1.
Pinacotheca
–
A pinacotheca was a picture gallery in either ancient Greece or ancient Rome. The name is used for the building containing pictures which formed the left wing of the Propylaea on the Acropolis at Athens. The Pinacotheca was located right by the Nike Athena temple, the Romans adopted the term for the room in a private house containing pictures, statues, and other works of art. In Brazil, there is the Pinacoteca do Estado de São Paulo, in Paris, the Pinacothèque de Paris. In Munich the three galleries are called the Alte Pinakothek, Neue Pinakothek and Pinakothek der Moderne. At Hallbergmoos, near Munich Airport, there was the Pinakothek Hallbergmoos between 2010 and 2014 and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. article name needed
Pinacotheca
–
The
Pinacoteca di Brera in
Milan.
2.
Modern art
–
Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with ideas about the nature of materials. A tendency away from the narrative, which was characteristic for the traditional arts, more recent artistic production is often called contemporary art or postmodern art. Matisses two versions of The Dance signified a key point in his career and in the development of modern painting, analytic cubism was jointly developed by Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, from about 1908 through 1912. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé, the notion of modern art is closely related to modernism. Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th century, the beginnings of modern painting can be located earlier. The date perhaps most commonly identified as marking the birth of art is 1863. Earlier dates have also proposed, among them 1855 and 1784. In the words of art historian H, harvard Arnason, Each of these dates has significance for the development of modern art, but none categorically marks a completely new beginning. A gradual metamorphosis took place in the course of a hundred years, the strands of thought that eventually led to modern art can be traced back to the Enlightenment, and even to the 17th century. The important modern art critic Clement Greenberg, for instance, called Immanuel Kant the first real Modernist but also drew a distinction, The Enlightenment criticized from the outside. The French Revolution of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and this gave rise to what art historian Ernst Gombrich called a self-consciousness that made people select the style of their building as one selects the pattern of a wallpaper. The pioneers of art were Romantics, Realists and Impressionists. By the late 19th century, additional movements which were to be influential in art had begun to emerge. The advocates of realism stood against the idealism of the academic art that enjoyed public. The most successful painters of the day worked either through commissions or through public exhibitions of their own work. There were official, government-sponsored painters unions, while governments regularly held exhibitions of new fine
Modern art
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Pablo Picasso, Dejeuner sur l'Herbe
Modern art
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Henri de Toulouse-Lautrec, At the Moulin Rouge: Two Women Waltzing, 1892
Modern art
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Vincent van Gogh, Country road in Provence by Night, 1889, May 1890,
Kröller-Müller Museum
Modern art
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Paul Cézanne,
The Large Bathers, 1898–1905
3.
Munich
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Munich is the capital and largest city of the German state of Bavaria, on the banks of River Isar north of the Bavarian Alps. Munich is the third largest city in Germany, after Berlin and Hamburg, the Munich Metropolitan Region is home to 5.8 million people. According to the Globalization and World Rankings Research Institute Munich is considered an alpha-world city, the name of the city is derived from the Old/Middle High German term Munichen, meaning by the monks. It derives from the monks of the Benedictine order who ran a monastery at the place that was later to become the Old Town of Munich, Munich was first mentioned in 1158. From 1255 the city was seat of the Bavarian Dukes, black and gold—the colours of the Holy Roman Empire—have been the citys official colours since the time of Ludwig the Bavarian, when it was an imperial residence. Following a final reunification of the Wittelsbachian Duchy of Bavaria, previously divided and sub-divided for more than 200 years, like wide parts of the Holy Roman Empire, the area recovered slowly economically. In 1918, during the German Revolution, the house of Wittelsbach, which governed Bavaria since 1180, was forced to abdicate in Munich. In the 1920s, Munich became home to political factions, among them the NSDAP. During World War II, Munich was heavily bombed and more than 50% of the entire city, the postwar period was characterised by American occupation until 1949 and a strong increase of population and economic power during the years of the Wirtschaftswunder after 1949. The city is home to corporations like BMW, Siemens, MAN, Linde, Allianz and MunichRE as well as many small. Munich is home to national and international authorities, major universities, major museums. Its numerous architectural attractions, international events, exhibitions and conferences. Munich is one of the most prosperous and fastest growing cities in Germany and it is a top-ranked destination for migration and expatriate location, despite being the municipality with the highest density of population in Germany. Munich nowadays hosts more than 530,000 people of foreign background, the year 1158 is assumed to be the foundation date, which is the earliest date the city is mentioned in a document. The document was signed in Augsburg, by that time the Guelph Henry the Lion, Duke of Saxony and Bavaria, had built a bridge over the river Isar next to a settlement of Benedictine monks—this was on the Old Salt Route and a toll bridge. In 1175, Munich was officially granted city status and received fortification, in 1180, with the trial of Henry the Lion, Otto I Wittelsbach became Duke of Bavaria and Munich was handed over to the Bishop of Freising. In 1240, Munich was transferred to Otto II Wittelsbach and in 1255, Duke Louis IV, a native of Munich, was elected German king in 1314 and crowned as Holy Roman Emperor in 1328. He strengthened the position by granting it the salt monopoly
Munich
–
From left to right: The
Munich Frauenkirche, the
Nymphenburg Palace, the
BMW Headquarters, the
New Town Hall, the
Munich Hofgarten and the
Allianz Arena.
Munich
–
Munich city
coat of arms
Munich
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Banners with the colours of Munich (left) and Bavaria (right) with the
Frauenkirche in the background
Munich
–
Bombing damage to the Altstadt. Note the roofless and pockmarked Altes Rathaus looking up the Tal. The roofless Heilig-Geist-Kirche is on the right of the photo. Its spire, without the copper top, is behind the church. The Talbruck gate tower is missing completely.
4.
Kunstareal
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The Kunstareal is a museum quarter in the city centre of Munich, Germany. It consists of the three Pinakotheken galleries, the Glyptothek, the Staatliche Antikensammlung, the Lenbachhaus, the Museum Brandhorst, also the Staatliche Sammlung für Ägyptische Kunst was moved to the Kunstareal in 2013. As of 2009 a general plan is under discussion to ensure the integration of the different museum buildings. The Alte Pinakotheks rather monolithic structure contains a trove of the works of European masters between the 14th and 18th centuries. The collection reflects the tastes of the Wittelsbachs over four centuries. The gallery houses one of the worlds most comprehensive Rubens collections, the Madonna of the Carnation is the only painting of Leonardo da Vinci in a German gallery. It houses indeed the largest collection of industrial design, the Collection of Works on Paper ranges from masterpieces of Albrecht Dürer, Rembrandt, Michelangelo and Leonardo da Vinci to Paul Cézanne, Henri Matisse, Paul Klee and David Hockney. It is owned by the nearby Staatliche Graphische Sammlung München, a collection of 400,000 prints. The Collection of Modern Art keeps a collection of paintings of Pablo Picasso, Max Beckmann. Before World War I, the Blaue Reiter group of artists worked in Munich, many of their works can now be seen at the Lenbachhaus. The modern Museum Brandhorst focus on the work of Andy Warhol, an important collection of Greek and Roman art is held in the Glyptothek and the Staatliche Antikensammlung. King Ludwig I managed to such famous pieces as the Medusa Rondanini, the Barberini Faun. The internationally renowned collection of pottery is outstanding. The Museum für Abgüsse klassischer Bildwerke displays the worlds most famous ancient Greek, the Kunstareal was further augmented by the completion of the Staatliche Sammlung für Ägyptische Kunst. This museum displays exhibits from all periods of Ancient Egypts history but also reliefs from Assyria and a lion from the Ishtar Gate of Babylon
Kunstareal
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Alte Pinakothek
Kunstareal
–
Neue Pinakothek
Kunstareal
–
Pinakothek der Moderne
Kunstareal
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Bavarian State Collection of Antiques
5.
Alte Pinakothek
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The Alte Pinakothek is an art museum located in the Kunstareal area in Munich, Germany. It is one of the oldest galleries in the world and houses one of the most famous collections of Old Master paintings, the name Alte Pinakothek refers to the time period covered by the collection—from the fourteenth to the eighteenth century. The Neue Pinakothek covers nineteenth-century art, and the recently opened Pinakothek der Moderne exhibits modern art, all three galleries are part of the Bavarian State Picture Collection, an organization of the Free state of Bavaria. King Ludwig I of Bavaria ordered Leo von Klenze to erect a new building for the gallery for the Wittelsbach collection in 1826, even the neo-renaissance exterior of the Pinakothek clearly stands out from the castle-like museum type usual in the early 19th Century. It is closely associated with the function and structure of the building as a museum, the museum galleries were designed to display Rubenss Last Judgment, one of the largest canvasses ever painted. The museum building was damaged by bombing in World War II but was reconstructed and reopened to the public in the late 1950s. The ornate, pre-war interior including the large loggia facing the south façade in the floor were not restored. A new wall covering was created in 2008 for the rooms on the floor of the Alte Pinakothek with a woven. The new color scheme of green and red draws on the design of the rooms, Elector Maximilian I commissioned in 1616 four hunt paintings from Peter Paul Rubens and acquired many other paintings, especially the work of Albrecht Dürer. He even obtained The Four Apostles in the year 1627 due to pressure on the Nuremberg city fathers, a few years later however 21 paintings were confiscated and moved to Sweden during the occupation of Munich in the Thirty Years war. Maximilians grandson Maximilian II Emanuel purchased a number of Dutch. Under Max Emanuels successors, the purchases were discontinued due to the tight budget. Also Max Emanuels cousin Johann Wilhelm, Elector Palatine collected Netherlandish paintings and he ordered from Peter Paul Rubens the The Big Last Judgment and received Raphaels Canigiani Holy Family as a dowry of his wife. Charles Theodore, Elector of Bavaria had a preference for Netherlandish paintings as well. By the late 18th century a number of the paintings were already displayed in Schleissheim Palace. Even though 72 paintings including The Battle of Alexander at Issus were taken to Paris in 1800 by the armies of Napoleon I. The Louvre held it until 1804, when Napoleon declared himself Emperor of France, when the Prussians captured the Château de Saint-Cloud in 1814 as part of the War of the Sixth Coalition, they supposedly found the painting hanging in Napoleons bathroom. Most of the paintings have not been returned, with the secularisation many paintings from churches and former monasteries entered into state hands
Alte Pinakothek
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Alte Pinakothek, eastern façade
Alte Pinakothek
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Alte Pinakothek façade
Alte Pinakothek
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Alte Pinakothek, hand-painted photograph, c. 1890
Alte Pinakothek
–
Room IX
6.
