Germany, Farnham 2014’, The Burlington Magazine (London, December 2016)
  • 2016: Chapter: ‘Liebermanns De Oude Vink: auf dem Weg zum Impressionismus’ in Faass, M. (ed.), Max Liebermann: Biergärten und Cafeterrassen (Berlin, 2016)
  • 2015: ‘Erster Deutscher Herbstsalon’, in Routledge Encyclopedia of Modernism (online resource, available at
  • 2015: Review: ‘August Macke und Franz Marc: Eine Künstlerfreundschaft, Ostfildern 2014′, The Burlington Magazine (London, October 2015)
  • 2015: Review: ‘Die Tunisreise 1914: Paul Klee, August Macke, Louis Moillet, Ostfildern 2014′, The Burlington Magazine (London, September 2015)
  • 2013: Review: ‘Reuther, M. et al, Emil Nolde: Die Graphik des Malers, the painter’s prints, Cologne 2012’, Print Quarterly, (London, March 2013)
  • 2013: Contributing researcher, Mundy, J., Lost Art (London, 2013)
  • 2012: Chapter: ‘The Irmgard Burchard Tableaux: An Anti-Nazi Dealership in 1930s Switzerland’, in Blimlinger E. and Mayer, M. (eds), Kunst Sammeln, Kunst Handeln (Vienna, 2012)

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