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... ional visual qualities on screen.</p>]]></content:encoded>
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... h it, in the event that you accept it." \x97Willem de Kooning, "What Abstra ...
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<?xml version="1.0" encoding="UTF-8"?><rss version="2.0" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:sy="http://purl.org/rss/1.0/modules/syndication/" > <channel> <title>RSS Art History</title> <link>https://www.metropaa.org/</link> <description>Art History</description> <lastBuildDate>Mon, 06 May 2024 02:30:28 +0200</lastBuildDate> <language>en</language> <sy:updatePeriod>daily</sy:updatePeriod> <sy:updateFrequency>1</sy:updateFrequency> <item> <title>German Expressionism history</title> <description>In late February 1920, a film premiered in Berlin that has been immediately recognized as something new in cinema: The Cabinet of Dr. Caligari. Its novelty grabbed people imagination, and it also was a large success. The movie ...</description> <content:encoded><![CDATA[<img src="/img/influence_of_german_expressionism_through_the.jpg" alt="Caligari-1024x764" align="left" /><p>"In late February 1920, a film premiered in Berlin that has been immediately recognized as something new in cinema: The Cabinet of Dr. Caligari. Its novelty grabbed people imagination, and it also was a large success. The movie utilized stylized sets, with odd, distorted buildings painted on fabric backdrops and flats in a theatrical way. The actors made no attempt at practical performance; alternatively, they exhibited jerky or dancelike moves. Experts launched that Expressionist design, by then well established in many other arts, had made its way in to the cinema, and they debated the many benefits of this brand-new development for film art. In artwork, Expressionism ended up being fostered primarily by two groups. Die Brucke (The Bridge) ended up being formed in 1906; its members included Ernst Ludwig Kirchner and Erich Heckel. Later, in 1911, Der Blaue Reiter (The Blue Rider), ended up being started; among its supporters had been Franz Marc and Wassili Kandinsky. Although these along with other Expressionist artists like Oskar Kokoschka and Lyonel Feininger had unique individual types, they shared some traits. Expressionist painting prevented the subdued shadings and colors that offered practical paintings their particular feeling of amount and depth. Rather, the Expressionists usually utilized huge shapes of brilliant, unrealistic colors with dark, cartoonlike outlines. Figures might be elongated; faces wore grotesque, anguished expressions and could be livid green. Buildings might droop or lean, using floor tilted up steeply in defiance of old-fashioned point of view. These types of distortions had been problematic for films shot on place, but Caligari showed exactly how studio-built units could approximate the stylization of Expressionist painting. A far more direct model for stylization in establishing and acting had been the Expressionist movie theater. As early as 1908, Oskar Kokoschka's play Murderer, Hope of females ended up being staged in an Expressionist fashion. The style caught in throughout the teens, often as a means of staging leftist plays protesting the war or capitalist exploitation. Units frequently resembled Expressionist paintings, with large shapes of unshaded shade when you look at the backdrops. The activities had been comparably distorted. Stars shouted, screamed, gestured generally, and relocated in choreographed patterns through the stylized units. The goal was to express emotions inside most direct and severe style feasible. Similar goals resulted in extreme stylization in literary works, and narrative methods such as for instance framework tales and open endings were adopted by scriptwriters for Expressionist movies." Exactly what faculties characterize Expressionism in cinema? Historians have defined this movement in widely differing ways. Some claim that the genuine Expressionist films resemble The Cabinet of Dr. Caligari in using a distorted, graphic form of mise-en-scene derived from theatrical Expressionism and Expressionist painting. Of such movies only half a dozen had been made - Das Cabinet des Dr. Caligari (The Cabinet of Dr. Caligari, 1920), Genuine (1920), Verlogene Moral (Torgus, 1921), Von morgens bis mitternachts (From Morn to Midnight, 1922), Raskolnikov (1923) and Das Wachsfigurenkabinett (Waxworks, 1924). Other historians categorize