Neue Pinakothek
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The Neue Pinakothek is an art museum in Munich, Germany. Its focus is European Art of the 18th and 19th century and is one of the most important museums of art of the century in the world. Together with the Alte Pinakothek and the Pinakothek der Moderne it is part of Munichs Kunstareal, the museum was founded by the former King Ludwig I of Bavaria in 1853. The original building constructed by Friedrich von Gärtner and August von Voit was destroyed during World War II, the ruin of the Neue Pinakothek was demolished in 1949. Designed by architect Alexander Freiherr von Branca the new building with features such as arched windows, keystones, bay windows and stairways. It combines a concrete construction with a stone facade design, Ludwig began to collect contemporary art already as crown prince in 1809 and his collection has been steadily enlarged. Owing to the preference of Ludwig I there was initially a strong focus on paintings of German Romanticism. Also dynastic considerations played a role as Greece had become a secundogeniture of Bavaria in 1832, the so-called Tschudi Contribution between 1905 and 1914 brought the Pinokathek an extraordinary collection of masterpieces of Impressionism and Post-Impressionism. Hugo von Tschudi was dismissed by Kaiser Wilhelm as a penalty for his bringing Gauguins The Birth of Christ into the National Gallery in Berlin and he went on to become the director of the Pinokathek. As general director of the State Collections, Tschudi acquired 44 paintings, nine sculptures and 22 drawings, since public funds could not be used to purchase these works, Tschudi’s associates raised the money from private contributions after his death in 1911. The delimitation to the modern painters displayed in the Pinakothek der Moderne was later fixed by taking the restart of Henri Matisse, consequentially a painting of Matisse acquired by the Tschudi Contribution is now displayed in the Pinakothek der Moderne. In 1915, the Neue Pinakothek became the property of the Bavarian state, a self-portrait of Vincent van Gogh was confiscated in 1938 by the Nazi regime as degenerate art and sold one year later. The museum is under supervision of the Bavarian State Painting Collections which houses a collection of more than 3.000 European paintings from classicism to art nouveau. About 400 paintings and 50 sculptures of these are exhibited in the New Pinakothek, international paintings of the second half of 18th century, Among others the gallery exhibits works of Francisco de Goya, Jacques-Louis David, Johann Friedrich August Tischbein and Anton Graff. German artists of Classicism in Rome like Friedrich Overbeck, Friedrich Wilhelm von Schadow, Heinrich Maria von Hess, Peter von Hess, German Romanticism with paintings of Caspar David Friedrich, Karl Friedrich Schinkel, Carl Blechen and others. Biedermeier represented by Franz Xaver Winterhalter, Carl Spitzweg, Moritz von Schwind and Ferdinand Georg Waldmüller, French Realism and French Romanticism with Eugène Delacroix, Théodore Géricault, Gustave Courbet, Jean-François Millet, Honoré Daumier and others. Deutschrömer such as Hans von Marées, Arnold Böcklin, Anselm Feuerbach, history paintings with Wilhelm von Kaulbach, Karl Theodor von Piloty, Franz von Defregger and Hans Makart. German Realism like Wilhelm Leibl, Franz von Lenbach and Adolph Menzel, German Impressionists especially Max Liebermann, Lovis Corinth, August von Brandis and Max Slevogt
Neue Pinakothek
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The new home of the Neue Pinakothek, opened in 1981
Neue Pinakothek
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Neue Pinakothek 1880
Neue Pinakothek
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Gauguin's The Birth of Christ (1896), which brought Hugo von Tschudi to Munich and became the foundation of the Pinokathek's modern art collection
Neue Pinakothek
–
Francisco de Goya Plucked Turkey (1810).
7.
Henri Matisse
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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
Henri Matisse
–
Henri Matisse, 1913, by
Alvin Langdon Coburn
Henri Matisse
–
Henri and Amélie Matisse, 1898
Henri Matisse
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Woman Reading, 1894, Museum of Modern Art, Paris
Henri Matisse
–
Blue Pot and Lemon (1897),
Hermitage Museum,
St. Petersburg, Russia
8.
Stephan Braunfels
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Professor Stephan Braunfels is a German architect. Stephan Braunfels was born on August 1,1950 and he completed his studies at the Technical University of Munich in 1975 and established his office in Munich in 1978. He is a nephew of the composer Walter Braunfels, as an advisor to the City of Dresden in 1991-1993, Braunfels designed a master plan for the reconstruction of the historic city centre of Dresden. Braunfels opened his Berlin office in 1996, after the completion of his first projects in Munich and Dresden, Braunfels won several competitions. The first major competition he won was for Munichs Pinakothek der Moderne in 1992 and this project took ten years to come to fruition and opened in late 2002 as one of the largest new museums in Germany. Braunfels garnered some prizes and lauding reviews for this building, in the effulgent atmosphere, you may know where the walls are only by where the pictures hang. I gratefully watched colors combust in Kirchners and Noldes under translucent, on an ordinary rainy Tuesday in November, the place was thronged with people in festive spirits. The Moderne is a great success, in 1994, Braunfels design for the 81,000 square meter German Parliament office building -- Paul Löbe Haus—was awarded first prize. The home of German Parliaments offices and committee chambers opened in 2001 and is one of the most prominent structures in Berlin. In 1996 he was awarded first prize for another parliament building design, the 65,000 square meter Marie Elisabeth Lüders Haus and this second building opened to critical acclaim in 2003. These three projects are considered to be some of the largest scale projects in post-Cold War Germany and have established Braunfels as a force in Germany. Architecture made in Berlin Prize for Exhibition of Komische Oper Berlin 2007 – DA, Pinakothek der Moderne, The New Yorker, January 13,2003
Stephan Braunfels
–
Pinakothek der Moderne, Rotunda
Stephan Braunfels
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Paul-Löbe-Haus, East side on the Spree river bank
9.
Rotunda (architecture)
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A rotunda is any building with a circular ground plan, and sometimes covered by a dome. It can also refer to a room within a building. The Pantheon in Rome is a famous rotunda, a Band Rotunda is a circular bandstand, usually with a dome. The rotunda has historical and architectural value because it was widespread in medieval Central Europe, a great number of parochial churches were built in this form in the 9th to 11th centuries BCE in Central Europe. This type of circular shaped parochial building can be found in great number in Hungary, Poland, Slovakia, Croatia, Austria, Bavaria, Dalmatia, Germany, and it was thought of as a structure descending from the Roman Pantheon. However, it can be found mainly not on former Roman territories, generally its size was 6–9 meters inner diameter and the apsis was directed toward the east. Sometimes 3 or 4 apsides were glued to the central circle, several types of rotundas are found in the Carpathian Basin, within the former boundaries of Medieval Hungary. The role and form developed from gradual enlargements of ancient small village churches, many of them still stand today, e. g. in Nagytótlak, Kallósd and Kissikátor in Hungary or in Bíňa and Šivetice in Slovakia. In many places the ancient foundations have been excavated and conserved, the village church of Sárospatak is complete with a simple circular nave and an eastern apse. The church of Alagimajor at Dunakeszi was enlarged toward the apse in the 14th century, in many cases the rotunda was used as the apse of the villages new and larger church. Such semi-circle apses are preserved all over the Carpathian Basin, rotundas of six apses, a most interesting form, are found at Karcsa, Kiszombor in Hungary, at Horjany in Ukraine and several places in Armenia. There is a connection between Central European and Caucasian rotundas of the 9th to 11th centuries BCE. Several Armenian built rotunda churches have sixfold arched central apsis, i. e. at Aragatz, Bagaran, Bagnayr, Botshor, at the same time eightfold arched central buildings are also frequently occurring in Armenia, Ani, Irind, Varzhahan. It was a suggestion that there was not only western European, temple of Heaven construction completed on 1420 during Yongle Emperor who also constructed Forbidden City of China. Fujian Tulou is a traditional rural dwellings of the Hakka in Fujian region of China and they are built between the 12th and the 20th centuries. The Baptistery at the Piazza dei Miracoli, Pisa, Italy, the Church of the Rotonda in Thessaloniki, built as the Tomb of Galerius in 306 AD. The St George Rotunda in Sofia, Bulgaria, a 4th-century Early Christian church, St. George Cathedral Church at Zvartnots, Armenia. St. Martins Rotunda in Vyšehrad Castle, Prague, Czech Republic, the Rotunda of St Marija Assunta in Mosta, Malta
Rotunda (architecture)
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The Rotunda at the
University of Virginia, famously designed by the third US president
Thomas Jefferson.
Rotunda (architecture)
–
The famous
Rotunda church in
Thessaloniki,
Greece.
Rotunda (architecture)
–
The Baptistery at the
Piazza dei Miracoli,
Pisa,
Italy
Rotunda (architecture)
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The most well known Danish rotunda is the village parochial church at
Østerlars.
10.
