2 nd German Expressionism movement 1911 to 1914 Munich, Germany Der Blaue Reiter (The Blue Rider)...
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Transcript of 2 nd German Expressionism movement 1911 to 1914 Munich, Germany Der Blaue Reiter (The Blue Rider)...
2nd German Expressionism movement
1911 to 1914
Munich, Germany
Der Blaue Reiter
(The Blue Rider)
Cover of Der Blaue Reiter almanac, c.1912
The spiritual in art
The spiritual and symbolic associations of color
The connection between visual art and music
Contemporary art, primitive and folk art, children's paintings
Wassily Kandinsky, On the Spiritual in Art ,1911
the spiritual life of humanity as a large triangle similar to a pyramid
Exhibitions touring Germany in 1911 and 1912
Der Blaue Reiter
Wassily Kandinsky
Franz Marc
August Macke
Paul Klee
Gabriele Münter
Albert Bloch
Natalia Goncharova
Marianne von Werefkin
Lyonel Feininger
Arnold Schoenberg
Der Blaue Reiter,1903
Wassily Kandinsky
Composition IVo/c 191162 7/8 x 98 5/8
Wassily Kandinsky
Blue Horse I o/c 1911112.5 x 84.5 cm
The fate of the animalso/c 1913196 x 266 cm
Franz Marc
Arabian Café o/c 191427 x 21,8 cm
August Macke
Kandinsky stressed the impact of color and its association with music,
explaining that "color is a means of exerting direct influence upon the soul.
Color is a keyboard. The eye is the hammer. The soul is the piano, with its
many strings.“
MoMA wall text
KandinskyWinter 1914
NON-OBJECTIVE
Wassily Kandinsky
During WWI
Non-representational abstraction
The Russian Revolution and Suprematism
Belief in an art which expresses a reality beyond the material, a consciousness like that of a meditative state in which ordinary reality is transcended;
eastern and Buddhist influences, the Theosophical Society
(Kandinsky, Malevich, Mondrian, Duchamp, Pollock, Rothko, etc)
The Russian Avant Garde
Suprematism
(1913-1918)
“Suprematism is the rediscovery of pure art that, in the course of time, had become obscured by the accumulation of 'things‘.”
Kasimir Malevich, The Non-Objective World
Geometric forms as paradigms of spiritual evolution
sacred geometry
“Under Suprematism I understand the supremacy of pure feeling in creative art. To the Suprematist the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling, as such, quite apart from the environment in which it is called forth.”
What artists found appealing about the various arcane religious and philosophical systems was
their underlying premise that the spiritual world is governed by laws that mirror natural laws and that can
be expressed in symbols. The idea is akin to Ralph Waldo Emerson’s notion that every appearance in nature
corresponds to some state of mind. Geometric forms are thus paradigms of spiritual evolution.
The spiritual world, like the natural world, is charged with energy, producing cosmic vibrations and
human auras. The spiritual principles that intrigued certain artists included synesthesia, the overlap
between the senses by which a painting can simulate music; duality, the idea that the cosmos reflects
an underlying principle of yin and yang; and so-called "sacred geometry," the belief that, as Plato put it,
"God geometricizes."
Spirituality in Abstract Art by Pamela Schaeffer on the subject of the exhibition "The Spiritual in Art: Abstract Painting 1890-1985”.
Kazimir Malevich
Morning in the Village after Snowstorm, 1912
The Woodcutter, 1912
Malevich, Cow and Violin, 1913 Malevich, Composition with Mona Lisa, 1913
The artist constructs a new symbol with his brush. This symbol is not a recognizable form of anything that is already finished, already made, or already existent in the world — it is a symbol of a new world, which is being built upon and which exists by the way of the people.
Suprematism
El Lissitzky
"the supremacy of pure feeling"
"The square = feeling, the white field = the void beyond this feeling."
Black Square1913, o/c, 31 x 31
Kazimir
Malevich
From Cubism to Suprematism
Kazimir
Malevich
The Black Circle
1913, 41 x 41”
Black Square , 1915
31 3/16x31 5/16"
o/c 31 3/16x31 5/16"
Kazimir
Malevich
Kazimir
Malevich
Suprematist Painting:
Eight Red Rectangles
o/c, 1915, 22 x 19”
Black Square and Red Square, 1915
Suprematist Composition. 1915
Kazimir
Malevich
Suprematist Composition. 1916
Supremus No. 56
1916, o/c, 31 x 28 “
Kasimir Malevich
Kazimir Malevich
Suprematist Composition: White on White, 1918, o/c, 31 x 31”
Malevich, 0.10. Last Futurist Exhibition (Black Square), 1915
Kasimir Malevich lying in state in his Leningrad apartment (17-18 May 1935)© 2006, State Russian Museum, St Petersburg
Malevich, Black Square , 1915
Kasimir Malevich, Self-Portrait. 1933.
