1.
Berlin-Zehlendorf
–
Zehlendorf is a locality within the borough of Steglitz-Zehlendorf in Berlin. Before Berlins 2001 administrative reform Zehlendorf was a borough in its own right, consisting of the locality of Zehlendorf as well as Wannsee, Nikolassee and Dahlem. Zehlendorf contains some of the most remarked upon natural settings in Berlin, including parts of the Grunewald forest, additionally, it has large affluent residential neighborhoods, some with cobblestone streets and buildings that are over 100 years old. It is one of the most expensive areas in Berlin for housing, the village of Zehlendorf was first mentioned as Cedelendorp in a 1245 contract between the Margraves John I and Otto III of Brandenburg and the Lehnin Abbey. Express S-Bahn trains, known as the Banker Trains whisked them at 120 km/h to the financial, niemöllers sermons against the Nazis led to his imprisonment and the publication of them in English during the war helped shape discussion of the nature of National Socialism in Christian circles. Many walking trips are available in and around Zehlendorf, Zehlendorf shopping center has undergone major changes with plenty of new construction centering on the S-Bahn station Zehlendorf. There is direct access to the middle of Berlin via road, the S1 line makes 3 stops in Zehlendorf and runs right through Unter den Linden, where the Brandenburg Gate is located. The newer portion of the borough of Zehlendorf developed around extended U-Bahn service in the first third of the 20th Century and it may be reached via the U3 line at the station Onkel Toms Hütte and the terminus Krumme Lanke. The Bundesstraße 1 federal highway runs through the locality along the streets Berliner Straße, Potsdamer Straße, Zehlendorf has also access to the A115 Autobahn at the Hüttenweg junction. AlliiertenMuseum Krumme Lanke Schlachtensee Grunewald Krumme Lanke Hertha Zehlendorf Berlin 1969 From the American era, century-old villa holds secrets In German
Berlin-Zehlendorf
–
The
Matthew Church in Steglitz is owned and used by a congregation within the Evangelical Church of Berlin-Brandenburg-Silesian Upper Lusatia, a
united church body of Calvinist, Lutheran and united congregations.
Berlin-Zehlendorf
–
Village church
Berlin-Zehlendorf
–
Peaceful snowscape as seen during a U.S. Army patrol in Zehlendorf's forest
Berlin-Zehlendorf
–
Stolperstein in Zehlendorf
2.
Detroit Institute of Arts
–
The Detroit Institute of Arts, located in Midtown Detroit, Michigan, has one of the largest and most significant art collections in the United States. With over 100 galleries, it covers 658,000 square feet with a renovation and expansion project completed in 2007 that added 58,000 square feet. The DIA collection is regarded as among the top six museums in the United States with a collection which spans the globe from ancient Egyptian and European works to contemporary art. Its art collection is valued in billions of dollars, up to $8.1 billion according to a 2014 appraisal. The DIA campus is located in Midtown Detroits Cultural Center Historic District, the museum building is highly regarded by architects. The original building, designed by Paul Philippe Cret, is flanked by north and south wings with the marble as the main exterior material for the entire structure. The campus is part of the citys Cultural Center Historic District listed in the National Register of Historic Places, the museums first painting was donated in 1883 and its collection consists of over 65,000 works. With about 677,500 visitors annually for 2015, the DIA is among the most visited art museums in the world, the museum contains 100 galleries of art from around the world. Diego Riveras Detroit Industry cycle of frescoes span the upper and lower levels to surround the central grand marble court of the museum, the armor collection of William Randolph Hearst lines the main hall entry way to the grand court. The collection of American art at the DIA is one of the most impressive, works by American artists began to be collected immediately following the museums founding in 1883. Williams, Anne Wilson, Andrew Wyeth, and James McNeill Whistler, the museum includes works by Vincent van Gogh including a self-portrait. The self-portrait of Vincent van Gogh and The Window by Henri Matisse were purchased in 1922 and were the first paintings by two artists to enter an American public collection. Non-German artists in the Expressionist movement include Oskar Kokoschka, Wassily Kandinsky, Chaim Soutine, the Nut Gatherers by William-Adolphe Bouguereau is, by some accounts, the most popular painting in the collection. In December 2010, the museum debuted a new permanent gallery with collections of hand, shadow. The museum plans to feature puppet related events and rotation of exhibits drawn from its puppet collections, artists’ Take on Detroit, Projects for the Tricentennial This exhibit celebrates Detroit’s 300th year anniversary by creating 10 projects that represent the city. The installations created by 15 artists include video and still photography, text and sound, Degas and the Dance This exhibit includes more than 100 pieces of work created by Edgar Degas. These pieces include model stage sets, costume designs, and photographs of the dancers from the 19th-century Parisian ballet. This exhibit includes work from Joshua Johnson, Robert Scott Duncanson, Henry Ossawa Tanner, Augusta Savage, Benny Andrews, Betye Saar, Richard Hunt, Sam Gilliam, and Lorna Simpson
Detroit Institute of Arts
–
Detroit Institute of Arts
Detroit Institute of Arts
–
Original Dawson
Howdy Doody, by Volkan Yuksel
Detroit Institute of Arts
–
William-Adolphe Bouguereau,
The Nut Gatherers, 1882
Detroit Institute of Arts
–
Pablo Picasso, 1916, L'anis del mono (Bottle of Anis del Mono), oil on canvas, 46 x 54.6 cm
3.
German people
–
Germans are a Germanic ethnic group native to Central Europe, who share a common German ancestry, culture and history. German is the mother tongue of a substantial majority of ethnic Germans. The English term Germans has historically referred to the German-speaking population of the Holy Roman Empire since the Late Middle Ages, before the collapse of communism and the reunification of Germany in 1990, Germans constituted the largest divided nation in Europe by far. Ever since the outbreak of the Protestant Reformation within the Holy Roman Empire, of approximately 100 million native speakers of German in the world, roughly 80 million consider themselves Germans. Thus, the number of Germans lies somewhere between 100 and more than 150 million, depending on the criteria applied. Today, people from countries with German-speaking majorities most often subscribe to their own national identities, the German term Deutsche originates from the Old High German word diutisc, referring to the Germanic language of the people. It is not clear how commonly, if at all, the word was used as an ethnonym in Old High German, used as a noun, ein diutscher in the sense of a German emerges in Middle High German, attested from the second half of the 12th century. The Old French term alemans is taken from the name of the Alamanni and it was loaned into Middle English as almains in the early 14th century. The word Dutch is attested in English from the 14th century, denoting continental West Germanic dialects, while in most Romance languages the Germans have been named from the Alamanni, the Old Norse, Finnish and Estonian names for the Germans were taken from that of the Saxons. In Slavic languages, the Germans were given the name of němьci, originally with a meaning foreigner, the English term Germans is only attested from the mid-16th century, based on the classical Latin term Germani used by Julius Caesar and later Tacitus. It gradually replaced Dutch and Almains, the latter becoming mostly obsolete by the early 18th century, the Germans are a Germanic people, who as an ethnicity emerged during the Middle Ages. Originally part of the Holy Roman Empire, around 300 independent German states emerged during its decline after the Peace of Westphalia in 1648 ending the Thirty Years War and these states eventually formed into modern Germany in the 19th century. The concept of a German ethnicity is linked to Germanic tribes of antiquity in central Europe, the early Germans originated on the North German Plain as well as southern Scandinavia. By the 2nd century BC, the number of Germans was significantly increasing and they began expanding into eastern Europe, during antiquity these Germanic tribes remained separate from each other and did not have writing systems at that time. In the European Iron Age the area that is now Germany was divided into the La Tène horizon in Southern Germany and the Jastorf culture in Northern Germany. By 55 BC, the Germans had reached the Danube river and had either assimilated or otherwise driven out the Celts who had lived there, and had spread west into what is now Belgium and France. Conflict between the Germanic tribes and the forces of Rome under Julius Caesar forced major Germanic tribes to retreat to the east bank of the Rhine, in Roman-held territories with Germanic populations, the Germanic and Roman peoples intermarried, and Roman, Germanic, and Christian traditions intermingled. The adoption of Christianity would later become an influence in the development of a common German identity
German people
German people
–
Germanic Kingdoms in Europe c. 500 AD
German people
–
Extent of
Holy Roman Empire in 972 (red line) and 1035 (red dots) with
Kingdom of Germany marked in blue
German people
–
18 January 1871: The proclamation of the
German Empire in the
Hall of Mirrors of the
Palace of Versailles.
Bismarck appears in white. The Grand Duke of Baden stands beside Wilhelm, leading the cheers. Crown Prince Friedrich, later
Friedrich III, stands on his father's right.
4.
