Dresden Hanover All had their own individual academies, anti-academic movements, etc.

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1 Art History Tutors: Emelie Sitzia and Morgan Thomas Lecture 5 - Expressionism in Germany Expressionism is slightly a misnomer - all painting is an expression of the artist, but Expressionism s core lies in the distortion of reality for emotional effect. There was never any group which referred to itself as Expressionists, there were no manifestos. Expressionism is just used as a term that refers to a specific style. The 1911 Berlin Secession displayed some French Fauvist works, just to illustrate how wide the term really is. At the start of the 20th century, Germany was a federation of cities they were searching for an identity; figuring out who they were, and who they WEREN T. Germans were not Italians, and they were not French. So they broke away from the Mediterranean style of painting. German expression work has to work at a glance, transfer the emotion immediately, as opposed to Fauvism which you need to really look at. The fragmentation of Germany showed in their cultural life towns were very different in culture and the paintings all reflected this. Germans were quite competitive among themselves! The main cities, Berlin Munich Cologne Dresden Hanover All had their own individual academies, anti-academic movements, etc. Officialdom at the time looked down upon Expressionism and other modern art, due to it being subversive. Painting was meant to be academic! Most expressionists were attacked as endangering German youth and as producing the work of lunatics. People were, in fact, scared by their artworks. The bourgeoisie were working very much with academic theory at the time, so this style seemed threatening to them. There were two Expressionist groups, Die Brücke and Der Blaue Reiter.

2 Die Brucke , from Dresden. Der Blaue Reiter , from Munich. A forerunner of Expressionism in germany was Paula Modersohn Becker. She worked primarily in an artist s colony near Bremen. Her aim for art was simplicity, and in 1899 she saw works by Cézanne in Paris, which validated her goals. Paula died 3 weeks after her daughter was born, in Young Woman in Red Hat , painted after returning to Bremen. This painting features a quite defined shape, and solid colours. Her background is Cézanne s work it was his paintings that she saw in Paris. Young Woman in Red Hat is extremely different to what Matisse was doing 5 years later.

3 If you compare them side by side, you can see just how different Expressionism and Fauvism really were Fauvism is often called the French branch of Expressionism, but this is wrong! Fauvism was more about the media of painting, and expressionism was about inside the painting, the emotion. Self Portrait with Amber Necklace Some elements of Fauvism are creeping in in the background here, but unlike Fauvism, the painting is still using very descriptive colours.

4 The woman is not presented as a sex object like in Matisse s Joy of Life again a departure from modern art. She s an active character who just happens to be nude.

5 Die Brücke Die Brucke came together in Dresden, around Many of them were coming from a design background to art, and were young and impatient fellows. They aimed to use painting as a media of expressing themselves, transmitting emotions to the viewer through art. Die Brucke consisted of Kirchner, Heckel, Schmidt-Rottluff and a few others. By 1913, Die Brücke had been dissolved. They realized the importance of self expression, communicating emotions to the viewer, providing that the viewer was unprejudiced. This is different to what Der Blaue Reiter were doing they aimed to construct a new painting language. Heckel Bathers in the Lake 1911 Bathers in the Lake has extremely different colours to Matisse s Fauvist Joy of Life. The lines here are very minimal as well. Where they exist, they ve been placed just to stop colours from mixing.

6 Kirchner - Striding into the sea Techniques used: Crosshatching, very desaturated colours. Movement has been created through the regularity of the brushstrokes.

7 Kirchner Woman in a Birchwood Very strong post-impressionist influences. A personal observation of mine is that it bears a similarity to Cézanne s works, particularly the later Mont Sainte Victoire works of his. Heckel Brickyard, Dangast 1907 Extremely bright and gestural.

8 Schmidt-Rottluff Autumn Landscape at Oldenburg 1907 Die Brucke s work still had subject matter, landscapes, nudes, still lifes, entertainment, etc. They portrayed a modern world, but largely without any sense of the tension, social & political problems which plagued Germany at the time. Schmidt - Village Conrer (Dorfecke) 1910

9 Matisse - The Blue Nude compared to Kirchner - Girl with a Japanese Parasol c.1909 Some of the differences between these paintings: Matisse presented a female object of desire, the image is somewhat seductive, despite the very cold palette. Kirchner s, doesn t have the same seduction, the woman is cramped into painting. There are lots of angles in the picture, and even though he s using warm colour, he s also throwing in areas of green that, when put on a human body have a connotation of death. Matisse is showing elements of classical theory in his painting. Kirchner shows no theory or classical background.