a bigger range films as Expressionist considering that the films all have some types of stylistic distortion that work in identical methods the visual stylization in Caligari does. By this wider meaning, there are near two dozen Expressionist movies, circulated between 1920 and 1927. So we discover Dr. Mabuse der Spieler (Dr. Mabuse the Gambler, 1922) and Nosferatu (1922) quickly grouped together with The Cabinet of Dr. Caligari and From Morn to Midnight. In the case of Mabuse it is an expressionist trace inside units, regarding Nosferatu the rendering of nature into a cipher for scary, which supply the connect to the great, acknowledged manifestations of expressionist movie, Dr. Caligari and From Morn to Midnight. "In 1926, set designer Hermann heated (just who worked on Caligari and other Expressionist movies ) was quoted as thinking that "the film image must come to be graphic art." Certainly, German Expressionist films stress the structure of individual shots to a fantastic degree. Any shot in a film produces a visual structure, needless to say, but most movies draw our awareness of certain elements rather than to the general design of this chance. In ancient movies, the man figure is considered the most expressive factor, in addition to units, costume, and illumination are additional on stars. The threedimensional room in which the action does occur is more important than are the two-dimensional visual qualities on screen.</p>]]></content:encoded> <category><![CDATA[German Expressionism]]></category> <link>https://www.metropaa.org/GermanExpressionism/german-expressionism-history</link> <guid isPermaLink="true">https://www.metropaa.org/GermanExpressionism/german-expressionism-history</guid> <pubDate>Sun, 05 May 2024 22:30:00 +0000</pubDate> </item> <item> <title>Picasso Cubism Artwork</title> <description>Top Picasso Guernica Tattoo Images for Pinterest ...</description> <content:encoded><![CDATA[<img src="/img/top_picasso_guernica_tattoo_images_for.jpg" alt="#14 Guernica 30450 ZWALLPIX" align="left" /><p>Top Picasso Guernica Tattoo Images for Pinterest Tattoos</p>]]></content:encoded> <category><![CDATA[Picasso Cubism]]></category> <link>https://www.metropaa.org/PicassoCubism/picasso-cubism-artwork</link> <guid isPermaLink="true">https://www.metropaa.org/PicassoCubism/picasso-cubism-artwork</guid> <pubDate>Sat, 27 Apr 2024 21:06:00 +0000</pubDate> </item> <item> <title>19th century European Art</title> <description>Sotheby’s 19th Century European Paintings Department supplies the finest examples of works from schools and motions ranging from Orientalist to Barbizon and Academic to Victorian. Important functions such well-known designers ...</description> <content:encoded><![CDATA[<img src="/img/christies_invitation_to_consign_19th.jpg" alt="Invitation to Consign 19th" align="left" /><p>Sotheby’s 19th Century European Paintings Department supplies the finest examples of works from schools and motions ranging from Orientalist to Barbizon and Academic to Victorian. Important functions such well-known designers as Gustave Courbet, Jean-Baptiste-Camille Corot, William Bouguereau, Joaquín Sorolla, Jean-Léon Gérôme, James-Jacques-Joseph Tissot, John William Godward, Adolph von Menzel and Vilhelm Hammershøi function within our product sales. Our global team origin the best instances from about the world to organize highly curated auctions. Their enthusiasm for his or her topic in addition to trust they encourage in buyers and sellers alike has produced unparalleled results, such as the highest sale totals on the go, and also the highest price - $36 million for Sir Lawrence Alma Tadema’s The Finding of Moses . Deals take place throughout the year on our premises in London, New York, Paris and Zurich. Our nineteenth Century European Paintings sales in London in-may and November emphasize the job of music artists in the forefront for the Continental European schools. We also hold a passionate Orientalist sale in London in late April. In nyc, Sotheby’s nineteenth Century European Art deals are planned to coincide with our Impressionist & contemporary Art product sales when you look at the springtime and autumn, and display the main works of this period from both Continental and British schools. Midseason auctions in ny comprising much more moderately appreciated works take place during Old Master Paintings week in January. Our Paris salesroom hosts Tableaux et Dessins Anciens du XIXe Siècle in June, and a specialized purchase in October, Regards sur l’Orient. Sales of Swiss Art are held in Zurich in-may and November.