Expressionist
–
Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, Expressionist artists sought to express the meaning of emotional experience rather than physical reality. Expressionism was developed as an avant-garde style before the First World War and it remained popular during the Weimar Republic, particularly in Berlin. The style extended to a range of the arts, including expressionist architecture, painting, literature, theatre, dance, film. The term is sometimes suggestive of angst, in a general sense, painters such as Matthias Grünewald and El Greco are sometimes termed expressionist, though in practice the term is applied mainly to 20th-century works. The Expressionist emphasis on individual perspective has been characterized as a reaction to positivism, though an alternate view is that the term was coined by the Czech art historian Antonin Matějček in 1910, as the opposite of impressionism, An Expressionist wishes, above all, to express himself. Immediate perception and builds on more complex psychic structures, in 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke in the city of Dresden. This was arguably the founding organization for the German Expressionist movement, a few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter in Munich. The name came from Wassily Kandinskys Der Blaue Reiter painting of 1903, among their members were Kandinsky, Franz Marc, Paul Klee, and Auguste Macke. However, the term Expressionism did not firmly establish itself until 1913, though mainly a German artistic movement initially and most predominant in painting, poetry and the theatre between 1910–30, most precursors of the movement were not German. Expressionism is notoriously difficult to define, in part because it overlapped with other major isms of the modernist period, with Futurism, Vorticism, Cubism, Surrealism, more explicitly, that the expressionists rejected the ideology of realism. The term refers to a style in which the artist seeks to depict not objective reality but rather the subjective emotions. It is arguable that all artists are expressive but there are examples of art production in Europe from the 15th century onward which emphasize extreme emotion. Expressionism has been likened to Baroque by critics such as art historian Michel Ragon, according to Alberto Arbasino, a difference between the two is that Expressionism doesnt shun the violently unpleasant effect, while Baroque does. Expressionism throws some terrific fuck yous, Baroque doesnt, brazil, Anita Malfatti, Cândido Portinari, Di Cavalcanti, Iberê Camargo and Lasar Segall. Estonia, Konrad Mägi, Eduard Wiiralt Finland, Tyko Sallinen, Alvar Cawén, Juho Mäkelä, there were a number of groups of expressionist painters, including Der Blaue Reiter and Die Brücke. Der Blaue Reiter was based in Munich and Die Brücke was based originally in Dresden, Die Brücke was active for a longer period than Der Blaue Reiter, which was only together for a year. The Expressionists had many influences, among them Edvard Munch, Vincent van Gogh and they were also aware of the work being done by the Fauves in Paris, who influenced Expressionisms tendency toward arbitrary colours and jarring compositions
Expressionist
–
The Scream by
Edvard Munch (1893), which inspired 20th-century Expressionists
Expressionist
–
Portrait of Eduard Kosmack by
Egon Schiele
Expressionist
–
"View of Toledo" by
El Greco, 1595/1610 has been indicated to have a particularly striking resemblance to 20th-century expressionism. Historically however it is an example of
Mannerism. [
citation needed]
Expressionist
–
Wassily Kandinsky, On White II, 1923
5.
Painting
–
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painting
–
The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
–
Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
–
Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
6.
Printmaker
–
Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a copy but rather is considered an original, a print may be known as an impression. Printmaking is not chosen only for its ability to multiple impressions. Prints are created by transferring ink from a matrix or through a screen to a sheet of paper or other material. Screens made of silk or synthetic fabrics are used for the screenprinting process, other types of matrix substrates and related processes are discussed below. Multiple impressions printed from the matrix form an edition. Prints may also be printed in book form, such as illustrated books or artists books, Printmaking techniques are generally divided into the following basic categories, Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are known, wood engraving. Intaglio, where ink is applied beneath the surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint, planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques, stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir. Other types of printmaking techniques outside these groups include collagraphy and viscosity printing, collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process, Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family, for example, Rembrandts prints are usually referred to as etchings for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Woodcut, a type of print, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text, the artist draws a design on a plank of wood, or on paper which is transferred to the wood
Printmaker
–
Rembrandt,
Self-portrait,
etching, c.1630.
Printmaker
–
Mount Fuji, from the
Thirty-six Views of Mount Fuji, color
woodcut by
Katsushika Hokusai
Printmaker
–
Francisco Goya, There is No One To Help Them,
Disasters of War series,
aquatint c.1810.
Printmaker
–
External video
7.
Zwickau
–
Zwickau (German pronunciation, Sorbian, Šwikawa, Czech Cvikov, is a town in Saxony, Germany, it is the capital of the district of Zwickau. Zwickau is situated in a valley at the foot of the Erzgebirge mountains and is within the Saxon triangle, the town has approximately 100,000 inhabitants, but has a regional catchment area of over 480,000 people. From 1834 until 1952 Zwickau was the seat of the government of the region of Saxony. Zwickau, known as the city of automobiles, is the centre of the Saxon automotive industry, well known beyond Germanys borders are car makers such as Horch, Audi, Auto Union, Trabant and Volkswagen. Since 2000 its history has been presented in the August-Horch Museum, the University of Applied Sciences Zwickau trains automotive engineers. The valley of the 166 kilometres long Zwickauer Mulde river stretches from the Vogtland to Colditz Castle at the other end, the Silver Road, Saxonys longest tourist route, connects Dresden with Zwickau. The ADAC City Guide 2005 wrote, The town of Zwickau has transformed itself over the years from a mining town into an elegant Art Nouveau town. Zwickau can be reached by car via the nearby Autobahns A4 and A72, the region around Zwickau was settled by Slavs as early as the 7th century. The name Zwickau is probably a Germanisation of the Sorbian toponym Šwikawa, which derives from Svarozič, in the 10th century, German settlers began arriving and the native Slavs were Christianized. A trading place known as terretorio Zcwickaw was mentioned in 1118, the settlement received a town charter in 1212 and hosted Franciscans and Cistercians during the 13th century. Zwickau was an imperial city from 1290–1323, but was subsequently granted to the Margraviate of Meissen. Although regional mining began in 1316, extensive mining increased with the discovery of silver in the Schneeberg in 1470, because of the silver ore deposits in the Erzgebirge, Zwickau developed in the 15th and 16th centuries and grew to be an important economic and cultural centre of Saxony. Its nine churches include the Gothic church of St. Mary, with a spire 285 ft. high, the church contains an altar with wood carvings, eight paintings by Michael Wohlgemuth and a pietà in carved and painted wood by Peter Breuer. The late Gothic church of St. Catharine has an altar piece ascribed to Lucas Cranach the elder, the town hall was begun in 1404 and rebuilt many times since. The municipal archives include documents dating back to the 13th century, in 1520 Martin Luther dedicated his treatise On the Freedom of the Christian Man to his friend Hermann Muehlpfort, the Lord Mayor of Zwickau. The Anabaptist movement of 1525 began at Zwickau under the inspiration of the Zwickau prophets, after Wittenberg, it became the first city in Europe to join the Lutheran Reformation. The late Gothic Gewandhaus, was built in 1522–24 and is now converted into a theatre, the city was seriously damaged during the Thirty Years War. The old city of Zwickau, perched on a hill, is surrounded by heights with extensive forests, in the Old Town the Cathedral and the Gewandhaus originate in the 16th century and when Schneeberg silver was traded
Zwickau
–
Zwickau town hall and theatre
Zwickau
Zwickau
–
The main market of Zwickau
Zwickau
–
Town hall, main façade from 1866-67 and earlier.
8.
Vincent van Gogh
–
Vincent Willem van Gogh was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings and his suicide at 37 followed years of mental illness and poverty. Born into a family, Van Gogh drew as a child and was serious, quiet. As a young man he worked as an art dealer, often travelling and he turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881 and his younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, in 1886 he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and his paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include trees, cypresses, wheat fields. Van Gogh suffered from episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly. His friendship with Gauguin ended after a confrontation with a razor and he spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris and his depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later, Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the imagination as the quintessential misunderstood genius. His reputation began to grow in the early 20th century as elements of his style came to be incorporated by the Fauves. The most comprehensive source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, and most of what is known of Vincents thoughts, Theo van Gogh was an art dealer and provided his brother with financial and emotional support, and access to influential people on the contemporary art scene. Theo kept all of Vincents letters to him, Vincent kept few of the letters he received, after both had died, Theos widow Johanna arranged for the publication of some of their letters. A few appeared in 1906 and 1913, the majority were published in 1914, Vincents letters are eloquent and expressive and have been described as having a diary-like intimacy, and read in parts like autobiography
Vincent van Gogh
–
Self-Portrait, Spring 1887, Oil on pasteboard, 42 × 33.7 cm.,
Art Institute of Chicago (F 345)
Vincent van Gogh
–
Vincent c. 1871-1872 aged 18. This photograph was taken at the time when he was working at the branch of
Goupil & Cie 's gallery in
The Hague.
Vincent van Gogh
–
Vincent c. 1866, approx. age 13
Vincent van Gogh
–
Van Gogh's drawing of
87 Hackford Road
9.
Dresden
–
Dresden is the capital city and, after Leipzig, the second-largest city of the Free State of Saxony in Germany. It is situated in a valley on the River Elbe, near the border with the Czech Republic, Dresden has a long history as the capital and royal residence for the Electors and Kings of Saxony, who for centuries furnished the city with cultural and artistic splendour. The city was known as the Jewel Box, because of its baroque, the controversial American and British bombing of Dresden in World War II towards the end of the war killed approximately 25,000, many of whom were civilians, and destroyed the entire city centre. After the war restoration work has helped to reconstruct parts of the inner city, including the Katholische Hofkirche, the Zwinger. Since German reunification in 1990 Dresden is again a cultural, educational and political centre of Germany, the Dresden University of Technology is one of the 10 largest universities in Germany and part of the German Universities Excellence Initiative. The economy of Dresden and its agglomeration is one of the most dynamic in Germany and it is dominated by high-tech branches, often called as “Silicon Saxony”. The city is one of the most visited in Germany with 4,3 million overnight stays per year. The royal buildings are among the most impressive buildings in Europe, main sights are also the nearby National Park of Saxon Switzerland, the Ore Mountains and the countryside around Elbe Valley and Moritzburg Castle. The most prominent building in the city of Dresden is the Frauenkirche, built in the 18th century, the church was destroyed during World War II. The remaining ruins were left for 50 years as a war memorial, the church was rebuilt from 1994 to 2005. Although Dresden is a relatively recent city of Germanic origin followed by settlement of Slavic people, Dresdens founding and early growth is associated with the eastward expansion of Germanic peoples, mining in the nearby Ore Mountains, and the establishment of the Margraviate of Meissen. Its name etymologically derives from Old Sorbian Drežďany, meaning people of the forest, Dresden later evolved into the capital of Saxony. Around the late 12th century, a Slavic settlement called Drežďany had developed on the southern bank, another settlement existed on the northern bank, but its Slavic name is unknown. It was known as Antiqua Dresdin by 1350, and later as Altendresden, dietrich, Margrave of Meissen, chose Dresden as his interim residence in 1206, as documented in a record calling the place Civitas Dresdene. After 1270, Dresden became the capital of the margraviate and it was given to Friedrich Clem after death of Henry the Illustrious in 1288. It was taken by the Margraviate of Brandenburg in 1316 and was restored to the Wettin dynasty after the death of Valdemar the Great in 1319, from 1485, it was the seat of the dukes of Saxony, and from 1547 the electors as well. The Elector and ruler of Saxony Frederick Augustus I became King Augustus II the Strong of Poland in personal union and he gathered many of the best musicians, architects and painters from all over Europe to the newly named Royal-Polish Residential City of Dresden. His reign marked the beginning of Dresdens emergence as a leading European city for technology, during the reign of Kings Augustus II the Strong and Augustus III of Poland the Zwinger Royal Palace, the Hofkirche and the Frauenkirche were built
Dresden
–
Clockwise: Dresden at night,
Dresden Frauenkirche,
Schloss Pillnitz,
Dresden Castle and
Zwinger.
