Expressionism

1
Expressionism
Not to be confused with Expressivism.
The Scream by Edvard Munch (1893), which
inspired 20th-century Expressionists
Expressionism was 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]
Expressionist artists sought to express
meaning
[2]
or emotional experience rather than physical reality.
[3]
Expressionism was developed as an avant-garde style before the First
World War. It remained popular during the Weimar Republic,
[]
particularly in Berlin. The style extended to a wide range of the arts,
including expressionist architecture, painting, literature, theatre, dance,
film and music.
The term is sometimes suggestive of angst. In a general sense, painters
such as Matthias Grnewald and El Greco are sometimes termed
expressionist, though in practice the term is applied mainly to
20th-century works. The Expressionist emphasis on individual
perspective has been characterized as a reaction to positivism and other
artistic styles such as Naturalism and Impressionism.
[4]
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 an obscure artist Julien-Auguste Herv, which he called Expressionismes.
[5]
Though an alternate view is that the term was coined by the Czech art historian Antonin Matjek 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 mental peoples 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."
[6]
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 Bchse der
Pandora (Pandora's Box) (1904); the American poet Walt Whitman (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);
[7]
Sigmund Freud (1856-1939).
In 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brcke (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.
[8]
Though initially mainly a German artistic movement,
[9]
most predominant in
painting, poetry and the theatre between 1910-30, most precursors of the movement were not German. Furthermore
Expressionism
2
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.
Portrait of Eduard Kosmack by Egon Schiele
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 Dada."
[10]
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 Dblin were simultaneously the most
vociferous "anti-expressionists."
[11]
What, however, can be said, 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."
[12]
More explicitly: that the expressionists
rejected the ideology of realism.
[13]
"View of Toledo" by El Greco, 1595/1610 has
been indicated to have a particularly striking
resemblance to 20th-century expressionism.
Historically however it is an example of
Mannerism.Wikipedia:Citation needed
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."
[14]
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, such as
the Protestant Reformation, German Peasants' War, Eight Years' War,
and Spanish Occupation of the Netherlands, when the rape, pillage and
disaster associated with periods of chaos and oppression are presented
in the documents of the printmaker. Often the work is unimpressive
aesthetically,Wikipedia:Citation needed yet has the capacity to cause
the viewer to experience extreme emotions with the drama and often
horror of the scenes depicted.
Expressionism has been likened to Baroque by critics such as art
historian Michel Ragon
[15]
and German philosopher Walter Benjamin.
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."
[16]
Expressionism
3
Expressionist-Visual artists
Alvar Cawn, Sokea soittoniekka (Blind
Musician), 1922
"Elbe Bridge I" by Rolf Nesch
Franz Marc, Die groen blauen Pferde (The
Large Blue Horses), (1911)
Some of the style's main visual artists of the early 20th century were:
Australia: Sidney Nolan, Charles Blackman, John Perceval, Albert
Tucker and Joy Hester
Austria: Egon Schiele, Oskar Kokoschka, Josef Gassler and Alfred
Kubin
Belgium: Constant Permeke, Gustave De Smet, Frits Van den
Berghe, James Ensor, Albert Servaes, Floris Jespers and Albert
Droesbeke.
Brazil: Anita Malfatti, Cndido Portinari, Di Cavalcanti, Iber
Camargo and Lasar Segall.
Estonia: Konrad Mgi, Eduard Wiiralt
Finland: Tyko Sallinen,
[17]
Alvar Cawn, Juho Mkel and Win
Aaltonen.
France: Georges Rouault, Georges Gimel, Gen Paul, Bernard Buffet
and Chaim Soutine
Germany: Ernst Barlach, Max Beckmann, Fritz Bleyl, Heinrich
Campendonk, Otto Dix, Conrad Felixmller, George Grosz, Erich
Heckel, Carl Hofer, Ernst Ludwig Kirchner, Kthe Kollwitz,
Wilhelm Lehmbruck, Elfriede Lohse-Wchtler, August Macke,
Franz Marc, Ludwig Meidner, Paula Modersohn-Becker, Otto
Mueller, Gabriele Mnter, Rolf Nesch, Emil Nolde, Max Pechstein,
and Karl Schmidt-Rottluff
Greece: George Bouzianis
Hungary: Tivadar Kosztka Csontvry
Iceland: Einar Hkonarson
Ireland: Jack B. Yeats
Indonesia: Affandi
Italy: Emilio Giuseppe Dossena
Mexico: Mathias Goeritz (German migr to Mexico), Rufino
Tamayo
Netherlands: Charles Eyck, Willem Hofhuizen, Herman Kruyder, Jaap Min, Jan Sluyters, Vincent van Gogh, Jan
Wiegers and Hendrik Werkman
Norway: Edvard Munch, Kai Fjell
Poland: Henryk Gotlib
Portugal: Mrio Eloy, Amadeo de Souza Cardoso
Russia: Wassily Kandinsky, Marc Chagall, Alexej von Jawlensky, Natalia Goncharova, Mstislav Dobuzhinsky,
and Marianne von Werefkin (Russian-born, later active in Switzerland).
