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A Complete Documentation of the New York Painting and Sculpture Annuals: 1951-1957.
Discusses the characteristics of the Expressionism movement, which flourished in Germany from 1905 to 1920, and presents biographies of fourteen Expressionist artists.
This publication contains a survey of female abstract expressionist artists, revealing the richness and lasting influence of their work and the movement as a whole as well as highlighting the lack of critical attention they have received to date.
Looks at the development of the Expressionist movement, profiles leading artists, and shows examples of paintings, prints, and sculpture.
""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."--
Ulrich Weisstein’s collection of 21 essays offers a comparative study of Expressionism as a Modernist movement whose dynamic core lay in Germany and Austria-Hungary, but which transformed artistic practices in other European countries. The focus, Weisstein argues, “must be strictly and sharply aimed at a specific body of works and opinions—a relatively dense core surrounded by a less clearly defined fringe zone—indigenous to the German speaking countries.” The volume spans an “Expressionist” period extending from roughly 1910 to 1925. Weisstein himself contributes two introductory chapters on problems of definition and a thoughtful analysis of English Vorticism. An ample context is set by comparative essays concerned with international movements such as Futurism that had an impact on German Expressionist drama, prose, and poetry, together with essays on the adaptation of Expressionist forms in countries such as Poland, Russia, Hungary, South Slavic nations and the United States. These essays call attention to representative authors and artists, as well as to periodicals and artistic circles. Reviewers have praised not only the presentation of “literary links and interaction” among national cultures, but especially the “most rewarding” interdisciplinary essays on Dada and on Expressionist painting, music, and film.
The Routledge Companion to Expressionism in a Transnational Context is a challenging exploration of the transnational formation, dissemination, and transformation of expressionism outside of the German-speaking world, in regions such as Central and Eastern Europe, the Baltics and Scandinavia, Western and Southern Europe, North and Latin America, and South Africa, in the first half of the twentieth century. Comprising a series of essays by an international group of scholars in the fields of art history and literary and cultural studies, the volume addresses the intellectual discussions and artistic developments arising in the context of the expressionist movement in the various art centers and cultural regions. The authors also examine the implications of expressionism in artistic practice and its influence on modern and contemporary cultural production. Essential for an in-depth understanding and discussion of expressionism, this volume opens up new perspectives on developments in the visual arts of this period and challenges the traditional narratives that have predominantly focused on artistic styles and national movements.
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.