</p>]]></content:encoded> <category><![CDATA[Art 19th Century]]></category> <link>https://www.metropaa.org/Art19thCentury/19th-century-european-art</link> <guid isPermaLink="true">https://www.metropaa.org/Art19thCentury/19th-century-european-art</guid> <pubDate>Fri, 19 Apr 2024 21:05:00 +0000</pubDate> </item> <item> <title>Cubism Picasso</title> <description>Henri Poincaré (1854-1912) at your workplace, c 1905. Photo: Hulton-Deutsch Collection/Corbis Today, 17 July 2012, is the centenary of the loss of the truly amazing French polymath Henri Poincaré, when described as the "last ...</description> <content:encoded><![CDATA[<img src="/img/cubism_picasso_by_tokitomosquito_on_deviantart.jpg" alt="Cubism Picasso by" align="left" /><p>Henri Poincaré (1854-1912) at your workplace, c 1905. Photo: Hulton-Deutsch Collection/Corbis Today, 17 July 2012, is the centenary of the loss of the truly amazing French polymath Henri Poincaré, when described as the "last regarding the universalists". Their accomplishments span mathematics (he put the cornerstone for chaos theory), physics (their mathematical methods will always be found in learning elementary particles), viewpoint (his framework for checking out scientific concepts continues to be controversial) therefore the psychology of imagination (he studied the workings for the involuntary). Poincaré in addition acted as an astonishing website link between Einstein and Picasso, who were both empowered by their best-selling Science and Hypothesis, posted in 1902. Being employed as a patent clerk in Bern, Switzerland, Einstein is at the core of research group, their "think tank", one of who described exactly how Poincaré's book had "held them spellbound". Inside it Poincaré moves from an analysis of clinical theories to examining perceptions to probing thought it self, carrying the reader in crystal-clear prose to the really frontiers of real information. As Einstein blogged years later on: "Poincaré realised the reality [of the relation of daily knowledge to clinical ideas] in his book." But Einstein found Poincaré's reliance on each day experience and laboratory data also restricting. In spring 1905, he moved one step more. The result was their principle of relativity. Definately not becoming a stereotypical scientist, Poincaré's reasoning was nearer to compared to a musician. Édouard Toulouse, a psychologist specialising in creativity, interviewed him in 1897 and blogged that Poincaré's thought "was natural, little conscious, similar to dreaming than logical, seeming best suited to works of pure imagination". So it's barely astonishing that Picasso too was impressed by their work. But how performed he hear of him? Picasso had a "believe tank", of avant-garde literati just who kept him up-to-date in the most recent developments in technology and technology. One rather unlikely user ended up being Maurice Princet, an insurance actuary with an enthusiastic fascination with advanced level math and philosophy. After bistro dinners he offered impromptu lectures – frequently on Science and Hypothesis. Picasso was specifically hit by Poincaré's advice on simple tips to see the 4th measurement, which artists considered another spatial dimension. In the event that you could transfer your self into it, you would see every point of view of a scene at the same time. But how-to project these views to canvas? Poincaré's suggestion in Science and Hypothesis would be to do so individually, showing each in succession. Picasso disagreed. He desired to depict them all simultaneously. Enjoying Princet, Picasso realised that geometry supplied the language to express the deep meaning of ancient Iberian art, which he ended up being focusing on at the time. In Les Demoiselles d'Avignon, he portrays among the demoiselles at the same time full face plus profile, two perspectives at once, a projection from 4th measurement. He had gone beyond Poincaré. But though Einstein and Picasso transcended Poincaré, his work spurred all of them towards the correct path through them believe beyond their particular disciplines. Einstein met Poincaré in 1911; they disagreed on relativity concept. Picasso never found often and was unaware of Einstein's existence when he produced Les Demoiselles d'Avignon, which included the seeds of Cubism. Usually Are Not ended up being Henri Poincaré? Produced 29 April 1854, in Nancy, France, he had been a precocious child together with a stellar university job, establishing