South Africa: Maggie Laubser, Irma Stern
Sweden: Axel Trneman
Switzerland: Carl Eugen Keel, Cuno Amiet, Paul Klee
Ukraine: Alexis Gritchenko (Ukraine-born, most active in France)
United Kingdom: Francis Bacon, Frank Auerbach, Leon Kossoff, Lucian Freud, Patrick Heron, John Hoyland,
Howard Hodgkin, John Walker, Billy Childish
USA: Ivan Albright, Milton Avery, George Biddle, Hyman Bloom, Peter Blume, Charles Burchfield, David
Burliuk, Stuart Davis, Lyonel Feininger, Wilhelmina Weber Furlong, Elaine de Kooning, Willem de Kooning,
Expressionism
4
Beauford Delaney, Arthur G. 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, Ben Shahn, Harry Shoulberg, Joseph Stella, Harry Sternberg,
Henry Ossawa Tanner, Dorothea Tanning, Wilhelmina Weber, Max Weber, Hale Woodruff, Karl Zerbe
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 Brcke. Der Blaue Reiter (The Blue Rider, named for a magazine) was based in
Munich and Die Brcke was based originally in Dresden (although some members later relocated to Berlin). Die
Brcke was active for a longer period than Der Blaue Reiter, which was only together for a year (1912). The
Expressionists had many influences, among them Edvard Munch, Vincent van Gogh, and African art.
[18]
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.
The ideas of German expressionism influenced the work of American artist Marsden Hartley, who met Kandinsky in
Germany in 1913.
[19]
In late 1939, at the beginning of World War II, New York received a great number of major
European artists. After the war, Expressionism influenced many young American artists. Norris Embry (19211981)
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
[20]
and American Figurative Expressionism, particularly the Boston figurative
expressionism,
[21]
were an integral part of American modernism around the Second World War.
Rehe im Walde (Deer in Woods), 1914, by Franz
Marc
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."
[22]
New York Figurative Expressionism
[23][24]
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), Jan Muller, Fairfield Porter, Gregorio
Prestopino, Larry Rivers and Bob Thompson.
Lyrical Abstraction, Tachisme
[25]
of the 1940s and 1950s in Europe represented by artists such as Georges
Mathieu, Hans Hartung, Nicolas de Stal and others.
Expressionism
5
Bay Area Figurative Movement
[26][27]
represented by early figurative expressionists from the San Francisco area
Elmer Bischoff, Richard Diebenkorn, and David Park. The movement from 1950 to 1965 was joined by
Theophilus Brown, Paul Wonner, James Weeks, Hassel Smith, Nathan Oliveira, Bruce McGaw, Jay DeFeo, Joan
Brown, Manuel Neri, Frank Lobdell, Joan Savo and Roland Peterson.
Abstract expressionism of the 1950s represented American artists such as Louise Bourgeois, Hans Burkhardt,
Mary Callery, Nicolas Carone, Willem de Kooning, Jackson Pollock, Philip Guston, and others
[28][29]
that
participated with figurative expressionism.
In the United States and Canada, Lyrical Abstraction 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.
[30][31][32]
Neo-expressionism was an international revival style that began in the late 1970s and included artists from many
nations:
Germany: Anselm Kiefer and Georg Baselitz and others;
USA: Jean-Michel Basquiat, Eric Fischl, David Salle and Julian Schnabel;
Cuba: Pablo Carreno;
France: Rmi Blanchard, Herv Di Rosa, Bernard Buffet and others;
Italy: Francesco Clemente, Paolo Salvati, Sandro Chia and Enzo Cucchi;
England: David Hockney, Frank Auerbach and Leon Kossoff
Belarus: Natalia Chernogolova
Selected Expressionist paintings
August Macke, Lady
in a Green Jacket,
1913
Franz Marc, Fighting Forms,
1914.