Haus der Kunst
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The Haus der Kunst is a non-collecting art museum in Munich, Germany. It is located at Prinzregentenstrasse 1 at the edge of the Englischer Garten. The building was constructed from 1933 to 1937 following plans of architect Paul Ludwig Troost as the Third Reichs first monumental structure of Nazi architecture and as Nazi propaganda. The museum, then called Haus der Deutschen Kunst, was opened on 18 July 1937 as a showcase for what the Third Reich regarded as Germanys finest art. The inaugural exhibition was the Große Deutsche Kunstausstellung, which was intended as an edifying contrast to the modern art on display in the concurrent Degenerate Art Exhibition. The buildings original purpose can still be seen in such guises as the mosaics in the ceiling panels of its front portico. Beginning in 1946, the rooms, now partitioned into several smaller exhibition areas, started to be used as temporary exhibition space for trade shows. Some parts of the museum were also used to showcase works from those of Munichs art galleries that had destroyed during the war. In 2002, the National Collection of Modern and Contemporary Arts moved into the Pinakothek der Moderne, since 1983, the museum building also houses the nightclub, P1, Munichs famous high-society destination. For approximately 60 million euros the Haus der Kunst is to be redeveloped from 2014, commissioned for the project is the London-based architect David Chipperfield. In Bavaria employees are required to sign that they are not Scientologists in order to obtain employment if the institution receives financial support from the Bavarian government, robert Schwartz, Department of History, Mount Holyoke College. Archived from the original on 23 July 2006, interior exhibition at the German House of Art,1937. Robert Schwartz, Department of History, Mount Holyoke College, archived from the original on 7 September 2004
Haus der Kunst
–
Haus der Kunst
11.
Lenbachhaus
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The Lenbachhaus in Munich contains an art museum and is part of Munichs Kunstareal. Some of the rooms have kept their original design, the city of Munich acquired the building in 1924 and opened a museum there in 1929. The latest wing was closed to the public in 2009 to allow the expansion and restoration of the Lenbachhaus by Norman Foster, the museum reopened in May 2013. The architect placed the new entrance on Museumsplatz in front of the Propylaea. The new facade, clad in metal tubes made of an alloy of copper and aluminum, the gallery contains a variety of works by Munich painters and contemporary artists, in styles such as The Blue Rider and New Objectivity. Works by members of the Munich Secession are also on display, the group was founded in 1892, and includes artists such as the impressionist painters Lovis Corinth, Max Slevogt and Fritz von Uhde. Münter donated 1,000 “Blue Rider” works to the museum on her 80th birthday, artists of the New Objectivity like Christian Schad and Rudolf Schlichter are exhibited in several rooms. The Lenbachhaus strengthened its investment especially in the oeuvre of Joseph Beuys considerably by acquiring numerous works of art, young artists are promoted in exhibitions in the affiliated Kunstbau above the Subway Station Königsplatz. Stephanie Weber curated a show of Mark Boulos and film series of Charles Simonds and Christoph Schlingensief, all the while commissioning performances by Tom Thayer. Spencer Yeh and adding to the works by Vito Acconci, VALIE EXPORT. Since starting at Munichs Lenbachhaus in September, shes been hard at work on a retrospective of Polish-born feminist artist Lea Lublin that opens this summer, Lenbachhaus website Lenbachhaus at the Google Art Project
Lenbachhaus
–
Lenbachhaus
Lenbachhaus
–
New modern wing of the Lenbachhaus
Lenbachhaus
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Franz Marc, The tiger 1912
12.
Degenerate art
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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
Degenerate art
–
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
Degenerate art
–
A still from
The Cabinet of Dr. Caligari
Degenerate art
–
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."
Degenerate art
–
Cover of the exhibition program: Degenerate Art exhibition, 1937. Note the word "Kunst", meaning art, in
scare quotes
13.
Hugo von Tschudi
–
Hugo von Tschudi was an art historian and museum curator, notable for being a collector of important Impressionist works. Tschudi was born in Austria and became a naturalised Swiss citizen, Tschudi bought Gauguins controversial masterpiece The Birth of Christ at a time when the work, mixing the sacred with the profane and the primitive, was not generally appreciated by Europeans. In particular, it was disapproved of by Kaiser Wilhelm. As director of the National Gallery in Berlin, Tschudi loaned the painting to his gallery and he took the new Gauguin painting with him to Munich, and it is still there. Between 1905 and 1914 the so-called Tschudi Contributions brought a collection of masterpieces of Impressionism and Post-Impressionism to the Bavarian State Collections in Munich. Tschudi, serving as the director of the collections, acquired 44 paintings, nine sculptures and 22 drawings. In Bavaria public funds could not be used to buy such works, but Tschudis associates were able to find the money from private contributions after his death in 1911
Hugo von Tschudi
–
Hugo von Tschudi.
Hugo von Tschudi
–
Gauguin's The Birth of Christ (1896), which cost Tschudi his position in Berlin
14.
Art movement
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Art movements were especially important in modern art, when each consecutive movement was considered as a new avant-garde. According to theories associated with modernism and the concept of postmodernism, the period of time called modern art is posited to have changed approximately halfway through the 20th century and art made afterward is generally called contemporary art. Postmodernism in visual art begins and functions as a parallel to late modernism, the postmodern period began during late modernism, and according to some theorists postmodernism ended in the 21st century. During the period of time corresponding to modern art each movement was often considered a new avant-garde. Also during the period of time referred to as modern art movement was seen corresponding to a somewhat grandiose rethinking of all that came before it. Generally there was a commonality of visual style linking the works, postmodernist theorists posit that the idea of art movements are no longer as applicable, or no longer as discernible, as the notion of art movements had been before the postmodern era. There are many theorists however who doubt as to whether or not such an era was actually a fact, the term refers to tendencies in visual art, novel ideas and architecture, and sometimes literature. In music it is common to speak about genres and styles instead. See also cultural movement, a term with a broader connotation, as the names of many art movements use the -ism suffix, they are sometimes referred to as isms. 20th-century Western painting Art periods List of art movements Post-expressionism Western art history the-artists. org Art movements since 1900, 20th-Century Art Compiled by Dr. Witcombe, Sweet Briar College, Virginia. WebMuseum, Paris Themes index and detailed glossary of art periods
Art movement
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History of art
Art movement
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Jacques-Louis David,
The Coronation of Napoleon, (1806),
Musée du Louvre,
History painting
Art movement
–
Eugène Delacroix,
Liberty Leading the People 1830,
Romanticism
Art movement
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Thomas Cole, The Course of Empire: The Savage State 1836,
Hudson River School
15.
Expressionism
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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
Expressionism
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The Scream by
Edvard Munch (1893), which inspired 20th-century Expressionists
Expressionism
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Portrait of Eduard Kosmack by
Egon Schiele
Expressionism
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"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]
Expressionism
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Wassily Kandinsky, On White II, 1923
16.
Fauvism
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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
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Press clipping, Les Fauves: Exhibition at the
Salon d'Automne, in L'Illustration, 4 November 1905
Fauvism
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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
17.
Cubism
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Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century, the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of form in the late works of Paul Cézanne. The impact of Cubism was far-reaching and wide-ranging, Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of a process that produced diversity. In France, offshoots of Cubism developed, including Orphism, Abstract art, in other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Other common threads between these movements include the faceting or simplification of geometric forms, and the association of mechanization. Cubism began between 1907 and 1911, Pablo Picassos 1907 painting Les Demoiselles dAvignon has often been considered a proto-Cubist work. Georges Braques 1908 Houses at L’Estaque prompted the critic Louis Vauxcelles to refer to bizarreries cubiques, Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. A second phase, Synthetic Cubism, remained vital until around 1919, english art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. Douglas Coopers restrictive use of terms to distinguish the work of Braque, Picasso, Gris. Alternative interpretations of Cubism have therefore developed, wider views of Cubism include artists who were later associated with the Salle 41 artists, e. g. John Berger identifies the essence of Cubism with the mechanical diagram. The metaphorical model of Cubism is the diagram, The diagram being a symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as not as imitations or recreations. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian, artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. Picassos paintings of 1907 have been characterized as Protocubism, as seen in Les Demoiselles dAvignon
Cubism
–
Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 x 73.6 cm,
Museum of Modern Art, New York
Cubism
–
Pablo Picasso,
Les Demoiselles d'Avignon, 1907, considered to be a major step towards the founding of the Cubist movement
Cubism
–
Pablo Picasso, 1909-10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 x 73 cm,
Tate Modern, London
Cubism
–
Paul Cézanne, Quarry Bibémus, 1898-1900,
Museum Folkwang,
Essen,
Germany
18.
