According to Erika Esau, the magazine 'represented the politically detached aspirations of the aesthetically attuned of the Western world. Lightheartedly snobistish, the magazine;s inclusions of works by anyone who was anybody in the Weimar period and its unorthodox graphic and literary style quilifies it as an avant-garde publication.'
Der Querschnitt was seen as a German counterpart of the American magazine The Dial by some. Ernest Hemingway published his poem The Soul of Spain With McAlmon and Bird the Publishers in Der Querschnitt where he directly attacked The Dial in 1924.
- Peter Brooker (2013). Europe 1880 - 1940. Oxford University Press. p. 872. ISBN 978-0-19-965958-6. Retrieved 10 July 2016.
- Erika Esau, 'The magazine of enduring value: Der Querschnitt (1921-1936) and the World of illustrated magazines', in The Oxford Critical and Cultural History of Modernist Magazines, vol. III, p. 870.
- Brooker, Peter, et al. (eds.) The Oxford Critical and Cultural History of Modernist Magazines: Volume III, Europe 1880-1940 Part I, p. 869 (2013)
- Erika Esau, ″The magazine of enduring value: Der Querschnitt (1921-1936) and the World of illustrated magazines″, in The Oxford Critical and Cultural History of Modernist Magazines, vol. III, 2013.
- Malcolm Gee, ″Defining the modern art collector in the Weimar years″, in: Geschmacksgeschichte(n): öffentliches und privates Kunstsammeln in Deutschland, 1871- 1933, eds. U. Wolff-Thomsen, and S. Kuhrau, Kiel, Verlag Ludwig, 2011, 115-130.
- Malcolm Gee, ″The 'cultured city': the art press in Berlin and Paris in the early twentieth century″, in Printed Matters: Printing, Publishing and Urban Culture in Europe in the modern period, eds. M. Gee and T. Kirk, Ashgate, 2002, 150-173.
- Malcolm Gee, ‘The Berlin Art World, 1918-1933’ in: Malcolm Gee, Tim Kirk and Jill Steward (eds), The City in central Europe : culture and society from 1800 to the present, Ashgate, 1999.
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