Expressionism

Expressionism is a modernist movement, initially in poetry and painting, originating in Germany at the beginning 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 meaning[3] of emotional experience rather than physical reality.[3][4]

Expressionism developed as an avant-garde style before the First World War. It remained popular during the Weimar Republic,[1] particularly in Berlin. The style extended to a wide range of the arts, including expressionist architecture, painting, literature, theatre, dance, film and music.[5]

The term is sometimes suggestive of angst. In a historical sense, much older painters such as Matthias Grünewald and El Greco are sometimes termed expressionist, though the term is applied mainly to 20th-century works. The Expressionist emphasis on individual and subjective perspective has been characterized as a reaction to positivism and other artistic styles such as Naturalism and Impressionism.[6]

Edvard Munch, 1893, The Scream, oil, tempera and pastel on cardboard, 91 x 73 cm, National Gallery of Norway
Edvard Munch, The Scream, 1893, oil, tempera and pastel on cardboard, 91 x 73 cm, National Gallery of Norway, inspired 20th-century Expressionists

Origin of the term

While the word expressionist was used in the modern sense as early as 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 pass through ... people's soul as 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."[8]

Important precursors of Expressionism were the German philosopher Friedrich Nietzsche (1844–1900), especially his philosophical novel Thus Spoke Zarathustra (1883–92); 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 (Earth Spirit) (1895) and Die Büchse der Pandora (Pandora's Box) (1904); the American poet Walt Whitman's (1819–92) Leaves of Grass (1855–91); the Russian novelist Fyodor Dostoevsky (1821–81); Norwegian painter Edvard Munch (1863–1944); Dutch painter Vincent van Gogh (1853–90); Belgian painter James Ensor (1860–1949);[9] and pioneering Austrian psychoanalyst Sigmund Freud (1856–1939).[5]

Wassily Kandinsky, 1903, The Blue Rider (Der Blaue Reiter), oil on canvas, 52.1 x 54.6 cm, Stiftung Sammlung E.G. Bührle, Zurich
Wassily Kandinsky, Der Blaue Reiter, 1903

In 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke (the Bridge) in the city of Dresden. This was arguably the founding organization for the German Expressionist movement, though they did not use the word itself. A few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter (The Blue Rider) in Munich. The name came from Wassily Kandinsky's Der Blaue Reiter painting of 1903. Among their members were Kandinsky, Franz Marc, Paul Klee, and Auguste Macke. However, the term Expressionism did not firmly establish itself until 1913.[10] Though mainly a German artistic movement initially[11][5] and most predominant in painting, poetry and the theatre between 1910 and 1930, most precursors of the movement were not German. Furthermore, there have been expressionist writers of prose fiction, as well as non-German-speaking expressionist writers, and, while the movement had declined in Germany with the rise of Adolf Hitler in the 1930s, there were subsequent expressionist works.

Egon Schiele 061
Egon Schiele, Portrait of Eduard Kosmack, 1910, oil on canvas, 100 × 100 cm, Österreichische Galerie Belvedere

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 as Kafka, Gottfried Benn and Döblin were simultaneously the most vociferous `anti-expressionists.' ”[13]

What can be said, however, is that it was a movement that developed in the early twentieth century, mainly in Germany, in reaction to the dehumanizing effect of industrialization and the growth of cities, and that "one of the central means by which expressionism identifies itself as an avant-garde movement, and by which it marks its distance to traditions and the cultural institution as a whole is through its relationship to realism and the dominant conventions of representation."[14] More explicitly, that the expressionists rejected the ideology of realism.[15]

El Greco View of Toledo
El Greco View of Toledo, 1595/1610 is a Mannerist precursor of 20th-century expressionism.[16]

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 within a person."[17] It is arguable that all artists are expressive but there are many examples of art production in Europe from the 15th century onward which emphasize extreme emotion. Such art often occurs during times of social upheaval and war, such as the Protestant Reformation, German Peasants' War, and Eighty Years' War between the Spanish and the Netherlands, when extreme violence, much directed at civilians, was represented in propagandist popular prints. These were often 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[18] and German philosopher Walter Benjamin.[19] According to Alberto Arbasino, a difference between the two is that "Expressionism doesn't shun the violently unpleasant effect, while Baroque does. Expressionism throws some terrific 'fuck yous', Baroque doesn't. Baroque is well-mannered."[20]

