Primitivism and Gabriele Münter Primitivism. It is a word that has been thrown around aimlessly for centuries, and yet, what does it mean? For most minds, one could simply dissect the word to find a basic meaning. Primitive is like primate, which is like monkey, which is like a less developed human. The thing is, though, that primitivism is so much more than that, especially in art. Primitivism describes an interest and interpretation of less- developed cultures, but can also depict just about any social behavior judged to be relatively simple. 1 Some characteristics of primitivism are a expression of the "unconscious," often with the implication that non- western cultures are more "in touch" with the unconscious, a sort of flatness, and an application of paint in a rough, manipulated style, as to suggest rawness. These features can all be found in the works of German expressionist, Gabriele Münter, giving her the title of a primitive artist. Münter started her art career fairly early in life. As a woman, it was difficult for her to study in the German art academies since only men were considered true artists at the time. However, when she was only in her mid- 30s, she, Kandinsky, and Marc started the expressionist group known as Der Blaue Reiter, or The Blue Rider. Within the group, artistic approaches and aims varied from artist to artist; however, the artists shared a common desire to express spiritual truths through their art. 2 In creating works that communicate these spiritual truths, some artists 1 Colin Rhodes, Primitivism and Modern Art, (New York: Thames and Huson Inc, 1994), 7. 2 Crockett, Dennis, German Post-Expressionism: The Art of the Great Disorder 1918-1924. (University Park: Pennsylvania State University Press, 1999).
of Der Blaue Reiter chose to look at the unconscious. The unconscious could include repressed feelings, automatic skills, unacknowledged perceptions, thoughts, habits and automatic reactions, hidden phobias, or desires. Many people of western culture believed that those of non- western traditions were much more in touch with the unconscious mind, often in the form of dreaming. This link between the unconscious and non- western cultures in European minds is what makes it such a primitive idea in art. It s the interpretation of what is primitive. Being part of Der Blaue Reiter, Münter depicted many scenes in which she revealed an unconscious truth. An example of this would be Breakfast of the Birds, 1934 (Image 1). The painting depicts from behind a woman seated at her dining room table. The woman looks out the window, where birds are perched on a tree. The woman seems to be ignoring her meal so that she can watch the birds. The composition shows that the painting stresses the contrast between indoor and outdoor spaces, emphasizing the woman s solitude and her physical and emotional isolation. 3 This could be said to symbolize the difficulty Münter experienced during her journey to become a female artist. While Münter demonstrates a fascination for such unconscious thoughts, she also demonstrates primitivism through her flattening of shapes, a style quite popular in non- western art forms. For example, if one were to look at the artistic styles of ancient Egypt (see image 2), that person would find flat figures comprised of shapes. Münter also painted in this manner of flat figures and landscapes. 3 Heller, Nancy G. Broad Strokes, "Reflection on a winter s day."
Influenced by the works of Gauguin and Van Gogh, Münter moved to a small village that had been untouched by industrialization. Through her flat compositions, she demonstrated her rejection of western modernization and her search for a simpler way of life. In her paintings, it is the use of color which expresses these ideas, 4 not the forms. For example, take a look at Paysage d'automne, 1910 (Image 3) 5. The painting is a landscape made up of large shapes. It is quite difficult to tell what is specifically depicted, aside from a winding road and a fence. Because of its ambiguity, the painting becomes representational, as opposed to naturalistic. The large shapes adhere to the notion of simplicity because they represent a landscape in its most minimal form. Münter has many other paintings that demonstrate this same idea, such as Jawlensky and Werefkin, 1908-1909 (Image 4) 6 or Wind and Clouds, 1910 (Image 5) 7. Finally, Münter demonstrates primitivism in her painting technique of applying paint in a rather rough manner. This technique gives the impression of rawness, a term very prominent in non- western artwork. This can be seen in Münter s Jawlensky and Werefkin, 1908-1909. The brushstrokes are exceedingly notable in the painting. An observer can tell exactly where Münter s brush and palette knife moved over the painting. This creates a sense of spontaneity, again 4 Crockett, Dennis, German Post-Expressionism: The Art of the Great Disorder 1918-1924. (University Park: Pennsylvania State University Press, 1999). 5 Expressionnisme Allemand, "Gabriele MÜNTER." Last modified October 05, 2007. Accessed February 27, 2012. http://expressionnismeallemand.blogspot.com/2007/10/gabriele-mnter.html. 6 GlitzQueen, "Der Blaue Reiter." Accessed February 27, 2012. http://www.glitzqueen.com/art/brmunter.html. 7 Friend of Art, "Wind and Clouds." Accessed February 27, 2012. http://www.friendsofart.net/en/art/gabriele-münter/wind-and-clouds.
leading into that sense of the unconscious. The artist paints instinctually, as if her inner self knows exactly where to paint. Münter uses this technique to step away from naturalism and into a much more simplistic way of reacting to a scene. After all, what can be more primitive or simple than instinct? As Emil Nolde once wrote, primitivism expresses absolute originality, the intense and often grotesque expression of power and life in very simple forms. 8 These simplistic forms can be seen within primitive art through the representation of the unconscious, the flattening of forms, and the rough application of paint to denote spontaneity and rawness. Many artists attempted to produce primitive art using these strategies, including Gabriele Münter. Her works represent inner conflicts, such as the psychological struggle of being a female artist in a man s world. Her works flatten forms to represent the simplest structures, such as a large semicircle to represent a hill. Her works have rawness to their painted technique, a sense of spontaneity, and a sense of instinct. This is primitivism. 8 Emil Nolde, "On Primitive Art," Art in Theory, ed. Charles Harrison and Paul Wood (Malden, MA: Blackwell Publishing, 1992), 96-97.
Images 1) 2) 3) 4) 5)
Bibliography 1. Rhodes, Colin. Primitivism and Modern Art. New York: Thames and Huson Inc, 1994. 2. Lloyd, Jill. German Expressionism: Primitivism and Modernity. New Haven: Yale University Press, 1991. 3. Crockett, Dennis, German Post-Expressionism: The Art of the Great Disorder 1918-1924. University Park: Pennsylvania State University Press, 1999. 4. Heller, Nancy G. Broad Strokes, "Reflection on a winter s day." Last modified December 31, 2009. Accessed February 26, 2012. http://womeninthearts.wordpress.com/2009/12/31/reflection-on-awinters-day/. 5. Expressionnisme Allemand, "Gabriele MÜNTER." Last modified October 05, 2007. Accessed February 27, 2012. http://expressionnismeallemand.blogspot.com/2007/10/gabrielemnter.html. 6. Friend of Art, "Wind and Clouds." Accessed February 27, 2012. http://www.friendsofart.net/en/art/gabriele-münter/wind-and-clouds. 7. GlitzQueen, "Der Blaue Reiter." Accessed February 27, 2012. http://www.glitzqueen.com/art/brmunter.html. 8. Nolde, Emil. On Primitive Art. Art in Theory. Edited by Charles Harrison and Paul Wood. Malden, MA: Blackwell Publishing, 1992.