Dresden
–
The
Fürstenzug —the Saxon sovereigns depicted in
Meissen porcelain
Dresden
–
Dresden in 1521
Dresden
–
Image of Dresden during the 1890s, before extensive World War II destruction. Landmarks include
Dresden Frauenkirche,
Augustus Bridge, and
Katholische Hofkirche.
10.
Erich Heckel
–
Erich Heckel was a German painter and printmaker, and a founding member of the group Die Brücke which existed 1905-1913. Heckel was born in Döbeln, Saxony, the son of a railway engineer, between 1897 and 1904 he attended the Realgymnasium in Chemnitz, before studying architecture in Dresden. He left after three terms, shortly after the foundation of Die Brücke, an group of which he was secretary. The other founder-members, also students, were Ernst Ludwig Kirchner, Karl Schmidt-Rotluff. He worked in the office of the architect Wilhelm Kreis until July 1907, Heckel met the other founding members of Die Brücke, Ernst Ludwig Kirchner, Karl Schmidt-Rotluff, and Fritz Bleyl, while studying architecture in Dresden. The foursome equally regarded pursuing a degree in architecture as a compromise with their respectable middle-class parents who would have never supported them, had wanted to study art. Heckel attended the Dresden Polytechnic Institute for only eighteen months, after time he accepted a job as a draughtsman at Wilhem Kreiss architectural studio. He was able to use the position for the benefit of the Brücke, as a member of Die Brücke, Heckel often filled the role of business manager, which allowed the collective to network with other upcoming artists at the time, such as the Munich-based Franz Marc. This subsequently led to publicity for the collective, such as their mention in the almanac of Franz Marcs own artistic coalition. In addition, Heckels poster, no longer extant, had been barred from public display by the Dresden police, in 1906 and 1907 the Die Brücke had another exhibition in Löbtau, devoted exclusively to graphics and including a group of woodcuts by Wassily Kandinsky. Unfortunately, the once again failed to strike a chord with the public. However, much more noteworthy and ironically also notorious, were the three annual shows by the Die Brücke, this time held in the fashionable Emil Richter Gallery. Heckel and other members of Die Brücke greatly admired the work of Edvard Munch, the four founding members made much use of the print as a cheap and quick medium with which to produce affordable art. Primitive art was also an inspiration to the members of the Die Brücke and it is through this style that they found a source of strength in the barbaric figures. In December 1911, Erich Heckel moved from Dresden to Berlin, Die Brücke was dissolved in 1913. He was classified as unfit for service during the First World War. He managed to continue to work throughout the war. In 1937 the Nazi Party declared his work degenerate, it forbade him to show his work in public, by 1944 all of his woodcut blocks and print plates had been destroyed
Erich Heckel
–
Erich Heckel painting at the
easel – portrait by
Ernst Ludwig Kirchner
Erich Heckel
–
Weisses Haus in Dangast, oil painting by Erich Heckel, 1908.
Erich Heckel
–
DPAG-2005-DieBrueckeSitzendeFraenzi
Erich Heckel
–
Bathers in the Reeds, 1909Oil on canvas, 71 x 81 cmMuseum Kunst Palest, Düsseldorf
11.
Berlin
–
Berlin is the capital and the largest city of Germany as well as one of its constituent 16 states. With a population of approximately 3.5 million, Berlin is the second most populous city proper, due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. Around one-third of the area is composed of forests, parks, gardens, rivers. Berlin in the 1920s was the third largest municipality in the world, following German reunification in 1990, Berlin once again became the capital of all-Germany. Berlin is a city of culture, politics, media. Its economy is based on high-tech firms and the sector, encompassing a diverse range of creative industries, research facilities, media corporations. Berlin serves as a hub for air and rail traffic and has a highly complex public transportation network. The metropolis is a popular tourist destination, significant industries also include IT, pharmaceuticals, biomedical engineering, clean tech, biotechnology, construction and electronics. Modern Berlin is home to world renowned universities, orchestras, museums and its urban setting has made it a sought-after location for international film productions. The city is known for its festivals, diverse architecture, nightlife, contemporary arts. Since 2000 Berlin has seen the emergence of a cosmopolitan entrepreneurial scene, the name Berlin has its roots in the language of West Slavic inhabitants of the area of todays Berlin, and may be related to the Old Polabian stem berl-/birl-. All German place names ending on -ow, -itz and -in, since the Ber- at the beginning sounds like the German word Bär, a bear appears in the coat of arms of the city. It is therefore a canting arm, the first written records of towns in the area of present-day Berlin date from the late 12th century. Spandau is first mentioned in 1197 and Köpenick in 1209, although these areas did not join Berlin until 1920, the central part of Berlin can be traced back to two towns. Cölln on the Fischerinsel is first mentioned in a 1237 document,1237 is considered the founding date of the city. The two towns over time formed close economic and social ties, and profited from the right on the two important trade routes Via Imperii and from Bruges to Novgorod. In 1307, they formed an alliance with a common external policy, in 1415 Frederick I became the elector of the Margraviate of Brandenburg, which he ruled until 1440. In 1443 Frederick II Irontooth started the construction of a new palace in the twin city Berlin-Cölln
Berlin
Berlin
Berlin
Berlin
12.
Matisse
–
Henri-Émile-Benoît Matisse was a French artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is primarily as a painter. Although he was labelled a Fauve, by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the language of colour and drawing, displayed in a body of work spanning over a half-century. Matisse was born in Le Cateau-Cambrésis, in the Nord department in northern France and he grew up in Bohain-en-Vermandois, Picardie, France. In 1887 he went to Paris to study law, working as an administrator in Le Cateau-Cambrésis after gaining his qualification. He first started to paint in 1889, after his mother brought him art supplies during a period of following an attack of appendicitis. He discovered a kind of paradise as he described it. In 1891 he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau, initially he painted still lifes and landscapes in a traditional style, at which he achieved reasonable proficiency. Chardin was one of the painters Matisse most admired, as an art student he made copies of four of Chardins paintings in the Louvre, in 1896 and 1897, Matisse visited the Australian painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of van Gogh and he later said Russell was my teacher, and Russell explained colour theory to me. In 1896 Matisse exhibited five paintings in the salon of the Société Nationale des Beaux-Arts, with the model Caroline Joblau, he had a daughter, Marguerite, born in 1894. In 1898 he married Amélie Noellie Parayre, the two raised Marguerite together and had two sons, Jean and Pierre, Marguerite and Amélie often served as models for Matisse. In 1898, on the advice of Camille Pissarro, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica. Upon his return to Paris in February 1899, he worked beside Albert Marquet and met André Derain, Jean Puy, Matisse immersed himself in the work of others and went into debt from buying work from painters he admired. The work he hung and displayed in his home included a plaster bust by Rodin, a painting by Gauguin, a drawing by van Gogh, in Cézannes sense of pictorial structure and colour, Matisse found his main inspiration. Many of Matisses paintings from 1898 to 1901 make use of a Divisionist technique he adopted after reading Paul Signacs essay and his paintings of 1902–03, a period of material hardship for the artist, are comparatively somber and reveal a preoccupation with form. Having made his first attempt at sculpture, a copy after Antoine-Louis Barye, in 1899, he devoted much of his energy to working in clay, fauvism as a style began around 1900 and continued beyond 1910
Matisse
–
Henri Matisse, 1913, by
Alvin Langdon Coburn
Matisse
–
Henri and Amélie Matisse, 1898
Matisse
–
Woman Reading, 1894, Museum of Modern Art, Paris
Matisse
–
Blue Pot and Lemon (1897),
Hermitage Museum,
St. Petersburg, Russia
13.
