Professional Documents
Culture Documents
'V.
NORBERT WOLF
TASCHEN
The Author
Norbert Wolf
is
of
(b.
1949), graduated
in ai
medievc
his doctora'
"habilitation" in
Friedrich,
(in
F.
Walther); Ernst
Ludwig
Kirchner,
2003.
The Editor
Uta Grosenick
publications for
Riemschneider);
(b.
960)
TASCHEN:
Women
is
in
Artists,
2001;
ART NOW,
1999
(in
200.
& Hans
AUGUST MACKE
Arp,
925
DC A
BlA(/eRf76fc
ftLr>p'-y
Expressionism
NORBERTWOLF
UTAGROSENICK(ED.)
TASCHEN
KOLN LONDON LOS ANGELES MADRID PARIS TOKYO
contents
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The Refugee
MAX BECKMANN
Scene from the "Earthquake
Messina"
MAX BECKMANN The Night
HEINRICH CAMPENDONK Bucolic Landscape
LOVIS CORINTH The Red Christ
OTTO DIX
a Soldier
OTTO DIX Prager
LYON EL FEININGER Market Church Halle
GEORGE GROSZ Dedicated to Oskar Panizza
ERICH HECKEL Pechstein Asleep
ERICH HECKEL Glass Day
ALEXEI VON AWLENSKY
of the Dancer Alexander Sacharoff
WASSILY KANDINSKY
Ludwig's Church
Munich
WASSILY KANDINSKY Improvisation Klamm
ERNST LUDWIG KIRCHNER
(Marcella)
in
Self-portrait as
Strasse
in
Portrait
in
St.
Artiste
Platz
in
Portrait
in
Self-portrait
St.
(Self-portrait)
Portrait
Self-portrait
MATTHIAS GRUNEWALD
1)
The
Crucifixion
1516, Oil
on wood
panel,
WASSILY KANDINSKY
2)
Improvisation 9
1910, Oil
..."
it
Nietzsche (1844-1900),
it
was penned
in
shall out-
1890s by
Friedrich
in
the
later,
of
academic
rules,
in
avant-garde
sirer
"expressionist"
art in
initially
1944),
in
cropped
Cas-
Munch (1863-
ism.
(
Secession exhibition of
vanguard.
In
In
88 - 973)
1
of
subsumed under
German Autumn
fell
un-
and thus
this
regard
was Paul
become
the
rule.
breakthrough
Fechter's
191
1,
and a year
staged,
in
Sohn (The
later,
the
first
(1890-1940)
play
By the outbreak
of the First
World War,
in
other words,
in art
and
art
like
many
(1887-1966)
litera-
artists
clearly,
1918, Expres-
Point
in Art),
Munich were
artists
minced up
known as
to create
mock
In
their
German meatloaf
Expressionism."
"First
Der
Son).
German
in
in
sionismus, which focused on the art of Die Brucke and Der Blaue
young French
to the
Italian Futurists,
1905
sionismus, die
all
art dealer,
Expressionists",
art.
first
"German
Reiter group as
rather,
a myth that had existed since the Sturm und Drang of the late
In
is
Germans
Now, about
were seen as
905, German
fuel:
artists
appeared
modern
in art.
to be bringing what
of their
since
it
So
1958),
in
like this:
how
'German man
demonism
of
is
Be-
(1881-
- charged
Pechstein.
In
925. Back
the
in
of the
painter
Pechstein exclaimed:
."
.
the young against the hidebound establishment - these, not only Pechstein believed,
were the
feverish restlessness, an
to mysticism
destine
1906
it
- elements
for the
new
style.
San Francisco
killing
of the
about 80,000 of
"German psyche"
that
tendency
seemed
to pre-
hit
by a devastating earthquake
its
120,000 inhabitants.
In Siberia,
their
in
vi-
its
tele-
meaning
is
of words,
deceptive.
some
In reality,
it
was
meta-
As August Macke
means
in
already
The
inflated the
to initiates.
in
were perhaps
it
to say".
taking Expressionism at
its
word and
its
is
who
physical
Das
Rapturous
style,
to other
this
volition,
gram
German appears
Germans), published
Max
language
...
in
own
is,
who shaped
sionary powers.
And
public's face,
gave a terse
definition of Expressionist
In
art,
is
not so apt as
1908
it
might seem.
is
the
in
it
was
inside."
When we
not an
Yet again,
think about
it,
it
3)
FRANZ MARC
Forms
on canvas, 91 x 131.5 cm
Munich, Pinakothek der Moderne Staatsgalerie Moderner Kunst
Fighting
1914, Oil
4)
GEORGE GROSZ
The
Street
1915, Oil
art,
Greco
sionists.
ly
Grunewald
1475/80-1528;
(c.
1541-1614), two
(c.
What
justifies
twentieth-century
us
in
"ism",
an established style?
One need
Expressionism as a
style.
Kirchner, Kandinsky,
no formal
common
ground. This
dency", a manifestation of a
just as
is
only
to
force field of
modern
art,
peak - suggesting
feeling for
This art
life.
And as
1909
The
them up
that they
to date,
in
Blaue
Reiter,
artists'
in
Ger-
the years prior to the First World War, Die Brucke and Der
to a
and without
directly
In
"new generation
of both creators
and lovers of
adulteration", as
progressive religion of
Between
developing them to a
to outrun that
them
welcome adepts
art",
to
to create,
of a
new and
art.
Distortion
and Abstraction
like
in
The dogmas
a good and true
of this
life,
art, this
in
Berlin
immersion
the characters
art,
who
acted as
if
1910
is
in
in
its
contradictions.
subjectivity;
and submission
individual
flected
in
all.
first
many
frequently
"On Psychoanalysis"
of
new and
pecially Zarathustra.
ples.
appealed
prefer
now
"...
to
art historians
Nietzsche
In fact,
my
of
why many
later recall,
young generation's
radical
accepting
(1886-1956) would
and
in
to describe
can
altar paint-
the work of
1) to
artists
German modernism
fig.
example
on the
to the
projection of
On
the one
re-
5)
Winter
1919,
Moon Night
Basel, Offentliche
cm
Kunstsammlung,
Kupferstichkabinett
6)
Wood
(alder),
98 x 23 x 18
Museen zu
Berlin, Staatliche
cm
Berlin -
in
and
instinct".
ual
la
individ-
for
title
Kandinsky gave
in
On
to the
the Spiritual
(fig.
"Nordic man",
that regard,
1908
was
2)
Art
in
opened
"spiritualization",
who yearned
in
in
in
the psy-
to painting the
Munich
(fig.
which
3) stood.
dissertation Abstraction
re-
finished
art of
and Empathy
"feels
veil
was the
now-famous book he
art.
in
in
his
between
Accord-
artists,
to the ecstatically
heightened self-con-
1911
becomes
first
man
to reach the
South Pole
in
"Romanticism"
term
was
of
many an
greatly pleased
connection
in
them were
with
quite
when a
his
aware
critic
work.
in
of this.
used the
Moreover,
case
in
point
Alfred Kubin
is
(1877-1959), an eccentric
artist distantly
Litomerice)
mals,
in
watched
flayers
natural disasters
father. In
Reiter.
and butchers
- probably an
at work,
in
Leitmeritz
(now
ani-
instinctual reaction to
an overly
of
strict
Der Blaue
Oskar Panizza,
primarily
watercolours or
oils.
in
seemed
to spring straight
from
twelve
weeks
of the year
In
in
in
city
by the
name
of Pearl,
in
far distant
Chemistry
1912
or nothing; distortion
little
hoped
come
Asia.
As the
ot a
meaning
begins
its
in
with folk
city
inexorable demise.
ly
many
but of
all
art,
in
reli-
children's drawings
- advanced
ill
1913 on an
fields
Nolde's
in
in
the guise
and the
plot turns
the sense-
in
among them
expedition to
number
in
New
- along
in
wood
least
faces of Grosz
(fig.
many
5).
An
of which are
among
ous decoration
true",
for
came
where
home and
it
tik
had degenerated
ist
and
Museums
in
1915. Kirchner,
became sources
of ethnology
performances of "exotic
magazine photographs
of
of Expression-
"Negro combos".
lips
and pointed
chins,
primitive,
this regard.
As
as a
1912
10
of Expressionist creation.
early as
terest themselves
in
artists
had begun
way
Pacific. This
for
his art
de-
was
920, the
many
in
favour of
is
underpinning of
began
to
suppress
is
intellectual
for
re-
of pre-
became
bohemians:
and as a source
Kirchner
to in-
full
in
Primitivistic
went hand
(fig. 6).
or cabarets, or
works
the
represented an appeal on
in
in
brought to Berlin
7)
CONRAD FELIXMULLER
8)
MAX PECHSTEIN
Open
air (Bathers in
9)
The
Moritzburg)
on canvas, 70 x 79.5 cm
Duisburg, Wilhelm Lehmbruck Museum
who
later authors,
it
Village Idiot
cm
1910, Oil
many
CHAIM SOUTINE
later did
and
vic-
began
artists
to
War
in
it
seemed a masculine
was there
to
some
in
the world
..."
Only a few
patriotic choir.
The
and Corinth,
in
contrast,
No
finer
death
added
immune
and
to this
war
to
to end.
be "the only
hygiene for the world". Marc expected the war to bring a worldwide
Beckmann and
willing to
go beyond the
artist's role
and engage
in
(fig. 7),
actual party
politics.
a merry
including Pechstein
artists,
fascination. Barlach
act,
were
Now
In
form
in
all
loosely knit,
all
envisaged a community of
took of Romantic
ideals. Naturally
living
more
closely or
and models
in
particular
ex-
shared
in
in
the
chance
their
models and
ture
(fig.
to "create
way
to
trauma
Flanders.
Many young
artists
in
be".
Dix
Yet such
field hospitals of
France and
life
which had been among the demands of the avant-garde ever since
the 1890s. This, too,
was an attempt
to purify
a materialistic world by
to return.
1913
1913
In
the U.S., Ford introduces the assembly line into automobile production
in
EDVARD MUNCH
10)
The Scream
1893, Oil
on
canvas, 91
x 74 cm
Oslo, Nasjonalgallenet
11)
GEORGES ROUAULT
Eve
Fallen
12)
Musee
d'Art
Moderne de
la Ville
cm
de
Paris
JAMES ENSOR
Still-life in
the Studio
canvas, 83 x 113 cm
Munich, Pinakothek der Moderne -
1889, Oil
on
Staatsgalerie
sionists
is
in
The
problematical.
in
Nolde had
on Dresden
in
considered an
knew each
consider
briefly
Soest
affiliate of this
in
1907. Otherwise
in
in
in
view of
island
of
his brief,
is
sionism".
In
Folkwang,
in
founded
in
Hagen
in
1912,
in
fact played an
in
1902 by
Karl
of the art
scene
Ernst
member
for the
is
It
was
not
permissible only
is
it
some
specifically
third
was no commonly
who
Surrealist
in
part of
when we remain
to
University,
title
Macke
tried to
marshal an
of "Rhenish Expressionists",
apart from
Max
Macke as
and establish a
dates,
Macke's attitude
Ernst
a newspaper review
was
indicative.
