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Geschiedenis van de kunststroming die in het begin van de 20e eeuw ontstond
"In the past, the various categories of Expressionism have usually been treated separately. The [title] is the first comprehensive publication ever to examine the remarkable interplay of --and parallel developments in-- art, film, literautre, theater, dance, and architecture in the years 1905 to 1925. The Exhibition and the catalogue bring together the masterpieces of Expressionist film such as 'The Cabinet of Dr. Caligari' and 'Genuine', architectural models, set designs, stage photographs, poster art, dance masks, paintings, drawings, prints, and sculptures to present a unique panorama of the Expressionist period. Addressing a disastrous war, a revolution, urban modernity, and the reinvention of the world, this is the first book in which renowned authors, key works, and source texts from all disciplines come together to allow the reader to thoroughly experience the ways in which the various areas of activity mutually influenced each other, as well as the equally dramatic and fascinating fruits of Expressionism's networks." --Jacket.
""I know for my own part that I have no program, only the inexplicable longing to grasp what I see and feel, and to find for it the purest expression." The words of German Expressionist Karl Schmidt-Rottluff, co-founder of the "Brücke" movement in Dresden, convey the essence of the revolutionary movement in the arts which overthrew the stifling academicism of Kaiser Wilhelm's Germany and led in the years between 1900 and 1914 to an amazing upsurge of creative activity. The German Expressionists sought simplified forms, new rhythms, intenser colors. The name which has been given to their movement (not by them) suggests that they were preoccupied with the expression of violent emotion; in fact, however, such artists as the member of the "Brücke" group, Kirchner, Heckel, Schmidt-Rottluff, Pechstein and Nolde, were concerned above all with sheer liberation. Their work, and that of their great contemporaries and associates Marc, Macke, Jawlensky, Kandinsky, Klee and Kubin in Munich; Feininger, Beckmann, Barlach and Meidner in Berlin; and Kokoschka and Schiele in Vienna, all of whom worked in related styles, is a decisive and immensely rich contribution to the history of the twentieth-century art. The story is told here by a senior curator of the Bavarian State art collections largely in the vivid and intensely revealing words of the artists themselves; these he sets in context with rare sympathy and insight."--
Max Beckmann, Otto Dix, George Grosz, Emil Nolde, E.L. Kirchner, Paul Klee, Franz Marc as well as the Austrians Oskar Kokoschka and Egon Schiele were among the generation of highly individual artists who contributed to the vivid and often controversial new movement in early twentieth-century Germany and Austria: Expressionism. This publication introduces these artists and their work. The author, art historian Ashley Bassie, explains how Expressionist art led the way to a new, intense, evocative treatment of psychological, emotional and social themes in the early twentieth century. The book examines the developments of Expressionism and its key works, highlighting the often intensely subjective imagery and the aspirations and conflicts from which it emerged while focusing precisely on the artists of the movement.
German Post-Expressionism is the first study to reconstruct historically the evolution of Die neue Sachlichkeit, the slogan coined as a designation for the Post-Expressionist figural art that developed throughout Germany following the failed revolution of 1919. Rather than starting with the moment this Post-Expressionist movement was christened with a slogan (1923), Crockett investigates the sources and precepts of Post-Expressionism beginning with the anti-Expressionist stance of Dada in 1918 and the loss of faith in Expressionism on the part of some of its chief supporters during 1919-20.
In the early years of the 20th century, a group of young artists including Ernst Kirchner, Vassily Kandinsky and Franz Marc, liberated themselves from traditional representation by using distortion and vibrant, unrealistic colour in their painting. Eroticism became a tool for exposing the lies and decadence of society, whilst motifs borrowed from African, Oceanic and Buddhist art further questioned bourgeois culture. Later, the cruelty of World War I was reflected violently in the work of Max Beckmann, Otto Dix and George Grosz.
The Blaue Reiter (Blue Rider) art movement was founded in 1911, by the young painters Wassily Kandinsky and Franz Marc, and remained active in Europe until 1914. Originally published in Munich, in 1912, and edited by Kandinsky and Marc, The Blaue Reiter Almanac presented the movement's synthesis of international culture to the European avant-garde at large. In both the selection of the essays and its innovative interplay of word and image, the Almanac remains one of the most critically important works on artistic theory and culture of the twentieth century. This edition, long unavailable in English and indispensable to any student of modernism, includes the original documents and musical notations, as well as essays by Kandinsky, Schonberg, Marc, and others, and an extensive critical introduction, placing the Blaue Reiter in context for contemporary readers.
This groundbreaking examination of the cultural exchange between early 20th century French and German artists illuminates new ways of understanding the development of Expressionism. Although the Expressionist movement is widely considered to have arisen out of a German aesthetic, it was actually as much a result of German artists' exposure to artists living and working in France, such as van Gogh, Seurat, Gauguin, Cezanne, Matisse, Picasso, and Braque. In fact, in its early days, Expressionism was assigned no specific nationality at all. This fascinating book focuses on the key exhibitions, galleries, and museum directors that helped disseminate styles and techniques of revolutionary French artists throughout Germany. Included here are French masterpieces seen not only by German artists in Paris but also in important galleries, exhibitions, and private collections in Berlin, Dresden, Munich, Weimar, and other cities. More than 100 paintings and works on paper are grouped to encourage an understanding of artistic influence and interchange. The volume also reflects new scholarship on issues of French-German relations and contributes to our understanding of the ways the visual arts are influenced by ideas of national identity and cultural heritage."