New Objectivity
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The New Objectivity was a movement in German art that arose during the 1920s as a reaction against expressionism. Rather than some goal of objectivity, it was meant to imply a turn towards practical engagement with the world—an all-business attitude. The movement essentially ended in 1933 with the fall of the Weimar Republic, although New Objectivity has been the most common translation of Neue Sachlichkeit, other translations have included New Matter-of-factness, New Resignation, New Sobriety, and New Dispassion. Sachlich could be best understood as factual, matter-of-fact, impartial, practical, or precise, Sachlichkeit is the form of the adjective/adverb. In particular, Crockett argues against the view implied by the translation of New Resignation, leading up to World War I, much of the art world was under the influence of Futurism and Expressionism, both of which abandoned any sense of order or commitment to objectivity or tradition. In concert with this evocation of angst and unease with bourgeois life, critics of expressionism came from many circles. From the left, a strong critique began with Dadaism and they wanted to use their art in order to express political outrage and encourage political action. Expressionism, to Dadaists, expressed all of the angst and anxieties of society, bertolt Brecht, a German dramatist, launched another early critique of expressionism, referring to it as constrained and superficial. His early plays, Baal and Trommeln in der Nacht express repudations of fashionable interest in Expressionism, after the destruction of the war, more conservative critics gained force particularly in their critique of the style of expressionism. The return to order was especially pervasive in Italy, however, some of the Germans found important inspiration in the pages of the Italian magazine Valori plastici, which featured photographs of recent paintings by Italian classical realists. Hartlaub first used the term in 1923 in a letter he sent to colleagues describing an exhibition he was planning, the verists vehement form of realism emphasized the ugly and sordid. Their art was raw, provocative, and harshly satirical, george Grosz and Otto Dix are considered the most important of the verists. Use of collage in these works became a principle to blend reality and art. This later developed into portraits and scenes by artists such as Grosz, Dix, portraits would give emphasis to particular features or objects that were seen as distinctive aspects of the person depicted. Satirical scenes often depicted a madness behind what was happening, depicting the participants as cartoon-like, other verists, like Christian Schad, depicted reality with a clinical precision, which suggested both an empirical detachment and intimate knowledge of the subject. Schads paintings are characterized by an artistic perception so sharp that it seems to cut beneath the skin, often, psychological elements were introduced in his work, which suggested an underlying unconscious reality. Compared to the verists, the more clearly exemplify the return to order that arose in the arts throughout Europe. The classicists included Georg Schrimpf, Alexander Kanoldt, Carlo Mense, Heinrich Maria Davringhausen, the sources of their inspiration included 19th-century art, the Italian metaphysical painters, the artists of Novecento Italiano, and Henri Rousseau
New Objectivity
–
Made in Germany (Den macht uns keiner nach), by George Grosz, drawn in pen 1919, photo-lithograph published 1920 in the portfolio God with us (Gott mit Uns). Sheet 48.3 × 39.1 cm. In the collection of the
MOMA
New Objectivity
–
Panorama of the
IG Farben Building from the south, demonstrating how the curved shape of the building's façade reduces the impact of its scale
19.
Bauhaus
–
The Bauhaus was founded by Walter Gropius in Weimar. Nonetheless, it was founded with the idea of creating a work of art in which all arts, including architecture. The Bauhaus style later became one of the most influential currents in modern design, Modernist architecture and art, design, the Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. Although the school was closed, the continued to spread its idealistic precepts as they left Germany. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, many Germans of left-wing views were influenced by the cultural experimentation that followed the Russian Revolution, such as constructivism. Such influences can be overstated, Gropius did not share these radical views, thus, the Bauhaus style, also known as the International Style, was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design. In its first seven years, the Werkbund came to be regarded as the body on questions of design in Germany. The entire movement of German architectural modernism was known as Neues Bauen, beginning in June 1907, Peter Behrens pioneering industrial design work for the German electrical company AEG successfully integrated art and mass production on a large scale. Behrens was a member of the Werkbund, and both Walter Gropius and Adolf Meyer worked for him in this period. The Bauhaus was founded at a time when the German zeitgeist had turned from emotional Expressionism to the matter-of-fact New Objectivity, beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school. They also responded to the promise of a minimal dwelling written into the new Weimar Constitution, ernst May, Bruno Taut, and Martin Wagner, among others, built large housing blocks in Frankfurt and Berlin. The acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the Weissenhof Estate, films, the Vkhutemas, the Russian state art and technical school founded in 1920 in Moscow, has been compared to Bauhaus. Founded a year after the Bauhaus school, Vkhutemas has close parallels to the German Bauhaus in its intent, organization, the two schools were the first to train artist-designers in a modern manner. Vkhutemas was a school than the Bauhaus, but it was less publicised outside the Soviet Union. With the internationalism of modern architecture and design, there were exchanges between the Vkhutemas and the Bauhaus. In addition, El Lissitzkys book Russia, an Architecture for World Revolution published in German in 1930 featured several illustrations of Vkhutemas/Vkhutein projects there. The school was founded by Walter Gropius in Weimar in 1919 as a merger of the Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art. Its roots lay in the arts and crafts founded by the Grand Duke of Saxe-Weimar-Eisenach in 1906
Bauhaus
–
The Bauhaus Dessau.
Bauhaus
–
1921/2,
Walter Gropius '
Expressionist Monument to the March Dead
Bauhaus
–
Typography by
Herbert Bayer above the entrance to the workshop block of the Bauhaus, Dessau, 2005
Bauhaus
–
The Bauhaus Museum - Tel Aviv
20.
Surrealism
–
Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to resolve the previously contradictory conditions of dream, leader André Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. Surrealism developed out of the Dada activities during World War I, the word surrealist was coined by Guillaume Apollinaire and first appeared in the preface to his play Les Mamelles de Tirésias, which was written in 1903 and first performed in 1917. The Dadaists protested with anti-art gatherings, performances, writings and art works, after the war, when they returned to Paris, the Dada activities continued. Meeting the young writer Jacques Vaché, Breton felt that Vaché was the son of writer. He admired the young writers anti-social attitude and disdain for established artistic tradition, later Breton wrote, In literature, I was successively taken with Rimbaud, with Jarry, with Apollinaire, with Nouveau, with Lautréamont, but it is Jacques Vaché to whom I owe the most. Back in Paris, Breton joined in Dada activities and started the literary journal Littérature along with Louis Aragon and they began experimenting with automatic writing—spontaneously writing without censoring their thoughts—and published the writings, as well as accounts of dreams, in the magazine. Breton and Soupault delved deeper into automatism and wrote The Magnetic Fields, continuing to write, they came to believe that automatism was a better tactic for societal change than the Dada form of attack on prevailing values. They also looked to the Marxist dialectic and the work of such theorists as Walter Benjamin, freuds work with free association, dream analysis, and the unconscious was of utmost importance to the Surrealists in developing methods to liberate imagination. They embraced idiosyncrasy, while rejecting the idea of an underlying madness, as Salvador Dalí later proclaimed, There is only one difference between a madman and me. Beside the use of analysis, they emphasized that one could combine inside the same frame, elements not normally found together to produce illogical. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be−the greater its emotional power, the group aimed to revolutionize human experience, in its personal, cultural, social, and political aspects. They wanted to people from false rationality, and restrictive customs. Breton proclaimed that the aim of Surrealism was long live the social revolution. To this goal, at various times Surrealists aligned with communism and anarchism, in 1924 two Surrealist factions declared their philosophy in two separate Surrealist Manifestos. That same year the Bureau of Surrealist Research was established, leading up to 1924, two rival surrealist groups had formed. Each group claimed to be successors of a revolution launched by Guillaume Apollinaire, the other group, led by Breton, included Louis Aragon, Robert Desnos, Paul Éluard, Jacques Baron, Jacques-André Boiffard, Jean Carrive, René Crevel and Georges Malkine, among others. Goll and Breton clashed openly, at one point literally fighting, at the Comédie des Champs-Élysées, in the end, Breton won the battle through tactical and numerical superiority
Surrealism
–
Max Ernst,
The Elephant Celebes (1921),
Tate, London
Surrealism
–
Cover of the first issue of
La Révolution surréaliste, December 1924.
Surrealism
–
Yvan Goll, Surréalisme, Manifeste du surréalisme, Volume 1, Number 1, October 1, 1924, cover by
Robert Delaunay
Surrealism
–
André Masson. Automatic Drawing. 1924. Ink on paper, 23.5 x 20.6 cm.
Museum of Modern Art, New York.
21.
Abstract Expressionism
–
Abstract Expressionism is a post–World War II art movement in American painting, developed in New York in the 1940s. It was the first specifically American movement to achieve international influence and put New York City at the center of the art world. In the United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky, technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic, or subconscious creation. Jackson Pollocks dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst, and David Alfaro Siqueiros. His long essay Totem Art had considerable influence on artists as Martha Graham, Isamu Noguchi, Jackson Pollock, Mark Rothko. Around 1944 Barnett Newman tried to explain Americas newest art movement, paalen is mentioned twice, other artists mentioned are Gottlieb, Rothko, Pollock, Hofmann, Baziotes, Gorky and others. Motherwell is mentioned with a question mark, additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic. In practice, the term is applied to any number of working in New York who had quite different styles. Yet all four artists are classified as abstract expressionists, Abstract expressionism has many stylistic similarities to the Russian artists of the early 20th century such as Wassily Kandinsky. Why this style gained mainstream acceptance in the 1950s is a matter of debate, American social realism had been the mainstream in the 1930s. It had been influenced not only by the Great Depression, but also by the muralists of Mexico such as David Alfaro Siqueiros, the political climate after World War II did not long tolerate the social protests of these painters. Abstract expressionism arose during World War II and began to be showcased during the early forties at galleries in New York such as The Art of This Century Gallery. The McCarthy era after World War II was a time of censorship in the United States, but if the subject matter were totally abstract then it would be seen as apolitical. Or if the art was political, the message was largely for the insiders, many of the sculptors listed participated in the Ninth Street Show, a famous exhibition curated by Leo Castelli on East Ninth Street in New York City in 1951. Although the abstract expressionist school spread throughout the United States, the major centers of this style were New York City. At a certain moment the canvas began to appear to one American painter after another as an arena in which to act, what was to go on the canvas was not a picture but an event. In the 1940s there were not only few galleries but also few critics who were willing to follow the work of the New York Vanguard, there were also a few artists with a literary background, among them Robert Motherwell and Barnett Newman, who functioned as critics as well. Hess, the editor of ARTnews, championed Willem de Kooning
Abstract Expressionism
–
Jackson Pollock,
No. 5, 1948, oil on
fiberboard, 244 × 122 cm. (96 × 48 in.), private collection
Abstract Expressionism
–
David Smith,
Cubi VI (1963),
Israel Museum,
Jerusalem. David Smith was one of the most influential American sculptors of the 20th century.
Abstract Expressionism
–
Mark Tobey, Canticle, 1954. Tobey, like Pollock, was known for his calligraphic style of allover compositions.
Abstract Expressionism
–
Willem de Kooning, Woman V, 1952–1953. De Kooning's series of Woman paintings in the early 1950s caused a stir in the
New York City avant-garde circle.
22.
