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English Art Movement That Rejected the Academic Rules of Art and Often Painted Medieval Subjects

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Modernist art movement

Expressionism
Edvard Munch, 1893, The Scream, oil, tempera and pastel on cardboard, 91 x 73 cm, National Gallery of Norway.jpg

Edvard Munch, The Scream, 1893, oil, tempera and pastel on cardboard, 91 x 73 cm, National Gallery of Norway, inspired 20th-century Expressionists.
Years agile The years before WWI and the interwar years
Land Predominantly Germany, but also in Austria, France, and Russia
Major figures Artists loosely categorized inside such groups every bit Die Brücke, Der Blaue Reiter; the Berlin Secession and the Dresden Secession
Influenced American Figurative Expressionism, generally, and Boston Expressionism, in item

Expressionism is a modernist move, initially in verse and painting, originating in Northern Europe effectually the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional upshot in order to evoke moods or ideas.[1] [2] Expressionist artists accept sought to express the meaning[three] of emotional feel rather than physical reality.[3] [4]

Expressionism developed equally an advanced style before the Commencement Earth War. It remained pop during the Weimar Republic,[1] particularly in Berlin. The style extended to a wide range of the arts, including expressionist architecture, painting, literature, theatre, dance, film and music.[v]

The term is sometimes suggestive of malaise. In a historical sense, much older painters such as Matthias Grünewald and El Greco are sometimes termed expressionist, though the term is applied mainly to 20th-century works. The Expressionist emphasis on private and subjective perspective has been characterized equally a reaction to positivism and other artistic styles such as Naturalism and Impressionism.[half-dozen]

Etymology [edit]

While the word expressionist was used in the modern sense as early equally 1850, its origin is sometimes traced to paintings exhibited in 1901 in Paris past obscure creative person Julien-Auguste Hervé, which he called Expressionismes.[7] An alternative view is that the term was coined by the Czech art historian Antonin Matějček in 1910 equally the reverse of Impressionism: "An Expressionist wishes, above all, to express himself... (an Expressionist rejects) immediate perception and builds on more complex psychic structures... Impressions and mental images that pass through ... people's soul as through a filter which rids them of all substantial accretions to produce their articulate essence [...and] are alloyed and condense into more general forms, into types, which he transcribes through simple short-hand formulae and symbols."[8]

Of import precursors of Expressionism were the German philosopher Friedrich Nietzsche (1844–1900), especially his philosophical novel Thus Spoke Zarathustra (1883–1892); the later plays of the Swedish dramatist August Strindberg (1849–1912), including the trilogy To Damascus 1898–1901, A Dream Play (1902), The Ghost Sonata (1907); Frank Wedekind (1864–1918), peculiarly the "Lulu" plays Erdgeist (World Spirit) (1895) and Die Büchse der Pandora (Pandora's Box) (1904); the American poet Walt Whitman's (1819–1892) Leaves of Grass (1855–1891); the Russian novelist Fyodor Dostoevsky (1821–1881); Norwegian painter Edvard Munch (1863–1944); Dutch painter Vincent van Gogh (1853–1890); Belgian painter James Ensor (1860–1949);[nine] and pioneering Austrian psychoanalyst Sigmund Freud (1856–1939).[5]

In 1905, a group of four German artists, led past Ernst Ludwig Kirchner, formed Die Brücke (the Span) in the urban center of Dresden. This was arguably the founding organization for the German Expressionist motility, though they did not apply the word itself. A few years afterward, in 1911, a similar-minded group of immature artists formed Der Blaue Reiter (The Blue Passenger) in Munich. The proper name came from Wassily Kandinsky's Der Blaue Reiter painting of 1903. Amongst their members were Kandinsky, Franz Marc, Paul Klee, and Baronial Macke. However, the term Expressionism did non firmly establish itself until 1913.[10] Though mainly a German language artistic motion initially[xi] [v] and most predominant in painting, poetry and the theatre between 1910 and 1930, well-nigh precursors of the motility were not German. Furthermore, in that location have been expressionist writers of prose fiction, likewise as non-German-speaking expressionist writers, and, while the movement had declined in Frg with the rise of Adolf Hitler in the 1930s, there were subsequent expressionist works.

