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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 Kingdom of norway, inspired 20th-century Expressionists.
Years active The years before WWI and the interwar years
State Predominantly Germany, but also in Austria, France, and Russia
Major figures Artists loosely categorized within such groups as Die Brücke, Der Blaue Reiter; the Berlin Secession and the Dresden Secession
Influenced American Figurative Expressionism, generally, and Boston Expressionism, in detail

Expressionism is a modernist motion, initially in poetry and painting, originating in Northern Europe around the kickoff of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas.[1] [2] Expressionist artists have sought to express the significant[3] of emotional experience rather than concrete reality.[3] [4]

Expressionism developed as an advanced manner before the First World War. It remained popular during the Weimar Republic,[1] especially in Berlin. The manner extended to a wide range of the arts, including expressionist architecture, painting, literature, theatre, trip the light fantastic toe, film and music.[5]

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 practical mainly to 20th-century works. The Expressionist accent on individual and subjective perspective has been characterized every bit a reaction to positivism and other artistic styles such as Naturalism and Impressionism.[6]

Etymology [edit]

While the give-and-take expressionist was used in the modern sense every bit early every bit 1850, its origin is sometimes traced to paintings exhibited in 1901 in Paris by obscure artist 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 as the opposite 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 laissez passer through ... people's soul equally through a filter which rids them of all substantial accretions to produce their clear essence [...and] are assimilated and condense into more general forms, into types, which he transcribes through simple short-hand formulae and symbols."[viii]

Of import precursors of Expressionism were the German language philosopher Friedrich Nietzsche (1844–1900), particularly 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), especially 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);[9] and pioneering Austrian psychoanalyst Sigmund Freud (1856–1939).[five]

In 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke (the Bridge) in the urban center of Dresden. This was arguably the founding arrangement for the German language Expressionist movement, though they did not use the word itself. A few years later, in 1911, a like-minded group of immature artists formed Der Blaue Reiter (The Blue Rider) in Munich. The name came from Wassily Kandinsky'southward Der Blaue Reiter painting of 1903. Among their members were Kandinsky, Franz Marc, Paul Klee, and August Macke. Nevertheless, the term Expressionism did non firmly establish itself until 1913.[10] Though mainly a German artistic movement initially[11] [5] and most predominant in painting, poesy and the theatre betwixt 1910 and 1930, virtually precursors of the move were not German language. Furthermore, in that location have been expressionist writers of prose fiction, as well as non-High german-speaking expressionist writers, and, while the movement had declined in Deutschland with the rising of Adolf Hitler in the 1930s, in that location 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 also comments, "the search for an all-inclusive definition is problematic to the extent that the most challenging expressionists such every bit Kafka, Gottfried Benn and Döblin were simultaneously the most vociferous 'anti-expressionists.'"[xiii]

What can be said, yet, is that it was a motion that adult in the early on twentieth century, mainly in Germany, in reaction to the dehumanizing effect of industrialization and the growth of cities, and that "i of the cardinal means by which expressionism identifies itself every bit an avant-garde motion, and past which it marks its distance to traditions and the cultural establishment as a whole is through its relationship to realism and the dominant 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 depict not objective reality but rather the subjective emotions and responses that objects and events arouse inside a person".[16] It is arguable that all artists are expressive only there are many examples of art production in Europe from the 15th century onward which emphasize extreme emotion. Such art frequently occurs during times of social upheaval and war, such as the Protestant Reformation, German Peasants' War, and Fourscore Years' War between the Castilian and the Netherlands, when farthermost violence, much directed at civilians, was represented in propagandist popular prints. These were oftentimes unimpressive aesthetically but had the capacity to arouse extreme emotions in the viewer.

