[1] Mary Whiton Calkins, ‘Militant Pacifism’, International Journal of Ethics, 28.1 (1917), p.70.
[2] Ava Farrington, Johanne Matthaeus Koelz: Three Point Perspective (Heather, 1995), p.65.
[3] Daryl Joyce, ‘Koelz Triptych’, Daryl Joyce Illustration and Design, http://www.daryljoyce.co.uk/other-illustration/other-design/koelz-triptych, accessed 22 September 2017.
[4] Elizabeth Boa, Elizabeth Palfreyman (ed), Heimat: A German Dream (Oxford, 2000), p.59.
[5] Ibid, p.34.
[6] Email correspondence, S. Lake, 26 November 2015.
[7] Boa (2000), p.59.
[8] Jost Hermand, Culture in Dark Times: Nazi Fascism, Inner Emigration and Exile (Oxford, 2013), p.145.
[9] James Van Dyke, Franz Radziwill and the Contradictions of German Art History 1919-45 (Michigan, 2011), p.18.
[10] Ibid, p.14.
[11] Koelz depicts the black French colonial soldier satirically, showing him as an amoureux – with rose clenched between his teeth – Ref. poster on the occupation of the Rhineland: Klaus Theweleit, Vol I: Women, Floods, Bodies, History (Cambridge, 1987), p.94.
[12] Farrington (1995), p.65.
[13] Ibid, p.41.
[14] Ibid, p.43.
[15] Ibid, p.61.
[16] Gauleiter Adolf Wagner was Bavarian Minister of the Interior 1933 and Cultural Affairs 1936, and close friend of Hitler.
[17] Farrington (1995), p.61.
[18] Ibid, p.62.
[19] Michael Clifford, ‘The Man Who Wouldn’t Paint Hitler’, Video (60 mins), The History Channel (2008).
[20] Simon Lake, cited in Maev Kennedy, ‘Sketch Poser from Artist Who Snubbed Hitler’, Guardian (6 October 2001), http://www.theguardian.com/uk/2001/oct/06/arts.highereducation, accessed 9 February 2016.
[21] Ava Farrington (ed), Johannes Matthaeus Koelz, http://www.koelz.org/, accessed 19 February 2016.
[22] Ian Mayes, ‘Drawn Apart’, Guardian (24 November 2001), http://www.theguardian.com/books/2001/nov/24/books.guardianreview1, accessed 19 February 2016.
[23] Charlotte Burns, Johannes Matthaeus Koelz: Resistance through Tradition (London, 2003), p.15.
[24] Klaus Theweleit, Jessica Benjamin, Anson Rabinbach, Male Fantasies: Vol 2: Psychoanalyzing the White Terror (Cambridge, 1989), p.179.
[25] Ibid, p.181.
[26] Ibid, p.155.
[27] Peter Adam, The Arts of The Third Reich (London, 1992), p.162.
[28] Burns (2003), p.31.
[29] Theweleit (1989), p.162.
[30] Burns (2003), p.32.
[31] Theweleit (1989), p.22.
[32] Ernst Junger, Michael Hofmann (ed), Storm of Steel (London, 2004), p.xi.
[33] Theweleit (1989), p.20.
[34] Philip Jenkins, The Great and Holy War (New York, 2015), p.76.
[35] Farrington (1995), p.65.
[36] Jenkins (2015), pp.63–7.
[37] Patrick J Houlihan, German Catholicism and the Great War (Cambridge, 2015), p.52.
[38] Ibid, p.55.
[39] Jenkins (2015), p.69.
[40] Farrington (1995), p.65.
[41] Mitchell B. Merback, The Thief, The Cross and The Wheel (London, 1999), p.1.
[42] Ibid, p.1.
[43] Ibid, p.19.
[44] Alexander Watson, ‘Bereaved and Aggrieved’, Historical Research, 83.219 (2008), p.148.
[45] Ibid, p.113.
[46] Houlihan (2015), p.215.
[47] Ann Stieglitz, ‘The Reproduction of Agony’, Oxford Art Journal, 12.2 (1989), p.95.
[48] Richard Harries, The Passion in Art (Poole, 2004), p.95.
[49] Farrington (1995), p.56.
[50] Van Dyke (2011), p.170.
[51] Boa (2000), p.60.
[52] Jay Winter, Sites of Memory, Sites of Mourning. The Great War in European Cultural History (Cambridge, 1995), p.85.