The show
future
of the
revealed,
Ernst wrote, "how a series of powers are at work within the great
common
similarity to
one an-
to
Cologne "Sonder-
inaugurated
in
until
at that period.
and
Osthaus
pressionism.
leader
stream of Expressionism
1914
Macke a
Museum
is difficult,
Bonn show
important part
ing
in
aware
in
to focus
Modersohn-Becker
described
is
Reiter,
of Expres-
the artists
it
to the
German group
other, although
Paris
As convincing as
of Expres-
or Berlin (Die
Reiter), the
map
to divide the
Moderner Kunst
900
in
art
862-1 91
8)
was
1915
(1
(Ely
mm;*** Ml
:'v?|
...*
.&
'
mm
""
4
jj
i**^
TJP
-3.
it:
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'-
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aw
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J*"
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p3p
3i
way
The influence
of
and death
to the Expression-
made
the
map
its
artistic
special note.
lone wolves. For Kandinsky, Feininger, Dix and others, the style reprebrief
we
speaking world as
Permeke
Berghe
(1
1
886-1
well. In
German-
952), Gustaaf de
Smet
Albert Servaes
877-1 943),
(1
(
ists,
Frits
883- 966)
1
is
van den
spoken
of
Modigliani's.
1916
it
is
Der
on German Expressionism.
However,
Berlin journal
to
above
(fig.
a friend of
slaughtered cattle
is
believed to
The second
artist
Georges Rouault
his
Dresden
period.
The French
be proven.
of this relationship
in
to
Kokoschka
ex-
In
In
filled
French
paintings of Nolde or
Citing
names
Expressionism.
In
11), for
(fig.
instance the
Beckmann.
like
ed an exhibition
came
German Expressionism
artist to
928,
titled
something
Galerie Alice
in
Manteau
in
Paris
ise that
they
all
reflected a heightened
1917
mount-
In Paris,
In
later, incidentally,
saw Ger-
all
the original.
in
tine's depictions of
as Flemish Expressionism.
Modigliani
Expressionist art
of Expressionism into a
man
awareness
of depiction
(1883-
the prem-
of an inner world
marked by energetic
shot as a
German spy
13
VINCENT VAN
13)
The Church
GOGH
of Auvers
cm
Musee d'Orsay
Paris,
PAUL GAUGUIN
14)
mmim
cm
Museum Folkwang
Essen,
in
criteria, in
Germany as those
other
of Expres-
who was
long active
in
Germany,
like-
sionism.
The Expressionists
Berlin
in
of the
European Avant-Garde
rience and
its
art
scene
like
Brucke moved
in artistic
when
German
matters as well as
came on
the Expressionists
tone
let
Empire,
political,
II,
King of
felt
ern
And
2),
who
mass
this held
especially.
torments of
costume scenes
category of "gutter
Kollwitz
art",
was
Max
Lieber-
in
modern
1917
in
art
14
II
is
lay the
audacious
groundwork
forced to abdicate
in
Paris,
and
art dealers,
for the
mod-
even more
Munch
with
its
ex-
into
child's
893
(fig.
0) projected
all
the
in
is
indicative:
relegated to the
mann (1847-1935)
historical
conventional func-
gressive minds thought he had the taste of "a cook or baker's boy".
art's
What
this dilettante
again,
it
was two
"fathers of
Paul
Gauguin (1848-1903;
fig.
14),
...
The 'rough
coarser canvas,
Communist Revolution
in
in
Russia
image':
made
...
1918
(fig.
3) and
whose
run counter to
of coarsely
rapidly applied,
modernism" who
Gogh
all
M.
distorted per-
well-worn trad-
15)
PIERRE BONNARD
At the Circus
c.
cm
the canvas
left
uncovered
painting process
The
first
.,
van
Gogh
exhibition
touched
off a notorious
in
in
in
movement
be
scandal
in
Germany.
191
In
domination" of
renowned
artists,
German
strangely
1,
when a van
..."
art.
The
petition
including
what he termed
was signed by
Kathe
Kollwitz.
several
Marc and
flat
briefly
that
planes
in
to essentials.
description,
power
was as
influential
described as painting
as
it
was
Fauvism might
short-lived,
colours deployed
rich in
in
luminous,
of naturalistic
of developing an
enormous
more
to
accentuate
museum directors, art historians and artists and appeared in sub-Saharan African and Oceanic art strengthened their resolve to
the
summer of that year with Piper, Munich, under the title Im engender decorative effects by means as simple as possible.
necessary, they distorted forms or
rhythm of a composition made
Kampf urn die Kunst (The Struggle for Art).
ported by
print
by the
If
it
The
paintings,
thesis of
exotic,
if
and
art.
fig-
ures and were inspired by his generous, sweeping planes and his ten-
dency
kind which
In
critic
were
later
adopted
in
called
them
(1869-1954;
"les Fauves", or
fig.
16),
stylistic
means,
in
painting
artists
In
became
ation, in
relationships.
spatial
widely
known
Neue
in
Around
Kunstlervereinigung, or
Munich. Fauvism
The representatives
became an
of
1908, Fauvist
New
Artists Associ-
employed "unnatural"
well.
(1885-1941). The
yet
highly respected
studio
still-life
Germany, the Communist Party ("Spartacus League") and the "Steel Helmet League" are founded. In 1933,
1918
Czar Nicholas and his family are shot by the Bolsheviks
SA "stormtroopers"
II
15
%:^W\
SHU
-
^sM
^^fl
facetting of form
big
city,
new
the simultaneity of
phenomena,
lighting,
and
its
transformed
into
tric
itely
balanced colours
The
perspectives
(fig.
rich
exhibition
spectrum
in
Berlin
Cologne,
exquis-
mentioned
of influences that
its
in
"What
able
for
the
Expressionists
well represented, as
great
is
in
Man
is
in
Man
that he
in
and a
half later.
Munch described
the exhibition
in
in
letter of
is
lov-
..."
The
make "elbow
became a member
in
In
1906 Pechstein
it
left
1910.
in
all
progressive makers of art to join forces and bring into being a revolutionary artistic existence.
well.
of Switzerland,
It
and was
who was
to
be
satis-
..."
"in
founding manifesto.
Otto Mueller
Germany as
iter.
themselves
their
were on
is
is
lives" for
as stated
were the Cubists, Matisse and the Fauves. Kokoschka and Schiele
view,
that he
is
forces,"
velopment of Expressionism. At
working both
elec-
7).
1912 "Sonderbund"
in
its
Cuno Amiet
(1
868-1 961
865-1 931
of Finland.
a Fauvist
In
(fig.
an
Bleyl
art
Dresden the
back
1919
to a
artists'
passage
in
Nietzsche's Thus
(fig.
18).
Spake Zarathustra
(1
883-85):
in
change
of viewpoint
and
their rapid
working speed
facilitated
Rosa Luxemburg and Karl Liebknecht, leading German left-wing socialists, are assassinated by a rightist officer
1919 The "German Workers' Party", the germ of the Nazi Party,
seventh member
founded: Adolf Hitler becomes
is
16
its
an
16)
HENRI MATISSE
Seated Girl
1909, Oil
Cologne,
Museum Ludwig
17)
ROBERT DELAUNAY
Window on
the City
and schooled
their
eye
Museum Ludwig
summary
painting style,
tor simplified,
man and
envisaged a harmony of
sions of civilization,
doorstep
(fig. 8).
as
it
looked back
still
who
in
awe
(fig.
tried to
to Post-Impressionist
dence
life
or,
nature, a
25).
It
and Fauvist
surely no coinci-
is
members
at this time
all
fascinated
at the
Dresden Museum
of Ethnology.
The black
vital
poses of the
part from
this
experience.
figures
their
in
paintings derived
Kirchner discovered
in
in
ancient Indian painting and rapidly adapted them to his needs. The
Gauguin exhibition
at Galerie Arnold,
Dresden,
In
Walden had
just
opened
moved
his gallery,
1919
In
to Berlin.
Britain
There Herwarth
independence from
whose
comes
editors
into force
1921
was
artists
made
contacts with
literary
painters' part
his journal
in
and
whose
writer
him famous
link
active
every
in
woodcut
in
sionist artists to
endpapers,
for
book
in
An example was
frontispiece
began
initially
two-coloured
of poetry,
remained together
Umbra
to react in
The differences
in
Berlin, diver-
no longer as a group,
city,
fled to various
Dangast on the
in
on May
the forty-seven
and
urge of Expres-
illustration.
artist
art
psychiatrist
would make
pressionist
gences
work.
field of creative
facilitated the
illustrations,
in
for Indian
1910 provided a
modes of perception
in
cultures.
artists
cm
its final
its
friends
and supporters
1913.
1920
formed
17
19)
Portrait of
Fernande
cm
Private collection
20)
KARL SCHMIDT-ROTTLUFF
on canvas, 84.5 x 76 cm
Brikke-Museum
1912, Oil
Berlin,
21) EMIL
NOLDE
Prophet
1912,
1955)
ly,
in
his
1902
He
875
for
Still,
was
the way,
Initially
in
to his
naturally felt at
version
Paris with
he
German
later
folk art, in
Kandinsky and
in
which
his pupil
and
Murnau, Upper
p.
was the
first artists'
brilliant
or
New
members were
Neue
Kunstlervereini-
(fig.
23),
Neue
numbers
was
of
largely the
tic
ideals
in
diverse quarters
at Galerie
spiritual.
all
artis-
Impulses from
illustrated particularly
Thannhauser, Munich,
by the
in
1910,
19),
(fig.
11),
(fig.
NKVM
at the time,
in
the
way
in
international
which he proceed-
in
The
Ma-
had already taken the next step. That same year he painted what he
(Alexander
The NKVM, by
people.
networking of the
later, in
literary
Vladimir Burlyuk
forms,
and
stylized
dancers
historians,
art
48), musicians
women, as members
Bavaria, studying the folk art of the Alpine foothill region, copying
flat
including
others,
Sacharoff - see
by
joined
cm
Museum
Woodcut, 32.4 x 22
Bemried, Buchheim
programmatically
(1881-1947) and
abstract watercolour".
Marc
1955) - who would later, over his own protests, continually be reckoned an Expressionist - and finally, Alfred Kubin. Soon the group was
the
1922
NKVM.
troversy
and a
James Joyce publishes his novel Ulysses; Germany, Bertolt Brecht becomes known for his play Drums in the Night
1922 Howard Carter discovers the tomb of Egyptian pharaoh Tut-ench-Amun
in
arranged a sort of
rival
reaction,
In
NKVM
he and
and
rapidly
Thann-
Campendonk,
German
ally
cities,
in
several other
Walden
addition-
whom
Werefkin (both of
NKVM
in
Reiter, published in
Marc horses,
riders.
in
some
of the
al-
by Reinhard Piper,
disciplinary
(fig.
role here.
in
the cradle
most
crucial artists'
his paintings
Kandinsky
in
confirming
art.
The
his,
its
re-
were reproduced
"latest painterly
displayed
children's
lerie
"First
Hans
common
this
style,
how
sented,
was
Comprehensive
Goltz,
to
the almanach,
art".
in
endary
in
and
fine
"its
in
lines.
The now-leg-
Ga-
be demonstrated on an international
painter Henri
the
in
level,
And
by the inclusion
Natalia
Goncharova
In his
(1
881 -1 962).
essay "The
New
Painting", published
in Italy
In
particular
1922
well.
watercolour
Hence
edition.