Expressionism has been likened to Baroque by critics such as art historian Michel Ragon[17] and German philosopher Walter Benjamin.[18] According to Alberto Arbasino, a difference between the 2 is that "Expressionism doesn't shun the violently unpleasant outcome, while Baroque does. Expressionism throws some terrific 'fuck y'all', Bizarre doesn't. Bizarre is well-mannered."[xix]

Notable Expressionists [edit]

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

  • Armenia: Martiros Saryan
  • Commonwealth of australia: Sidney Nolan, Charles Blackman, John Perceval, Albert Tucker, and Joy Hester
  • Austria: Richard Gerstl, Egon Schiele, Oskar Kokoschka, Josef Gassler and Alfred Kubin
  • Belgium: Marcel Caron, Anto Carte, 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.
  • 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
  • Indonesia: Affandi
  • Italy: Amedeo Modigliani, Emilio Giuseppe Dossena
  • Japan: Kōshirō Onchi
  • United mexican states: Mathias Goeritz (German language émigré to Mexico), Rufino Tamayo
  • Netherlands: Willem Hofhuizen, Herman Kruyder, Jan Sluyters, Vincent van Gogh, Jan Wiegers and Hendrik Werkman
  • Kingdom of 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, later active 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-born, most active in France), Vadim Meller
  • United Kingdom: Francis Bacon, Frank Auerbach, Leon Kossoff, Lucian Freud, Patrick Heron, John Hoyland, Howard Hodgkin, John Walker
  • The 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 1000. 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, Unhurt Woodruff, Karl Zerbe.

Groups of painters [edit]

The style originated principally in Federal republic of germany and Austria. At that place were a number of groups of expressionist painters, including Der Blaue Reiter and Dice Brücke. Der Blaue Reiter (The Blue Passenger, named for a painting) was based in Munich and Die Brücke was originally based in Dresden (although some members afterwards relocated to Berlin). Die Brücke was active for a longer period than Der Blaue Reiter, which was only together for a year (1912). The Expressionists were influenced past various artists and sources including Edvard Munch, Vincent van Gogh, and African art.[21] They were likewise aware of the work existence done by the Fauves in Paris, who influenced Expressionism'south trend 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. Information technology was not important to reproduce an aesthetically pleasing impression of the artistic subject matter, they felt, but rather to represent bright emotional reactions past powerful colours and dynamic compositions. Kandinsky, the primary artist of Der Blaue Reiter grouping, 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 brainchild.[five]

The ideas of High german expressionism influenced the work of American artist Marsden Hartley, who met Kandinsky in Germany in 1913.[22] In late 1939, at the beginning of World State of war II, New York Metropolis received a corking number of major European artists. After the war, Expressionism influenced many young 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 first American German Expressionist". Other American artists of the tardily 20th and early 21st century have adult distinct styles that may be considered part of Expressionism. Another prominent artist who came from the High german Expressionist "schoolhouse" was Bremen-born Wolfgang Degenhardt. Subsequently working every bit 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 large number of artists and styles. In the U.S., American Expressionism[23] and American Figurative Expressionism, especially Boston Expressionism,[24] were an integral part of American modernism around the Second World War. Thomas B. Hess wrote that "the 'New figurative painting' which some have been expecting equally a reaction against Abstract Expressionism was implicit in it at the first, and is i of its about lineal continuities."[25]

  • Major figurative Boston Expressionists included: Karl Zerbe, Hyman Bloom, Jack Levine, David Aronson. The Boston Expressionists persisted after World War Two 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 Brainchild, Tachisme[28] of the 1940s and 1950s in Europe represented past artists such as Georges Mathieu, Hans Hartung, Nicolas de Staël and others.
  • Bay Area Figurative Move[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.
  • Abstruse expressionism of the 1950s represented American artists such as Louise Conservative, 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 past the work of Kanae Yamamoto (artist), Kōshirō Onchi, and many others.
  • In the U.s. and Canada, Lyrical Brainchild beginning during the late 1960s and the 1970s. Characterized by the 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 style that began in the tardily 1970s

Representative paintings [edit]

In other arts [edit]

The Expressionist motion included other types of civilisation, including dance, sculpture, movie house and theatre.