into mathematical study of extraordinary creativity. In 1889, he obtained the King Oscar II Prize for research in to the stability associated with solar power system. This led him to create topology and, in 1904, towards the conjecture your world could be the most basic form in three measurements. Much less insignificant as it appears: it took nearly one hundred years before his conjecture ended up being proved by an eccentric Russian mathematician, Grigori Perelman, whom after that considerably refused the million dollar reward for resolving it. In 1905 Poincaré resolved the mathematical way of checking out exactly how electrons move at velocities close to that light. This could come to be required for framing Einstein's relativity theory in four-dimensional space-time (three spatial measurements with a fourth dimension – time). Of moderate height, Poincaré was portly and a little stooped, with the full beard, dense eyeglasses and a popular environment of distraction. His manuscripts, which I discovered in 1976, contain page after web page of abstract mathematics and detail by detail calculations in physics and astronomy, with scarcely a line crossed-out. In his philosophical works and essays also, a single draft sufficed. He won every scientific reward except the Nobel – that much lobbying happened on their account. A very cultured guy, he had been manager of l'Académie Française (the pre-eminent French literary academy), also President of l'Académie des Sciences, a fantastic honour. He as soon as published: "it really is only through science and art that civilisation is of worth." He straddled two globes, inspiring both Einstein and Picasso and played a pivotal part in sparking the explosion of imagination both in art and technology that put the tenor of 20th century.</p>]]></content:encoded> <category><![CDATA[Picasso Cubism]]></category> <link>https://www.metropaa.org/PicassoCubism/cubism-picasso</link> <guid isPermaLink="true">https://www.metropaa.org/PicassoCubism/cubism-picasso</guid> <pubDate>Thu, 11 Apr 2024 21:03:00 +0000</pubDate> </item> <item> <title>Famous Painters of the 20th century</title> <description>Bruce Louis for Art-Sheep Art has actually certainly fixed itself into our lives, filtering through every part. It expands outside the limits of a gallery or a museum. The twentieth century ended up being a period where colossal ...</description> <content:encoded><![CDATA[<img src="/img/the_most_famous_painters_of_the.jpg" alt="The Most Famous Painters of" align="left" /><p>Bruce Louis for Art-Sheep Art has actually certainly fixed itself into our lives, filtering through every part. It expands outside the limits of a gallery or a museum. The twentieth century ended up being a period where colossal changes took devote so many different places, from technology to literary works and medicine to Arts generally, including, naturally, painting. From paintings that abut the standard to works of art that challenge the essence of postmodernism it self, twentieth century art had it all. Here is a listing of seven of the most influential designers of the past century, whose work has actually profoundly impacted the way we perceive art today. via themost10 1. Claude Monet Monet came to be in the nineteenth century and died in 1926, therefore his twentieth century influence were held on first quarter of it. However, his impact was astonishing. Among the leading numbers associated with the Impressionist motions, Monet not only had an impact upon various other designers throughout the same duration but he continues to affect students of art and musicians for this very time. “Impression, Sunrise” is one of their most famous works. 2. David Hockney Hockney rocked the world of Art during the last half for the twentieth century and had been a tremendously important figure associated with the sixties pop-art movement. Hockney not just produced paintings which are recognised as masterpieces globally, but he in addition attained the value regarding the Art globe through his various other imaginative endeavours, like photography and set design. 3. Jackson Pollock Pollock had been an US artist who lived-in initial 1 / 2 of the 20th century. His never-before-seen means of leaking shows across huge canvases put him rapidly on chart regarding the abstract world, making him the most important brands for the category. Their have trouble with alcoholism ultimately resulted in their untimely death, depriving the world of their genius. Pollock’s legacy holds to this day and it is dependable. 