Expressionism is notoriously difficult to define, in part because it "overlapped with other major 'isms' of the modernist period: with Futurism, Vorticism, Cubism, Surrealism and Dadaism."[12] Richard Murphy as well comments, "the search for an all-inclusive definition is problematic to the extent that the nigh challenging expressionists such as Kafka, Gottfried Benn and Döblin were simultaneously the most vociferous 'anti-expressionists.'"[xiii]

What tin can be said, however, is that it was a movement that adult in the early twentieth century, mainly in Germany, in reaction to the dehumanizing result of industrialization and the growth of cities, and that "one of the key means by which expressionism identifies itself as an avant-garde movement, and by which information technology marks its distance to traditions and the cultural institution as a whole is through its relationship to realism and the ascendant conventions of representation."[14] More than explicitly, that the expressionists rejected the ideology of realism.[15]

The term refers to an "artistic style in which the artist seeks to draw not objective reality just rather the subjective emotions and responses that objects and events arouse within a person".[xvi] It is arguable that all artists are expressive but there are many examples of fine art product in Europe from the 15th century onward which emphasize extreme emotion. Such art often occurs during times of social upheaval and war, such equally the Protestant Reformation, German Peasants' State of war, and Eighty Years' War between the Castilian and the netherlands, when extreme violence, much directed at civilians, was represented in propagandist popular prints. These were often unimpressive aesthetically just had the capacity to arouse farthermost emotions in the viewer.

Expressionism has been likened to Baroque by critics such as art historian Michel Ragon[17] and High german philosopher Walter Benjamin.[18] According to Alberto Arbasino, a departure between the two is that "Expressionism doesn't shun the violently unpleasant effect, while Baroque does. Expressionism throws some terrific 'fuck y'all', Baroque doesn't. Baroque is well-mannered."[19]

Notable Expressionists [edit]

Some of the fashion's main visual artists of the early 20th century were:

  • Armenia: Martiros Saryan
  • Australia: Sidney Nolan, Charles Blackman, John Perceval, Albert Tucker, and Joy Hester
  • Austria: Richard Gerstl, Egon Schiele, Oskar Kokoschka, Josef Gassler and Alfred Kubin
  • Kingdom of belgium: Marcel Caron, Anto Card, and Auguste Mambour, and the Flemish Expressionists: Constant Permeke, Gustave De Smet, Frits Van den Berghe, James Ensor, Albert Servaes, Floris Jespers and Gustave Van de Woestijne.
  • Brazil: Anita Malfatti, Cândido Portinari, Di Cavalcanti, Iberê Camargo and Lasar Segall.
  • Kingdom of denmark: Einer Johansen
  • Estonia: Konrad Mägi, Eduard Wiiralt, Kuno Veeber
  • Finland: Tyko Sallinen,[20] Alvar Cawén, and Wäinö Aaltonen.
  • France: Frédéric Fiebig, Georges Rouault, Georges Gimel, Gen Paul, Marie-Thérèse Auffray, Jacques Démoulin and Bernard Buffet.
  • Germany: Ernst Barlach, Max Beckmann, Fritz Bleyl, Heinrich Campendonk, Otto Dix, Conrad Felixmüller, George Grosz, Erich Heckel, Carl Hofer, Max Kaus, Ernst Ludwig Kirchner, Käthe Kollwitz, Wilhelm Lehmbruck, Elfriede Lohse-Wächtler, August Macke, Franz Marc, Ludwig Meidner, Paula Modersohn-Becker, Otto Mueller, Gabriele Münter, Rolf Nesch, Emil Nolde, Max Pechstein, Christian Rohlfs, Karl Schmidt-Rottluff and Georg Tappert.
  • Hellenic republic: George Bouzianis
  • Hungary: Tivadar Kosztka Csontváry
  • Iceland: Einar Hákonarson
  • Ireland: Jack B. Yeats
  • Republic of indonesia: Affandi
  • Italia: Amedeo Modigliani, Emilio Giuseppe Dossena
  • Nippon: Kōshirō Onchi
  • Mexico: Mathias Goeritz (German émigré to Mexico), Rufino Tamayo
  • Netherlands: Willem Hofhuizen, Herman Kruyder, Jan Sluyters, Vincent van Gogh, Jan Wiegers and Hendrik Werkman
  • Norway: Edvard Munch, Kai Fjell
  • Poland: Henryk Gotlib
  • Portugal: Mário Eloy, Amadeo de Souza Cardoso
  • Russia: Wassily Kandinsky, Marc Chagall, Chaïm Soutine, Alexej von Jawlensky, Natalia Goncharova, Mstislav Dobuzhinsky, and Marianne von Werefkin (Russian-born, subsequently agile in Germany and Switzerland).
  • Romania: Horia Bernea
  • South Africa: Maggie Laubser, Irma Stern
  • Sweden: Leander Engström, Isaac Grünewald, Axel Törneman
  • Switzerland: Carl Eugen Keel, Cuno Amiet, Paul Klee
  • Ukraine: Alexis Gritchenko (Ukraine-built-in, most active in France), Vadim Meller
  • United Kingdom: Francis Bacon, Frank Auerbach, Leon Kossoff, Lucian Freud, Patrick Heron, John Hoyland, Howard Hodgkin, John Walker
  • United States: Ivan Albright, David Aronson, Milton Avery, Leonard Baskin, George Biddle, Hyman Bloom, Peter Blume, Charles Burchfield, David Burliuk, Stuart Davis, Lyonel Feininger, Wilhelmina Weber Furlong, Elaine de Kooning, Willem de Kooning, Beauford Delaney, Arthur G. Dove, Norris Embry, Philip Evergood, Kahlil Gibran, William Gropper, Philip Guston, Marsden Hartley, Albert Kotin, Yasuo Kuniyoshi, Rico Lebrun, Jack Levine, Alfred Henry Maurer, Robert Motherwell, Alice Neel, Abraham Rattner, Esther Rolick, Ben Shahn, Harry Shoulberg, Joseph Stella, Harry Sternberg, Henry Ossawa Tanner, Dorothea Tanning, Wilhelmina Weber, Max Weber, Hale Woodruff, Karl Zerbe.

Groups of painters [edit]

The style originated principally in Germany and Austria. There were a number of groups of expressionist painters, including Der Blaue Reiter and Die Brücke. Der Blaue Reiter (The Blueish Rider, named for a painting) was based in Munich and Die Brücke was originally based in Dresden (although some members later relocated to Berlin). Dice Brücke was active for a longer period than Der Blaue Reiter, which was but together for a yr (1912). The Expressionists were influenced by various artists and sources including Edvard Munch, Vincent van Gogh, and African fine art.[21] They were also aware of the piece of work being done by the Fauves in Paris, who influenced Expressionism's tendency toward arbitrary colours and jarring compositions. In reaction and opposition to French Impressionism, which emphasized the rendering of the visual appearance of objects, Expressionist artists sought to portray emotions and subjective interpretations. It was not of import to reproduce an aesthetically pleasing impression of the creative subject area matter, they felt, simply rather to represent vivid emotional reactions by powerful colours and dynamic compositions. Kandinsky, the main artist of Der Blaue Reiter group, believed that with simple colours and shapes the spectator could perceive the moods and feelings in the paintings, a theory that encouraged him towards increased abstraction.[5]

The ideas of German expressionism influenced the work of American artist Marsden Hartley, who met Kandinsky in Deutschland in 1913.[22] In late 1939, at the beginning of World War Two, New York City received a great number of major European artists. After the war, Expressionism influenced many immature American artists. Norris Embry (1921–1981) studied with Oskar Kokoschka in 1947 and during the next 43 years produced a large torso of work in the Expressionist tradition. Norris Embry has been termed "the commencement American German Expressionist". Other American artists of the late 20th and early 21st century have developed distinct styles that may be considered function of Expressionism. Another prominent artist who came from the German language Expressionist "school" was Bremen-born Wolfgang Degenhardt. After working as a commercial artist in Bremen, he migrated to Commonwealth of australia in 1954 and became quite well known in the Hunter Valley region.