May 1912
and two of
1912).
lationship to words,
almanach as
inflation
in
the journal
Pan
for
1923
reaches a peak when one dollar
is
In
equivalent to 4.2
trillion
fails
marks
19
Beckmann
"artistic
in
Max
painting.
perception,
combined with
little
rail
Gau-
at "framed
and truthfulness
artistic objectivity
to the things to
was
was symptomatic
figuration that
now
flare
cities,
not only
in
Germany
First
in
New hope
Lyonel Feininger,
when
affiliated with
the German-American
the Blauer Reiter since
Vier, or
The Blue
Munich period
to the
Four, a
Bauhaus
Oskar Kokoschka,
drawings published
1910, and
whose
until
editing
in
924
25).
of Vienna,
was
the
first
form Die
Expressionist to have
to
illustrations
of the
crucially
many
shaped
links that
to Berlin
at the
life
its
look.
connected the
of Expressionism, although
Thus
vari-
he basically be-
age
In
908 he
took
(1883his
own
his
"dematerialization"
decade
for the
Schneede
soul,
to
As
art historian
He,
art
...
Uwe
M.
develop a
exaltations
dance
figures.
which Austrian
in
of
(fig.
paint,
pictorially effective
of the period."
Sigmund Freud,
of
Kokoschka aimed
Viennese eurhythmic
to the
at creating a
man
"deranged por-
of letters, Albert
The
in
of the journal,
its
908) was a
trait",
intriguing
Max Beckmann,
191
were
1. In
a coachmen's pub
in
Berlin, a city
latter
all
founded a group
in-
After Lenin's death, Stalin wins the struggle for political leadership Russia
1924 First Winter Olympic Games
Chamonix, France
1926 Sergei Eisenstein makes avant-garde film Battleship Potemkin
take place
20
in
(fig.
1924
in
activities,
ernism.
but also
and
longed to
in
in
ERICH HECKEL
22)
Male
24)
ALEXEI
23)
x 32.6
cm
for
Brucke-Museum
Berlin,
WASSILY KANDINSKY
Cover
Portrait
VON JAWLENSKY
Museum am
tellectual
and moral
Heracles)
Ostwall
who had
artists
their
breakthrough
at
the Sturm gallery. Yet Meidner rejected Matisse, Kandinsky and Marc,
just as
who
subjects."
art,
lived in his
neighbourhood,
many
is
raised,
in part,
even by
sociocritically
Grosz and
later
And
late
it
is
work
of
someone
like
in
face of the
film
28),
(fig.
whose
among
ences,
Kubin had
Alfred
flections from
In
light re-
concealed streetlamps.
many
respects, the
cinema drew
for a
from contempo-
inspiration
scene
in
Ibsen's
wall that
gave the
of a fate from
is
German
films
In
his
like
omens
announced by
pressionist films
and Architecture
not
originally
ance
Film
was
Friedrich Wilhelm
Lovis Corinth.
the director, Robert Wiene, but the film designers (a task for which
and Grosz,
sionism at
1919
ner
vampire's, appearstairs.
German Ex-
light
their
German
content. This
1926
media by
form and
sets of the
remained plunged
in
reminiscent of Expressionist
Murnau's Faust
film of
prints,
came
is
so strongly
to a final culmination
in
1926.
novel cycle
In
is
in
21
While the
explored
film
life's
emphasized
in
a paper sky.
into
In
in reality.
many
of
ed Michel de Klerc
Piet
matter and
An
The "storms
gravity
even zoomorphic
In
projects,
late
to
all
Germany, examples
far
between,
Tower
in
1918-19, and
in
Potsdam,
contrast,
Erich
920-2
in
in
The
architects of the
Germany,
22
is
in
Amsterdam
Holland, Expressionism
1928
Schmidt-Rottluff
war
the
it
began
Amsterdam
architects'
School,
buildings. "In
earlier
and had
Wolfgang
group
come
"Archi-
flies
in
inflation. Didn't
one
Christ
of his woodcuts,
in
home
Appear
birth
Rather, a
to a republic
to
You? asked
situation.
Berlin,
Glass Chain".
In
1 ).
purity,
spheres congealed
ally
for by Expressionism.
symbols
(1880-1938)
includ-
(1 88 - 96
to the
improvement.
1915 and
over-
in
Kramer
Crystal cathedrals
coming
its
practice only
to
1912/13 -
its
human
wrecks,
its
(fig.
some
Expressionism,
in
more than a
tions for a
brief flicker.
new
art that
of
it
seemed
fulfilled
life
into
little
expecta-
our flesh?
1918, triggering a
mann
called the
movement
in
1918.
1928
25)
LYONEL FEININGER
Cathedral of Socialism
1919,
Woodcut
for the
26)
programme of the
State
cm
RICHARD GERSTL
Laughing
Self-portrait.
1908, Oil
on canvas, 40 x 30 cm
27)
ROBERT WIENE
The Cabinet
of Dr. Caligari
In
new
development
Schlichter
the
who
title
1926
Hubbuch (1891-1979),
painting by Grosz
in
In
Pillars
or Rudolf
of Society (thus
to flaunt
further,
of a
Sachlichkeit, a
enemies,
listed its
who
Bertolt Brecht,
began mounting
erate"
In
museum
1933,
directors
who toed
the Nazi
art,
German Students
in
the
case
in
point
artistic
of
estab-
In
in
which he pro-
in
vain. In
1937
was
it
at
face-saving
primarily Expressionists
ate
Art".
the
Moscow
whether
it
exile journal
was
Das Wort in
hotly
1
found
its
result,
some
debated Expressionism
of the
museums and
most
in
The
1928
League
for
shocked the
German
German
Culture",
founded
private collections.
in
soul
Speak-
1929, Al-
most
central
movements
first
when Peter
in
in
957
Selz,
earliest standard
style,
now
in
author of
that Expressionism
German
art
And
was
of the
likely
no
ti-
homegrown American
the
in
works on
it
in
agree
945, Expressionism
U.S.
Expressionism - an
to
rhythmical Constructivism.
of
re-
who were
The ambivalence
German
ultimately
before emigrating to the United States had close ties with Bauhaus
artists and,
mained
chauvinistic attempt
In
League", supported
character". This
line
and "subversive"
1918 the
art historian
artists,
lishment.
Rosenberg
fred
lyrics
crisis
23
LUDWIG MEIDNER
28)
Museo Thyssen-Bornemisza
Madrid,
HANS SCHAROUN
29)
Community Centre
Idea for a
1919, Watercolor
Berlin,
JACKSON POLLOCK
30)
Blue Poles
1953, Oil, enamel and aluminium paint on canvas,
x 4,89
12,11
tie
Modern
Art,
been applied
which
on
relied
Museum
of
to Kandin-
direct,
name only a few, by Willem de Kooning, Robert Mother(1915-1991) and Franz Kline (1910-1962), and which culmi-
as practised, to
well
nated
in
(1912-1 956;
German
fig.
30).
Expressionist
named
in this
include
Georg
Koberling
tive
(b.
(b.
in
Berlin,
whose
later
(b.
students would
on the scene
in
contemporary
Cucchi
(b.
it
art in
in Italy,
in
as exemplified by Enzo
ernist device
as
Baselitz
ever was.
It
little, is
art
as violent today
threatens to grow
emotional basis of
all
good
art.
1929
1929
24
Art,
The Geneva Convention, signed by forty-seven nations, requires humane treatment of war prisoners
its
kind
in
the world,
is
founded
in
New
York
930
Based on a novel by Heinrich Mann, Joseph von Sternberg makes The Blue Angel, a sound film that catapults Marlene Dietrich to stardom
When his opponent, Jack Sharkey, disqualified, Max Schmeling of Germany becomes the
non-American world boxing champion
1930
is
first
25
ERNST BARLACH
1920
The Refugee
Oak
sculpture,
54 x 57 x 20.5
cm
who
painters
ated
works oriented to
plastic
exotic and
occasionally cre-
primitive art
(tig. 6),
His
concern
central
composed
of heavy, blocky
expression. This
logical
fectly
d.
in
Rostock
evident
is
per-
The Refugee,
in
which seamlessly
up with
links
figure has
been reduced
way they
base
ris-
in
his
hands and
through the
an oval to reveal
left
face.
right,
The
striking
in art,
head
is
into
not beautiful
is
The
directed into
the distance. The painfully visionary nature of this gaze and the face
protruding beyond the contours of the
wooden
The human
figure
comes a symbol
26
reduced
to essentials, as
seems
left
to
behind.
1910
in
in
was
plastically
532 and
into
etched themselves
manifested
in
ing of the
in
in
only a slightly
them
is
The Refugee.
After the First World War, Barlach declined offers to teach at
lation,
spirit
art
ism, settled
Expressionist
truly
Wedel,
matter with
ures
in
inert
Gothic graphic
1870
1938
limited
exponent ot
sculpture.
b.
The
the academies
reached
him.
its
in
apex
On January
in
Dresden and
Berlin.
30, 1933,
in
Long before
critics
had set
his
success
their sights
on
titled "Artists of
Arts,
monuments
27
MAX BECKMANN
1909
Oil
St.
x 262
canvas, 253.5
Messina"
in
cm
Beckmann
played a role
May
in
many
shadowed
oeuvre rises
like
His
others.
an erratic boul-
the landscape of
German
der
in
art.
After
finishing
Weimar
in
art
- where he
trips to Paris
impressed
his
1903, he
by
the
d.
- and
in
New
Avignon,
York
by
Eugene Delacroix
Florence.
to
in
scenes
Berlin.
his
among
enormous canvases,
The age
Crucifixion, a
on just
such sensations.
this
Scene from
Italy in
he noted: "Then
terrible disaster in
20,000 inhab-
read more
in
the
fault with
praising
gave
me
its
its
The
...
in
was
1909. The
caricatural exaggeration
'M
is
new
"all
picture."
The
pulsating flesh-
critics of
The eye
with a rape
The
may
zsche. This
in
dull
earth colours.
man
in
in
parallel to this
seems
to say,
in
a strug-
simultaneously per-
is
upper edge
taking place.
themes
vitalism of Niet-
of threat, fear
and
mod-
Though
cates the
artistically
way
in
indi-
confessed,
ly life"
left
through
quake
Messina
beginning on the
news
after reading a
itants of
trio
Beckmann began
in
seems
These included a
of rapine
Titanic (1912).
if
cruel
as
made
in
cerned.
was
1884
1950
in
woman
The kneeling man
in
wounded
studies
b.
ply
have
come
hind
out,
all
the sewers
Everything
down
in
breakdown.
me
to the last
Beckmann's decision
"I
all its
to.
it
in
in
the
way
drop
..."
This
order to paint.
of formal imagination
was the
summer 1915, he
in
artist
of the world,
I
sim-
must
men-
29
MAX BECKMANN
1918-19
The Night
on
Oil
x 154 cm
Kunstsammlung Nordrhein-Westfalen
canvas, 133
Diisseldorf,
His experiences
ly
wrote to
his wife
in
April
in
soon
his art,
application
more
in
"linear"
and took on
was no coincidence
that
was outshone by
ecstatically distorted
Beckmann created
1915 and
finished
oil
became
in
those
1919, Night,
in
in
November Revolution
Germany, and
political
1918,
vio-
assassination
was
in
the order of the day. Beckmann's painting, too, rips the thin veneer off
the aspect of bourgeois
angled
into
attic
We
civilization.
one grabbing a
sadistically raping
girl
as
is
if
it
in
man, whose
calls the figure of Christ in a Deposition, his cruelly twisted foot per-
(fig. 1).
