Expressionist painter Ernst Ludwig Kirchner"s Self-Portrait as Soldier is one of the best-known self-portraits of the modern classical period. With its sharp foreground focus on the uniformed artist"s bloody amputated hand, the painting has long been interpreted as a vehement protest against war, specifically World War I and Kirchner"s participation in it. Peter Springer"s innovative study presents a convincing alternative reading of Kirchner"s epochal work. Springer sees in it, not a harsh condemnation of militarism, but a marked ambivalence in the artist"s attitude toward war. This new reading of the painting grows out of Springer"s assessment of its imagery in relation to patronage, gender relations, and national identity--and particularly to propaganda and satire. Using Kirchner"s letters and other documentation, much of it only recently available, Springer reconstructs the years of Kirchner"s military service. He juxtaposes a range of visual contexts that include...