Dance [edit]

Exponents of expressionist dance included Mary Wigman, Rudolf von Laban, and Pina Bausch.[36]

Sculpture [edit]

Some sculptors used the Expressionist manner, as for example Ernst Barlach. Other expressionist artists known mainly equally painters, such as Erich Heckel, besides worked with sculpture.[five]

Movie theatre [edit]

There was an Expressionist style in German movie theatre, 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'due south Metropolis (1927) and F. W. Murnau's Nosferatu, a Symphony of Horror (1922) and The Terminal Express mirth (1924). The term "expressionist" is also sometimes used to refer to stylistic devices idea to resemble those of German Expressionism, such as film noir cinematography or the manner of several of the films of Ingmar Bergman. More more often than not, the term expressionism tin be used to describe cinematic styles of great artifice, such as the technicolor melodramas of Douglas Sirk or the audio and visual blueprint of David Lynch's films.[37]

Literature [edit]

Journals [edit]

Two leading Expressionist journals published in Berlin were Der Sturm, published by Herwarth Walden starting in 1910,[38] and Dice Aktion, which first appeared in 1911 and was edited by Franz Pfemfert. Der Sturm published verse 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 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 creative person and playwright Oskar Kokoschka's 1909 playlet, Murderer, The Hope of Women is oftentimes termed the first expressionist drama. In it, an unnamed man and adult female struggle for dominance. The man brands the woman; she stabs and imprisons him. He frees himself and she falls dead at his impact. As the play ends, he slaughters all around him (in the words of the text) "similar mosquitoes." The extreme simplification of characters to mythic types, choral effects, declamatory dialogue and heightened intensity all would go characteristic of later expressionist plays.[xl] 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 most famous playwrights. Other notable Expressionist dramatists included Reinhard Sorge, Walter Hasenclever, Hans Henny Jahnn, and Arnolt Bronnen. Important precursors were the Swedish playwright August Strindberg and German language actor and dramatist Frank Wedekind. During the 1920s, Expressionism enjoyed a brief menstruum of influence in American theatre, including the early modernist plays by Eugene O'Neill (The Hairy Ape, The Emperor Jones and The Great God Brownish), Sophie Treadwell (Machinal) and Elmer Rice (The Adding Machine).[42]

Expressionist plays often dramatise the spiritual awakening and sufferings of their protagonists. Some use an episodic dramatic construction and are known equally Stationendramen (station plays), modeled on the presentation of the suffering and decease of Jesus in the Stations of the Cross. Baronial Strindberg had pioneered this form with his autobiographical trilogy To Damascus. These plays also often dramatise the struggle against bourgeois values and established authorisation, frequently personified by the Father. In Sorge'south The Beggar, (Der Bettler), for example, the young hero's mentally ill begetter raves virtually the prospect of mining the riches of Mars and is finally poisoned past his son. In Bronnen's Parricide (Vatermord), the son stabs his tyrannical father to death, only to have to fend off the frenzied sexual overtures of his mother.[43]

In Expressionist drama, the oral communication may be either expansive and rhapsodic, or clipped and telegraphic. Director Leopold Jessner became famous for his expressionistic productions, often assault stark, steeply raked flights of stairs (having borrowed the idea from the Symbolist managing 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 two-dimensional movement. Directors also made heavy use of lighting effects to create stark contrast and as another 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]

Verse [edit]

Among the poets associated with German 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 take 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): Under 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[sixty]
  • Sheila Watson: Double Hook [61]
  • Elias Canetti: Automobile-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 first applied to music in 1918, especially to Schoenberg", because 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 Second Symphony), Paul Hindemith (The Immature Maiden), Igor Stravinsky (Japanese Songs), Alexander Scriabin (belatedly pianoforte sonatas) (Adorno 2009, 275). Another pregnant expressionist was Béla Bartók in early works, written in the 2d decade of the 20th century, such as Bluebeard's Castle (1911),[68] The Wooden Prince (1917),[69] and The Miraculous Mandarin (1919).[70] Of import precursors of expressionism are Richard Wagner (1813–1883), Gustav Mahler (1860–1911), and Richard Strauss (1864–1949).[71]