Expressionist visual artists

Cawen Alvar Sokea Soittoniekka 1922
Alvar Cawén, Sokea soittoniekka (Blind Musician), 1922
Rolf-Nesch-Bro-Over-Elben
Rolf Nesch, Elbe Bridge I
Franz Marc 005
Franz Marc, Die großen blauen Pferde (The Large Blue Horses), 1911

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

Expressionist groups of painters

The style originated principally in Germany and Austria. There were a number of groups of expressionist painters, including Der Blaue Reiter and Die Brücke. Der Blaue Reiter (The Blue Rider, named for a painting) was based in Munich and Die Brücke was originally based in Dresden (although some members later 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 by various artists and sources including Edvard Munch, Vincent van Gogh, and African art.[22] They were also aware of the work being done by the Fauves in Paris, who influenced Expressionism's tendency 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. It was not important to reproduce an aesthetically pleasing impression of the artistic subject matter, they felt, but rather to represent vivid emotional reactions by powerful colours and dynamic compositions. Kandinsky, the main artist of Der Blaue Reiter group, 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 abstraction.[5]

The ideas of German expressionism influenced the work of American artist Marsden Hartley, who met Kandinsky in Germany in 1913.[23] In late 1939, at the beginning of World War II, New York City received a great 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 body of work in the Expressionist tradition. Norris Embry has been termed "the first American German Expressionist". Other American artists of the late 20th and early 21st century have developed distinct styles that may be considered part of Expressionism. Another prominent artist who came from the German Expressionist "school" was Bremen-born Wolfgang Degenhardt. After working as a commercial artist in Bremen, he migrated to Australia in 1954 and became quite well known in the Hunter Valley region.

American Expressionism[24] and American Figurative Expressionism, particularly the Boston figurative expressionism,[25] were an integral part of American modernism around the Second World War.

Franz Marc 020
Franz Marc, Rehe im Walde (Deer in Woods), 1914

Major figurative Boston Expressionists included: Karl Zerbe, Hyman Bloom, Jack Levine, David Aronson. The Boston figurative Expressionists post World War II were increasingly marginalized by the development of abstract expressionism centered in New York City.

After World War II, figurative expressionism influenced worldwide a large number of artists and styles. Thomas B. Hess wrote that "the ‘New figurative painting’ which some have been expecting as a reaction against Abstract Expressionism was implicit in it at the start, and is one of its most lineal continuities."[26]

Selected expressionist paintings

August Macke 005

August Macke, Lady in a Green Jacket, 1913

Fighting Forms

Franz Marc, Fighting Forms, 1914

Ernst Ludwig Kirchner - Nollendorfplatz

Ernst Ludwig Kirchner, Nollendorfplatz, 1912

Kirchner - Selbstbildnis als Soldat

Ernst Ludwig Kirchner, Self-Portrait as a Soldier, 1915

In other arts

The Expressionist movement included other types of culture, including dance, sculpture, cinema and theatre.

Bundesarchiv B 145 Bild-P047336, Berlin, Mary Wigman-Studio
Mary Wigman, pioneer of Expressionist dance (left)

Dance

Exponents of expressionist dance included Mary Wigman, Rudolf von Laban, and Pina Bausch.[37]

Sculpture

Some sculptors used the Expressionist style, as for example Ernst Barlach. Other expressionist artists known mainly as painters, such as Erich Heckel, also worked with sculpture.[5]

Cinema

There was an Expressionist style in German cinema, 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's Metropolis (1927) and F. W. Murnau's Nosferatu, a Symphony of Horror (1922) and The Last Laugh (1924). The term "expressionist" is also sometimes used to refer to stylistic devices thought to resemble those of German Expressionism, such as film noir cinematography or the style of several of the films of Ingmar Bergman. More generally, the term expressionism can be used to describe cinematic styles of great artifice, such as the technicolor melodramas of Douglas Sirk or the sound and visual design of David Lynch's films.[38]

Literature

Journals

Two leading Expressionist journals published in Berlin were Der Sturm, published by Herwarth Walden starting in 1910,[39] and Die Aktion, which first appeared in 1911 and was edited by Franz Pfemfert. Der Sturm published poetry 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.[40]