Ernst Ludwig
Kirchner,
Nollendorfplatz,
1912
Ernst Ludwig
Kirchner,
Self-Portrait as a
Soldier, 1915
Expressionism
6
In other arts
The Expressionist movement included other types of culture, including dance, sculpture, cinema and theatre.
Mary Wigman, pioneer of Expressionist dance
(left)
Dance
Main article: Expressionist dance
Exponents of expressionist dance included Mary Wigman, Rudolf von
Laban, and Pina Bausch.
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.
Cinema
Main article: German Expressionism
There was an Expressionist style in the 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.
Literature
Journals
Two leading Expressionist journals published in Berlin were Der Sturm, published by Herwarth Walden starting in
1910, 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 Dblin, Anatole France,
Knut Hamsun, Arno Holz, Karl Kraus, Selma Lagerlf, Adolf Loos, Heinrich Mann, Paul Scheerbart, and Ren
Schickele, and writings, drawings, and prints by such artists as Kokoschka, Kandinsky, and members of Der blaue
Reiter.
Drama
Main article: Expressionism (theatre)
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. The German composer Paul
Hindemith created an operatic version of this play, which premiered in 1921.
Expressionism
7
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 popularity in American theatre, including 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).
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. Theses 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.
In Expressionist drama, the speech is 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).
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:
Sen O'Casey (1880-1964)
[33]
Eugene O'Neill (1885-1953)
Elmer Rice (1892-1967)
Tennessee Williams (1911-83)
[34]
Arthur Miller (1915-2005)
Samuel Beckett (1906-89)
[35]
Poetry
Among the poets associated with German Expressionism were:
Georg Trakl
Gottfried Benn
Georg Heym
Else Lasker-Schler
Ernst Stadler
August Stramm
Rainer Maria Rilke (1875-1926): The Notebooks of Malte Laurids Brigge (1910)
[36]
Geo Milev
Other poets influenced by expressionism:
T. S. Eliot
[37]
Expressionism
8
Prose
In prose, the early stories and novels of Alfred Dblin were influenced by Expressionism, and Franz Kafka is
sometimes labelled an Expressionist.
[38]
Some further writers and works that have been called Expressionist include:
Franz Kafka (1883-1924): "The Metamorphosis" (1915), The Trial (1925), The Castle (1926)
[39]
Alfred Dblin (1857-1957): Berlin Alexanderplatz (1929)
[40]
Wyndham Lewis ( 1882-1957)
[41]
Djuna Barnes (1892-1982): Nightwood (1936)
[42]
Malcolm Lowry (1909-57): Under the Volcano (1947)
Ernest Hemingway
[43]
James Joyce (1882-1941): "The Nighttown" section of Ulysses (1922)
[44]
Patrick White (1912-90)
[45]
D. H. Lawrence
[46]
Sheila Watson: Double Hook
[47]
Elias Canetti: Auto de Fe
[48]
Thomas Pynchon
[49]
William Faulkner
[50]
James Hanley (1897-1985)
[51]
Music
Main article: Expressionist 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.
[52]
Arnold
Schoenberg, Anton Webern and Alban Berg, the members of the Second Viennese School, are important
Expressionists (Schoenberg was also an Expressionist painter).
[53]
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 Bla
Bartk in early works, written in the second decade of the 20th-century, such as Bluebeard's Castle (1911),
[54]
The
Wooden Prince (1917),
[55]
and The Miraculous Mandarin (1919).
[56]
Important precursors of expressionism are
Richard Wagner (1813-83), Gustav Mahler (1860-1911), and Richard Strauss (1864-1949).
[57]
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, 27576). Erwartung and Die Glckliche Hand, by Schoenberg, and
Wozzeck, an opera by Alban Berg (based on the play Woyzeck by Georg Bchner), are examples of Expressionist
works.
[58]
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.
[59]
Expressionism
9
Architecture
Main article: Expressionist architecture
Einsteinturm in Potsdam
Torres de Satlite seen from the Anillo Perifrico
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 migr Mathias Goeritz,
published the Arquitectura Emocional ("Emotional Architecture")
manifesto with which he declared that "architecture's principal function
is emotion".
[60]
Modern Mexican architect Luis Barragn adopted the
term that influenced his work. The two of them collaborated in the
project Torres de Satlite (195758) guided by Goeritz's principles of
Arquitectura Emocional. It was only during the 1970s that
Expressionism in architecture came to be re-evaluated more positively.