Fauvism
–
While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only a few years, 1904–1908, and had three exhibitions. The leaders of the movement were Henri Matisse and André Derain, the paintings of the Fauves were characterized by seemingly wild brush work and strident colors, while their subject matter had a high degree of simplification and abstraction. Fauvism can be classified as a development of Van Goghs Post-Impressionism fused with the pointillism of Seurat and other Neo-Impressionist painters. Other key influences were Paul Cézanne and Paul Gauguin, whose employment of areas of saturated color—notably in paintings from Tahiti—strongly influenced Derains work at Collioure in 1905, in 1888 Gauguin had said to Paul Sérusier, How do you see these trees. So, put in yellow, this shadow, rather blue, paint it with pure ultramarine, Fauvism can also be seen as a mode of Expressionism. Moreaus broad-mindedness, originality and affirmation of the potency of pure color was inspirational for his students. Matisse said of him, He did not set us on the right roads and this source of empathy was taken away with Moreaus death in 1898, but the artists discovered other catalysts for their development. In 1896, Matisse, then an art student, visited the artist John Peter Russell on the island of Belle Île off the coast of Brittany. The next year he returned as Russells student and abandoned his earth-colored palette for bright Impressionist colors, later stating, Russell was my teacher, Russell had been a close friend of Vincent van Gogh and gave Matisse a Van Gogh drawing. In parallel with the discovery of contemporary avant-garde art came an appreciation of pre-Renaissance French art. Another aesthetic influence was African sculpture, of which Vlaminck, Derain, many of the Fauve characteristics first cohered in Matisses painting, Luxe, Calme et Volupté, which he painted in the summer of 1904, whilst in Saint-Tropez with Paul Signac and Henri-Edmond Cross. The artists shared their first exhibition at the 1905 Salon dAutomne, Henri Rousseau was not a Fauve, but his large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near Matisses work and may have had an influence on the pejorative used. Vauxcelles comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, the pictures gained considerable condemnation—A pot of paint has been flung in the face of the public, wrote the critic Camille Mauclair —but also some favorable attention. Matisses Neo-Impressionist landscape, Luxe, Calme et Volupté, had already exhibited at the Salon des Indépendants in the spring of 1905. Art history History of painting Neo-Fauvism Visual arts Western painting Gerdts, the Color of Modernism, The American Fauves. Spivey, Virginia, Fauvism, Smarthistory at Khan Academy Whitfield, Fauve Painting from the Permanent Collection at the National Gallery of Art Fauvism, The Wild Beasts of Early Twentieth Century Art Rewald, Sabine. New York, The Metropolitan Museum of Art Gelett Burgess, The Wild Men of Paris, Matisse, Picasso and Les Fauves,1910
Fauvism
–
Henri Matisse, Portrait of Madame Matisse (The
Green Stripe), 1906,
Statens Museum for Kunst,
Copenhagen, Denmark
Fauvism
–
Press clipping, Les Fauves: Exhibition at the
Salon d'Automne, in L'Illustration, 4 November 1905
Fauvism
–
Henri Matisse.
Woman with a Hat, 1905.
San Francisco Museum of Modern Art.
Fauvism
–
Henri Matisse,
Luxe, Calme et Volupté, 1904, oil on canvas, 98 x 118.5 cm,
Musée d'Orsay, Paris, France
14.
Primitivism (art)
–
Primitivism is a Western art movement that borrows visual forms from non-Western or prehistoric peoples, such as Paul Gauguins inclusion of Tahitian motifs in paintings and ceramics. Borrowings from primitive art has been important to the development of modern art, the term primitivism is often applied to other professional painters working in the style of naïve or folk art like Henri Rousseau, Mikhail Larionov, Paul Klee and others. Whether and to what extent we should simplify our lives and get back to basics is a debate that has been going on since the invention of writing. In antiquity the superiority of the life was expressed in the Myth of the Golden Age, depicted in the genre of European poetry. During the Enlightenment, arguments about the superiority of indigenous peoples were chiefly used as a rhetorical device to criticize aspects of European society. In the 18th century, the German scholar Friedrich August Wolf identified the character of oral literature and located Homer. Vico and Wolfs ideas were developed further in the beginning of the 19th century by Herder, nevertheless, although influential in literature, such arguments were known to a relatively small number of educated people and their impact was limited or non-existent in the sphere of visual arts. The 19th century saw for the first time the emergence of historicism, or the ability to judge different eras by their own context, a result of this new historicism, new schools of visual art arose that aspired to hitherto unprecedented levels of historical fidelity in setting and costumes. Neoclassicism in visual art and architecture was one result, another such historicist movement in art was the Nazarene movement in Germany, which took inspiration from the so-called Italian primitive school of devotional paintings. Two phenomena shook the world of art in the mid-19th century. The first was the invention of the camera, which arguably spurred the development of Realism in art. The discovery of new dimensions had the opposite effect of photography. Beaux Arts academies held than non-Western and tribal peoples had had no art or only inferior art and they looked to Japanese and Chinese art, which was learned and sophisticated and did not employ Renaissance one-point perspective. Non-euclidean perspective and tribal art fascinated Western European artists who saw them as portraying the reality of the spirit world, tribal and other non-European art also appealed to those who were unhappy with the repressive aspects of European culture, as pastoral art had done for millennia. Imitations of tribal or archaic art also fall into the category of nineteenth-century historicism, actual examples of tribal, archaic, and folk art were prized by both creative artists and collectors. Paul Gauguins paintings, Pablo Picassos paintings and Igor Stravinskys music are sometimes cited as examples of primitivism in art, Stravinskys The Rite of Spring, is primitivist in that its programmatic subject is a pagan rite, a human sacrifice in pre-Christian Russia. It uses dissonance and loud, repetitive rhythms to depict Dionysian modernism, nevertheless, Stravinsky was a master of learned classical tradition and worked within its bounds. In his later work he adopted a more Apollonian neoclassicism, to use Nietzsches terminology and they began questioning the nature of humanity and its origins through a discussion of the natural man, which had intrigued theologians since the European encounter with the New World
Primitivism (art)
–
Henri Rousseau, In a Tropical Forest Combat of a Tiger and a Buffalo, 1908-1909,
Hermitage Museum,
St. Petersburg
Primitivism (art)
–
African
Fang mask similar in style to those Picasso saw in Paris just prior to painting Les Demoiselles d'Avignon
Primitivism (art)
–
Paul Gauguin. Spirit of the Dead Watching, 1892. Oil on canvas.
Albright Knox Art Gallery.
Primitivism (art)
–
Les Demoiselles d'Avignon. The two figures on the right are the beginnings of
Picasso's African period.
15.
Entartete Kunst
–
Degenerate art was a term adopted by the Nazi regime in Germany to describe Modern art. Such art was banned on the grounds that it was un-German, Jewish, or Communist in nature, and these included being dismissed from teaching positions, being forbidden to exhibit or to sell their art, and in some cases being forbidden to produce art. Degenerate Art also was the title of an exhibition, held by the Nazis in Munich in 1937, consisting of modernist artworks chaotically hung, designed to inflame public opinion against modernism, the exhibition subsequently traveled to several other cities in Germany and Austria. Similar restrictions were placed upon music, which was expected to be tonal and free of any jazz influences, films and plays were also censored. The early twentieth century was a period of wrenching changes in the arts, in the visual arts, such innovations as Fauvism, Cubism, Dada and Surrealism—following Symbolism and Post-Impressionism—were not universally appreciated. The majority of people in Germany, as elsewhere, did not care for the new art which many resented as elitist, morally suspect, under the Weimar government of the 1920s, Germany emerged as a leading center of the avant-garde. It was the birthplace of Expressionism in painting and sculpture, of the musical compositions of Arnold Schoenberg. Films such as Robert Wienes The Cabinet of Dr. Caligari, the Nazis viewed the culture of the Weimar period with disgust. Their response stemmed partly from a conservative aesthetic taste, and partly from their determination to use culture as a propaganda tool, on both counts, a painting such as Otto Dixs War Cripples was anathema to them. It unsparingly depicts four badly disfigured veterans of the First World War, then a familiar sight on Berlins streets, rendered in caricatured style. Featured in the Degenerate Art exhibition, it would hang next to a label accusing Dix—himself a volunteer in World War I—of an insult to the German heroes of the Great War. As dictator, Hitler gave his personal taste in art the force of law to a never before seen. Only in Stalins Soviet Union, where Socialist Realism was the style, had a modern state shown such concern with regulation of the arts. In the case of Germany, the model was to be classical Greek and Roman art, Art historian Henry Grosshans says that Hitler saw Greek and Roman art as uncontaminated by Jewish influences. Modern art was an act of violence by the Jews against the German spirit. Such was true to Hitler even though only Liebermann, Meidner, Freundlich, took upon himself the responsibility of deciding who, in matters of culture, thought and acted like a Jew. By propagating the theory of degeneracy, the Nazis combined their anti-Semitism with their drive to control the culture, the term Entartung had gained currency in Germany by the late 19th century when the critic and author Max Nordau devised the theory presented in his 1892 book, Entartung. He attacked Aestheticism in English literature and described the mysticism of the Symbolist movement in French literature as a product of mental pathology, explaining the painterliness of Impressionism as the sign of a diseased visual cortex, he decried modern degeneracy while praising traditional German culture
Entartete Kunst
–
Adolf Hitler and
Adolf Ziegler visit the
Degenerate Art Exhibition, 1937. The wall behind them calls attention to the works of the
Dada artists with depreciatory comments
Entartete Kunst
–
A still from
The Cabinet of Dr. Caligari
Entartete Kunst
–
Das Magdeburger Ehrenmal (the Magdeburg cenotaph), by
Ernst Barlach was declared to be degenerate art due to the "deformity" and emaciation of the figures—corresponding to
Nordau's theorized connection between "mental and physical degeneration."
Entartete Kunst
–
Cover of the exhibition program: Degenerate Art exhibition, 1937. Note the word "Kunst", meaning art, in
scare quotes
16.
