51341918 Expressionism and Die Neue Sachlichkeit
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Transcript of 51341918 Expressionism and Die Neue Sachlichkeit
EXPRESSIONISMGermany 1905-1920.
Many art forms
Focused on the importance of artists’ emotions
Strictly visual communication of feelings
Influences by Fauves
Roots of Expressionism
come from Vincent Van Gough, Edvard Munch,
& James Ensor
Influenced first phase of Expressionism
Started by Ernst Ludwig Kirchner
formed German artist group, Die Brucke (The Bridge)
VINCENT VAN GOUGHEDVARD MUNCH& JAMES ENSORExtremely influential artists for expressionism.
Vincent van Gogh: Church at Auvers-sur-Oise, oil on canvas, 940×740 mm, 1890 (Paris, Musée d’Orsay); Photo credit: Scala/Art Resource, NY
Edvard Munch: Ashes, oil and tempera on canvas, 1.21×1.41 m, 1894 (Oslo, Nasjonalgalleri); © 2007 The Munch Museum/The Munch–Ellingsen Group/Artists Rights Society (ARS), New York, photo credit: Scala/Art Resource, NY
James Ensor: The Intrigue, oil on canvas, 903×1500 mm, 1890 (Antwerp, Koninklijk Museum voor Schone Kunsten); © 2007 Artists Rights Society (ARS), New York/SABAM, Brussels, photo credit: Giraudon/Art Resource, NY
(Central Germany, 1905)
Founded by four architecture students:
Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff
1906, they held first group exhibition
Artists aimed to encompass all life
1910 the group was soon able to exhibit throughout Germany.
Worked as a group for better organization and unity for exhibitions
Not only using painting, used woodcuts, engravings and lithographs
All their themes expressed the human state prior to WWI
The role of the artist in society was also altered
Expressionist artist’s image as adestroyer of traditional values.
Group Broke up, members devoloped individual styles
Essential catalyst for German Expressionism
DIE BRUCKE
(1880-1938)
German painter, printmaker and sculptor
One of the most important representatives of Expressionism
Leading figure of Die Brucke
ERNST LUDWIGKIRCHNER
Ernst Ludwig Kirchner: Street, Dresden, oil on canvas, 1.51×2.00 m, 1908 (dated 1907) (New York, Museum of Modern Art); © by Ingeborg & Dr. Wolfgang Henze-Ketterer, Wichtrach/Bern, photo © Museum of Modern Art/Licensed by SCALA/Art Resource, NY
KARL SCHMIDT-ROTTLUFF & ERICH HECKLE
Other influential artists in Die Brucke
Karl Schmidt-Rottluff (German, Rottluff near Chemnitz 1884 - 1976 West Berlin) Footpath (Parkweg), 1911Signed and dated lower right corner: S. Rottluff, 1911; signed on back of top stretcher: Schmidt-Rottluff, Parkweg, Oelgem Oil on canvas 30 1/4 x 33 1/4 in. (76.8 x 84.5 cm) Gift of the estate of W. R. Valentiner, 1964AM 1964.38
Erich Heckel: Franzi Reclining, colour woodcut, 354×556 mm, 1910 (New York, Museum of Modern Art); © 2007 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, photo © Museum of Modern Art/Licensed by SCALA/Art Resource, NY
(Southern Germany, 1911)
1909 the Neue Kunstlerverenigung Munchen (NKVM) formed
The organization held two exhibitions, third exhibition (1911) was rejected
Kandinsky, Münter, Marc and Kubin resigned
They planned the next exhibition, Blaue Rieter (Blue Horse Rider)
Members included:
Vasily Kandinsky, Franz Marc, Gabriele Münter ,Alfred Kubin,
Paul Klee & August Macke
Kandinsky prefaced their first group show’s catalogue
Attracted surprisingly strong support from artists,
Hans Arp & Paul Klee
Second exhibition devoted exclusively to graphic works
BLAUE RIETER
Main artists include:
Klee, Kubin, Georges Braque, Pablo Picasso, Emil Nolde,
Max Pechstein, Ernst Ludwig Kirchner & Erich Heckel
Emphasized qualities of primitive art
Both produced an almost entirely negative response from critics
Despite resistance, exhibition toured Germany
Almanac was produced in 1912, Entitled Der Blaue Reiter
edited by Kandinsky and Marc,
Contained essays written by artists on subjects related to the fine arts
Artists had common desire of expressing spiritual truths through art.