References
[1] Chris Baldick Concise Oxford Dictionary of Literary Terms, entry for
Expressionism
[2] [2] Victorino Tejera, 1966, pages 85,140, Art and Human Intelligence, Vision Press
Limited, London
[3] [3] The Oxford Illustrated Dictionary, 1976 edition, page 294
[4] [4] page 241
[5] John Willett, Expressionism. New York: World University Library, 1970, p.25;
Richard Sheppard, "German Expressionism", in Modernism:1890-1930, ed.
Bradbury & McFarlane, Harmondsworth: Penguin Books, 1976, p.274.
[6] cited in Donald E. Gordon, Expressionism: Art and Ideas. New Haven: Yale
University Press, 1987, p. 175.
[7] R. S. Furness, Expressionism. London: Methuen, pp.2-14; Willett, pp. 20-24.
[8] [8] Richard Sheppard, p.274.
[9] Note 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 late
nineteenth-century sources, especially Van Gogh." Sabine Rewald, "Fauvism". In
Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art,
2000. http:/ / www. metmuseum.org/ toah/ hd/ fauv/ hd_fauv. htm (October 2004);
and "Vorticism can be thought of as English Expressionism." Sherrill E. Grace, Regression and Apocalypse: Studies in North American
Literary Expressionism. Toronto: University of Toronto Press, 1989, p.26.
[10] Sherrill E. Grace, Regression and Apacaypse: Studies in North American Literary Expressionism. Toronto: University of Toronto Press,
1989, p.26).
[11] Richard Murphy, Theorizing the Avant-Garde: Modernism, Expressionism, and the Problem of Postmodernity. Cambridge, Cambridge
University Press,1999, p.43.
[12] [12] Richard Murphy, p.43.
[13] Murphy, especially pp. 43-48; and Walter H. Sokel, The Writer in Extremis. Stanford, California: Stanford University Press, 1959,
especially Chapter One.
[14] Brittanica online Encyclopaedia(February, 2012).
[15] Michel Ragon (1968) Expressionism (http:/ / books. google. com/ books?id=8JzqAAAAMAAJ) quotation:
[16] Gabriele Pedull, Alberto Arbasino [2000] Sull'albero di ciliegie (http:/ / www. libraweb. net/ articoli3. php?chiave=543& rivista=23&
articolo=200302301011) [On the cherry tree] - Conversando di letteratura e di cinema con Alberto Arbasino in CONTEMPORANEA Rivista
Expressionism
10
di studi sulla letteratura e sulla comunicazione, Volume 1, 2003 quotation: translation:
[17] Ian Chilvers, The Oxford dictionary of art, Volume 2004, Oxford University Press, p. 506. ISBN 0-19-860476-9
[18] Ian Buruma, "Desire in Berlin", New York Review of Books, December 8, 2008, p. 19.
[19] [19] "Hartley, Marsden", Oxford Art Online
[20] Bram Dijkstra, American expressionism : art and social change, 1920-1950, (http:/ / www. worldcatlibraries. org/ oclc/ 50866889&
referer=brief_results)(New York : H.N. Abrams, in association with the Columbus Museum of Art, 2003.) ISBN 0-8109-4231-3, ISBN
978-0-8109-4231-8
[21] Judith Bookbinder, Boston modern: figurative expressionism as alternative modernism (http:/ / www. worldcatlibraries. org/ oclc/
57652272& referer=brief_results) (Durham, N.H. : University of New Hampshire Press ; Hanover : University Press of New England,
2005.) ISBN 1-58465-488-0, ISBN 978-1-58465-488-9
[22] Thomas B. Hess, The Many Deaths of American Art, Art News 59 (October 1960), p.25
[23] Paul Schimmel and Judith E Stein, The Figurative fifties : New York figurative expressionism (http:/ / www. worldcatlibraries. org/ oclc/
59997649& referer=brief_results) (Newport Beach, California : Newport Harbor Art Museum : New York : Rizzoli, 1988.) ISBN
0-8478-0942-0, ISBN 978-0-8478-0942-4 0917493125 9780917493126
[24] Editorial, Reality, A Journal of Artists Opinions (Spring 1954), p. 2.
[25] [25] Flight lyric, Paris 1945-1956, texts Patrick-Gilles Persin, Michel and Pierre Descargues Ragon, Muse du Luxembourg, Paris and Skira,
Milan, 2006, 280 p. ISBN 88-7624-679-7.