4. Roy Lichtenstein Lichtenstein’s artworks have grown to be emblematic through the sixties pop-art motion to this day. His best-known paintings have been hugely influenced by the field of comics, which will be one reason why why Lichtenstein’s work features remained so popular and appropriate until today. Lichtenstein’s paintings are rarely offered but when they are doing become available for sale they cost huge amount of money; that’s exactly how sought-after they truly are. 5. Salvador Dali Dali is generally considered to be one of the leading numbers of Surrealism. Their skill had been undeniable since he first started completely their creative voyage in middle twentieth century Spain along with his abilities in artwork are beyond the need for proof. Their works were constantly quite shocking, one way or another, regarding their particular subject-matter and are saturated in symbolisms making all of them as something far beyond compared to the quick depiction of a weird scene. 6. Piet Mondrian The Dutch painter had been energetic through the termination of the nineteenth century and the first 1 / 2 of the twentieth. Mondrian’s works tend to be straight away distinguishable offered their bright, flat, block colours, the lines that cross the fabric horizontally and vertically while the forms these crossings have as an impact. 7. Mark Rothko Born with what is understand as Latvia, Rothko relocated to The united states at an extremely early age. Their special design had developed such because of the mid 20th century he soon produced the famous paintings he's known for even today. Big, rectangular blocks of deep, saturated tints -usually colors of purple and blue- tend to be Rothko’s distinct trademark and immense contribution to 20th century art.</p>]]></content:encoded> <category><![CDATA[Painters 20th Century]]></category> <link>https://www.metropaa.org/Painters20thCentury/products_new.php?page=3</link> <guid isPermaLink="true">https://www.metropaa.org/Painters20thCentury/products_new.php?page=3</guid> <pubDate>Wed, 03 Apr 2024 20:58:00 +0000</pubDate> </item> <item> <title>Abstract Expressionism de Kooning</title> <description>Willem de Kooning facing an earlier type of an untitled 1984 work with the singer's own collection. Photograph ©Tom Ferrara, courtesy Willem de Kooning workplace. Robert Storr "I get freer...I have this sort of experience that ...</description> <content:encoded><![CDATA[<img src="/img/elaine_de_kooning_bullfight_1959_artsy.jpg" alt="Bullfight" align="left" /><p>Willem de Kooning facing an earlier type of an untitled 1984 work with the singer's own collection. Photograph ©Tom Ferrara, courtesy Willem de Kooning workplace. Robert Storr "I get freer...I have this sort of experience that Im all truth be told there today. It's not even thinking when it comes to a person's restrictions, since they come naturally. I think anything you maybe you have can perform wonders along with it, in the event that you accept it." \x97Willem de Kooning, "What Abstract Art methods to Me" (1951) "it looks like plenty of musicians, once they age, they get easier." \x97Willem de Kooning, "summertime Monologue" (1959) One would n't have predicted for Willem de Kooning outstanding old age. On the list of leading figures of a hard-living generation, he felt by skill by temperament to participate in a romantic tradition of music artists whose work burned the real and psychic gas of their becoming with devastating speed and completeness. In reality, number of de Kooning's nearest buddies and colleagues survived the crucible for the 1940s and 1950s undamaged, when they survived it whatsoever. In 1948 Arshile Gorky, de Kooning's studio mentor, was a suicide at forty-eight. In 1956 Jackson Pollock, at the end of their innovative and psychological tether because of the chronilogical age of forty-four, killed himself in a drunken roadside collision. In 1962 Franz Kline succumbed to a heart attack at fifty-two. Three-years later David Smith passed away in a vehicle crash at fifty-nine, plus in 1970 Mark Rothko, caught in an ever-deepening alcoholic despair, slit his wrists. Of various other principal members of de Kooning's Abstract Expressionist cohort, just Philip Guston saw the 1980s, having spent his ultimate energies during previous decade in another of the essential remarkable creative turnarounds associated with the final quarter century. For many associated with the 1970s, while engaged in this remarkable move from a form of art of ethereal