Pop Art
–
Pop art is an art movement that emerged in the mid-1950s in Britain and the late 1950s in the United States. Pop art presented a challenge to traditions of art by including imagery from popular culture such as advertising. In pop art, material is sometimes removed from its known context, isolated. Pop art employs aspects of culture, such as advertising, comic books. One of its aims is to use images of popular culture in art, emphasizing the banal or kitschy elements of any culture and it is also associated with the artists use of mechanical means of reproduction or rendering techniques. Pop art is interpreted as a reaction to the then-dominant ideas of abstract expressionism. Due to its utilization of found objects and images, it is similar to Dada, Pop art and minimalism are considered to be art movements that precede postmodern art, or are some of the earliest examples of postmodern art themselves. Pop art often takes imagery that is currently in use in advertising, product labeling and logos figure prominently in the imagery chosen by pop artists, seen in the labels of Campbells Soup Cans, by Andy Warhol. Even the labeling on the outside of a box containing food items for retail has been used as subject matter in pop art. The origins of pop art in North America developed differently from Great Britain, in the United States, pop art was a response by artists, it marked a return to hard-edged composition and representational art. They used impersonal, mundane reality, irony, and parody to defuse the personal symbolism, in the U. S. some artwork by Larry Rivers, Alex Katz and Man Ray anticipated pop art. By contrast, the origins of pop art in post-War Britain, while employing irony, early pop art in Britain was a matter of ideas fueled by American popular culture when viewed from afar. Similarly, pop art was both an extension and a repudiation of Dadaism, among those artists in Europe seen as producing work leading up to pop art are, Pablo Picasso, Marcel Duchamp, and Kurt Schwitters. During the 1920s, American artists Gerald Murphy, Charles Demuth and Stuart Davis created paintings that contained pop culture imagery, the Independent Group, founded in London in 1952, is regarded as the precursor to the pop art movement. They were a gathering of young painters, sculptors, architects, writers and their group discussions centered on pop culture implications from elements such as mass advertising, movies, product design, comic strips, science fiction and technology. This material of found objects such as advertising, comic characters, magazine covers. One of the collages in that presentation was Paolozzis I was a Rich Mans Plaything, following Paolozzis seminal presentation in 1952, the IG focused primarily on the imagery of American popular culture, particularly mass advertising. Nevertheless, Alloway was one of the critics to defend the inclusion of the imagery of mass culture in the fine arts
Pop Art
–
Richard Hamilton 's collage
Just what is it that makes today's homes so different, so appealing? (1956) is one of the earliest works to be considered "pop art".
Pop Art
–
Andy Warhol, Campbell's Tomato Juice Box, 1964. Synthetic polymer paint and silkscreen ink on wood, 10 inches × 19 inches × 9½ inches (25.4 × 48.3 × 24.1 cm),
Museum of Modern Art,
New York City
Pop Art
–
Charles Demuth,
I Saw the Figure 5 in Gold 1928, collection of the
Metropolitan Museum of Art,
New York City
23.
Minimal Art
–
As a specific movement in the arts it is identified with developments in post–World War II Western Art, most strongly with American visual arts in the 1960s and early 1970s. Artists themselves have reacted against the label due to the negative implication of the work being simplistic. Minimalism is often interpreted as a reaction against Abstract expressionism and a bridge to Postminimal art practices, Minimalism in visual art, generally referred to as minimal art, literalist art and ABC Art emerged in New York in the early 1960s. Guggenheim Museum curated by Lawrence Alloway also in 1966 that showcased Geometric abstraction in the American art world via Shaped canvas, Color Field, in the wake of those exhibitions and a few others the art movement called minimal art emerged. Others will come after us who will do the same and that is the tremendous secret of the future. Monochrome painting was initiated at the first Incoherent arts exhibition in 1882 in Paris, with a black painting by poet Paul Bilhaud entitled Combat de Nègres dans un tunnel. Minimal art is inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s. The wide range of possibilities of interpretation of monochrome paintings is arguably why the monochrome is so engaging to so many artists, critics, although the monochrome has never become dominant and few artists have committed themselves exclusively to it, it has never gone away. It reappears as though a spectre haunting high modernism, or as a symbol of it, appearing during times of aesthetic and sociopolitical upheavals. The philosopher or art historian who can envision me—or anyone at all—arriving at aesthetic judgments in this way reads shockingly more into himself or herself than into my article. They very explicitly stated that their art was not about self-expression, in general, Minimalisms features included geometric, often cubic forms purged of much metaphor, equality of parts, repetition, neutral surfaces, and industrial materials. Robert Morris, an influential theorist and artist, wrote a three part essay, Notes on Sculpture 1-3, originally published across three issues of Artforum in 1966. In these essays, Morris attempted to define a conceptual framework and formal elements for himself and these essays paid great attention to the idea of the gestalt - parts. Bound together in such a way that create a maximum resistance to perceptual separation. Morris later described an art represented by a marked lateral spread, the general shift in theory of which this essay is an expression suggests the transitions into what would later be referred to as postminimalism. The decisions about structures on the front surface of the canvas were therefore not entirely subjective, in the show catalog, Carl Andre noted, Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes, there is nothing else in his painting
Minimal Art
–
Donald Judd, Untitled, 1991,
Israel Museum Art Garden,
Jerusalem.
Minimal Art
–
Frank Stella,
Die Fahne Hoch!, 1959,
Whitney Museum of American Art
Minimal Art
–
Tony Smith, Free Ride, 1962, 6'8 x 6'8 x 6'8
Minimal Art
–
Kazimir Malevich, Black Square, 1915, oil on canvas,
Tretyakov Gallery,
Moscow
24.
Paul Klee
–
Paul Klee was a Swiss-German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism and he and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus school of art, design and architecture. His works reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, and his musicality. First of all, the art of living, then as my ideal profession, poetry and philosophy, Paul Klee was born in Münchenbuchsee, Switzerland, as the second child of German music teacher Hans Wilhelm Klee and Swiss singer Ida Marie Klee, née Frick. His sister Mathilde was born on 28 January 1876 in Walzenhausen and their father came from Tann and studied at the Stuttgart Conservatory singing, piano, organ and violin, meeting there his future wife Ida Frick. Hans Wilhelm Klee was active as a teacher at the Bern State Seminary in Hofwil near Bern until 1931. Klee was able to develop his skills as his parents encouraged and inspired him until his death. In 1880, his family moved to Bern, where they moved 17 years later after numerous changes of residence into a house at the Kirchenfeld district. From 1886 to 1890, Klee visited primary school and received, at the age of 7 and he was so talented on violin that, aged 11, he received an invitation to play as an extraordinary member of the Bern Music Association. He stated, I didnt find the idea of going in for music creatively particularly attractive in view of the decline in the history of musical achievement. As a musician, he played and felt emotionally bound to traditional works of the eighteenth and nineteenth century, at sixteen, Klee’s landscape drawings already show considerable skill. Around 1897, Klee started his diary, which he kept until 1918, during his school years, he avidly drew in his school books, in particular drawing caricatures, and already demonstrating skill with line and volume. He barely passed his exams at the Gymnasium of Bern. With his characteristic dry wit, he wrote, After all, it’s rather difficult to achieve the exact minimum, and it involves risks. On his own time, in addition to his interests in music and art, Klee was a great reader of literature. With his parents reluctant permission, in 1898 Klee began studying art at the Academy of Fine Arts in Munich with Heinrich Knirr and he excelled at drawing but seemed to lack any natural color sense. He later recalled, During the third winter I even realized that I probably would never learn to paint, during these times of youthful adventure, Klee spent much time in pubs and had affairs with lower class women and artists models. He had a son in 1900 who died several weeks after birth
Paul Klee
–
Paul Klee in 1911
Paul Klee
–
My Room (German: Meine Bude), 1896. Pen and ink wash, 4¾ × 7½ inches. In the collection of the Klee Foundation,
Bern, Switzerland
Paul Klee
–
Flower Myth (Blumenmythos) 1918, watercolor on pastel foundation on fabric and newsprint mounted on board,
Sprengel Museum, Hannover, Germany
Paul Klee
–
Paul Klee as a soldier, 1916
25.
Max Beckmann
–
Max Beckmann was a German painter, draftsman, printmaker, sculptor, and writer. Although he is classified as an Expressionist artist, he rejected both the term and the movement, in the 1920s, he was associated with the New Objectivity, an outgrowth of Expressionism that opposed its introverted emotionalism. Max Beckmann was born into a family in Leipzig, Saxony. From his youth he pitted himself against the old masters and he is known for the self-portraits painted throughout his life, their number and intensity rivaled only by those of Rembrandt and Picasso. Well-read in philosophy and literature, Beckmann also contemplated mysticism and theosophy in search of the Self, as a true painter-thinker, he strove to find the hidden spiritual dimension in his subjects Beckmann enjoyed great success and official honors during the Weimar Republic. In 1925 he was selected to teach a class at the Städelschule Academy of Fine Art in Frankfurt. Some of his most famous students included Theo Garve, Leo Maillet and his fortunes changed with the rise to power of Adolf Hitler, whose dislike of Modern Art quickly led to its suppression by the state. In 1933, the Nazi government called Beckmann a cultural Bolshevik, in 1937 the government confiscated more than 500 of his works from German museums, putting several on display in the notorious Degenerate Art exhibition in Munich. The day after Hitlers radio speech about degenerate art in 1937, Beckmann left Germany with his wife, Quappi. For ten years, Beckmann lived in self-imposed exile in Amsterdam, in 1944 the Germans attempted to draft him into the army, although the sixty-year-old artist had suffered a heart attack. The works completed in his Amsterdam studio were even more powerful and they included several large triptychs, which stand as a summation of Beckmanns art. After the war, Beckmann moved to the United States, during the last three years of his life, he taught at the art schools of Washington University in St. Louis and the Brooklyn Museum. He came to St. Louis at the invitation of Perry T. Rathbone, Rathbone arranged for Washington University in St. Louis to hire Beckmann as an art teacher, filling a vacancy left by Philip Guston, who had taken a leave. The first Beckmann retrospective in the United States took place in 1948 at the City Art Museum, may became his patron and, already an avid amateur photographer and painter, a student of the artist. May later donated much of his collection of Beckmanns works to the St. Louis Art Museum. Beckmann also helped him learn to appreciate Oceanian and African art, after stops in Denver and Chicago, he and Quappi took an apartment at 38 West 69th Street in Manhattan. In 1949 he obtained a professorship at the Art School of New Yorks Brooklyn Museum. He suffered from angina pectoris and died after Christmas 1950, struck down by an attack at the corner of 69th Street and Central Park West in New York
Max Beckmann
–
Max Beckmann, photograph by Hans Möller, 1922
Max Beckmann
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Max Beckmann Self-portrait with Horn, 1938-1940
Max Beckmann
–
Max Beckmann, 1918-19,
The Night (Die Nacht), oil on canvas, 133 x 154 cm,
Kunstsammlung Nordrhein-Westfalen, Düsseldorf
Max Beckmann
–
Max Beckmann, Carnival, 1943, triptych, oil on canvas,
University of Iowa Museum of Art
26.