Theodor Adorno describes expressionism equally concerned with the unconscious, and states that "the depiction of fearfulness lies at the centre" of expressionist music, with noise predominating, so that the "harmonious, affirmative element of 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 draw an analogy from paintings, one may describe the expressionist painting technique as the distortion of reality (more often than not colors and shapes) to create a nightmarish event for the detail painting every bit a whole. Expressionist music roughly does the same thing, where the dramatically increased racket creates, aurally, a nightmarish temper.[73]

Compages [edit]

In architecture, ii specific buildings are identified every bit Expressionist: Bruno Taut's Glass Pavilion of the Cologne Werkbund Exhibition (1914), and Erich Mendelsohn's Einstein Tower in Potsdam, Federal republic of germany completed in 1921. The interior of Hans Poelzig'due south Berlin theatre (the Grosse Schauspielhaus), designed for the managing 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 compages equally a role of the development of functionalism. In United mexican states, in 1953, German émigré Mathias Goeritz published the Arquitectura Emocional ("Emotional Compages") manifesto with which he declared that "architecture'due south principal function is emotion".[74] Modernistic Mexican architect Luis Barragán adopted the term that influenced his piece of work. The two of them collaborated in the project Torres de Satélite (1957–58) guided by Goeritz'south principles of Arquitectura Emocional.[75] It was only during the 1970s that Expressionism in architecture came to be re-evaluated more positively.[76] [77]

References [edit]