abstraction to a single of darkly comic figuration, Guston was addressed as an apostate by their contemporaries. Informed by several years of battle against conservative style and impoverished conditions, and strengthened by an avant-garde ethos that fused the rules of old-fashioned Bohemia with those of postwar existentialist philosophy, Abstract Expressionism as an ideology made tiny allowance for stylistic change. Therefore Guston's advocates for the 1950s became his detractors two decades later. De Kooning experienced quite similar thing. In comparison to Guston's trajectory, however, de Kooning went from violent tumult to a baroque painterly hedonism, and after that, in his last great works, to a radiant, sensuous calm. Celebrated for their ferocious ladies associated with 1950s by many which neglected to see the ambivalent wit inside their grotesque smiles, he had been already being written down within the 1960s whenever his brilliant pink "cuties" started initially to replace the matriarchal beasts that had produced them. Only a few critics, Thomas Hess chief among them, welcomed the lush eroticism of singer's increasingly pastoral paintings. "It is therefore appropriate, " he typed, "that de Kooning's pictures regarding the 1960s tend to be drained regarding the anguish and look of despair which therefore profoundly marked his earlier in the day work. Inside new women, the mood is Joy." Despite this assessment, observers familiar with judging the credibility and aesthetic worth of images because of the suffering that were the mythic large amount of their authors had a tendency to see the mayonnaise-rich nudes and landscapes of de Kooning's 1960s work as proof their slackening visual might. In the future, arguments about just when it had been that their art had "fallen down" became a staple of bar talk and symposia. Although their canvases swarmed with enjoyable photos, de Kooning's anguish had been, actually, unabated. If such a thing, he flirted with self-destruction much more recklessly than before, and also by the end of the 1970s had achieved a place of almost total spiritual and actual exhaustion. Drinking had a lot to do with it, because had using the fate of countless of their contemporaries. After which there were the initial signs of his advancing years, a tendency to forgetfulness and a gradual detachment through the world around him. A lot happens to be manufactured in the most popular hit of these symptoms, feeding conjecture that de Kooning's work after 1980 was a pale expression of the sign achievements of their early and mid-career, if not the doodlings of a helpless old-man. The reality is rather various, as Willem de Kooning: The belated Paintings, The 1980s\x97the first convention devoted exclusively to your work of their final energetic decade\x97attests. In contrast, indeed, to some of exactly what has been discussing this heretofore little-known or comprehended human anatomy of work plus the circumstances which it was produced, the storyline of de Kooning in 1980s is of a nearly...</p>]]></content:encoded> <category><![CDATA[Abstract Expressionism]]></category> <link>https://www.metropaa.org/AbstractExpressionism/abstract-expressionism-de-kooning</link> <guid isPermaLink="true">https://www.metropaa.org/AbstractExpressionism/abstract-expressionism-de-kooning</guid> <pubDate>Tue, 26 Mar 2024 21:58:00 +0000</pubDate> </item> <item> <title>Italian painters 19th century</title> <description>Throughout the 19th century, Italian painters were engaged in the major imaginative moves of that time period. Neoclassicism dominated early 1800s and gradually offered solution to romanticism, realism and experiments with ...</description> <content:encoded><![CDATA[<img src="/img/italian_art_19th_century_flickr.jpg" alt="Italian Art - 19th Century |" align="left" /><p>Throughout the 19th century, Italian painters were engaged in the major imaginative moves of that time period. Neoclassicism dominated early 1800s and gradually offered solution to romanticism, realism and experiments with impressionism. For much of the nineteenth century, Italy has also been embroiled in a political action to regain neighborhood control from French and Austrian regimes and unite the peninsula into one country. Italian painters reflected that governmental perfect - and also the nationalism that fueled it - within their work. The nineteenth century started with Vincenzo Camuccini at forefront of a group of Italian neoclassic painters whom desired to restore values such