Drama

The artist and playwright Oskar Kokoschka's 1909 playlet, Murderer, The Hope of Women is often termed the first expressionist drama. In it, an unnamed man and woman struggle for dominance. The man brands the woman; she stabs and imprisons him. He frees himself and she falls dead at his touch. As the play ends, he slaughters all around him (in the words of the text) "like mosquitoes." The extreme simplification of characters to mythic types, choral effects, declamatory dialogue and heightened intensity all would become characteristic of later expressionist plays.[41] The German composer Paul Hindemith created an operatic version of this play, which premiered in 1921.[42]

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 actor and dramatist Frank Wedekind. During the 1920s, Expressionism enjoyed a brief period of influence in American theatre, including the early modernist plays by Eugene O'Neill (The Hairy Ape, The Emperor Jones and The Great God Brown), Sophie Treadwell (Machinal) and Elmer Rice (The Adding Machine).[43]

Expressionist plays often dramatise the spiritual awakening and sufferings of their protagonists. Some utilise an episodic dramatic structure and are known as Stationendramen (station plays), modeled on the presentation of the suffering and death of Jesus in the Stations of the Cross. August Strindberg had pioneered this form with his autobiographical trilogy To Damascus. These plays also often dramatise the struggle against bourgeois values and established authority, frequently personified by the Father. In Sorge's The Beggar, (Der Bettler), for example, the young hero's mentally ill father raves about the prospect of mining the riches of Mars and is finally poisoned by 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.[44]

In Expressionist drama, the speech may be either expansive and rhapsodic, or clipped and telegraphic. Director Leopold Jessner became famous for his expressionistic productions, often set on stark, steeply raked flights of stairs (having borrowed the idea from the Symbolist 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's message.[45]

German expressionist playwrights:

Playwrights influenced by Expressionism:

Poetry

Among the poets associated with German Expressionism were:

Other poets influenced by expressionism:

Prose

In prose, the early stories and novels of Alfred Döblin were influenced by Expressionism,[52] and Franz Kafka is sometimes labelled an Expressionist.[53] Some further writers and works that have been called Expressionist include:

Music

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.[67] Arnold Schoenberg, Anton Webern and Alban Berg, the members of the Second Viennese School, are important Expressionists (Schoenberg was also an expressionist painter).[68] Other composers that have been associated with expressionism are Krenek (the Second Symphony), Paul Hindemith (The Young Maiden), Igor Stravinsky (Japanese Songs), Alexander Scriabin (late piano sonatas) (Adorno 2009, 275). Another significant expressionist was Béla Bartók in early works, written in the second decade of the 20th-century, such as Bluebeard's Castle (1911),[69] The Wooden Prince (1917),[70] and The Miraculous Mandarin (1919).[71] Important precursors of expressionism are Richard Wagner (1813–83), Gustav Mahler (1860–1911), and Richard Strauss (1864–1949).[72]

Theodor Adorno describes expressionism as concerned with the unconscious, and states that "the depiction of fear lies at the centre" of expressionist music, with dissonance 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.[73] If one were to draw an analogy from paintings, one may describe the expressionist painting technique as the distortion of reality (mostly colors and shapes) to create a nightmarish effect for the particular painting as a whole. Expressionist music roughly does the same thing, where the dramatically increased dissonance creates, aurally, a nightmarish atmosphere.[74]

Architecture

Babelsberg Einsteinturm
Einsteinturm in Potsdam

In architecture, two specific buildings are identified as Expressionist: Bruno Taut's Glass Pavilion of the Cologne Werkbund Exhibition (1914), and Erich Mendelsohn's Einstein Tower in Potsdam, Germany completed in 1921. The interior of Hans Poelzig's Berlin theatre (the Grosse Schauspielhaus), designed for the 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 architecture as a part of the development of functionalism. In Mexico, in 1953, German émigré Mathias Goeritz, published the Arquitectura Emocional ("Emotional Architecture") manifesto with which he declared that "architecture's principal function is emotion".[75] Modern Mexican architect Luis Barragán adopted the term that influenced his work. The two of them collaborated in the project Torres de Satélite (1957–58) guided by Goeritz's principles of Arquitectura Emocional.[76] It was only during the 1970s that Expressionism in architecture came to be re-evaluated more positively.[77][78]