Pomerania
–
Pomerania is a region on the southern shore of the Baltic Sea in Central Europe, split between Germany and Poland. The name derives from the Slavic po more, meaning by the sea, Pomerania stretches roughly from the Recknitz river in the west to the Vistula river in the east. The largest Pomeranian islands are Rügen, Usedom/Uznam and Wolin, the largest Pomeranian city is Gdańsk, or, when using a narrower definition of the region, Szczecin. Outside its urban areas, Pomerania is characterized by farmland, dotted with lakes, forests. The region was affected by post–World War I and II border and population shifts. Pomerania is the area along the Bay of Pomerania of the Baltic Sea between the rivers Recknitz in the west and Vistula in the east and it formerly reached perhaps as far south as the Noteć river, but since the 13th century its southern boundary has been placed further north. Most of the region is coastal lowland, being part of the North European Plain, but its southern, hilly parts belong to the Baltic Ridge, within this ridge, a chain of moraine-dammed lakes constitutes the Pomeranian Lake District. The soil is rather poor, sometimes sandy or marshy. The western coastline is jagged, with many peninsulas and islands enclosing numerous bays, Łebsko and several other lakes were formerly bays, but have been cut off from the sea. The easternmost coastline along the Gdańsk Bay and Vistula Lagoon, has the Hel peninsula, the Pomeranian region has the following administrative divisions, Hither Pomerania in northeastern Germany, stretching from the Recknitz river to the Oder–Neisse line. This region is part of the state of Mecklenburg-Vorpommern. The southernmost part of historical Vorpommern is now in Brandenburg, while its eastern parts are now in Poland. Vorpommern comprises the regions inhabited by Slavic tribes Rugians and Volinians, otherwise the Principality of Rügen. The West Pomeranian Voivodeship in Poland, stretching from the Oder–Neisse line to the Wieprza river, the Pomeranian Voivodeship, with similar borders to Pomerelia, stretching from the Wieprza river to the Vistula delta in the vicinity of Gdańsk. The northern half of the Kuyavian-Pomeranian Voivodeship, comprising most of Chełmno Land, the bulk of Farther Pomerania is included within the modern West Pomeranian Voivodeship, but its easternmost parts now constitute the northwest of Pomeranian Voivodeship. Parts of Pomerania and surrounding regions have constituted a euroregion since 1995, the Pomerania euroregion comprises Hither Pomerania and Uckermark in Germany, West Pomerania in Poland, and Scania in Sweden. Pomerania was first mentioned in a document of 1046, referring to a Zemuzil dux Bomeranorum. Pomerania is mentioned repeatedly in the chronicles of Adam of Bremen, the term West Pomerania is ambiguous, since it may refer to either Hither Pomerania or to the West Pomeranian Voivodeship
Pomerania
–
Szczecin
Pomerania
–
Contemporary administrative units with Pomerania in the name, not representing the exact historical region
Pomerania
–
Gdańsk
Pomerania
–
Greifswald
17.
Lithograph
–
Lithography is a method of printing originally based on the immiscibility of oil and water. The printing is from a stone or a plate with a smooth surface. It was invented in 1796 by German author and actor Alois Senefelder as a method of publishing theatrical works. Lithography can be used to print text or artwork onto paper or other suitable material, Lithography originally used an image drawn with oil, fat, or wax onto the surface of a smooth, level lithographic limestone plate. The stone was treated with a mixture of acid and gum arabic, when the stone was subsequently moistened, these etched areas retained water, an oil-based ink could then be applied and would be repelled by the water, sticking only to the original drawing. The ink would finally be transferred to a paper sheet. This traditional technique is used in some fine art printmaking applications. In modern lithography, the image is made of a coating applied to a flexible aluminum plate. The image can be printed directly from the plate, or it can be offset, by transferring the image onto a sheet for printing. In fact, photolithography is used synonymously with offset printing, the technique as well as the term were introduced in Europe in the 1850s. Beginning in the 1960s, photolithography has played an important role in the fabrication, Lithography uses simple chemical processes to create an image. For instance, the part of an image is a water-repelling substance. Thus, when the plate is introduced to a printing ink and water mixture, the ink will adhere to the positive image. This allows a flat print plate to be used, enabling much longer, Lithography was invented by Alois Senefelder in the Kingdom of Bavaria in 1796. In the early days of lithography, a piece of limestone was used. After the oil-based image was put on the surface, a solution of gum arabic in water was applied, during printing, water adhered to the gum arabic surfaces and was repelled by the oily parts, while the oily ink used for printing did the opposite. Lithography works because of the repulsion of oil and water. The image is drawn on the surface of the print plate with a fat or oil-based medium such as a wax crayon, which may be pigmented to make the drawing visible
Lithograph
–
Charles Marion Russell 's The Custer Fight (1903), with the range of tones fading toward the edges
Lithograph
–
Lithography stone and
mirror image print of a map of Munich
Lithograph
–
A 1902 lithograph map (original size 33×24 cm)
18.
Woodcut
–
Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print, the block is cut along the wood grain. The surface is covered with ink by rolling over the surface with a roller, leaving ink upon the flat surface. Multiple colors can be printed by keying the paper to a frame around the woodblocks, single-leaf woodcut is a term for a woodcut presented as a single image or print, as opposed to a book illustration. Among these the best known are the 16th century Hieronymus Andreae, Hans Lützelburger and Jost de Negker, all of whom ran workshops, the formschneider in turn handed the block on to specialist printers. There were further specialists who made the blank blocks and this is why woodcuts are sometimes described by museums or books as designed by rather than by an artist, but most authorities do not use this distinction. The division of labour had the advantage that a trained artist could adapt to the medium relatively easily, there were various methods of transferring the artists drawn design onto the block for the cutter to follow. Either the drawing would be made directly onto the block, or a drawing on paper was glued to the block, either way, the artists drawing was destroyed during the cutting process. Other methods were used, including tracing, in both Europe and the Far East in the early 20th century, some artists began to do the whole process themselves. In Japan, this movement was called sōsaku-hanga, as opposed to shin-hanga, in the West, many artists used the easier technique of linocut instead. Compared to intaglio techniques like etching and engraving, only low pressure is required to print, as a relief method, it is only necessary to ink the block and bring it into firm and even contact with the paper or cloth to achieve an acceptable print. In Europe a variety of woods including boxwood and several nut and fruit woods like pear or cherry were commonly used, in Japan, there are three methods of printing to consider, Stamping, Used for many fabrics and most early European woodcuts. Used for European woodcuts and block-books later in the fifteenth century, also used for many Western woodcuts from about 1910 to the present. The block goes face up on a table, with the paper or fabric on top, the back is rubbed with a hard pad, a flat piece of wood, a burnisher, or a leather frotton. A traditional Japanese tool used for this is called a baren, later in Japan, complex wooden mechanisms were used to help hold the woodblock perfectly still and to apply proper pressure in the printing process. This was especially helpful once multiple colors were introduced and had to be applied with precision atop previous ink layers, printing in a press, presses only seem to have been used in Asia in relatively recent times. Printing-presses were used from about 1480 for European prints and block-books, simple weighted presses may have been used in Europe before the print-press, but firm evidence is lacking
Woodcut
–
Four horsemen of the Apocalypse by
Albrecht Dürer
Woodcut
–
Using a handheld gouge to cut a woodcut design into Japanese plywood. The design has been sketched in chalk on a painted face of the plywood.
Woodcut
–
Woodcuts of Stanislaw Raczynski (1903-1982)
Woodcut
–
Block Cutter at Work woodcut by
Jost Amman, 1568
19.
Linocut
–
Linocut is a printmaking technique, a variant of woodcut in which a sheet of linoleum is used for a relief surface. A design is cut into the surface with a sharp knife, V-shaped chisel or gouge. The linoleum sheet is inked with a roller, and then impressed onto paper or fabric, Linocuts can also be achieved by the careful application of arts on the surface of the lino. This creates a similar to a soft ground etching and these caustic-lino plates can be printed in either a relief. Essentially, after each successive colour is imprinted onto the paper, however, in the contemporary art world the linocut is an established professional print medium, following its use by Pablo Picasso and Henri Matisse. In 1911 “linoleum art” was first displayed in New York City by the Czech émigré Vojtěch Preissig, the first large-scale colour linocuts made by an American artist were created ca. 1943–45 by Walter Inglis Anderson, and exhibited at the Brooklyn Museum in 1949, today, linocut is a popular technique among street artists and street art-related fine art. Block Prints, How to Make Them, Milwaukee, Bruce Publishing Company,1941, draffin, Nicholas, Australian Woodcuts and Linocuts of the 1920s and 1930s, South Melbourne, Sun Books,1976. 30 Awesome and Fabulous Examples of Lino Printing articles by Artatm Creative Art Mazazine photo series, Linocut articles by German printmaker Joachim Graf Large scale hand printed linocut video
Linocut
–
Linocut Bar by
Carl Eugen Keel
Linocut
–
Using a handheld gouger to cut a design into linoleum for a linocut print
Linocut
–
Linocut printing; using a design cut into linoleum to make a print on paper
20.