Russian Abstraction
Art of the Revolution (1917-21)
Constructivism
Between the Wars
Vladimir Tatlin
Relief c. 1914 found objectsMetal and leather on wood 24 3/4 x 20 7/8 in.
Corner Counter Relief, 1915Relief, 1914
Vladimir Tatlin
Found objects
Tatlin
Model for Monument to the Third International, 1919-20
Tatlin, Model for Monument to the Third International, 1919-20
iron, glass and steeltowering symbol of modernity
The tower's main form was a twin helix which spiraled up to 400 m in height,
which visitors would be transported around with the aid of various mechanical devices.
The main framework would contain three enormous rotating geometric structures.
At the base of the structure was a cube which was designed as a venue for lectures,
conferences and congress meetings, and would complete a rotation in the span of one year.
In the centre of the structure was a cone, housing executive activities and completing a
rotation once a month. The topmost one, a cylinder, was to house an information centre,
issuing news bulletins and manifestos via telegraph, radio and loudspeaker, and would
complete a rotation once a day. There were also plans to install a gigantic open-air screen
on the cylinder, and a further projector which would be able to cast messages across
the clouds on any overcast day
,
Aleksandr Rodchenko
Compass and Ruler Drawing 2 (1914-15)Compass and Ruler Drawing (1914-15)
Non-Objective Painting: Black on Black Date: 1918
Aleksandr Rodchenko
o/c, 32 1/4 x 31 1/4"
Oval Hanging Construction Number 12 ca. 1920
Plywood, open construction partially painted with aluminum paint, and wire24 x 33 x 18 1/2 in.
Aleksandr Rodchenko
Rodchenko, Hanging Construction, c.1920
Aleksandr Rodchenko
Triptych: Pure Colors: Red, Yellow, Blue, 1921
Aleksandr Rodchenko
Gouache on paper 33 x 20"
Advertisment for cooking oil, 1923“Attention working masses Three times cheaper than butter!More nutritious than other oils! Nowhere else as at Mossel'prom.”
Box for “Our Industry” caramels from Mossel’prom, 1923
Aleksandr Rodchenko
Advertisement for cookies from the Krasnyi Oktiabr' (Red October) factory1923 Gouache on paper 32 x 21 3/4"
I eat cookies from the Krasnyi Oktiabr' factory,
formerly Einem. I don't buy anywhere except at
Mossel'prom.
Poster for the Propaganda of the Book
Aleksandr Rodchenko
Proun, 1920
Gouache and watercolor on paper, 15 x 15”
Proun, Prounen
“Design for the confirmation of the new”
“The goal-oriented creation” (das zielbewußte Schaffen)
Abstraction, art for the masses (the universal language)
"the station where one changes from painting to architecture."
El Lissitzky
shifting axes and multiple perspectives
Proun, 1920
Proun, 1925
El Lissitzky
distemper, tempera, varnish and pencil on canvas
The Constructor, Self Portrait, 1925self-portrait photomontage
El Lissitzky
El Lissitzky, Beat The Whites With The Red Wedge lithograph poster for the political department of the western front, 1920
Bey Belych meaning: "Beat Whites"White is right: political color and position of anti-revolutionaries
White was a standard color of anti-revolutionary forcesCircle was s supremtists symbol for unchangeable
Painted during the Civil War in Russia (1917-1921) between Reds and Whites
Klinom krasnim meaning: "With Red Wedge"Red is left: political color and position of communists
Red was a standard symbol of revolution
Edge was asupremtist symbol of something new
(the first installation, viewer as part of the work)
El Lissitzky
“The image is not a painting, but a structure around which we must circle, looking at it from all sides, peering down from above, investigating from below.”
Proun room
The Great Berlin Art Exhibition 1923
“The goal-oriented creation”
Kandinsky, 1920’3 & 30’s
Several Circles (Einige Kreise), 1926.
Oil on canvas, 55” x 55”.
Wassily Kandinsky
Geometric purity v. textured background Molecular world and solar systems