References

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  4. ^ The Oxford Illustrated Dictionary, 1976 edition, page 294
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  75. ^ Mathias Goeritz, "El manifiesto de arquitectura emocional", in Lily Kassner, Mathias Goeritz, UNAM, 2007, p. 272-273
  76. ^ George F. Flaherty (16 August 2016). Hotel Mexico: Dwelling on the '68 Movement. Univ of California Press. p. 93. ISBN 978-0-520-29107-2. Retrieved 29 May 2018.
  77. ^ Ben Farmer; Dr Hentie J Louw; Hentie Louw; Adrian Napper (2 September 2003). Companion to Contemporary Architectural Thought. Routledge. p. 359. ISBN 978-1-134-98381-0. Retrieved 29 May 2018.
  78. ^ Dennis Sharp (2002). Twentieth Century Architecture: A Visual History. Images Publishing. p. 297. ISBN 978-1-86470-085-5. Retrieved 29 May 2018.

Further reading

External links

20th-century Western painting

20th-century Western painting begins with the heritage of late-19th-century painters Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat and Henri de Toulouse-Lautrec, and others who were essential for the development of modern art. At the beginning of the 20th century, Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Matisse's second version of The Dance signified a key point in his career and in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.

Initially influenced by Toulouse-Lautrec, Gauguin, and other late-19th-century innovators, Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere and cone. With the painting Les Demoiselles d'Avignon (1907; see gallery) Picasso created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new proto-Cubist inventions. Analytic cubism, exemplified by Violin and Candlestick, Paris, was jointly developed by Pablo Picasso and Georges Braque from about 1908 through 1912. Analytic cubism was followed by Synthetic cubism, characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter.Crystal Cubism was a distilled form of Cubism consistent with a shift between 1915 and 1916 towards a strong emphasis on flat surface activity and large overlapping geometric planes, practised by Braque, Picasso, Jean Metzinger, Albert Gleizes, Juan Gris, Diego Rivera, Henri Laurens, Jacques Lipchitz, Alexander Archipenko, Fernand Léger and several other artists into the 1920s.During the years between 1910 and the end of World War I and after the heyday of cubism, several movements emerged in Paris. Giorgio de Chirico moved to Paris in July 1911, where he joined his brother Andrea (the poet and painter known as Alberto Savinio). Through his brother he met Pierre Laprade, a member of the jury at the Salon d'Automne, where he exhibited three of his dreamlike works: Enigma of the Oracle, Enigma of an Afternoon and Self-Portrait. During 1913 he exhibited his work at the Salon des Indépendants and Salon d’Automne, where his work was noticed by Pablo Picasso, Guillaume Apollinaire, and others. His compelling and mysterious paintings are considered instrumental to the early beginnings of Surrealism. Song of Love (1914) is one of the most famous works by de Chirico and is an early example of the surrealist style, though it was painted ten years before the movement was "founded" by André Breton in 1924.In the first two decades of the 20th century, as Cubism evolved, several other important movements emerged; Futurism (Balla), Abstract art (Kandinsky), Der Blaue Reiter (Wassily Kandinsky and Franz Marc), Bauhaus (Kandinsky and Klee), Orphism, (Delaunay and Kupka), Synchromism (Russell and Macdonald-Wright), De Stijl (van Doesburg and Mondrian), Suprematism (Malevich), Constructivism (Tatlin), Dadaism (Duchamp, Picabia and Arp), and Surrealism (de Chirico, André Breton, Miró, Magritte, Dalí and Ernst). Modern painting influenced all the visual arts, from Modernist architecture and design, to avant-garde film, theatre and modern dance and became an experimental laboratory for the expression of visual experience, from photography and concrete poetry to advertising art and fashion. Van Gogh's painting exerted great influence upon 20th-century Expressionism, as can be seen in the work of the Fauves, Die Brücke (a group led by German painter Ernst Kirchner), and the Expressionism of Edvard Munch, Egon Schiele, Marc Chagall, Amedeo Modigliani, Chaim Soutine and others.

Abstract expressionism

Abstract expressionism is a post–World War II art movement in American painting, developed in New York in the 1940s. It was the first specifically American movement to achieve international influence and put New York City at the center of the western art world, a role formerly filled by Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism. In the United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.