Intaglio (printmaking)
–
Intaglio is the family of printing and printmaking techniques in which the image is incised into a surface and the incised line or sunken area holds the ink. It is the direct opposite of a relief print, normally, copper or zinc plates are used as a surface or matrix, and the incisions are created by etching, engraving, drypoint, aquatint or mezzotint. Collagraphs may also be printed as intaglio plates, in etching, for example, the plate is covered in a resin ground or an acid-resistant wax material. Using an etching needle, or a tool, the image is engraved into the ground. The plate is dipped into acid. The acid bites into the surface of the plate where it was exposed, biting is a printmaking term to describe the acids etching, or incising, of the image. After the plate is bitten, the plate is removed from the acid bath. To print an intaglio plate, ink is applied to the surface by wiping and/or dabbing the plate to push the ink into the recessed lines, the plate is then rubbed with tarlatan cloth to remove most of the excess ink. The final smooth wipe is often done with newspaper or old public phone book pages, a damp piece of paper is placed on top of the plate, so that when going through the press the damp paper will be able to be squeezed into the plates ink-filled grooves. The paper and plate are covered by a thick blanket to ensure even pressure when going through the rolling press. The rolling press applies very high pressure through the blanket to push the paper into the grooves on the plate, the blanket is then lifted, revealing the paper and printed image. Martin Schongauer was one of the earliest known artists to exploit the copper-engraving technique, italian and Netherlandish engraving began slightly after the Germans, but were well developed by 1500. Drypoint and etching were also German inventions of the century, probably by the Housebook Master. In the nineteenth century, Viennese printer Karel Klíč introduced a combined intaglio, photogravure retained the smooth continuous tones of photography but was printed using a chemically-etched copper plate. This permitted a photographic image to be printed on regular paper, at one time intaglio printing was used for all mass-printed materials including banknotes, stock certificates, newspapers and magazines, fabrics, wallpapers and sheet music. Today intaglio engraving is largely used for paper or plastic currency, banknotes, passports, photogravure, an intaglio photo-printmaking process Rotogravure Line engraving Viscosity printing History of printing Intaglio and other printmaking definitions
Intaglio (printmaking)
–
Micro-topography of an ordinary French post stamp (detail) showing the thickness of ink obtained by intaglio. The words "la Poste" appeared in white on red background and hence corresponds to areas with a lack of ink.
Intaglio (printmaking)
–
Depressions are cut into a printing plate. The plate shown here is not to scale: the grooves can be fractions of a mm wide.
21.
Etching
–
Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio in the metal. In modern manufacturing, other chemicals may be used on other types of material, as a method of printmaking, it is, along with engraving, the most important technique for old master prints, and remains in wide use today. In a number of variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology. In traditional pure etching, a plate is covered with a waxy ground which is resistant to acid. The artist then scratches off the ground with an etching needle where he or she wants a line to appear in the finished piece. The échoppe, a tool with an oval section, is also used for swelling lines. The plate is dipped in a bath of acid, technically called the mordant or etchant. The acid bites into the metal where it is exposed, leaving behind lines sunk into the plate, the remaining ground is then cleaned off the plate. The plate is inked all over, and then the ink wiped off the surface, the plate is then put through a high-pressure printing press together with a sheet of paper. The paper picks up the ink from the lines, making a print. The process can be repeated many times, typically several hundred impressions could be printed before the shows much sign of wear. The work on the plate can also be added to by repeating the whole process, Etching has often been combined with other intaglio techniques such as engraving or aquatint. The process as applied to printmaking is believed to have been invented by Daniel Hopfer of Augsburg, Hopfer was a craftsman who decorated armour in this way, and applied the method to printmaking, using iron plates. Apart from his prints, there are two examples of his work on armour, a shield from 1536 now in the Real Armeria of Madrid. The switch to copper plates was made in Italy. On the other hand, the handling of the ground and acid need skill and experience, prior to 1100 AD, the New World Hohokam independently utilized the technique of acid etching in marine shell designs. Jacques Callot from Nancy in Lorraine made important technical advances in etching technique and he developed the échoppe, a type of etching-needle with a slanting oval section at the end, which enabled etchers to create a swelling line, as engravers were able to do. Callot also appears to have responsible for an improved, harder, recipe for the etching ground
Etching
–
The Soldier and his Wife. Etching by
Daniel Hopfer, who is believed to have been the first to apply the technique to printmaking
Etching
–
Portrait of
Luca Giordano, 18th century
Etching
–
Rembrandt,
The Virgin and Child with a Cat, 1654. Original copper etching plate above, example of the print below, with composition reversed.
Etching
–
Christ Preaching, known as The
Hundred Guilder Print; etching c1648 by
Rembrandt.
22.
Prussian Academy of Arts
–
The academy had a decisive influence on art and its development in the German-speaking world throughout its existence. For an extended period of time it was also the German artists society and training organisation and it dropped Prussian from its name in 1945 and was finally disbanded in 1955 after the 1954 foundation of two separate academies of art for East Berlin and West Berlin in 1954. Those two separate academies merged in 1993 to form Berlins present-day Academy of Arts, most artists were associated with the academy as members. Membership was an honorary distinction extended to prominent domestic Prussian artists, a deliberative body of senators was chosen from the membership -- some elected, and some automatically included due to other rank. The academy was not a school, although it had associations with educational institutions, the scope was expanded in 1704 to include Mechanical Sciences. The academys first director was Swiss painter Joseph Werner, in 1833 the academy added a fine arts division, and a music division in 1835. Emil Fuchs studied at the Academy under Fritz Schaper and Anton von Werner, Otto Geyer studied there from 1859-1864. Sculptor Wilhelm Neumann-Torborg studied at the academy from 1878 until 1885, under Otto Knille, in 1885, he won the Academys Rome Scholarship for his thesis, The Judgment of Paris. Anna Gerresheim studied there from 1876 for four years in the class under Karl Gussow. Oskar Frenzel studied there between 1884 and 1889 under Paul Friedrich Meyerheim and Eugen Bracht and he was from 1904 until his death a member of the Academy. Painter Friedrich Wachenhusen studied there in 1889 under Eugen Bracht, painter and sculptor Paul Wallat studied there from 1902-1909 under Otto Brausewetter and Carl Saltzmann. On December 29,1906 he received the award of the Ginsberg Foundation of the Berlin Academy, käthe Kollwitz became the first woman elected to the Prussian Academy, but with the coming to power of Adolf Hitler in 1933 she was expelled because of her beliefs and her art. Name changes, 1882–1918 Königliche Akademie der Künste zu Berlin 1918–1926 Akademie der Künste zu Berlin 1926–1931 Preußische Akademie der Künste zu Berlin 1931–1954 Preussische Akademie der Künste
Prussian Academy of Arts
–
The Prussian Academy of Arts building on Unter den Linden in Berlin, c. 1903
23.
Nazism
–
National Socialism, more commonly known as Nazism, is the ideology and practice associated with the 20th-century German Nazi Party and Nazi Germany, as well as other far-right groups. Nazism subscribed to theories of racial hierarchy and Social Darwinism, identifying Germans as part of what Nazis regarded as an Aryan or Nordic master race and it aimed to overcome social divisions and create a homogeneous society, unified on the basis of racial purity. The term National Socialism arose out of attempts to create a nationalist redefinition of socialism, the Nazi Partys precursor, the Pan-German nationalist and anti-Semitic German Workers Party, was founded on 5 January 1919. By the early 1920s, Adolf Hitler assumed control of the organisation, following the Holocaust and German defeat in World War II, only a few fringe racist groups, usually referred to as neo-Nazis, still describe themselves as following National Socialism. The full name of Adolf Hitlers party was Nationalsozialistische Deutsche Arbeiterpartei, the shorthand Nazi was formed from the first two syllables of the German pronunciation of the word national. The term was in use before the rise of the NSDAP as a colloquial and derogatory word for a peasant, characterizing an awkward. It derived from Ignaz, being a version of Ignatius, a common name in Bavaria. Opponents seized on this and shortened the first word of the name, Nationalsozialistische. The NSDAP briefly adopted the Nazi designation, attempting to reappropriate the term, the use of Nazi Germany, Nazi regime, and so on was popularised by German exiles abroad. From them, the spread into other languages and was eventually brought back to Germany after World War II. In English, Nazism is a name for the ideology the party advocated. The majority of scholars identify Nazism in practice as a form of far-right politics, far-right themes in Nazism include the argument that superior people have a right to dominate over other people and purge society of supposed inferior elements. Adolf Hitler and other proponents officially portrayed Nazism as being neither left- nor right-wing, but the politicians of the Right deserve exactly the same reproach. It was through their miserable cowardice that those ruffians of Jews who came into power in 1918 were able to rob the nation of its arms, a major inspiration for the Nazis were the far-right nationalist Freikorps, paramilitary organisations that engaged in political violence after World War I. The Nazis stated the alliance was purely tactical and there remained substantial differences with the DNVP, the Nazis described the DNVP as a bourgeois party and called themselves an anti-bourgeois party. After the elections in 1932, the alliance broke after the DNVP lost many of its seats in the Reichstag, the Nazis denounced them as an insignificant heap of reactionaries. The DNVP responded by denouncing the Nazis for their socialism, their violence. Kaiser Wilhelm II, who was pressured to abdicate the throne and flee into exile amidst an attempted communist revolution in Germany, there were factions in the Nazi Party, both conservative and radical
Nazism
–
Foreground, left to right: Führer
Adolf Hitler;
Hermann Göring; Minister of Propaganda
Joseph Goebbels;
Rudolf Hess
Nazism
Nazism
–
Nazis alongside members of the far-right
reactionary and
monarchist German National People's Party (DNVP), during the brief Nazi-DNVP alliance in the
Harzburg Front from 1931 to 1932
Nazism
–
Johann Gottlieb Fichte, considered one of the fathers of German nationalism
24.