Robert Rauschenberg
–
Milton Ernest Robert Rauschenberg was an American painter and graphic artist whose early works anticipated the pop art movement. Rauschenberg is well known for his Combines of the 1950s, in which non-traditional materials, Rauschenberg was both a painter and a sculptor and the Combines are a combination of both, but he also worked with photography, printmaking, papermaking, and performance. He was awarded the National Medal of Arts in 1993 and he became the recipient of the Leonardo da Vinci World Award of Arts in 1995 in recognition of his more than 40 years of fruitful artmaking. Rauschenberg lived and worked in New York City as well as on Captiva Island, Rauschenberg was born as Milton Ernest Rauschenberg in Port Arthur, Texas, the son of Dora Carolina and Ernest R. Rauschenberg. His father was of German and Cherokee ancestry and his mother of Anglo-Saxon descent, at 16, Rauschenberg was admitted to the University of Texas where he began studying pharmacy. He was drafted into the United States Navy in 1943, based in California, he served as a mental hospital technician until his discharge in 1945. Rauschenberg subsequently studied at the Kansas City Art Institute and the Académie Julian in Paris, France, in 1948 Rauschenberg and Weil decided to attend Black Mountain College in North Carolina. Josef Albers, a founder of the Bauhaus, became Rauschenbergs painting instructor at Black Mountain, Albers preliminary courses relied on strict discipline that did not allow for any uninfluenced experimentation. Rauschenberg described Albers as influencing him to do exactly the reverse of what he was being taught, from 1949 to 1952 Rauschenberg studied with Vaclav Vytlacil and Morris Kantor at the Art Students League of New York, where he met fellow artists Knox Martin and Cy Twombly. Rauschenberg married Susan Weil in the summer of 1950 at the Weil family home in Outer Island and their only child, Christopher, was born July 16,1951. The two separated in June 1952 and divorced in 1953, according to a 1987 oral history by the composer Morton Feldman, after the end of his marriage, Rauschenberg had romantic relationships with fellow artists Cy Twombly and Jasper Johns. An article by Jonathan D. Katz states that Rauschenbergs affair with Twombly began during his marriage to Susan Weil, Rauschenberg died on May 12,2008, on Captiva Island, Florida. He died of heart failure after a decision to go off life support. Rauschenberg is survived by his partner of 25 years, artist Darryl Pottorf, Rauschenberg is also survived by his son, photographer Christopher Rauschenberg, and his sister, Janet Begneaud. Rauschenbergs approach was sometimes called Neo Dadaist, a label he shared with the painter Jasper Johns, at the same time, Johns paintings of numerals, flags, and the like, were reprising Duchamps message of the role of the observer in creating arts meaning. Alternatively, in 1961, Rauschenberg took a step in what could be considered the direction by championing the role of creator in creating arts meaning. Rauschenberg was invited to participate in an exhibition at the Galerie Iris Clert, Rauschenbergs submission consisted of a telegram sent to the gallery declaring This is a portrait of Iris Clert if I say so. From the fall of 1952 to the spring of 1953 Rauschenberg traveled through Europe and North Africa with his fellow artist, in Morocco, he created collages and boxes out of trash
Robert Rauschenberg
–
Robert Rauschenberg (1968)
Robert Rauschenberg
–
Canyon (1959)
Robert Rauschenberg
–
Robert Rauschenberg, Riding Bikes,
Berlin, Germany, 1998.
Robert Rauschenberg
–
Robert Rauschenberg, untitled "combine," 1963.
27.
Jasper Johns
–
Jasper Johns is an American painter, sculptor and printmaker associated with Abstract expressionism, Neo-Dada, and Pop art. Born in Augusta, Georgia, Jasper Johns spent his life in Allendale, South Carolina. He completed Edmunds High School in Sumter, South Carolina, where he again lived with his mother. Recounting this period in his life, he said, In the place where I was a child, there were no artists and there was no art. I think I thought it meant that I would be in a different than the one that I was in. Johns studied a total of three semesters at the University of South Carolina, from 1947 to 1948 and he then moved to New York City and studied briefly at the Parsons School of Design in 1949. In 1952 and 1953 he was stationed in Sendai, Japan, in 1954, after returning to New York, Johns met Robert Rauschenberg and they became long-term lovers. For a time lived in the same building as Rachel Rosenthal. In the same period he was influenced by the gay couple Merce Cunningham. Working together they explored the art scene, and began developing their ideas on art. In 1958, gallery owner Leo Castelli discovered Johns while visiting Rauschenbergs studio, Castelli gave him his first solo show. It was here that Alfred Barr, the director of New Yorks Museum of Modern Art. In 1963, Johns and Cage founded Foundation for Contemporary Performance Arts, Johns currently lives in Sharon, Connecticut, and on the island of Saint Martin. Until 2012, he lived in a rustic 1930s farmhouse with a studio in Stony Point. He first began visiting Saint Martin in the late 1960s and bought the property there in 1972, the architect Philip Johnson is the principal designer of his Saint Martin home, a long, white, rectangular structure divided into three distinct sections. Johns is best known for his painting Flag, which he painted after having a dream of the American flag and his work is often described as Neo-Dadaist, as opposed to pop art, even though his subject matter often includes images and objects from popular culture. Still, many compilations on pop art include Jasper Johns as a pop artist because of his use of classical iconography. Early works were composed using simple schema such as flags, maps, targets, Johns treatment of the surface is often lush and painterly, he is famous for incorporating such media as encaustic and plaster relief in his paintings
Jasper Johns
–
Three Flags, 1958,
Whitney Museum of American Art
Jasper Johns
–
Flag, Encaustic, oil and collage on fabric mounted on plywood,1954–55
Jasper Johns
–
Detail of Flag (1954–55).
Museum of Modern Art,
New York City. This image illustrates Johns' early technique of painting with thick, dripping encaustic over a collage made from found materials such as newspaper. This rough method of construction is rarely visible in photographic reproductions of his work.
Jasper Johns
–
Jasper Johns,
Map, 1961.
Museum of Modern Art New York City. Flags, maps, targets, stenciled words and numbers were themes used by Johns in the 1960s.
28.
Franz, Duke of Bavaria
–
Franz, Duke of Bavaria, born 14 July 1933) is head of the House of Wittelsbach, the former ruling family of the Kingdom of Bavaria. His great-grandfather King Ludwig III was the last ruling monarch of Bavaria until deposed in 1918, during the Second World War, the Wittelsbachs were anti-Nazi. The family initially left Nazi Germany for Hungary but were arrested when Franz was aged 11. He spent time in several Nazi concentration camps, including Oranienburg, after the war, he was a student at the University of Munich and became a collector of modern art. Franz succeeded as head of the House of Wittelsbach, and as pretender to the Bavarian throne and he lives at the Nymphenburg Palace in Munich. A spokesman has said that the Duke generally does not comment on issues concerning his relationship to the Royal House of Stuart. Franz was born on 14 July 1933 in Munich, the son of Albrecht, Duke of Bavaria, and his wife, Countess Maria Draskovich of Trakostjan of the House of Drašković. On 18 May 1949, when Franz was 15, his grandfather Crown Prince Rupprecht recognised the marriage of Franzs parents as dynastic, the Wittelsbach dynasty were opposed to the Nazi regime in Germany, and in 1939, Franzs father Albrecht took his family to Hungary. They lived in Budapest for four years before moving to their Castle at Sárvár in late 1943, in March 1944, Nazi Germany occupied Hungary, and on 6 October 1944 the entire family, including the 11-year-old Franz, were arrested. They were sent to a series of Nazi concentration camps, including Oranienburg, at the end of April 1945, they were liberated by the United States Third Army. After the war, Franz received his education at the Benedictine Abbey of Ettal. He then studied management at the University of Munich and in Zurich. Franz developed a passion for collecting modern art, today, many items from his private collection are on permanent loan to the Pinakothek der Moderne in Munich. He is also a trustee of the Museum of Modern Art in New York. Franz lives in a wing of Nymphenburg Palace, the summer residence of the Kings of Bavaria. His country retreat is Berg Castle, and he uses the former royal castle at Berchtesgaden and Hohenschwangau Castle. He speaks German, Hungarian, English, and French, Franzs 80th birthday party, in 2013, was held at the Schleissheim Palace near Munich. The party was attended by 2,500 guests, including the current Minister-President of Bavaria, the heir presumptive to the headship of the House of Wittelsbach is his brother Prince Max, Duke in Bavaria
Franz, Duke of Bavaria
–
Franz at the investiture of Knights of the
Order of the Holy Sepulchre
Franz, Duke of Bavaria
–
2005 painting by Dieter Stein
29.