After Globe State of war II, figurative expressionism influenced worldwide a big number of artists and styles. In the U.South., American Expressionism[23] and American Figurative Expressionism, particularly Boston Expressionism,[24] were an integral part of American modernism around the Second Earth State of war. Thomas B. Hess wrote that "the 'New figurative painting' which some accept been expecting as a reaction against Abstruse Expressionism was implicit in it at the start, and is i of its nigh lineal continuities."[25]

  • Major figurative Boston Expressionists included: Karl Zerbe, Hyman Flower, Jack Levine, David Aronson. The Boston Expressionists persisted subsequently World State of war II despite their marginalization by the development of abstruse expressionism centered in New York City, and are currently in the third generation.
  • New York Figurative Expressionism[26] [27] of the 1950s represented New York figurative artists such as Robert Beauchamp, Elaine de Kooning, Robert Goodnough, Grace Hartigan, Lester Johnson, Alex Katz, George McNeil (artist), January Muller, Fairfield Porter, Gregorio Prestopino, Larry Rivers and Bob Thompson.
  • Lyrical Abstraction, Tachisme[28] of the 1940s and 1950s in Europe represented past artists such every bit Georges Mathieu, Hans Hartung, Nicolas de Staël and others.
  • Bay Area Figurative Movement[29] [30] represented by early figurative expressionists from the San Francisco surface area Elmer Bischoff, Richard Diebenkorn, and David Park. The movement from 1950 to 1965 was joined by Theophilus Chocolate-brown, Paul Wonner, Hassel Smith, Nathan Oliveira, Jay DeFeo, Joan Brown, Manuel Neri, Frank Lobdell, and Roland Peterson.
  • Abstract expressionism of the 1950s represented American artists such every bit Louise Bourgeois, Hans Burkhardt, Mary Callery, Nicolas Carone, Willem de Kooning, Jackson Pollock, Philip Guston, and others[31] [32] that participated with figurative expressionism.
  • Sōsaku-hanga (創作版画 "artistic prints") was an expressionist woodblock print movement in early 20th century Japan. The motility was characterized by the work of Kanae Yamamoto (artist), Kōshirō Onchi, and many others.
  • In the United States and Canada, Lyrical Brainchild beginning during the late 1960s and the 1970s. Characterized by the piece of work of Dan Christensen, Peter Young, Ronnie Landfield, Ronald Davis, Larry Poons, Walter Darby Bannard, Charles Arnoldi, Pat Lipsky and many others.[33] [34] [35]
  • Neo-expressionism was an international revival manner that began in the late 1970s

Representative paintings [edit]

In other arts [edit]

The Expressionist motion included other types of culture, including trip the light fantastic, sculpture, movie theatre and theatre.

Trip the light fantastic toe [edit]

Exponents of expressionist trip the light fantastic toe included Mary Wigman, Rudolf von Laban, and Pina Bausch.[36]

Sculpture [edit]

Some sculptors used the Expressionist style, as for instance Ernst Barlach. Other expressionist artists known mainly equally painters, such equally Erich Heckel, also worked with sculpture.[5]

Picture palace [edit]

There was an Expressionist manner in German language movie house, important examples of which are Robert Wiene's The Cabinet of Dr. Caligari (1920), The Golem: How He Came into the World (1920), Fritz Lang'south Metropolis (1927) and F. Westward. Murnau's Nosferatu, a Symphony of Horror (1922) and The Final Express joy (1924). The term "expressionist" is also sometimes used to refer to stylistic devices thought to resemble those of German Expressionism, such as film noir cinematography or the style of several of the films of Ingmar Bergman. More than generally, the term expressionism can be used to describe cinematic styles of great artifice, such as the technicolor melodramas of Douglas Sirk or the sound and visual design of David Lynch's films.[37]

Literature [edit]

Journals [edit]