The thug
in
his late-Gothic
peaked cap
is
Campo Santo
The legs
in
Pisa,
from the
first half
who
is
terms to
link
the composition.
Despite
its
implicit story,
possession of
the events and figures. The howling dog remains just as silent as the
seem
signifies death.
30
Though
it
would
exam-
of
"In
my
Night, too,
metaphysical
in
meant
in
"giving
In artistic
In
Beck-
artist,
of their destiny".
it
into
a conglom-
joint.
It
this large-format
fluid,
Karl Liebknecht
fig.
27),
and
it
film
alienating distortion.
German
painting
between
whose
Beckmann would
dam
until
genuine
in
style, in exile in
expanses
of colour
Beckmann's farewell
ing "sentimental
Amster-
in
favour of
linear,
brilliant
morbid mysticism".
to
31
HEINRICH
CAMPENDONK
1913
bucoNc Landscape
Oil
St.
Campendonk's
Landscape, whose
Bucolic
title
suggests
such
as
scrutiny.
On
is
of
recogniz-
on
only
first
May
closer
filled to
in
stract
b.
1889
in
Krefeld,
d.
1957
in
Amsterdam
occasionally
shapes of
ab-
nearly
human
plants,
one
The many
down
calculated
ways integrated
ation
is
in
the dominant
Franz Marc
flat
in
the scene
may
lyrical, fairy-tale
bring
mood
of
of fig-
ures, animals
colour and
al-
light,
clearly
echo Delaunay's
later, in
Campendonk - born
Dusseldorf -
is
in
Krefeld
often associated
//ith
that
were decisive
to his artistic
development
in
From
artists in
905
to
32
1868- 1932),
Nouveau but
to the art of
their re-
of line
to
latter's influence.
So
to Sindels-
Marc, he
came
pendonk's lack of
voices complained of
critical
lyrically
fairy-tale,
to fascinate him,
everyday farm
personal
of
style, did
not find
Reiter. In the
and
Cam-
originality.
the
in-
he adopt Marc's
avidly did
its
life
until
tuned
the
fore.
Campendonk
around him
into
compositions with
culmination
finally after
his
to
the last
into his
Munich years
ed
in
Bucolic Landscape.
During the
from the
1
926,
military
First
and
living in Krefeld,
ings. In
he accepted the
later
In
Amsterdam.
principles of design.
autonomous expressiveness
in
to
dorf
if
tered,
liance on the
trasting colours.
later
going on to
33
LOVIS CORINTH
1922
Staatsgalerie
Lovis
of the
one
depiction
Corinth's
Crucifixion
doubtless
is
most moving
of the
modern
Moderner Kunst
art.
In
in
symbolism of blood,
indicative
it
was
b.
d.
1858
1925
in
in
Zandvoort
this
is
a scandal
exhibited.
Christ.
more
is
One
critic
not Christ at
like
an apeman
mouth area
truding crude
orbital
(or put
bulges and
devious black eyes. The body lacerated, tortured, blood and more
blood wherever the eye turns. The sun, too,
bloody.
The
picture
is
is
bloody,
a cinematic close-up,
is
rays look
its
eyes
to the viewer's
alienates, abstracts
it
partially
and
dis-
if
in
is
ploughed
murderous
bestiality
and reduced
meaning
of Christ, victim of
man
that
dignity.
The
to a slaughtered
a wolf to man.
34
work
after
He
realistic styles
1
669). From
he moved to
is
89
when he
resided
in
art of
in
painting located
to
in
all
900, when
seemed anything
Rembrandt (1606-
atrical, illusionistic
191
but avant-garde.
1,
among
other works, attest. His approach turned radical, broke with academic
conventions, unsettled visual habits.
wrote,
"Bad drawing and missing the mark are excused as soon as appear-
in
their character."
by considering
it
to the
phenomenon
to Ex-
a sort of
parallel
and
of bloodlust."
academies
in
immediately caused
when
its
bears the
it
The Red
title
Finished
all
accordance with
members
of the
22nd
Berlin
Reiter. Yet at
Secession Exhibition
in
any
191
rate,
1,
on
he did
their "wildness".
35
OTTO DIX
1914-15
as a soldier
self-portrait
on paper, 68 x 53.5 cm
Oil
Stuttgart, Galerie
in
evitable part of
of Decorative Arts.
that
1969
in
Singen
terrible
succeeded
it
trenches and
of that
nevertheless.
seen men
beings
...
had
There
is
lives,
to experience the
stationed
Dix lay
in
in
in
to
course
fix
at
it
any
cost.
You have
to
have
work
volunteered."
that illustrates this existential
artist
depicts
al-
like
ergetic brushstrokes
36
survived. "The
was
of
study his
bull
August
In
most seems
turns to
trench
something enormous
in
the Russian
Flanders.
December. He had
hardly another
the battles
in
then participated
unleashed state
Class, fought
in
recalls a
blue, red
in
is
an
in-
Nietzsche.
During intervals
in
600 drawings and gouaches between 1915 and 1918. These comprise his actual Expressionist oeuvre. Nearly
all
of
colours often strangely recall the hovering notes of the Blauer Reiter,
in this
why went
he
soldier.
non-commissioned
to
November 1917
in
this Dix
and death
promoted
officer,
was discharged
horrible thing,"
in
lost
life,
gles, vectors
1918 was
was wounded
Dix
pilot training.
war was a
February
in
year he
In
men
fascination
for
autumn
that winter,
its
November he was
2nd
northern France.
in
Like
life is first
their lives. In
West-
to the
Champagne, France,
in
d.
In
battle
den School
in
for
Human
1891
face around the face, a formal equivalent for mental torment yet also
ern Front
b.
domi-
first
wounded
bony
skull,
oddly ethereal
of force that
in
combine
into
end
into
visible reality.
ner. In
1923-24 he produced
a cycle of
in
fifty
realistic
man-
(1746-1828) Disas-
37
OTTO DIX
1920
prager strasse
Oil
on canvas with
x 81 cm
whose
the
brutality
in
the trenches of
First
Dada and
principle of
its
its
a master
a society
first
method
supple-
of sarcastic,
tail
sionism
Dix's
in
the
in
artist's
eye.
manifested
life
He was
itself
in
terms of ex-
was working
tellectuals
and
prostitutes
human
artist
He focused
all
it
people,
Dix's paint-
The
factors of ex-
political attitude,
supplemented by
principles, that
is,
in
or another,
the
artist's
city
in
Dix's
role
ative chaos".
scene,
it
vas with
metamorphoses
into
disablement
left
of the cart
my
Dadaist
contemporaries" centres on
of the
many
at that time
tinfoil.
whose
alternative
them no
oil
inscription "Dedicated to
its
bizarrely alienated
wheels
this
its title,
window
his torso
hair
and
The
along
tickets
displaying disjointed
stereotype body parts - torsos, limbs - are likewise pasted on. Bet-
ween
own
face.
in
the right-hand
The newspaper
clipping
in
the lower
mouth -
is
the growing
exile
in
imagery composed
embodied
in
When
political
light in
become
tyranny.
Hitler
saw
a shame
paintings by Dix
in
Dresden
in
1937, he debars."
By
this
in
the
clared,
"It's
especially Verism.
one form
Swiss
in
in
together
earlier
art of
art.
tremes
objectivity of
Neue
Sachlichkeit and
39
LYONEL FEININGER
1930
Market church
in Halle
work
Feininger's
more
Klee's.
who was
almost
is
categorize than
difficult to
and
musician
talented
German Expres-
groups without
sionist
longing
them.
to
In
be-
truly
1912 he
in
Halle to paint a series of city views. Like other examples from this
series, the
but an
Brucke,
b.
1871
in
d.
1956
in
"First
New
New
York,
Paris,
by
way
Berlin,
in
York
German Autumn
Heckel
especially
and Schmidt-Rottluff,
with
Salon".
He
the
Blauer
into
Reiter
- Gothic church
its
the
in
1
in
aid Feininger
spires, cityscapes,
p.
22). This
is
the context
in
which
his
wood-
belongs
like,
Until
(fig.
9 9
1
to
of his pictures
energy-charged
Kirchner,
(ill.
p.
As Market Church
in
in
his Birds
of the Night,
921
925,
later in
constructive principle
As a
Reiter.
Klee
in
result,
924
to
Dessau
was
to
and
intrinsic
invitation of
monumental-
museum
months
director
at
a time
of colour that
system
Delaunay
of
Constructivism, which
international
first
in
paralleled
Weimar from
allied with
Expressionist ideals a
rational,
Blauer
la
its
in
and
flying
nave diagonally
into the
left
edge,
of luminous
and
clarity,
lines,
is
like
a con-
rendered
in
forming a Cubistically
In
the re-
and mirror-
the
artist,
used
to strive for
who emigrated
effect, as of light-pervaded
movement and
to the U.S.
in
air.
restlessness," said
25).
1913 many
with
affinity
total
"I
now
moved
farthest from
41
GEORGE GROSZ
1917-18
on
canvas, 140
x 110 cm
although not
in
he joined
1918. During
in
1959
In
months
well.
Like every
Germany who
developments
become
One
of Grosz's
for
war
In
in art.
service, but by
These
which a
most
striking
in
is
milling
crowd
p.
faces, everyone
In
have
lost
all
He
its
completely engulfed
is
around
is
is
a modern
mills, their
in
It
recalls the
who
is filled
intersect
with a
and over-
sense
of direction.
Dance
The neon
"DANCING TONIGHT",
of Death.
realism of
As Grosz himself
Neue
syphilis,
gone
says
it
all
explained,
"In
plague
that a "humanity
to the
sober
critical
impact.
So
with
933 Grosz became one of the first victims of Nazi persecuarts. He emigrated to the United States, where he received
American citizenship
Berlin,
painted this
was no accident
1
...
insane."
the
is
instinct.
in
to
him -
theme
seems
this
it
21).
left,
tion in
one another.
42
church
milling
Dedicated
this
lap
The last-named
architecture
the
works on
in
lent
city.
tiny
to
in
mob
source,
which ended
ically
war years Grosz concerned himself with the subjects of circus and
variety
fight.
a bloody
satirical
in-
scene was
army
writer
ist
appealed to Grosz.
big-city
to
al-
artist in
November 1914 he
lied
Grosz was
line
tended as a homage
young
in Berlin
his
Academy
Blauer Reiter as
in Berlin, d.
whom
to
interest,
1893
including
Communists,
b.
ends -
political
his future
friend,
in
visit in
959.
to return to
43
ERICH HECKEL
1910
pechstein Asleep
Oil
on
x 74 cm
Buchheim Museum
canvas, 110
Bernried,
Erich Heckel
strongly
to
melancholy
Brucke
tended more
and
sentimentality
artist. In
view of the
dominated
that
idyllic
fallen
Dresden
to
come
b.
1883
in
Hemmenhofen
in
Dobeln (Saxony),
d.
1970
(Lake Constance)
his
1911
in
the
pavements of
work,
his
move
group's
hectic
the
from
big-city
And as
if
gird-
asleep
small
1910
Dresden.