West Berlin
–
West Berlin was an enclave which comprised the western part of the city of Berlin during the Cold War. It was formally controlled by the Western Allies and formed a de facto part of West Germany, and was entirely surrounded by the Soviet-controlled East Berlin and East Germany. West Berlin had great significance during the Cold War, as it was widely considered by westerners as an island of freedom. A wealthy city, West Berlin was noted for its liberal and cosmopolitan character. With about two million inhabitants, West Berlin had the biggest population of any city in Cold War Germany and it was 100 miles east of the Inner German border and only accessible by land from West Germany by narrow rail and highway corridors. It consisted of the American, British, and French occupation sectors established in 1945 and was de facto part of West Germany and it had a special and unique legal status because its administration was formally conducted by the Western Allies. East Berlin, de jure occupied and administered by the Soviet Union, was the de facto capital of East Germany, the Berlin Wall, built in 1961, physically divided West Berlin from its East German surroundings until it fell in 1989. The Potsdam Agreement established the framework for the occupation of Germany in the wake of World War II. The territory of Germany, as it existed in 1937, would be reduced by most of Eastern Germany thus creating the former territories of Germany. The remaining territory would be divided into four zones, each administered by one of the allied countries, according to the agreement, the occupation of Berlin would end only as a result of a quadripartite agreement. The Western Allies were guaranteed three air corridors to their sectors of Berlin, and the Soviets also informally allowed road, at first, this arrangement was intended to be only a temporary administrative structure, with all parties declaring that Germany and Berlin would soon be reunited. However, as the relations between the allies and the Soviet Union soured and the Cold War began, the joint administration of Germany. Soon, Soviet-occupied Berlin and western-occupied Berlin had separate city administrations, in 1948, the Soviets tried to force the Western Allies out of Berlin by imposing a land blockade on the western sectors—the Berlin Blockade. The West responded by using its air corridors for supplying their part of the city with food, in May 1949, the Soviets lifted the blockade, and West Berlin as a separate city with its own jurisdiction was maintained. Following the Berlin Blockade, normal contacts between East and West Berlin resumed, however, in cases this proved only temporary. In 1952, the East German government began sealing its borders, as a direct result the electrical grids were separated and phone lines were cut. However, the culmination of the schism did not occur until 1961 with the construction of the Berlin Wall. From the legal theory followed by the Western Allies, the occupation of most of Germany ended in 1949 with the declaration of the Federal Republic of Germany and the German Democratic Republic
West Berlin
–
West Berlin, as of 1978
West Berlin
–
Flag
West Berlin
–
In 1969 U.S. military vehicles pass through the residential district of
Zehlendorf, a routine reminder that West Berlin was still legally occupied by the Western Allies of World War II
West Berlin
–
President
John F. Kennedy addressing from
Rathaus Schöneberg the people of West Berlin on Rudolf-Wilde-Platz (today's John-F.-Kennedy-Platz), 26 June 1963.
25.
International Herald Tribune
–
From 1967 to 2013, the paper was known as the International Herald Tribune, and was renamed The International New York Times on October 15,2013. In October 2016, the newspaper was integrated with its parent. Autumn that year saw the closing of editing and preproduction operations in the Paris newsroom. The Paris Herald was founded on 4 October 1887, as the European edition of the New York Herald by the parent paper’s owner, James Gordon Bennett, the company was based in Neuilly-sur-Seine, a suburb of Paris, France. After the death of Bennett in 1918, Frank Andrew Munsey bought the New York Herald, Munsey sold the Herald newspapers in 1924 to the New York Tribune, and the Paris Herald became the Paris Herald Tribune, while the New York paper became New York Herald Tribune. The newspaper became a mainstay of American expatriate culture in Europe, in Jean-Luc Godard’s 1960 film Breathless, the female lead character Patricia is an American student journalist who sells the New York Herald Tribune on the streets of Paris. Pages from the paper can be seen tacked up through the office windows. In 1959 John Hay Whitney, a businessman and United States Ambassador to the United Kingdom, bought the New York Herald Tribune and its European edition. In 1966 the New York Herald Tribune was merged into the short-lived New York World Journal Tribune and ceased publication, in December 1966 The Washington Post became a joint owner. The New York Times became a joint owner of the Paris Herald Tribune in May 1967, in 1974, the IHT began transmitting facsimile pages of the paper between nations and opened a printing site near London. In 1977 the paper opened a site in Zürich. The IHT began transmitting electronic images of pages from Paris to Hong Kong via satellite in 1980. This was the first such intercontinental transmission of an English-language daily newspaper, in 1991, The Washington Post and The New York Times became sole and equal shareholders of the IHT. In February 2005 it opened its Asia newsroom in Hong Kong, in April 2001, the Japanese newspaper Asahi Shimbun tied up with the IHT and published an English-language newspaper, the International Herald Tribune/Asahi Shimbun. After The Washington Post sold their stake in the IHT, it continued being published under the name International Herald Tribune/Asahi Shimbun, on 30 December 2002 The New York Times Company took control of the paper by buying the 50% stake owned by The Washington Post Company. The takeover ended a 35-year partnership between the two US domestic competitors, the Post was forced to sell when the Times threatened to pull out and start a competing paper. As a result, the Post entered into an agreement to publish selected Post articles in The Wall Street Journal’s European edition, after the takeover the IHT was subtitled The Global Edition of the New York Times. In 2008, the NYT Company announced the merger of the New York Times, in March 2009 the IHT website became the global version of NYTimes. com
International Herald Tribune
International Herald Tribune
–
Front page of the International New York Times, on its first issue under new name on October 15, 2013
International Herald Tribune
–
Sample front page of the International Herald Tribune, before it was renamed the International New York Times
26.
Internet Archive
–
The Internet Archive is a San Francisco–based nonprofit digital library with the stated mission of universal access to all knowledge. As of October 2016, its collection topped 15 petabytes, in addition to its archiving function, the Archive is an activist organization, advocating for a free and open Internet. Its web archive, the Wayback Machine, contains over 150 billion web captures, the Archive also oversees one of the worlds largest book digitization projects. Founded by Brewster Kahle in May 1996, the Archive is a 501 nonprofit operating in the United States. It has a budget of $10 million, derived from a variety of sources, revenue from its Web crawling services, various partnerships, grants, donations. Its headquarters are in San Francisco, California, where about 30 of its 200 employees work, Most of its staff work in its book-scanning centers. The Archive has data centers in three Californian cities, San Francisco, Redwood City, and Richmond, the Archive is a member of the International Internet Preservation Consortium and was officially designated as a library by the State of California in 2007. Brewster Kahle founded the Archive in 1996 at around the time that he began the for-profit web crawling company Alexa Internet. In October 1996, the Internet Archive had begun to archive and preserve the World Wide Web in large quantities, the archived content wasnt available to the general public until 2001, when it developed the Wayback Machine. In late 1999, the Archive expanded its collections beyond the Web archive, Now the Internet Archive includes texts, audio, moving images, and software. It hosts a number of projects, the NASA Images Archive, the contract crawling service Archive-It. According to its web site, Most societies place importance on preserving artifacts of their culture, without such artifacts, civilization has no memory and no mechanism to learn from its successes and failures. Our culture now produces more and more artifacts in digital form, the Archives mission is to help preserve those artifacts and create an Internet library for researchers, historians, and scholars. In August 2012, the Archive announced that it has added BitTorrent to its file download options for over 1.3 million existing files, on November 6,2013, the Internet Archives headquarters in San Franciscos Richmond District caught fire, destroying equipment and damaging some nearby apartments. The nonprofit Archive sought donations to cover the estimated $600,000 in damage, in November 2016, Kahle announced that the Internet Archive was building the Internet Archive of Canada, a copy of the archive to be based somewhere in the country of Canada. The announcement received widespread coverage due to the implication that the decision to build an archive in a foreign country was because of the upcoming presidency of Donald Trump. Kahle was quoted as saying that on November 9th in America and it was a firm reminder that institutions like ours, built for the long-term, need to design for change. For us, it means keeping our cultural materials safe, private and it means preparing for a Web that may face greater restrictions
Internet Archive
–
Since 2009, headquarters have been at 300 Funston Avenue in
San Francisco, a former
Christian Science Church
Internet Archive
–
Internet Archive
Internet Archive
–
Mirror of the Internet Archive in the
Bibliotheca Alexandrina
Internet Archive
–
From 1996 to 2009, headquarters were in the
Presidio of San Francisco, a former U.S. military base
27.
Fritz Bleyl
–
Hilmar Friedrich Wilhelm Bleyl, known as Fritz Bleyl, was a German artist of the Expressionist school, and one of the four founders of artist group Die Brücke. He designed graphics for the group including, for their first show, a poster and he left the group after only two years, when he married, to look after his family, and did not exhibit publicly thereafter. Fritz Bleyl was born in Zwickau, Kingdom of Saxony, in 1901 he began studying architecture at the Königliche Technische Hochschule of Dresden, as his parents wished, however, his own desire was to become a painter. The institution provided a range of studies in addition to architecture, such as freehand drawing, perspective drawing. Bleyl became close friends with student, Ernst Ludwig Kirchner. They discussed art together and also studied nature, having a radical outlook in common, in 1905, Bleyl along with Ernst Ludwig Kirchner, and two other architecture students, Karl Schmidt-Rottluff and Erich Heckel, founded the artists group Die Brücke. The group aimed to eschew the prevalent traditional academic style and find a new mode of artistic expression and they responded both to past artists such as Albrecht Dürer, Matthias Grünewald and Lucas Cranach the Elder, as well as contemporary international avant-garde movements. Their group was one of the ones, which in due course had a major impact on the evolution of modern art in the 20th century. At this time, Bleyl was a member of the group. This met initially in Kirchners first studio, which had previously been a butchers shop, Kirchners studio lived up to Bleyls description, becoming a venue which overthrew social conventions to allow casual love-making and frequent nudity. Group life-drawing sessions took place using models from the circle, rather than professionals. The group composed a manifesto, which was carved on wood and asserted a new generation, as part of the affirmation of their national heritage, they revived older media, particularly woodcut prints. Bleyl specialised in design and created several significant posters and tickets presenting the group to the general public. In September and October 1906, the first group exhibition was held, focused on the female nude, deriving from the life studies, Bleyl created a lithographic poster for the show printed in orange ink on white paper. Bleyl omits iconography such as a crown, a lamp and a flowing gown, police censors barred the display of the poster under Paragraph 184, the National Penal Code pornography clause, after perceiving pubic hair in the shadow underneath the stomach. In 1905, Bleyl completed his university studies and, the year, began to teach at the Bauschule in Freiberg. He chose a bourgeois lifestyle, marrying in 1907 and, with a concern to support his family and he was replaced by Max Pechstein and Otto Mueller. In 1916, he completed his dissertation, and travelled in Italy, for the rest of his life, he continued to teach and to practise as an architect
Fritz Bleyl
–
Poster by Fritz Bleyl to promote the first
Die Brücke show in 1906. It was banned by the police.