  1. ^ a b Bruce Thompson, University of California, Santa Cruz, lecture on Weimar culture/Kafka'a Prague Archived 2010-01-11 at the Wayback Machine
  2. ^ Chris Baldick Concise Oxford Lexicon of Literary Terms, entry for Expressionism
  3. ^ a b Victorino Tejera, 1966, pages 85,140, Art and Human Intelligence, Vision Printing Limited, London
  4. ^ The Oxford Illustrated Lexicon, 1976 edition, page 294
  5. ^ a b c d e Gombrich, E.H. (1995). The Story of 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: Globe University Library, 1970, p.25; Richard Sheppard, "High german Expressionism", in Modernism: 1890–1930, ed. Bradbury & McFarlane, Harmondsworth: Penguin Books, 1976, p.274.
  8. ^ Cited in Donald E. Gordon, Expressionism: Art and Ideas. New Oasis: Yale University Press, 1987, p. 175.
  9. ^ R. S. Furness, Expressionism. London: Methuen, pp.2–fourteen; Willett, pp. 20–24.
  10. ^ Richard Sheppard, p.274.
  11. ^ Annotation the parallel French movement Fauvism and the English Vorticism: "The Fauvist movement has been compared to German Expressionism, both projecting brilliant colors and spontaneous brushwork, and indebted to the same belatedly nineteenth-century sources, particularly Van Gogh." Sabine Rewald, "Fauvism", In Heilbrunn Timeline of Fine art History. New York: The Metropolitan Museum of Art, 2000–. http://world wide web.metmuseum.org/toah/hard disk/fauv/hd_fauv.htm (October 2004); and "Vorticism can be thought of equally English Expressionism." Sherrill Due east. Grace, Regression and Apocalypse: Studies in North American Literary Expressionism. Toronto: University of Toronto Press, 1989, p. 26.
  12. ^ Sherrill E. Grace, Regression and Apacaypse: Studies in North American Literary Expressionism. Toronto: Academy of Toronto Press, 1989, p.26).
  13. ^ Richard Murphy, Theorizing the Avant-garde: Modernism, Expressionism, and the Trouble of Postmodernity. Cambridge, Cambridge University Press,1999, p. 43.
  14. ^ Richard White potato, p. 43.
  15. ^ Murphy, especially pp. 43–48; and Walter H. Sokel, The Writer in Extremis. Stanford, California: Stanford University Press, 1959, specially Chapter One.
  16. ^ Britannica Online Encyclopaedia (February, 2012).
  17. ^ Ragon, Michel (1968). Expressionism . Heron. ISBN9780900948640. There is no doubt that Expressionism is Bizarre in essence
  18. ^ Benjamin, Walter (1998). Origin of High german Tragic Drama . London: Verso. ISBN978-ane-85984-899-9.
  19. ^ Pedullà, Gabriele; Arbasino, Alberto (2003). "Sull'albero di ciliegie – Conversando di letteratura e di movie theater con Alberto Arbasino" [On the cherry tree – Conversations on literature and movie theater with Alberto Arbasino]. CONTEMPORANEA Rivista di studi sulla letteratura east sulla comunicazione. L'espressionismo non rifugge dall'effetto violentemente sgradevole, mentre invece il barocco lo fa. L'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 yous", Baroque doesn't. Bizarre is well-mannered.)
  20. ^ Ian Chilvers, The Oxford dictionary of art, Book 2004, Oxford University Press, p. 506. ISBN 0-19-860476-nine
  21. ^ Ian Buruma, "Desire in Berlin", New York Review of Books, December eight, 2008, p. xix.
  22. ^ "Hartley, Marsden", Oxford Fine art Online
  23. ^ Bram Dijkstra, American expressionism : fine art and social change, 1920–1950,(New York : H.North. Abrams, in association with the Columbus Museum of Art, 2003.) ISBN 0-8109-4231-3, ISBN 978-0-8109-4231-8
  24. ^ Judith Bookbinder, Boston modern: figurative expressionism as alternative modernism (Durham, N.H. : University of New Hampshire Printing; Hanover : Academy Press of New England, ©2005.) ISBN 1-58465-488-0, ISBN 978-ane-58465-488-9
  25. ^ Thomas B. Hess, "The Many Deaths of American Art," Fine art News 59 (Oct 1960), p.25
  26. ^ Paul Schimmel and Judith East 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 Periodical of Artists' Opinions (Spring 1954), p. 2.
  28. ^ Flight lyric, Paris 1945–1956, texts Patrick-Gilles Persin, Michel and Pierre Descargues Ragon, Musée du Grand duchy of luxembourg, Paris and Skira, Milan, 2006, 280 p. ISBN 88-7624-679-seven.
  29. ^ Caroline A. Jones, Bay Expanse figurative fine art, 1950–1965, (San Francisco, California : San Francisco Museum of Modern Art; Berkeley : University of California Press, ©1990.) ISBN 978-0-520-06842-i
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Further reading [edit]

  • Antonín Matějček cited in Gordon, Donald E. (1987). Expressionism: Art and Idea, p. 175. New Haven: Yale University Press. ISBN 9780300033106
  • Jonah F. Mitchell (Berlin, 2003). Doctoral thesis Expressionism between Western modernism and Teutonic Sonderweg. Courtesy of the writer.
  • 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 culling modernism, (Durham, N.H.: University of New Hampshire Printing; Hanover: Academy Press of New England, ©2005.) ISBN i-58465-488-0, ISBN 978-ane-58465-488-9
  • 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
  • Ditmar Elger Expressionism-A Revolution in German Art ISBN 978-3-8228-3194-6
  • Paul Schimmel and Judith East Stein, The Figurative fifties: New York figurative expressionism, The Other Tradition (Newport Embankment, California: Newport Harbor Art Museum: New York: Rizzoli, 1988.) ISBN 978-0-8478-0942-4 ISBN 978-0-91749312-6
  • Marika Herskovic, American Abstract and Figurative Expressionism: Style Is Timely Art Is Timeless (New York School Printing, 2009.) ISBN 978-0-9677994-2-one.
  • Lakatos Gabriela Luciana, Expressionism Today, University of Art and Blueprint Cluj Napoca, 2011

External links [edit]

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

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

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