Now the
previous
Italian
motifs
after
that
journey
full
of
unsullied natural
in
of a
I
ings,
ism,
of the
canvas
this
is
Max
modern connoisseur.
prints at
house dedicated
an early date.
principally to
art
In
into discredit. In
itself
1
solely
956 Buch-
It
was
also he
who
rediscovered
Heckel painting
of
1920-21
wooden-looking
light.
after the
is
rendered
in
ex-
1909 Heckel had been confronted with the monu(c. 1267-1337) and the Trecento, as well as
in
art,
left their
of colour that
of
now became
un-
Brucke
mark
wild,
genstrik-
role,
depth
in this
period,
and attempted
drawings and
lishing
one
in
intrinsic
Dangast
his
surroundings.
name
in
pansive
came back to
in
new
flat
works
finally
in
show
tamed orgies
beautiful
is
lost.
most
this composition,
sensational picture
The brushwork
in
on
chair,
woodcut based on
complementary colours
a long
in
must have
Berlin
as a shock.
to earlier research,
other
any
than
to solve
pictorial planes.
it
by
means
of
45
ERICH HECKEL
1913
Glass Day
Oil on canvas, 120 x 96 cm
Munich, Pinakothek der Moderne - Staatsgalerie Moderner Kunst
In
summer months
relaxing
and productive
Lakes
a few years
The
mood
care-
this
When war
ical
corps and
broke out
was
art historian
man and
old Europe,
Not so much
period.
and
in
that characterized
life,
Brucke
in
art at that
terms of
this
fundamental mood, such Expressionist compositions can be compared to Paul Cezanne's Bathers, since these,
too,
aimed
at giving
Cezanne
great
Cassirer
exhibition held
Berlin
in
in
November 1909
at Galerie
Paul
to thor-
female nude
approach
ence
in
insights.
Although the
of
new
in
whom
visited
Heckel
summing-up
ful
The
but
Berlin
in
his
all
of
master-
painting
thinned
in
in
oils.
is
no longer executed
in
line is
sup-
nude
figure bathing
urations.
trate
in
The all-pervading
lucid blue of
line in
in
talline
46
like
fig-
Heckel placed
icy,
frozen,
the composition
itself,
title,
22).
Perhaps
in
it
is
no coin-
1913, after
in
Max Beckmann.
his
hopes
in
a league of like-minded
intel-
and
artists,
pised Heckel's Expressionism. This did not prevent the painter from
war and
built
in
murals executed
in
922-23
at the
Angermuseum,
Erfurt,
in
stationed
p.
the spot, were a predominant subject for him as for the other Brucke
artists.
later,
cidence that
Bauhaus
artists. In
its
shimmers through.
In
new
iscent of Glass
in
evidence.
47
1909
the Dancer
Alexander sacharoff
portrait of
on cardboard, 69.5 x 66.5 cm
Oil
In
friend of Werefkin
first
the
artist
re-
the
earthy
palette
he
at the
Peters-
St.
d.
1941
in
Wiesbaden
art
920s and
had
finally
my
with
off
this
The
catalyst
Russ-
he soon shook
approach.
naturalistic
was a confrontation
modern French
self-confidently
managed
"to translate
artist,
tinually
and above
in
who,
like
pursued the
The
Kandinsky,
intrinsic
was
in
conformance
conveyed through
colour,
collaborative
esoterically interested
numerous
and con-
international contacts,
in
in
the
New
Artists Association
in
in
Jawlensky's oeuvre.
1907 he began
The
way on the
resulting paintings
convey
the impression that the colours have been veritably stretched across
in
in
heavy black
vibrant motion, as
in
48
all
Above
five
later
all in
the
figure
when
the dancer,
in
is
it
over.
lasciviously
echoed
in
staccato that
seems
Jawlensky would
ty
wig).
later
stracted faces,
less
in
naturalistic,
in
an enigmatic
sitter.
of formal sensibili-
soul.
outbreak of the
First
in
of figure
and less
in
energy of the
more
seemed
of
the
Sacharoff
came
of things.
where he would
at a single sitting,
visited
and
In
von Derp-Sacharoff)
1905 Jawlensky
theatre performance by
to Munich,
In
1904.
fame.
dominating personality
artist
announced
Clotilde
in
to
In
initially
Dutch
Paris from
in
in
burg
1864
Academie des
had learned
b.
pupil at the
friended Kandinsky. At
tained
A^f^
1903
Beaux-Arts
already accomplished
painting.
a van
Gogh
49
WASSILY KANDINSKY
Ludwig's church
st.
Oil
1908
on cardboard,
67.3
x 96
Munich
in
cm
The
focuses on the
artist
streetside arcades
in
the lower
nich
which
church,
located
is
in
the erst-
neighborhood" of
"artists'
where
Kandinsky
apartment
studio
September
in
d.
in
or participants
some
kind
is
brilliant
a procession,
in
in
going on.
in
an interplay of
light
and dark,
tiny configur-
composed
which he depicted
his
and 1907.
It
was no coincidence
Spiritual in Art,
essay,
that
Kandinsky referred
in
his
(1863-1935)
to Paul Signac's
in
deep and
lasting
the saturated
inspiration
50
1904,
colour
Kandinsky derived
906-07.
in
1905. The
to
It
began
later recalled,
840-1 926)
He
paintings of
when he
realized,
"Suddenly
saw a
found embarrassing.
missing
in
He had
still
passed
all
my dreams.
Years
later, in
trip to
Paris
in
me and
power and
in
was
ian
first time."
sur-
glory."
Werefkin, and
when
they
all
joined forces
in
1909
Kandinsky arrived
found the
to
at
New
an approach his
flat,
From
this
tion in
191
1.
their
St.
(1
one of Monet's
1906
in
brilliant light
front of
of the
in
"fairy-tale pictures" in
he was standing
mills,
Catholic celebration of
colour,
rented
Moscow,
in
Schwabing,
in
literally
first
while
1866
with a
Ludwig's Church
St.
near Ainmillerstrasse
b.
Pictures like
point of Kandinsky's
in
New
Artists Associa-
51
WASSILY KANDINSKY
1914
Klamm
improvisation
Oil
on
canvas, 110
x 110
cm
In
erringly
most
tically
phase of
exciting
to abstraction. This
his career,
when
(which, he said,
Impressions
his
in
artis-
nature"), Improvi-
modicum
sic effect.
As Kandinsky
words,
ture, in other
of
himself explained
more
1914,
in
same
the
"In
intrin-
pic-
at once,
all
spiritual over-
own
accord, forms,
came
in
berate
was
like
an undertone
in
Instead,
moods
right,
to a valley
3,
known
1914.
ing the
whole a
of paint
were
jectivity
and
In
sky's
in
left,
In
August Macke
of the
it,
apparently
did.
It
has
makes anything
jar
let
Bavarian cos-
in
that
justifiably
but an
Kandinsky
alone invoked an
been pointed
idyllic
impression.
- as
if
the maelstroms
figuration.
work
man" appears
in
an "apocalyptic horse-
frequent fea-
ture of his compositions, this figure stood for the battle against the
dragon
of
52
hidebound
modern socie-
in
Madame
Blatavsky, which
to mysticism.
A new age
had
new
ideal of spirituality
to
convey symbolic meanings not only through motifs but through pure
lines
and colours,
their contrasts
and harmonies,
their "musiciality"
and
synaesthetic effects.
Seen against
like
a paradise
tles
and incursions
lost
this
background, Improvisation
many and
key
Klamm
into
uncharted
in
role in the
work Kandinsky
left
Ger-
assumed a
art.
Kandin-
revolutionary
looks less
weeks
tendency
Munter
earthly paradise, as
augmented
And
sky's Munich
still
the upper area one can detect ladders and ropes, at the lower
tume.
this point
rever-
On
of their
effect."
In
ty.
veritably
53
1910
Artiste (Marcella)
Oil
on
Berlin,
x 76 cm
canvas, 100
Briicke-Museum
criticized
Max
to es-
Kirchner,
of French
Kirchner
himself
was
he
Yet
time.
art,
life-
already
in-
while
still
ture
^^H
neering
H
d.
1880
1938
Brucke
in
in
Dresden.
in
adapt them to
to
his
into
one
artists,
above
brilliant, flat
own approach
to entirely lose
of the
to
in
Gogh
Henri Ma-
view of
this
colour-fields
and
most tension-charged
involvement,
it
becomes
aspects of Matisse's
tation of the
Brucke
art. In
in
of any twentieth-
clear
why Kirchner
repertoire, of
beyond
all
From
early
in
Artiste (Marcella).
sisters,
portrait,
year-old Marcella,
one
sumed
widow who
lived in Kirchner's
in
like
of Kirchner's
most impressive
ludicity.
paintings.
The
girl
It
is
has as-
a relaxed pose, one leg drawn up, her head resting on her right
is
in
is
un-
and
its
left to
the upper
limited to
right.
a few intense
it
is
It
brings the
shows her
turning
point,
brilliant
girl
away as
if
to
from
idea on
same
gaze, puts visual and existential distance between model and viewer.
untiring experiments.
likely
in
As a
is
pose
to their willingness to
became
form Die
the Fauves, or
all
Thanks
developed
1908-09
four. In
began
engi-
artists.
Schmidt-
young German
Galerie Cassirer
Bleyl,
and Heckel
Rottluff
was the
it
whom
his
in
he became a
degree,
1905, joined
7,
Now
briefly
in
that left a
Dresden, and
in
j
b.
a student of architec-
Brucke
In
1925
in
retired to
was confronted by
terful
exercises
make
his
in
original
in
own attempts
came
As a
result,
in
conscious
means.
height-
55
1914
potsdamer
Oil
Berlin, Staatliche
In
city
Germany had
into the
became one
symphony -
into
a dynamic staccato of
scenes with
prostitutes,
traffic,
was the
National
Potsdamer
city's
Platz, to
in
translating
them
decked out as
in
if
tight corsets.
tion. In
as an
in
illustrious icon of
German
celebrated
justly
big-city Expressionism.
Potsdam Sta-
suited men,
pavement,
triangle of the
male
figures,
is
The combination
of forms, round
is
An
16,
in
a cold
56
if
drunk."
The
on a revolving
was
in
light
fact that
one
traffic island,
inundating
less favourable.
On
it."
Febru-
human
that totters as
traffic island,
if
its
thrust like
ary
in
"ladylike",
1,
soldiers'
widows on
In
on, prostitutes
Berlin's streets
in
of the
was
a "bloody
carnival",
not finished
By
this
two
that he enter
is
..."
In
used
before settling
in
a surrounding space
women
in
Potsdamer
In
In
in
He
felt
in
a monu-
I,
and
nearby studio.
art history
War
veil
made
August
which Kirchner
wears a widow's
until after
his
populated
first
lines,
and rushing
life,
Platz
to terms,
Italian
in
of urban
came
which he
in
Now the
themes. Kirchner,
cacophony -
or rather,
to Berlin, the
of their cardinal
among
too,
platz
in
June
German
1
5,
artist.
938, he put a
pistol to his
trigger.
On
57
PAUL KLEE
1915
Foehn wind
Marc's
in
Garden, 1915,102
Watercolour on paper, 20 x 15
cm
The Swiss
is
one
personalities
one of
also
artist
Paul Klee
most outstanding
of the
modern
in
and
art
greatest individu-
its
twentieth-century
in
watercolours,
paratively few)
little
common
Klee's
riod.
1879
in
Munchenbuchsee
in
stylistic
Muralto
(near Locarno)
world-renowned
many
lone figures
Due
who
to this creative
briefly
added
member
in
independ-
art
autonomy he
an enigmatic
is
one
of the
of the
ensemble
or,
his
Ex-
indeed, even
was
Nevertheless, Klee
and other
artists of
was
his
2, to
May
he adds,
ill,
seriously than
all
art
"All
of this
museums
must
in truth
be taken
when
put together
is
it
art."
taken
(
1914
in
880-
with
absolute apex
in
its artistic
yield
art.
under-
trip to Tunis,
became
Moilliet
legendary, an
strict,
crystalline abstractions,
encouraged by Klee's
in-
friend
Franz Marc.