[26] Caroline A. Jones, Bay Area figurative art, 1950-1965, (http:/ / www. worldcat. org/ oclc/ 21294814& referer=brief_results,) (San
Francisco, California : San Francisco Museum of Modern Art ; Berkeley : University of California Press, 1990.) ISBN 978-0-520-06842-1
[27] American Abstract and Figurative Expressionism: Style Is Timely Art Is Timeless (http:/ / www. worldcat. org/
search?qt=worldcat_org_bks& q=9780967799421& fq=dt:bks) (New York School Press, 2009.) ISBN 978-0-9677994-2-1 pp. 44-47; 56-59;
80-83; 112-115; 192-195; 212-215; 240-243; 248-251
[28] Marika Herskovic, American Abstract Expressionism of the 1950s An Illustrated Survey, (http:/ / www. worldcatlibraries. org/ oclc/
50253062& tab=holdings) (New York School Press, 2000. ISBN 0-9677994-1-4. pp. 46-49; pp. 62-65; pp. 70-73; pp. 74-77; pp. 94-97;
262-264
[29] American Abstract and Figurative Expressionism: Style Is Timely Art Is Timeless: An Illustrated Survey With Artists' Statements, Artwork
and Biographies (http:/ / www. worldcat.org/ oclc/ 298188260& referer=brief_results)(New York School Press, 2009. ISBN
978-0-9677994-2-1. pp.24-27; pp.28-31; pp.32-35; pp. 60-63; pp.64-67; pp.72-75; pp.76-79; pp. 112-115; 128-131; 136-139; 140-143;
144-147; 148-151; 156-159; 160-163;
[30] Ryan, David (2002). Talking painting: dialogues with twelve contemporary abstract painters, p.211, Routledge. ISBN 0-415-27629-2, ISBN
978-0-415-27629-0. Available on Google Books (http:/ / books. google. co. uk/ books?id=x7EaHuAfNtwC& pg=PA211& dq="lyrical+
abstraction"+ expressionist& lr=#v=onepage& q="lyrical abstraction" expressionist& f=false).
[31] "Exhibition archive: Expanding Boundaries: Lyrical Abstraction" (http:/ / www. bocamuseum. org/ index. php?src=gendocs&
ref=ExhibitionArchive& category=Exhibitions), Boca Raton Museum of Art, 2009. Retrieved 25 September 2009.
[32] "John Seery" (http:/ / www.nga.gov.au/ International/ Catalogue/ Detail. cfm?IRN=36016), National Gallery of Australia. Retrieved 25
September 2009.
[33] [33] Furness, pp.89-90.
[34] [34] Stokel, p.1.
[35] Stokel, p.1; Lois Oppenheimer, The Painted Word: Samuel Beckett's Dialogue with Art. Ann Arbor: University of Michigan Press, 2000,
pp.74, 126-7, 128; Jessica Prinz, "Resonant Images: Beckett and German Expressionism", in Samuel Beckett and the Arts: Music, Visual Arts,
and Non-Print Media, ed. Lois Oppenheim. New York: Garland Publishing, 1999.
[36] Ulf Zimmermann, "Expressionism and Dblin's Berlin Alexanderplatz, in Passion and Rebellion
[37] R. S. Furness, Expressionism. London: Methuen, 1973, p.81.
[38] Walter H. Sokel, The Writer in Extremis. Stanford, California: Stanford University Press, 1959, pp 3, 29, 84 especially; Richard Murphy,
Theorizing the Avant-Garde. Cambridge, Cambridge University Press,1999, especially pp 41,142.
[39] Silvio Vietta, Franz Kafka, Expressionism, and Reification" in Passion and Rebellion: The Expressionist Heritage, eds. Stephen Bronner and
Douglas Kellner. New York: Universe Books, 1983 pp, pp.201-16.
[40] Richard Murphy, Theorizing the Avant-Garde: Modernism, Expressionism and the Problem of Postmodernity. Cambridge: Cambridge
University Press, 1999, pp.74-141; Ulf Zimmermann, "Expressionism and Dblin's Berlin Alexanderplatz " in Passion and Rebellion,
pp.217-234.
[41] Sheila Watson, Wyndham Lewis Expressionist. Ph.D Thesis, University of Toronto, 1965.
[42] Sherrill E. Grace, Regression and Apocalypse: Studies in North American Literary Expressionism. Toronto: University of Toronto Press,
1989, pp.141-162.
[43] Raymond S. Nelson, Hemingway, Expressionist Artist. Ames, Iowa University Press, 1979; Robert Paul Lamb, Art matters: Hemingway,
Craft, and the Creation of the Modern Short Story. Baton Rouge: Louisiana State University Press, c.2010.