10 Heckel - Woman Reclining (Liegende) 1909 This is some of Heckel s graphic work note how something is out of tune, designed to put you at unease. Recumbent Nude In Recumbent Nude, there is also a feeling of unease, of a society that isn t quite working, in contrast to some of the earlier, brighter works from earlier.

11 Der Blaue Reiter Der Blaue Reiter aimed to construct a new language of painting. Their name came from Kandinsky s 1903 painting The Blue Rider. They published an almanac consisting of contemporary, primitive and folk art (in 1912) and held exhibitions that toured Germany in Dec 1911 and Feb Der Blaue Reiter consisted of people like Münter, Kandinsky, Werefkin, etc. They were all friends, so as a group, it was relatively homogenous in style when compared to Die Brücke. Wassily Kandinsky, one of the core members of Der Blaue Reiter, was originally from Moscow and resettled to Munich later in his life. In 1895 he saw an exhibition of French art, and was consumed by Monet s Haystack. He wrote: That it was a haystack the catalogue informed me. I could not recognize it. This nonrecognition was painful to me. I considered that the painter had no right to paint indistinctly. I dully felt that the object of the painting was missing. And I noticed with surprise and confusion that the picture not only gripped me, but impressed itself ineradicably on my memory. Painting took on a fairy-tale power and splendour. What was clear to him, though, was the strength of the vivid colours that until then were completely heathen to him, Monet had pushed colour further than Kandinsky had ever dreamed. Kandinsky - Kallmunz, Gabriel Munter painting Kandinsky s earlier work, pictured above, was very much based on the discoveries of the Impressionists.

12 Kandinsky - The Blue Rider The Blue Rider, (Der Blaue Reiter s namesake) used extremely expressive brush strokes and colours. He conveyed the speed of the blue rider through lines the dark shadows at the bottom right, the curves of the hill, and even the direction of the brush strokes. He managed to convey movement without representing the horse realistically.

13 Beach Chairs in Holland Beach Chairs in Holland is showing more experimentation on the part of Kandinsky. It s a painting which is speaking to the viewer, so the subject doesn t really matter. Landscape with Tower

14 Landscape with Tower was painted after Kandinsky had seen Fauvism. He s beginning to move towards abstraction, and by 1910 he had totally abandoned the idea of subject matter! He tried to affect people without giving them the subject matter, he wanted to use colour to talk directly to the soul. as opposed to talking to the mind. Colour was used to invoke emotions he was fascinated by the power of color Battle Battle is an example of his abstraction, and use of colour. He also used a lot of line, to create different spaces in the composition, instead of using line to create perspective. Composition IV 1911

15 This is a more refined take on the same image, he s trying to establish a visual symphony. His brush strokes have changed quite a lot from his earlier work, it s less thick and fast. He s trying to focus attention on the surface, the colours. In 1908 a man called Worringer published a doctoral dissertation about abstraction and empathy, how abstraction had psychological effects on the viewer. Kandinsky didn t read that work until quite a bit later, but it summed up his artistic methods in these artworks perfectly. Werefkin - Self Portrait c In this painting, Werefkin was trying to intensify her gaze, using expressive and intense colours, to create an immediate impression on the viewer.

16 Jawlensky - Oriental Head Jawlensky s style inherits a lot of Paula Modersohn Becker s traits. The way he uses simplified shapes and colours is very reminiscent of her style.

17 Marc - Horse in landscape Marc was one of the pivotal members of Der Blaue Reiter, working hand in hand with Kandinsky. Marc was very active in the editing of the almanac mentioned before the almanac was one of the group s main outputs. Marc didn t go as far as Kandinsky into abstraction he still attempted to have subject matters. Take Horse in Landscape for example, it s still very abstract, and the viewer may need to read the title in order to see the horse, but there IS a subject matter. Munter - Man at table (Kandinsky) 1911 Nothing was said about this image in class.

18 Marc - The Dream Vibrant quality, which sets him apart from the rest of Der Blaue Reiter. Macke - Girls with Straw Hats I None of the other Blaue Reiter went as far as Kandinsky as abstract as their paintings were, they still had a subject.

19 Marc - Rain Moving towards Futurism, but still using subject matters. Macke - Girls at the Fountain Girls at the Fountain shows slight cubist elements.

20 During the first world war, Marc and Macke were killed, and Kandinsky, Werefkin and Jawlensky were forced to move back to Russia, which ended Der Blaue Reiter. Kandinsky later taught at the Bauhaus school of art and design, one of the most important schools of the 20th century.

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