Action painting

Action painting, sometimes called "gestural abstraction", is a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied. The resulting work often emphasizes the physical act of painting itself as an essential aspect of the finished work or concern of its artist.

Art movement

An art movement is a tendency or style in art with a specific common philosophy or goal, followed by a group of artists during a restricted period of time, (usually a few months, years or decades) or, at least, with the heyday of the movement defined within a number of years. Art movements were especially important in modern art, when each consecutive movement was considered as a new avant-garde.

Clement Greenberg

Clement Greenberg (), occasionally writing under the pseudonym K. Hardesh (January 16, 1909 – May 7, 1994), was an American essayist known mainly as an influential visual art critic closely associated with American Modern art of the mid-20th century and a Formalist aesthetician. In particular, he is best remembered for his promotion of the abstract expressionist movement and was among the first published critics to praise the work of painter Jackson Pollock.

Color field

Color field painting is a style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to abstract expressionism, while many of its notable early proponents were among the pioneering abstract expressionists. Color field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favour of an overall consistency of form and process. In color field painting "color is freed from objective context and becomes the subject in itself."During the late 1950s and 1960s, color field painters emerged in Great Britain, Canada, Washington, D.C. and the West Coast of the United States using formats of stripes, targets, simple geometric patterns and references to landscape imagery and to nature.

Der Blaue Reiter

Der Blaue Reiter (The Blue Rider) was a group of artists united in rejection of the Neue Künstlervereinigung München in Munich, Germany. The group was founded by a number of Russian emigrants, including Wassily Kandinsky, Alexej von Jawlensky, Marianne von Werefkin, and native German artists, such as Franz Marc, August Macke and Gabriele Münter. They considered that the principles of the Neue Künstlervereinigung München, a group Kandinsky had founded in 1909, had become too strict and traditional.

Der Blaue Reiter was an art movement lasting from 1911 to 1914, fundamental to Expressionism, along with Die Brücke which was founded in 1905.

Die Brücke

Die Brücke (The Bridge) was a group of German expressionist artists formed in Dresden in 1905. Founding members were Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff. Later members were Emil Nolde, Max Pechstein and Otto Mueller. The seminal group had a major impact on the evolution of modern art in the 20th century and the creation of expressionism. The group came to an end around 1913. The Brücke Museum in Berlin was named after the group.

Die Brücke is sometimes compared to the roughly contemporary French group of the Fauves. Both movements shared interests in primitivist art and in the expressing of extreme emotion through high-keyed colors that were very often non-naturalistic. Both movements employed a drawing technique that was crude, and both groups shared an antipathy to complete abstraction. The Die Brücke artists' emotionally agitated paintings of city streets and sexually charged events transpiring in country settings made their French counterparts, the Fauves, seem tame by comparison.

Expressionist architecture

Expressionist architecture is an architectural movement in Europe during the first decades of the 20th century in parallel with the expressionist visual and performing arts that especially developed and dominated in Germany. Brick Expressionism is a special variant of this movement in western and northern Germany and in The Netherlands (Amsterdam School). Expressionist architecture is one of the three dominant styles of Modern architecture (International Style, Expressionist- and Constructivist architecture).

Expressionist music

The term expressionism "was probably first applied to music in 1918, especially to Schoenberg", because like the painter Wassily Kandinsky (1866–1944) he avoided "traditional forms of beauty" to convey powerful feelings in his music (Sadie 1991, 244). Theodor Adorno sees the expressionist movement in music, as seeking to "eliminate all of traditional music's conventional elements, everything formulaically rigid". This he sees as analogous "to the literary ideal of the 'scream' ". As well Adorno sees expressionist music, as seeking "the truthfulness of subjective feeling without illusions, disguises or euphemisms". Adorno also describes it as concerned with the unconscious, and states that "the depiction of fear lies at the centre" of expressionist music, with dissonance predominating, so that the "harmonious, affirmative element of art is banished" (Adorno 2009, 275–76).

Expressionist music often features a high level of dissonance, extreme contrasts of dynamics, constant changing of textures, "distorted" melodies and harmonies, and angular melodies with wide leaps (Anon. 2014).

German Expressionism

German Expressionism consisted of a number of related creative movements in Germany before the First World War that reached a peak in Berlin during the 1920s. These developments in Germany were part of a larger Expressionist movement in north and central European culture in fields such as architecture, dance, painting, sculpture, as well as cinema. This article deals primarily with developments in German Expressionist cinema before and immediately after World War I.