[44] Walter H. Sokel, The Writer in Extremis. Stanford, California: Stanford University Press, 1959, p.1; R. S. Furness, Expressionism. London:
Methuen, 1973, p. 81.
[45] [45] Sherrill E. Grace, p.7.
[46] [46] Sherrill E. Grace, p.7
Expressionism
11
[47] [47] Sherrill E. Grace, pp 185-209.
[48] [48] Sherrill E. Grace, p.12.
[49] [49] Sherrill E. Grace, p.7, 241-3.
[50] Jeffrey Stayton, "Southern Expressionism: Apocalyptic Hillscapes, Racial Panoramas,and Lustmord in William Faulkners Light in August".
The Southern Literary Journal, Volume 42, Number 1, Fall 2009, pp. 32-56.
[51] Ken Worpole, Dockers and Detectives. London: Verso Editions, 1983, pp. 77-93.
[52] The Norton Grove Concise Encyclopedia of Music, ed Stanley Sadie.New York: Norton1991, p. 244.
[53] Theodor Adorno, Night Music: Essays on Music 1928-1962. (London: Seagull, 2009), p.274-8.
[54] Nicole V. Gagn, Historical Dictionary of Modern and Contemporary Classical Music (Plymouth, England: Scarecrow Press, 2011), p.92.
[55] Andrew Clements, "Classical preview: The Wooden Prince", The Guardian, 5 May 2007.
[56] The Cambridge Companion to Bartk, ed. Amanda Bayley (Cambridge: Cambridge University Press, 2001), p.152.
[57] "Expressionism," Microsoft Encarta Online Encyclopedia 2000. (http:/ / encarta. msn. com); Donald Mitchell, Gustav Mahler: The
Wunderhorn Years: Chronicles and Commentaries. Rochester, NY: Boydell Press, 2005
[58] Edward Rothstein New York Times Review/Opera: "Wozzeck; The Lyric Dresses Up Berg's 1925 Nightmare In a Modern Message". New
York Times February 3, 1994; Theodor Adorno, Night Music (2009), p.276.
[59] Theodor Adorno, Night Music (2009), pp275-6.
[60] [60] Mathias Goeritz, "El manifiesto de arquitectura emocional", in Lily Kassner, Mathias Goeritz, UNAM, 2007, p. 272-273
Further reading
Antonn Matjek 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 author.
Friedrich Nietzsche (1872). The Birth of Tragedy Out of The Spirit of Music. Trans. Clifton P. Fadiman. New
York: Dover, 1995. ISBN 0-486-28515-4.
Judith Bookbinder, Boston modern: figurative expressionism as alternative modernism, (http:/ / www.
worldcatlibraries. org/ oclc/ 57652272& referer=brief_results) (Durham, N.H. : University of New Hampshire
Press; Hanover: University Press of New England, 2005.) ISBN 1-58465-488-0, ISBN 978-1-58465-488-9
Bram Dijkstra, American expressionism: art and social change, 1920-1950, (http:/ / www. worldcatlibraries. org/
oclc/ 50866889& referer=brief_results) (New York : H.N. Abrams, in association with the Columbus Museum of
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 E Stein, The Figurative fifties : New York figurative expressionism, The Other
Tradition (http:/ / www. worldcatlibraries. org/ oclc/ 59997649& referer=brief_results) (Newport Beach,
California : Newport Harbor Art Museum : New York : Rizzoli, 1988.) ISBN 0-8478-0942-0, ISBN
978-0-8478-0942-4 0917493125 9780917493126
Marika Herskovic, American Abstract and Figurative Expressionism: Style Is Timely Art Is Timeless (http:/ /
www. worldcat. org/ search?qt=worldcat_org_bks& q=9780967799421& fq=dt:bks) (New York School Press,
2009.) ISBN 978-0-9677994-2-1.
Lakatos Gabriela Luciana, Expressionism Today, University of Art and Design Cluj Napoca, 2011 (http:/ / www.
uad. ro/ storage/ Dataitems/ rezumat Thesis summary LAKATOS GABRIELA LUCIANA -engleza. pdf)
Expressionism
12
External links
Hottentots in tails (http:/ / www. signandsight. com/ features/ 216. html) A turbulent history of the group by
Christian Saehrendt at signandsight.com
German Expressionism (http:/ / www. hpic. net/ galerie/ galerie. htm) A free resource with paintings from
German expressionists (high-quality).
Article Sources and Contributors
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