as for example balance, order and brilliance to painting. The neoclassicists believed those characteristics have been lost through the excess activity and feeling accepted by baroque and rococo musicians and artists. They relied on muted but good colors and compositions that exhausted balance and control. Religious and historical moments dominated their particular work, and their subjects and motifs glorified nobility and virtue. Around the center for the 19th century, several painters from Florence started tinkering with a fresh style which used blotches of pure color to depict their subjects. Referred to as Macchiaioli, which actually means "the spotters, " the team declared their independence from the formal art academies of Florence and Rome and concentrated their energies on catching the interplay of color and natural light. They painted out-of-doors and discovered their topics when you look at the each day moments that occurred around all of them. The Macchiaioli had been the forerunners of French Impressionists just who quickly became the dominant action of almost all 19th-century European art.</p>]]></content:encoded> <category><![CDATA[Painters 19th Century]]></category> <link>https://www.metropaa.org/Painters19thCentury/paintings.php</link> <guid isPermaLink="true">https://www.metropaa.org/Painters19thCentury/paintings.php</guid> <pubDate>Mon, 18 Mar 2024 21:46:00 +0000</pubDate> </item> <item> <title>What is German Expressionism art?</title> <description>German Expressionism was section of a larger, early-20th-century propensity in art, literary works, music, and theater throughout Europe, which explored subjective knowledge, spirituality, and formal experimentation. Within the ...</description> <content:encoded><![CDATA[<img src="/img/german_expressionist_art_hubert_roestenburg.jpg" alt="German Expressionism Hubert" align="left" /><p>German Expressionism was section of a larger, early-20th-century propensity in art, literary works, music, and theater throughout Europe, which explored subjective knowledge, spirituality, and formal experimentation. Within the socially traditional environment of late 19th- and early 20th-century Germany, teams like Blue Rider and Die Brücke had been shocking both for aesthetic and cultural reasons. Their particular spontaneous brushwork and altered figures, lent from so-called “primitive art, ” defied conventions, as performed their particular anti-authoritarian cultural practices: independent events, sexual liberation, producing edge publications, and political activism. After the very first World War, the utopian and religious aspects of this inclination provided option to the more political some ideas of teams such as the Dresden Secession therefore the Novembergruppe, lots of whoever people later became related to Neue Sachlichkeit (brand new Objectivity). Expressionism had been a lightning-rod problem for Communists and nationwide Socialists alike, for who it frequently became a stand-in for contemporary art at-large. Considering it becoming at odds with his program of classically prompted “Great German Art, ” Adolph Hitler vilified the action, holding it as an emblem of social deterioration and persecuting its practitioners.</p>]]></content:encoded> <category><![CDATA[German Expressionism]]></category> <link>https://www.metropaa.org/GermanExpressionism/what-is-german-expressionism-art</link> <guid isPermaLink="true">https://www.metropaa.org/GermanExpressionism/what-is-german-expressionism-art</guid> <pubDate>Sun, 10 Mar 2024 21:37:00 +0000</pubDate> </item> <item> <title>German Expressionism in Art</title> <description>In 2011, the Museum received an extraordinary gift from the Estate of Vance E. Kondon and Liesbeth Giesberger: 48 exceptional works by the leaders of the German and Austrian avant-garde in the first half of the 20th century ...</description> <content:encoded><![CDATA[<img src="/img/german_expressionism_famous_german_expressionist.jpg" alt="German Expressionism, German" align="left" /><p>In 2011, the Museum received an extraordinary gift from the Estate of Vance E. Kondon and Liesbeth Giesberger: 48 exceptional works by the leaders of the German and Austrian avant-garde in the first half of the 20th century, including Otto Dix, George Grosz, Gustav Klimt and Egon Schiele. Presented as a temporary exhibition in 2012, these works are a remarkable collection of German Expressionist paintings, drawings, and prints. Today, a selection from this private collection as well as a few other German Expressionist