Ii leading Expressionist journals published in Berlin were Der Sturm, published by Herwarth Walden starting in 1910,[38] and Die Aktion, which offset appeared in 1911 and was edited past Franz Pfemfert. Der Sturm published poetry and prose from contributors such as Peter Altenberg, Max Brod, Richard Dehmel, Alfred Döblin, Anatole France, Knut Hamsun, Arno Holz, Karl Kraus, Selma Lagerlöf, Adolf Loos, Heinrich Isle of mann, Paul Scheerbart, and René Schickele, and writings, drawings, and prints by such artists as Kokoschka, Kandinsky, and members of Der blaue Reiter.[39]

Drama [edit]

The artist and playwright Oskar Kokoschka'due south 1909 playlet, Murderer, The Hope of Women is frequently termed the first expressionist drama. In it, an unnamed human being and woman struggle for dominance. The man brands the woman; she stabs and imprisons him. He frees himself and she falls dead at his touch. As the play ends, he slaughters all around him (in the words of the text) "like mosquitoes." The extreme simplification of characters to mythic types, choral effects, declamatory dialogue and heightened intensity all would become characteristic of subsequently expressionist plays.[40] The German composer Paul Hindemith created an operatic version of this play, which premiered in 1921.[41]

Expressionism was a dominant influence on early 20th-century German theatre, of which Georg Kaiser and Ernst Toller were the about famous playwrights. Other notable Expressionist dramatists included Reinhard Sorge, Walter Hasenclever, Hans Henny Jahnn, and Arnolt Bronnen. Of import precursors were the Swedish playwright Baronial Strindberg and German actor and dramatist Frank Wedekind. During the 1920s, Expressionism enjoyed a brief menstruum of influence in American theatre, including the early on modernist plays by Eugene O'Neill (The Hairy Ape, The Emperor Jones and The Nifty God Brown), Sophie Treadwell (Machinal) and Elmer Rice (The Adding Motorcar).[42]

Expressionist plays often dramatise the spiritual awakening and sufferings of their protagonists. Some utilise an episodic dramatic structure and are known as Stationendramen (station plays), modeled on the presentation of the suffering and death of Jesus in the Stations of the Cross. August Strindberg had pioneered this form with his autobiographical trilogy To Damascus. These plays also often dramatise the struggle confronting conservative values and established potency, frequently personified by the Male parent. In Sorge'due south The Beggar, (Der Bettler), for case, the young hero's mentally ill father raves about the prospect of mining the riches of Mars and is finally poisoned past his son. In Bronnen'southward Parricide (Vatermord), the son stabs his tyrannical father to expiry, but to have to fend off the frenzied sexual overtures of his mother.[43]

In Expressionist drama, the speech may be either expansive and rhapsodic, or clipped and telegraphic. Director Leopold Jessner became famous for his expressionistic productions, ofttimes assault stark, steeply raked flights of stairs (having borrowed the idea from the Symbolist director and designer, Edward Gordon Craig). Staging was especially important in Expressionist drama, with directors forgoing the illusion of reality to block actors in as close to 2-dimensional motility. Directors also made heavy utilize of lighting effects to create stark contrast and as some other method to heavily emphasize emotion and convey the play or a scene'south message.[44]

German expressionist playwrights:

  • Georg Kaiser (1878)
  • Ernst Toller (1893–1939)
  • Hans Henny Jahnn (1894–1959)
  • Reinhard Sorge (1892–1916)
  • Bertolt Brecht (1898–1956)

Playwrights influenced by Expressionism:

  • Seán O'Casey (1880–1964)[45]
  • Eugene O'Neill (1885–1953)
  • Elmer Rice (1892–1967)
  • Tennessee Williams (1911–1983)[46]
  • Arthur Miller (1915–2005)
  • Samuel Beckett (1906–1989)[47]

Poetry [edit]

Among the poets associated with German language Expressionism were:

  • Jakob van Hoddis
  • Georg Trakl
  • Walter Rheiner
  • Gottfried Benn
  • Georg Heym
  • Else Lasker-Schüler
  • Ernst Stadler
  • Baronial Stramm
  • Rainer Maria Rilke (1875–1926): The Notebooks of Malte Laurids Brigge (1910)[48]
  • Geo Milev