High-tech architecture

High-tech architecture, also known as Structural Expressionism, is a type of Late Modern architectural style that emerged in the 1970s, incorporating elements of high-tech industry and technology into building design. High-tech architecture appeared as revamped modernism, an extension of those previous ideas helped by even more technological advances. This category serves as a bridge between modernism and post-modernism; however, there remain grey areas as to where one category ends and the other begins. In the 1980s, high-tech architecture became more difficult to distinguish from post-modern architecture. Some of its themes and ideas were later absorbed into the style of Neo-Futurism art and architectural movement.

Like Brutalism, Structural Expressionist buildings reveal their structure on the outside as well as the inside, but with visual emphasis placed on the internal steel and/or concrete skeletal structure as opposed to exterior concrete walls. In buildings such as the Pompidou Centre, this idea of revealed structure is taken to the extreme, with apparently structural components serving little or no structural role. In this case, the use of "structural" steel is a stylistic or aesthetic matter.

The style's premier practitioners include Colombo-American architect Bruce Graham and Bangladeshi-American architect Fazlur Rahman Khan for the John Hancock Centre, Willis Tower and Onterie Center, British architects Sir Norman Foster, Sir Richard Rogers, Sir Michael Hopkins, Italian architect Renzo Piano and Spanish architect Santiago Calatrava, known for his organic, skeleton-like designs. Early high-tech buildings were referred to by historian Reyner Banham as "serviced sheds" due to their exposure of mechanical services in addition to the structure. Most of these early examples used exposed structural steel as their material of choice. As hollow structural sections had only become widely available in the early 1970s, high-tech architecture saw much experimentation with this material.

History of painting

The history of painting reaches back in time to artifacts from pre-historic humans, and spans all cultures. It represents a continuous, though periodically disrupted, tradition from Antiquity. Across cultures, and spanning continents and millennia, the history of painting is an ongoing river of creativity, that continues into the 21st century. Until the early 20th century it relied primarily on representational, religious and classical motifs, after which time more purely abstract and conceptual approaches gained favor.

Developments in Eastern painting historically parallel those in Western painting, in general, a few centuries earlier. African art, Jewish art, Islamic art, Indian art, Chinese art, and Japanese art each had significant influence on Western art, and vice versa.Initially serving utilitarian purpose, followed by imperial, private, civic, and religious patronage, Eastern and Western painting later found audiences in the aristocracy and the middle class. From the Modern era, the Middle Ages through the Renaissance painters worked for the church and a wealthy aristocracy. Beginning with the Baroque era artists received private commissions from a more educated and prosperous middle class. Finally in the West the idea of "art for art's sake" began to find expression in the work of the Romantic painters like Francisco de Goya, John Constable, and J. M. W. Turner. The 19th century saw the rise of the commercial art gallery, which provided patronage in the 20th century.

Lyrical abstraction

Lyrical abstraction is either of two related but distinct trends in Post-war Modernist painting:

European Abstraction Lyrique born in Paris, the French art critic Jean José Marchand being credited with coining its name in 1947, considered as a component of (Tachisme) when the name of this movement was coined in 1951 by Pierre Guéguen and Charles Estienne the author of L'Art à Paris 1945–1966, and American Lyrical Abstraction a movement described by Larry Aldrich (the founder of the Aldrich Contemporary Art Museum, Ridgefield Connecticut) in 1969.A third definition is the usage as a descriptive term. It is a descriptive term characterizing a type of abstract painting related to Abstract Expressionism; in use since the 1940s. Many well known abstract expressionist painters like Arshile Gorky seen in context have been characterized as doing a type of painting described as lyrical abstraction.

Neo-Dada

Neo-Dada was a movement with audio, visual and literary manifestations that had similarities in method or intent with earlier Dada artwork. It sought to close the gap between art and daily life, and was a combination of playfulness, iconoclasm, and appropriation. In the United States the term was popularized by Barbara Rose in the 1960s and refers primarily, although not exclusively, to work created in that and the preceding decade. There was also an international dimension to the movement, particularly in Japan and in Europe, serving as the foundation of Fluxus, Pop Art and Nouveau réalisme.Neo-Dada was exemplified by its use of modern materials, popular imagery, and absurdist contrast. It was a reaction to the personal emotionalism of Abstract Expressionism and, taking a lead from the practice of Marcel Duchamp and Kurt Schwitters, denied traditional concepts of aesthetics.