Influenced by Futurism, Fauvism and Cubism
1918 World War I ended Blaue Reiter
BLAUE RIETER
(1866-1944)
Russian painter, printmaker, stage designer, decorative artist and theorist
A central figure in the development of 20th-century art
Pushed the transition from representational to abstract art
VASILY KANDINKSY
Vasily Kandinsky: Composition VII, oil on canvas, 2.03×4.63 m, 1913 (Moscow, Tret’yakov Gallery); © 2007 Artists Rights Society (ARS), New York/ADAGP, Paris, photo credit: Erich Lessing/Art Resource, NY
Mainly painting, but also by graphic art in particular, woodcuts
Etching and lithography also played a strong role in Expressionism
MEDIUMS
Erich Heckle. Portrait of a Man. 1919. Woodcut, 18 X 12 7/8”
Karl Schmidt-Rottluff. Has Not Christ Appeared To You? 1918. Woodcut, 19 3/4 X 15 1/4”
Ernst Ludwig Kirchner. Cover of 4th Annual Porfolio of the Brucke. 1909. Woodcut
(New Objectivity,1920 -1933)
Characterized by the refutation of Expressionism
Stylistically diverse, had no theoretical basis or manifesto
Mood conditioned by experience of WWI
Frequently characterized by a satirical social realism
Emotions of war a recurrent theme
Reaction to the past, to patriotism and to grand gestures
Unsentimental, cold factual view of reality
Centers of the movement in:
Berlin, Dresden, Karlsruhe, Cologne, Düsseldorf,
Hannover & Munich
DIE NEUESACHLICHKEIT
(New Objectivity,1920 -1933)
Never joined into groups or formed a school
Scattered throughout the country
The term was first applied to these various artists by Gustav F. Hartlaub
Hartlaub exhibited the artists whom
Saw as the successors of the fading Expressionism
Believed the new look pointed towards the future of German art in the 1920s
Styles came from very different social classes
Two main sides, ‘verists’ and ‘classicists’
DIE NEUESACHLICHKEIT
(Southern Germany, 1911)
Verists included:
Beckmann, Dix, Grosz, Christian Schad, Karl Hubbuch,
Rudolf Schlichter & Georg Scholz
Had originally been involved with Dada
Saw themselves as moralists
Their social criticism led to a mode of representation heightened to caricature
Opposed romanticizing reality
VERISTS
(New Objectivity,1920 -1933)
Characterized by the refutation of Expressionism
Stylistically diverse, had no theoretical basis or manifesto
Mood conditioned by experience of WWI
Frequently characterized by a satirical social realism
Emotions of war a recurrent theme
Reaction to the past, to patriotism and to grand gestures
Unsentimental, cold factual view of reality
Centers of the movement in:
Berlin, Dresden, Karlsruhe, Cologne, Düsseldorf,
Hannover & Munich
(Southern Germany, 1911)
Classicists included:
Kanoldt, Schrimpf, Franz Lenk, Carl Grossberg, Anton Räderscheidt
Same direction as verists, but it had a stronger party-political motivation
Most were affiliated to the Communist party
Saw human being as ‘the revolutionary subject of history
Depictions of working-class life often represented
Portrayed reality with romanticizing the imagery of people and landscapes
CLASSICISTS
Artists were united by a rejection of the distortions of Expressionism
Their attitude was expressed by Beckmann in 1918
Reproduced objective reality at time when abstract art was rising
Stylistically Influenced by the early Netherlandish, Italian and German artists
A precise craft technique was practiced
The paintings reconstruct reality rather than simply copy
Emphasized dark aspects of life
Such drastic social changes began affecting movement
A diverse movement
The movement finally dissolved in 1933 due to Nazi pressure
DIE NEUESACHLICHKEIT
(1891-1969)
German painter and printmaker
Studied at the
Dresden School of Arts and Crafts
Influenced by Expressionists
Served in the First World War
Moved from Dadaism towards the
greater realism of Neue Sachlichkeit
Work exemplified war horrors
OTTO DIX
Otto Dix: The Skat Players - Card Playing War Invalids, oil and collage on canvas, 1100×87o mm, 1920 (Berlin, Neue National-galerie); © 2007 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, photo credit: Erich Lessing/Art Resource, NY
CHRISTIAN SCHAD& GEORGE GROSZ
Other influential artists in Neue Sachlichkeit
Christian Schad: Count St Genois d’Anneaucourt, oil on canvas, 1030×810 mm, 1927 (Paris, Pompidou, Musée National d’Art Moderne); © 2007 Christian Schad Stiftung Aschaffenburg/Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn, photo credit: CNAC/MNAM/Dist. Réunion des Musées Nationaux/Art Resource, NY
George Grosz: Max Herrmann-Neisse, oil on canvas, 594×740 mm, 1927 (New York, Museum of Modern Art); © Estate of George Grosz/Licensed by VAGA, NY, http://www.vagarights.com, photo © Museum of Modern Art/Licensed by SCALA/Art Resource, NY
Brought about the importance of expressing character in work
Promoted the move towards abstraction and influenced illustration
Qualities similar to those of these movements can present thoughts and feeling
Good design conveys a message
Propelled by expressive qualities
The movements relate our reasons for art and design
Graphic design needs expression
RELEVANCY
Artists were united by a rejection of the distortions of Expressionism
Their attitude was expressed by Beckmann in 1918
Reproduced objective reality at time when abstract art was rising
Stylistically Influenced by the early Netherlandish, Italian and German artists
A precise craft technique was practiced
The paintings reconstruct reality rather than simply copy
Emphasized dark aspects of life
Such drastic social changes began affecting movement
A diverse movement
The movement finally dissolved in 1933 due to Nazi pressure
THE END.