28.
Ernst Ludwig Kirchner
–
He volunteered for army service in the First World War, but soon suffered a breakdown and was discharged. In 1933, his work was branded as degenerate by the Nazis and in 1937, in 1938, he committed suicide by gunshot. Ernst Ludwig Kirchner was born in Aschaffenburg, Bavaria and his parents were of Prussian descent and his mother was a descendant of the Huguenots, a fact to which Kirchner often referred. The institution provided a range of studies in addition to architecture, such as freehand drawing, perspective drawing. While in attendance, he became friends with Fritz Bleyl. They discussed art together and also studied nature, having a radical outlook in common, Kirchner continued studies in Munich 1903–1904, returning to Dresden in 1905 to complete his degree. In 1905, Kirchner, along with Bleyl and two other students, Karl Schmidt-Rottluff and Erich Heckel, founded the artists group Die Brücke. From then on, he committed himself to art, the group aimed to eschew the prevalent traditional academic style and find a new mode of artistic expression, which would form a bridge between the past and the present. They responded both to past artists such as Albrecht Dürer, Matthias Grünewald and Lucas Cranach the Elder, as part of the affirmation of their national heritage, they revived older media, particularly woodcut prints. Their group was one of the ones which in due course had a major impact on the evolution of modern art in the 20th century. The group met initially in Kirchners first studio, which had previously been a butchers shop, Kirchners studio became a venue which overthrew social conventions to allow casual love-making and frequent nudity. Group life-drawing sessions took place using models from the circle, rather than professionals. A group manifesto written by Kirchner in 1906 stated that Everyone who reproduces, directly and without illusion, whatever he senses the urge to create, belongs to us. In September and October 1906, the first group exhibition was held, focused on the female nude, in 1906, he met Doris Große, who was his favoured model until 1911. Between 1907 and 1911, he stayed during the summer at the Moritzburg lakes and on the island of Fehmarn with other Brücke members, his work featured the female nude in natural settings. In 1911, he moved to Berlin, where he founded an art school, MIUM-Institut. This was not a success and closed the year, when he also began a relationship with Erna Schilling that lasted the rest of his life. In 1913, his writing of Chronik der Brücke led to the ending of the group, at this time, he established an individual identity with his first solo exhibition, which took place at the Essen Folkwang Museum
Ernst Ludwig Kirchner
–
Photographic self-portrait 1919
Ernst Ludwig Kirchner
–
Marzella (1909–10)
Ernst Ludwig Kirchner
–
Vier Holzplastiken, 1912,
Dallas Museum of Art
Ernst Ludwig Kirchner
–
Kirchner's Berlin studio in 1915
29.
Karl Schmidt-Rottluff
–
Karl Schmidt-Rottluff was a German expressionist painter and printmaker, he was one of the four founders of the artist group Die Brücke. Schmidt-Rottluff was born in Rottluff, nowadays a district of Chemnitz and he attended the humanistische gymnasium in Chemnitz. The group was founded in Dresden on 7 June 1905, in 1906 he added Rottluff to his surname. He spent the summer of year on the island of Alsen. From 1907 to 1912 he spent the summers on the coast at Dangast, in December 1911, he and the other members of Die Brücke moved from Dresden to Berlin. The group was dissolved in 1913, in 1924 the art historian Rosa Schapire who had been a long-time supporter, and sometimes model, published a catalogue of Schmidt-Rottluffs graphic works. The honours bestowed on Schmidt-Rottluff after World War I, as Expressionism was officially recognized in Germany, were away from him after the rise to power of the Nazis. He was expelled from the Prussian Academy of Arts in 1933, in 1937,608 of Schmidt-Rottluffs paintings were seized from museums by the Nazis and several of them shown in exhibitions of degenerate art. By 1941 he had expelled from the painters guild and forbidden to paint. An endowment made by him in 1964 provided the basis for the Brücke Museum in West Berlin and he was a prolific printmaker, with 300 woodcuts,105 lithographs,70 etchings, and 78 commercial prints described in Rosa Schapires Catalogue raisonné. He died in Berlin in 1976, Schmidt-Rottluffs works are included in the collections of, among others, the Museum of Modern Art, New York, the Neue Galerie, New York, the Los Angeles County Museum of Art. The Museum am Theaterplatz in Chemnitz has a collection of work from Schmidt-Rottluff. A German government panel, led by former constitutional judge Jutta Limbach, had ruled that the loss was almost certainly a result of Nazi persecution. Schmidt Rottluffs esteemed Self Portrait with Monocle is now currently in the Staatliche Museum, in 1997, £925,500 was paid for Schmidt-Rottluffs Dangaster Park at Sothebys in London. At a 2001 Phillips de Pury auction, British art dealer James Roundell bought Schmidt-Rottluffs The Reader for $3.9 million. The top price paid at auction for a work by Schmidt-Rottluff was almost $6 million for Akte im Freien – Drei badende Frauen at Christie’s in London in 2008. Letter from Adolf Ziegler about the Nazi seizure of work, departure from the Akademie der Künste Media related to Karl Schmidt-Rottluff at Wikimedia Commons Quotations related to Karl Schmidt-Rottluff at Wikiquote
Karl Schmidt-Rottluff
–
Woman with a Bag by Karl Schmidt-Rottluff (1915)
30.
Kees van Dongen
–
Cornelis Theodorus Maria Kees van Dongen was a Dutch-French painter and one of the Fauves at the controversial 1905 Salon dAutomne exhibition. He gained a reputation for his sensuous, at times garish, Kees van Dongen was born in Delfshaven, then on the outskirts, and today a borough, of Rotterdam. He was the second of four children in a middle-class family, in 1892, at age 16, Kees van Dongen started his studies at the Royal Academy of Fine Arts in Rotterdam, working with J. Striening and J. G. During this period, van Dongen frequented the Red Quarter seaport area and he met Augusta Preitinger at the Academy, a fellow painter. In 1897, van Dongen lived in Paris for several months, in December 1899 he returned from Rotterdam to Paris, where Preitinger had moved before him and found work. He returned to join Augusta Preitinger, whom he had met at the Academy and they married on 11 July 1901. They had two children together, a son died a couple of days after birth in December 1901, their daughter Augusta, guus took Dolly to see their families in Rotterdam in the summer of 1914, where they were caught by the outbreak of World War I. They were not able to return to Paris until 1918, Preitinger and van Dongen divorced in 1921. In 1917, van Dongen had become involved with a married socialite, the bright colours of this group of artists led to them being called Fauves by art critic Louis Vauxcelles. Van Dongen was also briefly a member of the German Expressionist group Die Brücke, in 1906, Preitinger and van Dongen moved to the Bateau Lavoir at 13 rue Ravignan in Montmartre, where they were friends with the circle surrounding Pablo Picasso and his girlfriend Fernande Olivier. In addition to selling his paintings, van Dongen also gained an income by selling satirical sketches to the newspaper Revue Blanche and he also organised very successful costume balls in Montparnasse, to which people paid admission, to gain extra income. After the First World War, under the influence of his companion and this earned him a solid reputation with the French bourgeoisie and upper class, where he was in demand for his portraits. As a fashionable portraitist, he was commissioned for subjects including Arletty, Louis Barthou, Sacha Guitry, Leopold III of Belgium, Anna de Noailles and Maurice Chevalier. With a playful cynicism he remarked of his popularity as a portraitist with high society women, The essential thing is to elongate the women, after that it just remains to enlarge their jewels. This remark is reminiscent of another of his sayings, Painting is the most beautiful of lies, in 1926, he was made a Knight of the French Legion of Honour, and in 1927 the Order of the Crown of Belgium in recognition of his contributions to art. In 1929, the French government awarded him citizenship, two of his works were collected that year by the Musée du Luxembourg. The social and commercial appeal of his work did not match the artistic promise or the bohemian eroticism of his first three decades of work. From 1959, Kees van Dongen lived in Monaco and he died in his home in Monte Carlo in 1968
Kees van Dongen
–
Kees van Dongen in his studio c.1910
Kees van Dongen
–
Woman with Large Hat, 1906
Kees van Dongen
–
Kees van Dongen, c.1907-08, Portrait of Daniel-Henry Kahnweiler (Portrait de Kahnweiler), oil on canvas, 65 x 54 cm, Musée du Petit Palais, Geneva
Kees van Dongen
–
Kees van Dongen, 1907-08, Les lutteuses (Lutteuses du Tabarin), oil on canvas, 105.5 x 164 cm,
Nouveau Musée National de Monaco
,_oil_on_canvas,_73.6_x_99_cm_(29_x_39_in),_Detroit_Institute_of_Arts.jpg)
Media related to Max Pechstein at Wikimedia Commons