This
longs,
is
the context
ter period.
It
in
July 1915,
in
in
is
in
Benediktbeuren,
see the
lastingly influenced
It
much more
hand with a
brilliant
paintings bear
relation in
to the
b.
oil
His
art.
and (com-
prints
in
alists.
home,
at
in
it,
of a
visit
to
Marc
firs,
is
abstracted yet
still
shapes that
metrical
is
interlock
Ried, near
from
in
We
recognizable.
in
brief leave
garden house
the background.
and
partially
in
The
1912, of
in
903 and 905, still living in Bern, he had been active as a draughtsman and etcher of allegorical, grotesque subjects in the wake of Sym-
point"
world"
in
bolism, formally
(
877-
959), with
oped a unique
whom
he became friends
linear style
in
191
Kubin
to the
ambiguity and
1912 Klee -
like
of the kind
58
we
In
in
still
primal beginnings of
the ethnographic
museum
or
formed
into
"horror-filled
would burgeon
into a universe in
its
his
own
Bauhaus
right.
is
trans-
contact
period, Klee's
Aqif 40 iU
59
OSKAR KOKOSCHKA
1910
Herwarth walden
portrait of
on canvas, 100 x 69.3 cm
Oil
career as a commercial
tor the
renowned
crafts
workshop
artist
still
in
Vi-
a student
tive Arts.
His painting
inated by Art
soon began
style,
Nouveau
to
show
Expressionism, such
dom-
well as a
d.
1886
1980
in
Pochlarn (Danube),
in
the young
artist's
and gouaches
mediately
Yet there
of
were
young nude
others, like
Between
penetration.
ical
features of
as
bizarre
girls
Gustav
like
The following
Klimt,
there
who recognized
emerged a
series of portraits
in
facial features
in-
cised or scratched off with a brush handle or fine needle. These por-
full
of
accompanied by
and lithographs
bare of the
sitter's soul.
Baroque
fuses his
art,
traits".
and distinguishes
contemporaries. This
>,',
is
later often
noted, bears
why
it
his portraits,
in
his
particular, are
suf-
Viennese
among
the
blurring
atmosphere
of the
Especially
in
fin
de
morbidity that
and
in
whose
Murderer,
traits.
whom
in
Berlin
in
his
1910
drama
hypersensitivity, or
lies
siecle.
Herwarth Walden,
journal,
Hope
in
if
inward forces. As
in
in
main aims of
lie
if
facial
it
its
is
re-
actual
reality
his portrait of
portraiture,
his genius.
The nervous
seems
traits,
al
to
amount
accompanied by drawings
scratched with the brush handle into the wet paint, which established
his early reputation. In
one
art.
sitter's
to psycholog-
of Expressionist
Vienna "Kunstschau",
year, at the
made Kokoschka
tendency
influence,
b.
in
the
61
OSKAR KOKOSCHKA
1913-14
The Tempest
on canvas, 181 x 220 cm
Kunstmuseum
Oil
Basel,
move
After his
to Berlin
1909 and
in
Herwarth
seen
in
Walden.
his portrait of
relief.
This
after
Mahler,
widow
of the
woman
precipitated
in
painting,
now
and stormy
1914,
in
Georg
lines:
"Over blackish
cliffs
It
a key
to
tell
the
(1887-1914), an
come
to visit him
is
is
Trakl
to
it
Kokoschka used
love.
Trakl
it
his
in
inspired him
/ Plunges death-drunken /
The incandes-
cent bride of the wind." Trakl pointed at the picture with a pale hand,
Kokoschka went on
and
to relate,
German
In
titled
known
it
Die Windsbraut
Mahler
An
on a
shell-like
at
drifting
(literally
in
well with
his lover
Alma
it.
This
message
is
conveyed
has
fallen into a
deep and
a universal
human
- as
parable.
if
in
The
62
relationship put
in
terms of
who
staring into
paint congeal
it
meant
The forms -
space are
into signs
and
or better, deform-
ideal of
in
In
Alma
91
agitated.
lifelike doll
Kokoschka was
years.
with
in
4.
On
in
1919 he
shed
in
his paintings
Two years
later
he launched
These brought
relief
from
emy.
Kokoschka never
muse
if
self-annihilation.
in
a series of por-
in
prints.
All of this
The break-up
work
When
Karl
recovered, occurred
studio.
what
in
do justice to a
to
Alma
Vienna, met
in
traits
mous witness
built
works together
The present
employ
to
marked
He began
in
spotlighted passages
his
into his
personal problems
in
63
WILHELM LEHMBRUCK
1915-16
When we
wood
stand
before
Ludwig Kirchner
(fig.
6) or Karl
trouble
in
among
sionists approach
of
their blocky
configuration,
it
was
re-
models. Yet
Meiderich (near
Duisburg), d. 1919
man
ly
Berlin
in
Expressionism,
this
Lehmbruck
call
Wilhelm
most
the
miner and
his wife.
Despite
difficult
of eight children of a
where he studied
he moved with
In
he
lived until
his wife
in
able to at-
1899.
to
trips to Italy,
and
Holland
child to Paris,
of the Cubists,
where
some
of
into
whom
medical
few sculptures, including The Fallen Man, 1916, which might be con-
who fell
8 and November 30 of
Langemarck
at
Between October
that year,
phoria
felt
lives,
by so
little
in
45,000 volun-
many
Expressionists.
figure with
its
surface texture, and the facial features are not pronouru od.
remains
is
drama
1914.
The elongated
of expression.
Due
acquaintances and
The man,
ished yet.
and
still
What
in
He
Amedeo
Matisse,
(1861-1944), Alexander
Maillol
inspirers,
fallen, despairing,
all
fours. Yet
he
In
between
recalls a bridge
title,
life
interior
space, and
figure's
reply to
all
con-
embody Lehmbruck's
credo, "Sculpture
ally
not fin-
is
ventionally heroic
is
crawls on
still
weakened
is
perpetu-
human."
Kirchner and Lehmbruck
In
Dusseldorf Academy,
his friends. In
service
1895
in
were
at the
punctuated by
and England.
was
circumstances, he
1901
his
enclose an
dissertation Abstrac-
formal language.
inspired
1908
his
in
we have no
gardless whether
in
and most
artists,
tion
angularity
1880
faith in
many
Barlach,
b.
latest
tacts
and
painter
knew each
in
is
originals by
other from
1912
Though
Berlin.
at the
their
con-
Lehmbruck. So beyond a
process. Such
in
in
both
their in-
in
In
9 7 he began
1
9 9 he put an end
1
to suffer
to his
life.
in
1916 because
of
65
AUGUST MACKE
1913
Lady
Oil
on
cm
44 x 43.5
canvas,
Cologne,
a Green jacket
in
Museum Ludwig
most
of
artists
German
regarded
highly
classical
of the
modernism,
topic
d.
Meschede
in
Perthes-les-Murlus
(Sauerland),
(Champagne)
comes
Expressionism
In
was
primitivism
the
of
loved,
the
kind
nor the
was
stroll
Macke
- and above
approach
all,
to
nature,
Macke's
New
And although
Artists Association of
in
191
he
1,
by Kandinsky, or even by
in
1911,
in
his
and
to Hilterfingen
on Lake Thun.
axis,
she
is
title is
faceless -
i.e.,
exemplary,
like all
and
to her left
panorama
manner
right,
of
and houses
branching
recalls
in
the early-Cubist
in
greenish-yellow,
The whole
is
Vinci, in
in
wall,
simplified
at the top to
is
walking towards a
grows together
in
for figures
with
Friedrich,
whom
values are coordinated with principles of planar order and brought into
is
established by pris-
themselves seem
1914
with
to
be the source of
Moilliet
light.
When Macke
(1880-1962) on
set out
their
in
now-
to
Dusseldorf
do so
at
art
Academy and
a brief
painting. Like
to the
moved
his family
each
he and
Yet there
after
whom
oils
lyrical
was
of
of Marc, with
in
is
Macke maintained
done
Lady
1910. Yet he did not share Marc's pantheism despite the fact that he,
too,
This
first
fashions.
all
in
his
contact, beginning
of
is
women's
supplemented
colourful
later
in-
Brucke painters
in
or
1887
1914
in
Berlin
in
up, emotional
b.
name
stint at
the painting
killed
only a few
says: "Of us
all,
and bright as
weeks
in
North Africa.
ring,
as clear
67
FRANZ MARC
1912
on
canvas, 66 x 104
cm
is
modern
in
does
label
art.
little
sky
he never
and
animals
all
d.
1880
1916
nature
Munich,
in
Verdun
in
in
whole
What
Marc
himself,
who
originally
become so
man
We
desires.
...
will
appeal or appear to
themselves
born, as
to
Art
will
liberate itself
from
the
was
feel, their
how
absolute being
in
..."
other words,
in
wanted
become a
to
metaphysi-
is
us, but
how
in
the
lyricism
On
its
altars
A new
way they
would be
religion
a correpondence
capture the
spiritual purity of
soul".
of references
full
whose
animals by increasingly
artistic life
spiritualized
stylizing their
had
led
him to
(fig. 3).
German
art
hu-
a forest or a horse
Romanticism.
al-
in
But
attracted him
general."
of the sacred
of paradisal
harmony by
back
human
to the
figures. His
to
may go
depict the
Three Graces. Marc sets the three powerful horses' bodies circulating
in
same time
is
severe and
principle,
to
matter, "brutal
in
within their
artist's
interaction.
and
intellectual",
heavy",
and
first
Lenggries
Marc, studying
is
idyll
tact with
it.
in
art at
the
his art. In
of Sindelsdorf
happenings
friendship with
Reiter and
embodies
in
Upper
1912 on a
all
Artistic
exchange
visit
to the
in
August Macke.
above
entirely
to Paris with
whom
September 1912,
to a
in
he
woodcut
in
in
disappeared from
country
in turn,
met
complex
joyful,
an attempt to overcome
key
in
for
field
nature attracted
in
above
him, but
There
field, their
justice
described as follows:
later
force
Of course
"Everything
own
In
poem by
artists.
It
precipitated
a series of wonderful
in
first
published as
69
FRANZ MARC
1913-14
Tyrol
x 144.7 cm
Munich, Pinakothek der Moderne Oil
on
In
canvas, 135.7
Marc's
in
came
life
Moderner Kunst
Staatsgalerie
to a head. While
in
Berlin
side
seems absorbed
their
energy.
final
sages.
prints
were present
them
went
that year
Bonn
to
Macke
Futurists,
Bonn
a large
fluence
In
is
apparent
in
one
Sturm, the
latter,
pictures he
mounted
material role
artists
whose
exhibition
autumn Marc
Robert Delaunay,
far
about the
Expressionists". That
Paris, to visit
Berlin,
in
"German
to the public as
And
Munich.
in
hung and
intensively studied
oil
"First
German Autumn
He
played a
portant overview of
modern
Italy,
Austria, Switzerthis,
mals have
his
New
Year's postcard of
Poor Land of
Maria
in
Tyrol,
and
March 1913.
The Solomon
R.
1913
Tyrol.
