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An exhibition organized by the Metropolitan Museum of Art of the Muriel Kallis Steinberg Newman Collection which comprises sixty-three modern paintings, sculptures and works on paper by fifty artists. The Abstract Expressionist paintings that form the heart of this collection were nearly all created in New York City.
Published in 1957, German Expressionist Painting was the first comprehensive study of one of the most pivotal movements in the art of this century. When it was written, however, German Expressionism seemed like an eccentric manifestation far removed from what was then considered the mainstream of modern art. But as historians well know, each generation alters the concept of mainstream to encompass those aspects of the past which seem most relevant to the present. The impact of German Expressionism on the art and thought of later generations could never have been anticipated at the time of the original writing of this book. During the subsequent years an enormous body of scholarly research and an even larger number of popular books on German expressionist art has been printed. Numerous monographs and detailed studies on most of the artists exist now and countless exhibitions with accompanying catalogues have taken place. Much of this new research could have been incorporated in a revised edition and the bibliography certainly could have been greatly expanded to include the important writings which have been published in Germany, the United States and elsewhere since this book was originally issued. The author, however, was faced with the choice of reprinting the original text with only the most necessary alterations-such as updating the captions to indicate present locations of the paintings-or the preparation of a revised text and bibliography. Desirable as a revision appeared, present printing costs would have priced the paperback out of reach for students. It is for this reason that I decided to reissue the original text which stands on its own as a primary investigation of German Expressionist Painting.
A Complete Documentation of the New York Painting and Sculpture Annuals: 1951-1957.
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.
Geschiedenis van de kunststroming die in het begin van de 20e eeuw ontstond
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.
During the period in which Expressionist artists were active in central Europe, art historians were producing texts which were characterized as ‘expressionist’, yet the notion of an expressionist art history has yet to be fully explored in historiographic studies. This anthology offers a cross-section of noteworthy art history texts written 1912-1933 that have been described as expressionist, along with commentaries by an international group of scholars. Together they offer a productive lens through which to re-examine the practice and theory of early twentieth-century art history.
Providing a fascinating look at American Expressionism--and at the beginnings of a new movement, Abstract Expressionism, which followed it--cultural historian Dijkstra offers new insights into the roots of painting in America today. 258 illustrations.
""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."--