Other poets influenced by expressionism:

  • T. S. Eliot[49]
  • Rudolf Broby-Johansen[50]
  • Tom Kristensen
  • Pär Lagerkvist
  • Edith Södergran

Prose [edit]

In prose, the early stories and novels of Alfred Döblin were influenced by Expressionism,[51] and Franz Kafka is sometimes labelled an Expressionist.[52] Some further writers and works that have been called Expressionist include:

  • Franz Kafka (1883–1924): "The Metamorphosis" (1915), The Trial (1925), The Castle (1926)[53]
  • Alfred Döblin (1878–1957): Berlin Alexanderplatz (1929)[54]
  • Wyndham Lewis (1882–1957)[55]
  • Djuna Barnes (1892–1982): Nightwood (1936)[56]
  • Malcolm Lowry (1909–1957): Nether the Volcano (1947)
  • Ernest Hemingway[57]
  • James Joyce (1882–1941): "The Nighttown" section of Ulysses (1922)[58]
  • Patrick White (1912–1990)[59]
  • D. H. Lawrence[lx]
  • Sheila Watson: Double Claw [61]
  • Elias Canetti: Motorcar-da-Fé [62]
  • Thomas Pynchon[63]
  • William Faulkner[64]
  • James Hanley (1897–1985)[65]
  • Raul Brandão (1867–1930): Húmus (1917)

Music [edit]

The term expressionism "was probably commencement applied to music in 1918, especially to Schoenberg", considering like the painter Kandinsky he avoided "traditional forms of beauty" to convey powerful feelings in his music.[66] Arnold Schoenberg, Anton Webern and Alban Berg, the members of the Second Viennese School, are important Expressionists (Schoenberg was also an expressionist painter).[67] Other composers that have been associated with expressionism are Krenek (the 2nd Symphony), Paul Hindemith (The Immature Maiden), Igor Stravinsky (Japanese Songs), Alexander Scriabin (late pianoforte sonatas) (Adorno 2009, 275). Another pregnant expressionist was Béla Bartók in early on works, written in the second decade of the 20th century, such as Bluebeard's Castle (1911),[68] The Wooden Prince (1917),[69] and The Miraculous Standard mandarin (1919).[seventy] Important precursors of expressionism are Richard Wagner (1813–1883), Gustav Mahler (1860–1911), and Richard Strauss (1864–1949).[71]

Theodor Adorno describes expressionism as concerned with the unconscious, and states that "the depiction of fear lies at the centre" of expressionist music, with dissonance predominating, so that the "harmonious, affirmative chemical element of fine art is banished" (Adorno 2009, 275–76). Erwartung and Die Glückliche Hand, by Schoenberg, and Wozzeck, an opera by Alban Berg (based on the play Woyzeck by Georg Büchner), are examples of Expressionist works.[72] If one were to describe an analogy from paintings, one may describe the expressionist painting technique every bit the distortion of reality (by and large colors and shapes) to create a nightmarish upshot for the particular painting as a whole. Expressionist music roughly does the same thing, where the dramatically increased racket creates, aurally, a nightmarish temper.[73]

Architecture [edit]

In compages, two specific buildings are identified as Expressionist: Bruno Taut's Glass Pavilion of the Cologne Werkbund Exhibition (1914), and Erich Mendelsohn'south Einstein Tower in Potsdam, Germany completed in 1921. The interior of Hans Poelzig'south Berlin theatre (the Grosse Schauspielhaus), designed for the director Max Reinhardt, is also cited sometimes. The influential architectural critic and historian Sigfried Giedion, in his book Space, Time and Architecture (1941), dismissed Expressionist architecture as a part of the development of functionalism. In Mexico, in 1953, German émigré Mathias Goeritz published the Arquitectura Emocional ("Emotional Architecture") manifesto with which he alleged that "architecture's principal function is emotion".[74] Modern Mexican builder Luis Barragán adopted the term that influenced his work. The two of them collaborated in the project Torres de Satélite (1957–58) guided by Goeritz'due south principles of Arquitectura Emocional.[75] It was only during the 1970s that Expressionism in compages came to be re-evaluated more positively.[76] [77]

