1. Prologue: London, Metropolis of Artistic Exile 92. Arrival and Orientation: Address Books, Street Maps, andUndergrounds 233. Neighbourhoods, Streets, and Houses: Exile History as UrbanHistory 414. Gendered London: Gender, Sexuality, and Exile 655. Émigrés Build for Émigrés 836. Transplanted Objects: Sigmund Freud’s Collection and Chair 1037. Sculpture, Modernity, and Exile: Jussuf Abbo in London 1218. From Bauhaus to the Thames: Textile Designs by MargaretLeischner 1439. In the Blitz: Helmut Gernheim’s Photographs of NationalMonuments 16110. Portrait of a City: Streets and Faces of Exile 17911. London Zoo: Animal, City, and Exile 20312. Storytelling in Pictures: Stefan Lorant and the Picture PostPhotographers 24913. Reading Exile: Publishers and Books as Multipliers 28114. Immortal Portraits: Exile, London, and the Historiography ofEarly Photography 30515. Back to History: Ludwig Meidner and the British Caricature 32516. Pencil as Weapon: Richard Ziegler, Walter Trier,and Die Zeitung 33717. Exhibited Exile: Exhibitions by and with Émigrés 36118. Show It: Galleries as Places of Distribution of Modernityin Exile 38119. Allies inside Germany and English Art and the Mediterranean:Exhibitions in and outside London 41320. Beyond London: Rosa Schapire, Expressionism,and/in Leicester 44121. Epilogue: Self-descriptions of Exile – A Look Back 463Afterword and Acknowledgements 475Notes 479Bibliography 537Index of Persons, Institutions, and Periodicals 589A new approach to modern art shaped by exile and migration.In the 1930s and 1940s, London was a metropolis of artistic exile and a place of refuge from Nazi persecution. London Exile is the first book to look at the British capital as a sanctuary for modern artists. The city presented its new arrivals with opportunities and challenges: exiles established galleries, founded publishing houses and magazines, collaborated with local artists, organised exhibitions, published their work, and built networks. Artistic and theoretical production flourished in close dialogue with urban space.This volume sheds light on how the arrival of exiles transformed London’s art scene and, conversely, how the experience of displacement and the city shaped the work of émigrés in fields such as art, architecture, and photography. London Exile brings art history, urban studies, and exile studies into a vibrant dialogue and contributes to a new understanding of the history of modern art.Burcu Dogramaci is professor of art history and director of the Käte Hamburger Research Centre global dis:connect at the Ludwig-Maximilians-Universität München.In the 1930s and 1940s, London was a metropolis of artistic exile and a place of refuge from Nazi persecution. *London Exile* is the first book to look at the British capital as a sanctuary for modern artists. The city presented its new arrivals with opportunities and challenges: exiles established galleries, founded publishing houses and magazines, collaborated with local artists, organised exhibitions, published their work, and built networks. Artistic and theoretical production flourished in close dialogue with urban space.This volume sheds light on how the arrival of exiles transformed London’s art scene and, conversely, how the experience of displacement and the city shaped the work of émigrés in fields such as art, architecture, and photography. *London Exile* brings art history, urban studies, and exile studies into a vibrant dialogue and contributes to a new understanding of the history of modern art.