works from the Museum’s permanent collection are on display at The San Diego Museum of Art. Breaking with Academic tradition, progressive artists in Germany and Austria at the beginning of the 20th century looked to Paris for new ideas. Concerned with this new state of affairs, artists of the Brücke (Bridge) group sought to establish a genuinely German avant-garde. First in Dresden, then in Berlin, they pitted a revolutionary art and rebellious lifestyle against the accepted order. They longed, also, to escape the oppressive constraints of modern life. Like their Romantic predecessors, the artists of the Brücke regarded communion with nature as a source of spiritual renewal. While a commissioned work, such as Lovis Corinth’s Portrait of Alexander Freiherr von Reitzenstein (pictured right), could remain rooted in Post-Impressionism, members of the Blaue Reiter (Blue Rider) group, such as Alexej Jawlensky and Gabriele Münter (right), explored their predilection for bold, expressive colors. The collector, Vance E. Kondon, reflected on his own selections: “Often, I’m asked why I started collecting. If you know the history of the early Brücke artists, you realize that they were poor, free spirits. They lived communally, and shared the same space, materials, ideas and hopes. They were openly sensual, and nudity was—at times—a way of life. They sought more freedom of emotional expression and less ritual and restraint. And they brought this approach to their art, using vibrant color, looseness of form, and themes from everyday life.” Featured (top to bottom, left to right): Lovis Corinth. Portrait of Alexander Freiherr von Reitzenstein , 1913. Oil on canvas. Gift from the Estate of Vance E. Kondon and Liesbeth Giesberger, 2011.89. | Gabriele Münter, Tutzing , 1908. Oil on artist’s board. The San Diego Museum of Art; Gift from the Estate of Vance E. Kondon and Liesbeth Giesberger. 2011.120. | Otto Dix, Lion Cannoneer , 1914. Oil on paper mounted on paperboard mounted on plywood. The San Diego Museum of Art; Gift from the Estate of Vance E. Kondon and Liesbeth Giesberger. 2011.90. |</p>]]></content:encoded> <category><![CDATA[German Expressionism]]></category> <link>https://www.metropaa.org/GermanExpressionism/german-expressionism-in-art</link> <guid isPermaLink="true">https://www.metropaa.org/GermanExpressionism/german-expressionism-in-art</guid> <pubDate>Sat, 02 Mar 2024 21:15:00 +0000</pubDate> </item> <item> <title>MoMA German Expressionism</title> <description>1919 In his illustrations for Curt Corrinth's novella, which imagines a utopian change of Berlin, Klee gift suggestions the city as a towering, fantastic, and disorienting place. (1920) Kollwitz illustrates workers mourning Karl ...</description> <content:encoded><![CDATA[<img src="/img/german_expressionism_the_graphic_impulse_at.jpg" alt="Otto Dix's 50 etchings from" align="left" /><p>1919 In his illustrations for Curt Corrinth's novella, which imagines a utopian change of Berlin, Klee gift suggestions the city as a towering, fantastic, and disorienting place. (1920) Kollwitz illustrates workers mourning Karl Liebknecht, the socialist frontrunner who was brutally murdered by reactionary soldiers in Berlin in January 1919. She based this woodcut on sketches she made of Liebknecht's corpse into the mortuary. (1919) In comparison to Kollwitz, Beckmann illustrates political murder in action, here showing Liebknecht's comrade-in-arms Rosa Luxemburg being carried to her death. 1922 Beckmann illustrates himself as a traveler arriving in Berlin, looking to an advertising line for guidance into the city's amusements, that he experiences as a detached observer as opposed to a dynamic participant. (1923) Inside portrait of Berlin community during the Eden club, Beckmann catches the alienation and boredom that permeated perhaps the city's elegant locales. (1920/21, posted 1921) By comparison, Grosz reveals the lives of the whom forgo: the laborers and veterans which filled the roads of this working-class areas. (c. 1930)</p>]]></content:encoded> <category><![CDATA[German Expressionism]]></category> <link>https://www.metropaa.org/GermanExpressionism/moma-german-expressionism</link> <guid isPermaLink="true">https://www.metropaa.org/GermanExpressionism/moma-german-expressionism</guid> <pubDate>Fri, 23 Feb 2024 20:45:00 +0000</pubDate> </item> </channel></rss>If you would like to create a banner that links to this page (i.e. this validation result), do the following:
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