In
the
(lost;
to the
first
lypse,
per
based on a composition on
marked by the
scene of the
in
traditional
picture,
Tyrol,
was more
man's insignificance
in
York,
paintings, including
in
lines,
the Auin
1914,
when he added
the
of a mighty
70
at the
base
in
lence,
motif
several crescent
left.
is
of her
of a
statement.
ment
mountain-
at the up-
cosmic turbu-
emerge
No
theme
to
announce an abandonbegan
1916, aged
sold
many
of his
his art
this path,
thirty-six,
in
he
fell
Marc volunteered
for military
Tower of
at Verdun. Marc's
works
temperas brought
937.
DM
In
1989,
to consider in
(fig. 3).
seems
clearly religious
The Nazis
conveys such a
service. In
like
illustrations,
In
of the
In
one
moons
of the
- the pyramid
abstraction
ac-
fled.
appears
was
painting
in
1913 and
Marc had
living
threatening peaks, while a second sun, the black sun of the Apoca-
No
lyptic scythe.
art prior to
Der
Salon".
A huge
crystalline
in
in
in-
Tyrol.
a great undertaking.
in
enthusiastic
involved
was
to
though
both,
Luminous
German
auction to
71
LUDWIG MEIDNER
1913
Apocalyptic city
Oil
on
canvas, 79 x 119
Miinster, Westfdlisches
cm
most expressionist
the
Expressionists,
the
of
but this
true
is
in
d.
in
Darmstadt
characterized by
1906
from
to
1907
Paris,
in
he moved
definitively to Berlin
1908, the
city
which he de-
one
of E.T.A.
the world".
In
artists,
in oils,
restless
stories",
Indian ink,
little
man,
and who,
"like
in
assisted by
whom
a figure out
his youth,
had
his
was concentrated
in
rhythmic
was added
in
sponsible
for,
bursting
in
gestures
re-
open as
if
is
trophe; ant-like, a few people are fleeing from the exploding stars and
Greco
this
1541-1614), by the
(c.
in
Berlin
he was
addition,
all
923,
deep shadows,
First
resulted,
it
is
light.
thought, from a
in part,
but
Book
in
premonition of the
Tower.
Eiffel
photographic double-exposure
above
Italian
in
of Revelation. In
lutionary "Arbeitsrat
fiir
doom and
with the
New
Testament
in
the revo-
and by
923
at
the latest he had turned his back on Expressionism and the "modern
spirit"
city in
El
among
in-
lines,
tive,
Futurists
previously also at
self
"con-
of great pathos.
In Berlin,
re-
he founded the
and
of
Hoffmann's short
extreme colour
tails. In
moral capital
of
torn apart
Jewish
is
"Pathetiker",
ni,
Bernstadt,
distorted
in
is
in
dissolved
ing
1884
1966
is
shifted proportions.
oeuvre, which
b.
horizontals
like
937 branded
luctantly
in
award
in
naturalistic
orthodox Judaism, to
- as an
1964 he
lic's
home
Barlach,
in
exile in
939
to
writer,
952 he
was
lived
in
re-
for merit.
73
PAULA MODERSOHN-BECKER
1906-07
camelia sprig
self-portrait with
Oil
on wood,
Essen,
x 30.5
61.5
cm
Museum Folkwang
The year
905 was
rele-
It
also
marked
whose
of
take
an
then began to
art
Modersohn-
Paula
direction.
Worpswede,
b.
1876
1907
in
Dresden,
in
Worpswede
Fritz
1899
to
outside
Mackensen
scape painters
new
in
Worpswede. Everyone
unity of
man and
nature.
in
the
in
life,
seemed
approach
to nature
in
familiar with
in
Paris.
Back
rural
in
to
in art,
of colour
Gauguin.
lyrical
is
one
of the finest
exam-
always set great store. At the same time, the small painting reveals a
knowledge
of reproductions of Egyptian
mummy
great
mystery.
Beyond
this,
flat
like
and
strict-
axis, is
wede
artist to
past too
much
in
...
and peasant
All of
At any
our
rate,
art,
goes hand
idyllic,
Worpsin
hand
As she complained
life.
German
art
more
think
in
is
too bogged
down
..."
conventional
provinciality that
in
Germany.
the conventional
an apparently
in
Modersohn-Becker was
who
demonstrative-
Finally,
in
sprig,
fertility.
her
way
to just
such an un-
first
Back
in
In
a suitable
ond
ly
1889. One of
then dreamed of a
in
village
Bremen where
d.
expressive
emotional,
frontal bust
Nolde,
artists,
and Modersohn-Becker,
Rohlfs
all
German
ly
in
terms of bright
palette,
all
in
it
Worpswede.
Modersohn-Becker's
she died
definite,
if
art
has an emotional
75
OTTO MUELLER
1927
cm
Saarland-Museum
came
the
Brucke
last
member
of the
1911. Reputedly
in
hood
felt
rate,
to the carefree
life
of these
his
of so-
young nude
among
girls lost in
thought
in
1874
in
d.
1930
in
between
in Gorlitz, Silesia,
ied in
1894-96
in
he
out of place.
felt
hart
Hauptmann
at the art
(1
He
academies
862-1 946),
whom
to
he was distantly
tantly,
made
whose
Among
nuances
He
related.
more impor-
life.
oil
in
in
1911.
was a master
of distem-
per and lent his pictures an inimitable charm, a friable airiness and poetic immateriality.
At the
same
demanded
difficult
in
personal relationship,
in
fidelity to his
the face of
was
ly
of
indi-
official
member
corded to no other
of the Brucke.
357
most
part destroyed
in
of his
1
in
girl
lage, are
The
her.
1919 the
artist
(which admitted-
in
beside
spring
In
Academy
for the
in
girl,
and
hair,
his work.
who
compared
is
to the
open sunflower
vil-
embedded
in
paradise lost
an
The
idyllic,
much
outsiders of
modern
Romantic context,
itself felt
points
industrial society
in
seem
in
his paint-
lived in
a gypsy
camp
"Gypsy
Portfolio,"
among
his
tically
in
artist
his
of graphic
art.
limited. In
critic
stylis-
sweetens nudes
or
German landscapes
out-
famous
he
they are applied. Their handling therefore entails an exact and careful
consideration of the drying process. Mueller
matter even
different direction.
Mueller stud-
made
parently
and
art
cates Mueller's
monotonous
rarer,
...
Charm may
occasionally
silent.
77
GABRIELE MUNTER
1908
schoolhouse, Murnau
on cardboard, 40.6 x 32.7 cm
Madrid, Collection of Carmen Thyssen-Bornemisza, on loan
Oil
At
glance
first
seems
it
schoolhouse
of the
And
Murnau.
in
to
Museo Tbyssen-Bornemisza
in
Munter's development.
ibly rapid
Munter
enrolled
1877
1962
in Berlin, d.
in
Murnau
in
two set
off
New
southern
In
German
908
was a
in
sations about
art,"
1901 she
with Kandinsky.
become one
fields
in
and plainest
enclosed
in
first
settled
904
the
of the
later of
most
of
the
significant
hour.
foothills of
in
her
done on
that
buildings,
in
It
"It
many conver-
diary.
largest
In
As a member
August
depicts
27, as indicated by
one
of Murnau's
modelling or shading, being enlivened solely by short, colourful brushstrokes. This reduction to a nearly geometric planar order neverthe-
78
Gogh
wrote,
A document
her,
the folk art of verre eglomise. "After a brief period of torment," she
in-
lovely, interesting,
by
jointly
In this
Expressionists of the
1
Murnau.
summer
in
Artists
was developed
contoured colour
became acquainted
from
suggested above
transition
Diis-
in
this
b.
the
in
With
detail depicted.
brushed areas,
"I
extract."
Munch and
to feeling
did.
When war
artistic crisis
1920s.
before
in
examples
more
of
or less im-
final
step to abstraction, as
and
were found
Kandinsky
for the
made a
pressionistically
all
fields,
of personal
79
EMIL NOLDE
1912
The Legend of
st. Maria Aegyptiaca
on canvas, triptych: central painting 105 x 120 cm, wings 86 x 100 cm each
Hamburg, Hamburger Kunsthalle
Oil
Hansen,
Emil
born
in
ture; the
(now Tonder
ed
his
nym
in
in
Denmark), adopt-
birthplace as a pseudo-
in
1902. Training as a
being."
furni-
Nolde's
School
Karlsruhe
from
Crafts,
|X
many
Crafts,
were
892
b.
1867
1956
in
in
began
When he
to concentrate
settled
in
of the
standing graphic
1903 on
on garden and
and
oil
- these
most outwater-
artists,
painters of Ex-
palette gradually
trips
colourists
pressionism.
and
teacher at the
study
becoming one
d.
Arts
Gallen
St.
of
1906,
In
in
the
The suggestiveness
his painting attack
and the
1907 and
To
with
when
whose members he
George Grosz's
cite
later
liquid
1906
to the
end
of
blissful intoxication."
passion of
away
his brushes,
dipped his
if
in
depicted.
80
The
commenced
modern
art.
spiritual
in
of the
scene
is
In
cloak,
is
shown
wall.
in
saint, clad in
1912
devot-
a bright red
Madonna
blue-clad
and the
statue stands
a niche
in
in
which
to the
idol,
it.
earlier
is
earlier licentiousness in
a range
lust,
she extends her arms towards three greedy, grotesque male figures
clad
in
blue,
in
On
lion
An
formed by a jungle
in
duced by
intuitive
own
and penitent
of his colour
brought Nolde
eyes
Garden
- perhaps a
of Eden.
meant
were
to
be viewed as an
"artistic
is
sultry,
art".
was
not
81
EMIL NOLDE
1914
sun
Tropical
on
Oil
canvas, 71
Nolde-Stiftung
Seebiill,
When
in
1905 Nolde
July
ern
cm
x 104.5
visited
glorious colours
modern
in
he stopped over
island of Alsen,
art."
The
Weimar and
"I
artist
in
for
fined artistic
planned a book on
"Artistic
hibited
in
In
all
creativity
191
it
in
South
Two years
his wife to
Guinea. Their
trip
accompany a
of Ethnology overflowed.
In
addition to
oils in
German
burg.
One
of this
New
scientific expedition to
Museum
him and
to
Pacific, with
group of works
is
New
Ireland,
an island
New
Mecklen-
day called
was preceded
to the beach,
line divides
there
is
is
level
The
hori-
its
Nusa
respondence
in
finds a cor-
foaming breakers
like
in
in
the
in
is
82
most
part
in
in
wet as
cobalt
in
violet.
The
individual
tones are no
brilliance
is
not to be confused
emphasized
in
pressions of the South Pacific. Far from requiring any expressive exaggeration, he said, these colours conformed with actual
in
phenomena
the tropics.
Nolde
lished.
ritual
in
of civilization.
source of
that had
ion red,
First
World War
in
his art.
He
like, say,
painted
Meidner.
of the
and too
primitive".