Sigmar Polke
–
Sigmar Polke was a German painter and photographer. Polke experimented with a range of styles, subject matters. In the 1970s, he concentrated on photography, returning to paint in the 1980s, in the last 20 years of his life, he produced paintings focused on historical events and perceptions of them. Polke, the seventh in a family of eight children, was born in Oels in Lower Silesia and he fled with his family to Thuringia in 1945, during the expulsion of Germans after World War II. His family escaped from the Communist regime in East Germany in 1953, traveling first to West Berlin, from 1961 to 1967 he studied at the Düsseldorf Arts Academy under Karl Otto Götz, Gerhard Hoehme and deeply influenced by his teacher Joseph Beuys. He began his creative output during a time of social, cultural. During the 1960s, Düsseldorf, in particular, was a prosperous, commercial city, in the early 1970s Polke lived at the Gaspelhof, an artists commune. From 1977–1991, he was a professor at the Academy of Fine Arts and his students included, among others, Georg Herold. He settled in Cologne 1978, where he continued to live, in 1963, Polke founded the painting movement Kapitalistischer Realismus with Gerhard Richter and Konrad Fischer. It is an anti-style of art, appropriating the pictorial shorthand of advertising and he also participated in Demonstrative Ausstellung, a store-front exhibition in Düsseldorf with Manfred Kuttner, Lueg, and Richter. Essentially a self-taught photographer, Polke spent the three years painting, experimenting with filmmaking and performance art. In 1966-68, during his most conceptual period, Polke used a Rollei camera to capture ephemeral arrangements of objects in his home and studio. In 1968, the year after he left the art academy, Polke published these images as a portfolio of 14 photographs of sculptures he had made from odds and ends—buttons, balloons. From 1968 to 1971, he completed several films and took thousands of photographs, most of which he could not afford to print. In 1973 he visited the U. S. with artist James Lee Byars in search of the other America and he combined both negatives and positives with images that had both vertical and horizontal orientations. The resulting collage-like compositions take advantage of under- and overexposure and negative and positive printing to create enigmatic narratives, with the negative in his enlarger, the artist developed large sheets selectively, pouring on photographic solutions and repeatedly creasing and folding the wet paper. Polke’s early work has often been characterised as European Pop art for its depiction of everyday subject matter—sausages, bread and he imitated the dotted effect of commercial newsprint by painstakingly painting each dot with the rubber at the end of a pencil. In works such as Carl Andre in Delft or, later, Protective Custody Polke used a canvas made of furnishing fabric, embedded in these images are incisive and parodic commentaries on consumer society, the postwar political scene in Germany, and classic artistic conventions
Sigmar Polke
–
Sigmar Polke (right) with his friend Dieter Frowein-Lyasso
30.
Modernism
–
Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed then by reactions of horror to World War I. Modernism also rejected the certainty of Enlightenment thinking, and many modernists rejected religious belief, the poet Ezra Pounds 1934 injunction to Make it new. Was the touchstone of the approach towards what it saw as the now obsolete culture of the past. In this spirit, its innovations, like the novel, atonal and twelve-tone music, divisionist painting and abstract art. Modernism explicitly rejected the ideology of realism and makes use of the works of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision, others focus on modernism as an aesthetic introspection. While J. M. W. Art critic Clement Greenberg describes the Pre-Raphaelite Brotherhood as proto-Modernists, There the proto-Modernists were, of all people, the Pre-Raphaelites actually foreshadowed Manet, with whom Modernist painting most definitely begins. They acted on a dissatisfaction with painting as practiced in their time, rationalism has also had opponents in the philosophers Søren Kierkegaard and later Friedrich Nietzsche, both of whom had significant influence on existentialism. A major 19th-century engineering achievement was The Crystal Palace, the huge cast-iron, Glass and iron were used in a similar monumental style in the construction of major railway terminals in London, such as Paddington Station and Kings Cross Station. These technological advances led to the building of structures like the Brooklyn Bridge. The latter broke all previous limitations on how tall man-made objects could be and these engineering marvels radically altered the 19th-century urban environment and the daily lives of people. Arguments arose that the values of the artist and those of society were not merely different, but that Society was antithetical to Progress, the philosopher Schopenhauer called into question the previous optimism, and his ideas had an important influence on later thinkers, including Nietzsche. Darwins theory of evolution by natural selection undermined religious certainty and the idea of human uniqueness, in particular, the notion that human beings were driven by the same impulses as lower animals proved to be difficult to reconcile with the idea of an ennobling spirituality. Karl Marx argued that there were fundamental contradictions within the capitalist system, historians, and writers in different disciplines, have suggested various dates as starting points for modernism. Everdell also thinks modernism in painting began in 1885–86 with Seurats Divisionism, the poet Baudelaires Les Fleurs du mal, and Flauberts novel Madame Bovary were both published in 1857. In the arts and letters, two important approaches developed separately in France, the first was Impressionism, a school of painting that initially focused on work done, not in studios, but outdoors. Impressionist paintings demonstrated that human beings do not see objects, the school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. A significant event of 1863 was the Salon des Refusés, created by Emperor Napoleon III to display all of the paintings rejected by the Paris Salon. While most were in standard styles, but by artists, the work of Manet attracted tremendous attention
Modernism
Modernism
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Eugène Delacroix 's
Liberty Leading the People, 1830, a
Romantic work of art
Modernism
–
A
Realist portrait of
Otto von Bismarck
Modernism
–
Odilon Redon, Guardian Spirit of the Waters, 1878, charcoal on paper,
The Art Institute of Chicago
31.
Georges Braque
–
Georges Braque was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most important contributions to the history of art were in his alliance with Fauvism from 1906, braque’s work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame, georges Braque was born on 13 May 1882 in Argenteuil, Val-dOise. He grew up in Le Havre and trained to be a house painter, however, he also studied artistic painting during evenings at the École des Beaux-Arts, in Le Havre, from about 1897 to 1899. In Paris, he apprenticed with a decorator and was awarded his certificate in 1902, the next year, he attended the Académie Humbert, also in Paris, and painted there until 1904. It was here that he met Marie Laurencin and Francis Picabia, Braques earliest works were impressionistic, but after seeing the work exhibited by the artistic group known as the Fauves in 1905, he adopted a Fauvist style. The Fauves, a group that included Henri Matisse and André Derain among others, Braque worked most closely with the artists Raoul Dufy and Othon Friesz, who shared Braques hometown of Le Havre, to develop a somewhat more subdued Fauvist style. In 1906, Braque traveled with Friesz to LEstaque, to Antwerp, in May 1907, he successfully exhibited works of the Fauve style in the Salon des Indépendants. The 1907 Cézanne retrospective at the Salon dAutomne greatly affected the artists of Paris. Braques paintings of 1908–1912 reflected his new interest in geometry and simultaneous perspective and he showed this in the painting Houses at lEstaque. Beginning in 1909, Braque began to work closely with Pablo Picasso who had been developing a similar proto-Cubist style of painting. At the time, Pablo Picasso was influenced by Gauguin, Cézanne, African masks, Picasso celebrates animation, while Braque celebrates contemplation. Thus, the invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris and these artists were the styles main innovators. After meeting in October or November 1907, Braque and Picasso, in particular, both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed Analytic Cubism. In 1912, they began to experiment with collage and Braque invented the papier collé technique, French art critic Louis Vauxcelles used the terms bizarre cubiques in 1908 after seeing a picture by Braque. He described it as full of little cubes, the term Cubism, first pronounced in 1911 with reference to artists exhibiting at the Salon des Indépendants, quickly gained wide use but Picasso and Braque did not adopt it initially. Art historian Ernst Gombrich described Cubism as the most radical attempt to stamp out ambiguity and to one reading of the picture—that of a man-made construction. The Cubist style spread quickly throughout Paris and then Europe, the two artists productive collaboration continued and they worked closely together until the beginning of World War I in 1914, when Braque enlisted with the French Army
Georges Braque
–
Georges Braque, 1908, photograph published in
Gelett Burgess, The Wild Men of Paris, Architectural Record, May 1910
Georges Braque
–
Georges Braque, 1906, L'Olivier près de l'Estaque (The Olive tree near l'Estaque). At least four versions of this scene were painted by Braque, one of which was stolen from the
Musée d'Art Moderne de la Ville de Paris during the month of May, 2010.
Georges Braque
–
Georges Braque, 1907-08, The Viaduct at L'Estaque (Le Viaduc de l'Estaque), oil on canvas, 65.1 x 80.6 cm,
Minneapolis Institute of Arts
Georges Braque
–
Georges Braque, 1908, Maisons et arbre (
Houses at l'Estaque), oil on canvas, 40.5 x 32.5 cm,
Lille Métropole Museum of Modern, Contemporary and Outsider Art
32.