References [edit]

  1. ^ a b Bruce Thompson, Academy of California, Santa Cruz, lecture on Weimar civilisation/Kafka'a Prague Archived 2010-01-11 at the Wayback Machine
  2. ^ Chris Baldick Concise Oxford Dictionary of Literary Terms, entry for Expressionism
  3. ^ a b Victorino Tejera, 1966, pages 85,140, Fine art and Homo Intelligence, Vision Press Express, London
  4. ^ The Oxford Illustrated Dictionary, 1976 edition, page 294
  5. ^ a b c d e Gombrich, East.H. (1995). The Story of Fine art (16. ed. (rev., expanded and redesigned). ed.). London: Phaidon. pp. 563–568. ISBN978-0714832470.
  6. ^ Garzanti, Aldo (1974) [1972]. Enciclopedia Garzanti della letteratura (in Italian). Milan: Guido Villa. p. 963. page 241
  7. ^ John Willett, Expressionism. New York: World University Library, 1970, p.25; Richard Sheppard, "German Expressionism", in Modernism: 1890–1930, ed. Bradbury & McFarlane, Harmondsworth: Penguin Books, 1976, p.274.
  8. ^ Cited in Donald E. Gordon, Expressionism: Fine art and Ideas. New Haven: Yale University Press, 1987, p. 175.
  9. ^ R. S. Furness, Expressionism. London: Methuen, pp.ii–14; Willett, pp. xx–24.
  10. ^ Richard Sheppard, p.274.
  11. ^ Note the parallel French movement Fauvism and the English language Vorticism: "The Fauvist motion has been compared to German Expressionism, both projecting bright colors and spontaneous brushwork, and indebted to the same late nineteenth-century sources, specially Van Gogh." Sabine Rewald, "Fauvism", In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/fauv/hd_fauv.htm (October 2004); and "Vorticism tin exist thought of as English Expressionism." Sherrill E. Grace, Regression and Apocalypse: Studies in North American Literary Expressionism. Toronto: University of Toronto Printing, 1989, p. 26.
  12. ^ Sherrill E. Grace, Regression and Apacaypse: Studies in North American Literary Expressionism. Toronto: University of Toronto Printing, 1989, p.26).
  13. ^ Richard Tater, Theorizing the Avant-garde: Modernism, Expressionism, and the Problem of Postmodernity. Cambridge, Cambridge University Printing,1999, p. 43.
  14. ^ Richard Irish potato, p. 43.
  15. ^ White potato, especially pp. 43–48; and Walter H. Sokel, The Writer in Extremis. Stanford, California: Stanford University Press, 1959, especially Chapter I.
  16. ^ Britannica Online Encyclopaedia (February, 2012).
  17. ^ Ragon, Michel (1968). Expressionism . Heron. ISBN9780900948640. There is no doubt that Expressionism is Baroque in essence
  18. ^ Benjamin, Walter (1998). Origin of German Tragic Drama . London: Verso. ISBN978-1-85984-899-ix.
  19. ^ Pedullà, Gabriele; Arbasino, Alberto (2003). "Sull'albero di ciliegie – Conversando di letteratura e di cinema con Alberto Arbasino" [On the cherry tree – Conversations on literature and cinema with Alberto Arbasino]. CONTEMPORANEA Rivista di studi sulla letteratura e sulla comunicazione. 50'espressionismo non rifugge dall'effetto violentemente sgradevole, mentre invece il barocco lo fa. Fifty'espressionismo tira dei tremendi «vaffanculo», il barocco no. Il barocco è beneducato (Expressionism doesn't shun the violently unpleasant effect, while Baroque does. Expressionism throws some terrific "Fuck you", Bizarre doesn't. Baroque is well-mannered.)
  20. ^ Ian Chilvers, The Oxford lexicon of fine art, Book 2004, Oxford University Press, p. 506. ISBN 0-19-860476-ix
  21. ^ Ian Buruma, "Want in Berlin", New York Review of Books, December eight, 2008, p. 19.
  22. ^ "Hartley, Marsden", Oxford Art Online
  23. ^ Bram Dijkstra, American expressionism : art and social change, 1920–1950,(New York : H.N. Abrams, in clan with the Columbus Museum of Fine art, 2003.) ISBN 0-8109-4231-3, ISBN 978-0-8109-4231-8
  24. ^ Judith Bookbinder, Boston modern: figurative expressionism every bit alternative modernism (Durham, N.H. : Academy of New Hampshire Press; Hanover : University Press of New England, ©2005.) ISBN one-58465-488-0, ISBN 978-1-58465-488-9
  25. ^ Thomas B. Hess, "The Many Deaths of American Art," Art News 59 (Oct 1960), p.25
  26. ^ Paul Schimmel and Judith Eastward Stein, The Figurative fifties : New York figurative expressionism (Newport Beach, California : Newport Harbor Fine art Museum : New York : Rizzoli, 1988.) ISBN 978-0-8478-0942-4
  27. ^ "Editorial," Reality, A Journal of Artists' Opinions (Spring 1954), p. 2.
  28. ^ Flight lyric, Paris 1945–1956, texts Patrick-Gilles Persin, Michel and Pierre Descargues Ragon, Musée du Luxembourg, Paris and Skira, Milan, 2006, 280 p. ISBN 88-7624-679-7.
  29. ^ Caroline A. Jones, Bay Surface area figurative art, 1950–1965, (San Francisco, California : San Francisco Museum of Modern Art; Berkeley : University of California Printing, ©1990.) ISBN 978-0-520-06842-i
  30. ^ American Abstract and Figurative Expressionism: Mode Is Timely Art Is Timeless (New York School Press, 2009.) ISBN 978-0-9677994-two-1 pp. 44–47; 56–59; eighty–83; 112–115; 192–195; 212–215; 240–243; 248–251
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Further reading [edit]