He
in
his diaries
as "often mor-
his col-
league too far from the formal issues of modernism. That same ten-
dency
led
Nolde
to
83
MAX PECHSTEIN
1917
palau Triptych
on canvas, 119 x 353 cm
Oil
cm
each)
Ludwigshafen, Wilhelm-Hack-Museum
siastically
view
own ego
or
self.
scene
fused by the
of nature suf-
artist's
here
Eckersbach,
in
Berlin
took
an
into
run
to
its
flicts
stein, too,
seemed
life
ego
was because
Max Pech-
civilization.
from the South Pacific island of Palau, which he and other Brucke
artists
Museum
of Ethnology,
They seemed
embodied an
face of a murderous
in
manner
Brucke period
of the
ly
stylized, not
so
wing
is
central panel
is
earth and
up
this
air,
den
first
piety
and awe
pressed
[their
"I
of the
idol
years
in
he set
was
ed
84
when
in
South Seas
their
submis-
April
to
1914,
managed
a daredevil escape,
way
of Hawaii,
was
and
New
The horrors
like
spend a few
and
fate."
year,
he
sion to an unavoidable
artist to
Coloured by
Brucke
re-
York
induct-
much
for
and correspondingly,
who
to-
one
in
still
symbolic
had done
Tahiti
counterimage
fish,
take
birds,
triad
terms of
in
his
own Romantic
to "materialistic" Europe,
ity
the
left
a boat. The
months on
all
child, in
way, just what the group had pursued during their carefree
gether with a fourth, standing person turn to the three male figures
of an island that
expectations, as a
fishing,
was
to reflect,
civilization,
in
much expressive as
a different
world.
into the
across the central panel and two flanking wings. Depicted on the
in
life.
to return to
memories
If
shifted the
in
was released
his travel
distil
world
artists
1955
Pechstein began to
one
1881
Now
point of their
b.
He
Berlin.
d.
him.
a founding
member
in
remained
politically
1918
Art),
and
engaged.
after
surprise that
when
He joined
was no
it
for the
later
Human
he
Rights
was
Kunst
down on modern
it
art in
85
CHRISTIAN ROHLFS
1916
Acrobats
Tempera on canvas, 110 x 75.5
Essen, Museum Folkwang
cm
As
French
and
dance
nineteenth cen-
from the
subjects
tury,
preceding
the
in
art of the
vaudeville
among
great popularity
Such
pressionists.
groups
dogs
who,
in
like
the Ex-
stein farmer
as under-
artists
b.
d.
1849
1938
in
Niendorf,
in
Hagen
seemed
on
of respectable mid-
The
exaltation
who pushed
way
is
seen
in
his vital
it
in
a sub-
acrobat picture of
1916, based on contrasts and tensions, and evincing a refined, paralcomposition. Against the bright red background, the pair are de-
picted
in
comprehensive
brated, graceful
The
figure.
motif
movement -
impression of great
vitality.
it
employs every
The
possibility of equili-
down -
to
convey an
on heavy contour
whose transparency
is
lines
and
achieved through
convincing us that
artist
it
was concerned
se, archetypal
nean vase
forms
paintings.
in
The
whom
the
movement
per
individuals with
ancient Myce-
first
in
1897
School of Decorative
who
in
in
of
in
Soest.
Due
late developer.
to a serious
for
two years.
fellow Holstein-
fifty
before he
Impressionist
architect
Arts, introduced
him to the
built in
saw
art
at the
Folkwang Museum
vard Munch,
whom
Rohlfs met
highly productive
in
artist,
latest,
1904.
in
his
were washed
"Third
in
9 2
1
at the
lel
bed
to his
himself to the
limits.
tle
the
then being
was confined
painting. Rohlfs
art for
dependent
money
in
known as a
is
Osthaus,
dle-class citizens.
themon the
er,
the
he befriended
was what
Rohlfs
enjoyed
performers
society,
whom
Nolde,
circus,
case
out. In
German
its
906
drew
initially brilliant,
become
saw
in
Rohlfs's
work
in
it
the
87
EGON SCHIELE
1910
Vienna, Graphische
cm
Sammlung Albertina
Oskar
Alongside
Ko-
prominent
personality
supported
repeatedly
famous
Gustav
1918),
who
talent
early
on.
the
(1862-
the
In
906
student
by
Klimt
recognized Schiele's
period from
still
was
to
909, while
the
at
short
d.
1890
1918
in Tulln
in
(Lower Austria)
from a
dry,
Vienna
ic
decorative Art
Nouveau a
la
portrait,
the
artist's
naked torso
rises
a leaning tree stump though the vertical format, the right arm,
contrast,
extended
physical
stiffly into
some
framework
sits
a masklike
skull with
own
mirror
image
is
On
in
down
this bizarre
radicality,
transformed into an
artifice that
vehement
edge
line
becomes a
thin,
this verve,
man image
is
many
or
economy
one too
worked out
to the
of
few.
full,
means
is
maintained. There
is
of the hu-
an existentialism reminiscent of
was dominated by
In
like
rapidly
nondescript academ-
through an adaptation of
style
were
Vienna
it
Aus-
in
He
Expressionism.
trian
evocative, hesitant, as
work
ing Christ.
In
of "disseminating pornographic
the nude. Yet, to cite Dietmar Elger, "unlike the other Expressionists,
of his
often a
trayed. Schiele
bearers of
now made
itself
artistic
indication of interior
solely
On August
artist
noted
in
letter:
"Mainly
now
Everywhere one
is
put
in
mind of
the
and
human
dered
88
in
similar
and pain as
motions
in
figure takes
on a
plants
the
..."
In
human body,
many of his
appears reversed,
plantlike character
in
in
that
Nouveau but
with a nervous,
if
more
in
Germany than
in
Austria
j\K^r~-*.
89
KARL SCHMIDT-ROTTLUFF
1911
Rosa schapire
portrait of
Oil
on
Berlin,
cm
x 76
canvas, 84
Briicke-Museum
(who
Schmidt
Karl
Rottluff, to
was
only
not
Brucke
artist
Even
1884
1976
in Rottluff
(near Chemnitz),
group.
Brucke
devel-
style
his
in
retical
Dangast
letters
Berlin
statements by
trast to Kirchner
few
in
him,"
he never subjected
and notes
...
in
rapidly
made
in
Gogh and
to
show a change
906, that
in style.
Ex-
in
places and
The forms
increasingly
grew
in size,
and compositional
90
in
itself felt.
whose
watercolours
lines resulted
fields.
came
seen
in
the Portrait of
Rosa
in
in
numerous
cata-
articles,
in
was
later
and
furniture, carpets
his patron
these
total of
portraits,
friend,
now
utilitarian
seated
in
The
of
first
fa-
is
artist's
left
arm.
In
arm
raised
violet
in
face with
1912
lent his
First
brief
wood
to
The
1914 he began
blocky
light red.
blue eyes.
its brilliant
Schmidt-Rottluff's
his
executed
influence also
The
art
art histo-
must be
Rottluff's
when
in
flames."
monumental Impressionism,
artist's
con-
"In
were destroyed
part
village of
The composition
went
Berlin
in
the
in
rian
luff
b.
re-
in
collective
d.
who
autonomy during
membership
his
youngest
the
his
own)
his
in
of
supplement
merely
iconic. In
that,
in
it
about
in
spite of
many
variations,
he continued
to
91
ARNOLD SCHOENBERG
1910
composer
The
Arnold
the
1907
in
in
this
ing
in
Vienna,
1951
in
Los Angeles
Red
atonal
all
trative
that of depicting
the face.
be-
but,
in
in
Gaze.
is
field"
..."
like
this
to
drown
maelstrom
"in
"like
rely to
some
ex-
few points of contact with Gerstl and Kokoschka's painting of the day;
is
The immediate
himself
in
in
the
November 1908
Munch
may
(fig.
10).
have been
well
Gerstl
hung
Mathilde Schoenberg.
But
Red Gaze
it
would be mistaken
to interpret
There was a
larger,
Symbolist
conception behind them. From about 1908 onwards, Schoenberg devoted himself to the idea of an interdisciplinary work of
92
light
"alien"
own
in
Human
sonances.
embodying
de-individualized prototypes,
art
on stage, a
their
intrinsic
their
own
right,
autonomy,
context as
in this
universal forces
and energies.
to early
1911.
many
points
in
cultural
allel
common.
Their interest
in
to materialism resulted
berg's
oils
kindred
were
spiritual. In
in
a par-
Schoen-
spirit.
sceptical.
The
latter
in
contrast,
rolls
it
cannot be
1911, had a
mirrors of dis-
and there
movement,
itations
into
Schoenberg aban-
doned
period
art
mere
Launch-
in
ing
26).
(fig.
music,
"I
cause
from
instruction
brief
that
at
He
metier as well.
Richard Gerstl
1874
in
mark
received
b.
at
Blauer
began painting
Reiter group,
d.
the
ot
in
Just as
in
the harmful)
his
in
the necessary)
sheer painting."
music
speaks
in
in
every picture by
painting and
...
of the artist
goes by a
superficial
like to call
(i.
e.
(i.e.
Schoenberg's painting
93
c.
1910
self-portrait
Tempera on paper on cardboard, 51 x 34 cm
Munich, Stddtische Galerie im Lenbachhaus
Marianne
von
who had
aristocratic family
ties
mother,
close
with
herself
painter,
ap-
an
artist
ter receiving
private instruction,
Moscow
in
and,
art
from
school
1886,
1860
in
Tula, d.
1938
in
Ascona
llya
renowned
in
affair with
history painter
Repin (1844-1930)
Petersburg.
in
St.
1888, apparently
In
thanks to enormous
will-power and arduous training she learned to handle brush and penagain,
cil
in
academy
circles
name
brought an en-
life.
She
fell
in
of Alexei Jawlensky.
Since marriage was precluded for reasons of status, the pair moved
abroad, arriving
kin
Munich
in
brought into being a salon that soon became a gathering point for
intellectuals
by
in
the
and
artists,
especially Russians.
early-nineteenth-century
Romantic group
artists
known as the
literature.
In
in
of the
New
Artists
Association of Munich, but did not go along with the Blauer Reiter
when they
94
split off in
Her
Werefkin
ing the
Self-Portrait at the
happy years
Lenbachhaus
in
Gabriele Munter. The energetic pose, striking facial features, and ex-
much about
sitter.
in
broad brush-
forms
kin:
most importance
for
von Weref-
to include
brilliant
artist
in
the case of
why
the pictorial
for instance,
in
field
in
many Brucke
Jawlensky's
portraits.
became
paintings.
flat
is
effect seen,
noticeable traditionalism,
com-
communication - from
role principally as
what she so
elo-
She
one
of
was probably
material
in
Madame
itualized abstraction.
In
Ascona
in
1938.
to
in
Switzerland,
in
95
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In
made from
made
is
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not stated
If
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in
the picture
of the following:
p.
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Cover
exhibition, based
OTTO MUELLER
first
"Blauer Reiter"
on an Indian-ink drawing
Two
Sisters
n.d.,
Distemper on burlap, 90 x 71
St.
Bequest of Morton D.
Page 2
AUGUST MACKE
Shop
on canvas, 60.5 x 50.5
Essen, Museum Folkwang
Milliner's
1914, Oil
cm
Museum,
May
cm
23, 51,
in this
series
Klaus Humid
EXPRESSIONISM
SURREALISM athrin Klin
REALISM Kenan Stremmd
DADAISM Dietmai
POPART
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CONCEPT ART
ART
Daniel Ma./
V
FUTURISM
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ABSTRACT EXPRESSIONISM
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Daniel
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Karl Kiilni
IngoF.
Sdmedcenburger,
\\ .I.Ik
(
hri
,.||
Sn
"Back to
visual basics."
International Herald Tribune, Paris
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Klaus
Honnd
Pechstein,
920
the E'
in
an
entirely
new
way.
Max Pe
youth
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