Neo-expressionism

Neo-expressionism is a style of late modernist or early-postmodern painting and sculpture that emerged in the late 1970s. Neo-expressionists were sometimes called Transavantgarde, Junge Wilde or Neue Wilden ('The new wild ones'; 'New Fauves' would better meet the meaning of the term). It is characterized by intense subjectivity and rough handling of materials.Neo-expressionism developed as a reaction against conceptual art and minimal art of the 1970s. Neo-expressionists returned to portraying recognizable objects, such as the human body (although sometimes in an abstract manner), in a rough and violently emotional way, often using vivid colors. It was overtly inspired by German Expressionist painters, such as Emil Nolde, Max Beckmann, George Grosz, Ernst Ludwig Kirchner, James Ensor and Edvard Munch. It is also related to American Lyrical Abstraction painting of the 1960s and 1970s, The Hairy Who movement in Chicago, the Bay Area Figurative School of the 1950s and 1960s, the continuation of Abstract Expressionism, New Image Painting and precedents in Pop Painting.

New Objectivity

The New Objectivity (in German: Neue Sachlichkeit) was a movement in German art that arose during the 1920s as a reaction against expressionism. The term was coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit.

As these artists—who included Max Beckmann, Otto Dix, George Grosz, Christian Schad, and Jeanne Mammen—rejected the self-involvement and romantic longings of the expressionists, Weimar intellectuals in general made a call to arms for public collaboration, engagement, and rejection of romantic idealism.

Although principally describing a tendency in German painting, the term took a life of its own and came to characterize the attitude of public life in Weimar Germany as well as the art, literature, music, and architecture created to adapt to it. Rather than some goal of philosophical objectivity, it was meant to imply a turn towards practical engagement with the world—an all-business attitude, understood by Germans as intrinsically American.The movement essentially ended in 1933 with the fall of the Weimar Republic and the rise of the Nazis to power.

New York School (art)

The New York School was an informal group of American poets, painters, dancers, and musicians active in the 1950s and 1960s in New York City. They often drew inspiration from surrealism and the contemporary avant-garde art movements, in particular action painting, abstract expressionism, jazz, improvisational theater, experimental music, and the interaction of friends in the New York City art world's vanguard circle.

Tachisme

Tachisme (alternative spelling: Tachism, derived from the French word tache, stain) is a French style of abstract painting popular in the 1940s and 1950s. The term is said to have been first used with regards to the movement in 1951. It is often considered to be the European equivalent to abstract expressionism, although there are stylistic differences (American abstract expressionism tended to be more "aggressively raw" than tachisme). It was part of a larger postwar movement known as Art Informel (or Informel), which abandoned geometric abstraction in favour of a more intuitive form of expression, similar to action painting. Another name for Tachism is Abstraction lyrique (related to American Lyrical Abstraction). COBRA is also related to Tachisme, as is Japan's Gutai group.

After World War II the term School of Paris often referred to Tachisme, the European equivalent of American abstract expressionism. Important proponents were Jean-Paul Riopelle, Wols, Jean Dubuffet, Pierre Soulages, Nicolas de Staël, Hans Hartung, Gérard Schneider, Serge Poliakoff, Georges Mathieu and Jean Messagier, among several others. (See list of artists below.)

According to Chilvers, the term tachisme "was first used in this sense in about 1951 (the French critics Charles Estienne and Pierre Guéguen have each been credited with coining it) and it was given wide currency by [French critic and painter] Michel Tapié in his book Un Art autre (1952)."

Tachisme was a reaction to Cubism and is characterized by spontaneous brushwork, drips and blobs of paint straight from the tube, and sometimes scribbling reminiscent of calligraphy.

Tachisme is closely related to Informalism or Art Informel, which, in its 1950s French art-critical context, referred not so much to a sense of "informal art" as "a lack or absence of form itself"–non-formal or un-form-ulated–and not a simple reduction of formality or formalness. Art Informel was more about the absence of premeditated structure, conception or approach (sans cérémonie) than a mere casual, loosened or relaxed art procedure.

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