  • Antonín Matějček cited in Gordon, Donald East. (1987). Expressionism: Art and Idea, p. 175. New Haven: Yale University Printing. ISBN 9780300033106
  • Jonah F. Mitchell (Berlin, 2003). Doctoral thesis Expressionism between Western modernism and Teutonic Sonderweg. Courtesy of the author.
  • Friedrich Nietzsche (1872). The Birth of Tragedy Out of The Spirit of Music. Trans. Clifton P. Fadiman. New York: Dover, 1995. ISBN 0-486-28515-iv.
  • Judith Bookbinder, Boston modern: figurative expressionism as alternative modernism, (Durham, N.H.: Academy of New Hampshire Press; Hanover: University Press of New England, ©2005.) ISBN 1-58465-488-0, ISBN 978-i-58465-488-9
  • Bram Dijkstra, American expressionism: fine art and social modify, 1920–1950, (New York: H.N. Abrams, in association with the Columbus Museum of Art, 2003.) ISBN 0-8109-4231-3, ISBN 978-0-8109-4231-viii
  • Ditmar Elger Expressionism-A Revolution in High german Art ISBN 978-three-8228-3194-half-dozen
  • Paul Schimmel and Judith Eastward Stein, The Figurative fifties: New York figurative expressionism, The Other Tradition (Newport Beach, California: Newport Harbor Art Museum: New York: Rizzoli, 1988.) ISBN 978-0-8478-0942-iv ISBN 978-0-91749312-6
  • Marika Herskovic, American Abstract and Figurative Expressionism: Style Is Timely Art Is Timeless (New York School Press, 2009.) ISBN 978-0-9677994-2-1.
  • Lakatos Gabriela Luciana, Expressionism Today, University of Art and Design Cluj Napoca, 2011

External links [edit]

  • Hottentots in tails A turbulent history of the group by Christian Saehrendt at signandsight.com
  • German Expressionism A free resource with paintings from High german expressionists (high-quality).

floreshinglew.blogspot.com

Source: https://en.wikipedia.org/wiki/Expressionism

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