Juan Gris
–
José Victoriano González-Pérez, better known as Juan Gris, was a Spanish painter and sculptor born in Madrid who lived and worked in France most of his life. Closely connected to the artistic genre Cubism, his works are among the movements most distinctive. He later studied engineering at Madrids School of Arts and Sciences, there, from 1902 to 1904, he contributed drawings to local periodicals. From 1904 to 1905, he studied painting with the academic artist José Moreno Carbonero and it was in 1905 that José Victoriano González adopted the more distinctive name Juan Gris. In 1906 he moved to Paris and became friends with Henri Matisse, Georges Braque, in Paris, Gris followed the lead of another friend and fellow countryman, Pablo Picasso. He submitted darkly humorous illustrations to journals such as the anarchist satirical magazine LAssiette au Beurre, and also Le Rire, Le Charivari, Gris began to paint seriously in 1910, developing at this time a personal Cubist style. In A Life of Picasso, John Richardson writes that Jean Metzingers 1911 work, Le goûter, Gris exhibited for the first time at the 1912 Salon des Indépendants. He appears with two styles, writes art historian Peter Brooke, In one of them a grid structure appears that is reminiscent of the Goûter. In the other, Brooke continues, the grid is still present but the lines are not stated and their presence is suggested by the heavy, often triangular, shading of the angles between them. Both styles are distinguished from the work of Picasso and Braque by their clear, rational, although Gris regarded Picasso as a teacher, Gertrude Stein wrote in The Autobiography of Alice B. Toklas that Juan Gris was the person whom Picasso wished away. Gris, in same year, signed a contract that gave D. -H. Kahnweiler exclusive rights to his work, unlike Picasso and Braque, whose Cubist works were practically monochromatic, Gris painted with bright harmonious colors in daring, novel combinations in the manner of his friend Matisse. Gris exhibited with the painters of the Puteaux Group in the Salon de la Section dOr in 1912 and his preference for clarity and order influenced the Purist style of Amédée Ozenfant and Charles Edouard Jeanneret, and made Gris an important exemplar of the post-war return to order movement. In 1915 he was painted by his friend, Amedeo Modigliani, in November 1917 he made one of his few sculptures, the polychrome plaster Harlequin. Griss works from late 1916 through 1917 exhibit a greater simplification of geometric structure, the oblique overlapping planar constructions, tending away from equilibrium, can best be seen in Woman with Mandolin, after Corot and in its epilogue, Portrait of Josette Gris. Though Gris certainly had planned the representation of his subject matter. The geometric structure of Juan Griss Crystal period is already palpable in Still Life before an Open Window, the overlapping elemental planar structure of the composition serves as a foundation to flatten the individual elements onto a unifying surface, foretelling the shape of things to come
Juan Gris
–
Juan Gris, 1922, photograph by
Man Ray (Paris)
Juan Gris
–
Portrait of Picasso, 1912, oil on canvas, the
Art Institute of Chicago
Juan Gris
–
Juan Gris, September 1916, Woman with Mandolin, after Corot (La femme à la mandoline, d'après Corot), oil on canvas, 92 x 60 cm,
Kunstmuseum Basel
Juan Gris
–
Guitar and Pipe, 1913,
Dallas Museum of Art, Texas
33.
Umberto Boccioni
–
Umberto Boccioni was an influential Italian painter and sculptor. He helped shape the revolutionary aesthetic of the Futurism movement as one of its principal figures, despite his short life, his approach to the dynamism of form and the deconstruction of solid mass guided artists long after his death. His works are held by many art museums, and in 1988 the Metropolitan Museum of Art in New York organized a major retrospective of 100 pieces. Umberto Boccioni was born on 19 October 1882 in Reggio Calabria and his father was a minor government employee, originally from the Romagna region in the north, and his job included frequent reassignments throughout Italy. The family soon relocated further north, and Umberto and his older sister Amelia grew up largely in Forlì, Genoa, at the age of 15, in 1897, Umberto and his father moved to Catania, Sicily, where he would finish school. Some time after 1898, he moved to Rome and studied art at the Scuola Libera del Nudo of the Accademia di Belle Arti di Roma, boccionis writings at this time already express the combination of outrage and irony that would become a lifelong characteristic. His critical and rebellious nature, and overall ability, would contribute substantially to the development of the Futurism movement. Severini wrote It was a stroke of luck for us to meet such a man. Returning to Italy in 1907, he took drawing classes at the Accademia di Belle Arti of Venice. He had first visited the Famiglia Artistica, a society for artists in Milan, Boccioni moved to Milan in 1907. There, early in 1908, he met the Divisionist painter Gaetano Previati, in early 1910 he met Filippo Tommaso Marinetti, who had already published his Manifesto del Futurismo in the previous year. Boccioni became the main theorist of the artistic movement, only when Boccioni, Severini and a few other Futurists traveled to Paris and saw what Braque and Picasso had been doing did the movement begin to take real shape. He also decided to be a sculptor after he visited various studios in Paris, in 1912, including those of Braque, Archipenko, Brâncuși, Raymond Duchamp-Villon and, probably, Medardo Rosso. In the brief span of the Italian Futurist movement, the short-lived Umberto Boccioni was a blazing comet. Boccioni was a theoretician of the movement, drafting two Futurist manifestoes in 1910 and 1912 that exalted the force and energy of contemporary life. They called for an art that glorified speed, violence and the machine age, one that above all reflected the dynamism of an engine-driven civilization. He exhibited in London, together with the group, in 1912 and 1914, others aligned themselves instead to its British equivalent, Vorticism, led by Wyndham Lewis. Boccionis gift was to bring a fresh eye to reality in ways that, we now recognise, defined the nature of the movement in the visual arts and literature
Umberto Boccioni
–
Umberto Boccioni self-portrait (1905)
Umberto Boccioni
–
Self portrait, 1905, oil on canvas
Umberto Boccioni
–
Umberto Boccioni, 1913, Synthèse du dynamisme humain (Synthesis of Human Dynamism), sculpture destroyed
Umberto Boccioni
–
Three Women, 1910
34.
Robert Delaunay
–
Robert Delaunay was a French artist who, with his wife Sonia Delaunay and others, cofounded the Orphism art movement, noted for its use of strong colours and geometric shapes. His later works were abstract, reminiscent of Paul Klee. His key influence related to use of colour and a clear love of experimentation with both depth and tone. Robert Delaunay was born in Paris, the son of George Delaunay, while he was a child, Delaunays parents divorced, and he was raised by his mothers sister Marie and her husband Charles Damour, in La Ronchère near Bourges. When he failed his exam and said he wanted to become a painter. At age 19, he left Ronsin to focus entirely on painting and contributed six works to the Salon des Indépendants in 1904. He traveled to Brittany, where he was influenced by the group of Pont-Aven, and, in 1906, he contributed works he painted in Brittany to the 22nd Salon des Indépendants, where he met Henri Rousseau. Delaunay formed a friendship at this time with Jean Metzinger. The two of them were singled out by the art critic Louis Vauxcelles in 1907 as Divisionists who used large, mosaic-like cubes to construct small, Robert Herbert writes, Metzingers Neo-Impressionist period was somewhat longer than that of his close friend Delaunay. The height of his Neo-Impressionist work was in 1906 and 1907, piet Mondrian developed a similar mosaic-like Divisionist technique circa 1909. The Futurists later would incorporate the style, under the influence of Gino Severinis Parisian works, into their dynamic paintings, Delaunay is most closely identified with Orphism. From 1912 to 1914, he painted nonfigurative paintings based on the characteristics of brilliant colors that were so dynamic they would function as the form. Apollinaire was strongly influenced by Delaunay’s theories of color and often quoted from them to explain Orphism, Delaunay’s fixations with color as the expressive and structural means were sustained with his study of color. He believes painting is a visual art that depends on intellectual elements. The contrasts and harmonies of color produce in the eye simultaneous movements, vision becomes the subject of painting. His early paintings are deeply rooted in Neoimpressionism, night Scene for example has vigorous activity with the use of lively brushstrokes in bright colors against a dark background. It doesn’t define solid object but the areas that surround them, spectral colors of Neoimpressionism were later abandoned, the Eiffel Tower series, were fragmentation of solid objects and their merging with space was learned. Influences in this series were Cézanne, Analytical Cubism, and Futurism, in the Eiffel Tower the interpenetration of tangible objects and surrounding space is accompanies by intense movement of geometric plans that are more dynamic than static equilibrium of Cubist forms
Robert Delaunay
–
Simultaneous Windows on the City, 1912,
Hamburger Kunsthalle
Robert Delaunay
–
Robert Delaunay, Portrait de Jean Metzinger, 1906, oil on canvas, 55 x 43 cm
Robert Delaunay
–
Robert Delaunay, Paysage au disque, 1906–07, oil on canvas, 55 x 46 cm, Musée national d'art moderne (MNAM), Centre Georges Pompidou, Paris
Robert Delaunay
–
Champs de Mars, La Tour rouge, 1911,
Art Institute of Chicago.
35.
Lyonel Feininger
–
Lyonel Charles Feininger was a German-American painter, and a leading exponent of Expressionism. He also worked as a caricaturist and comic strip artist and he was born and grew up in New York City, traveling to Germany at 16 to study and perfect his art. He started his career as a cartoonist in 1894 and met much success in this area. He was also a commercial caricaturist for 20 years for magazines and newspapers in the USA, at the age of 36, he started to work as a fine artist. He also produced a body of photographic works between 1928 and the mid 1950s, but he kept these primarily within his circle of friends. He was also a pianist and composer, with piano compositions. Lyonel Feininger was born to German-American violinist and composer Karl Feininger and he was born and grew up in New York City, but traveled to Germany at the age of 16 in 1887 to study. In 1888, he moved to Berlin and studied at the Königliche Akademie Berlin under Ernst Hancke and he continued his studies at art schools in Berlin with Karl Schlabitz, and in Paris with sculptor Filippo Colarossi. He started as a caricaturist for several magazines including Harpers Round Table, Harpers Young People, Humoristische Blätter, Lustige Blätter, Das Narrenschiff, Berliner Tageblatt, in 1900, he met Clara Fürst, daughter of the painter Gustav Fürst. He married her in 1901, and they had two daughters, in 1905, he separated from his wife after meeting Julia Berg. He married Berg in 1908 and had children with her. The artist was represented with drawings at the exhibitions of the annual Berlin Secession in the years 1901 through 1903, Feiningers career as cartoonist started in 1894. He was working for several German, French and American magazines and he recruited Feininger to illustrate two comic strips The Kin-der-Kids and Wee Willie Winkies World for the Chicago Tribune. The strips were noted for their fey humor and graphic experimentation and he also worked as a commercial caricaturist for 20 years for various newspapers and magazines in both the USA and Germany. Later, Art Spiegelman wrote in The New York Times Book Review and he was a member of the Berliner Sezession in 1909, and he was associated with German expressionist groups, Die Brücke, the Novembergruppe, Gruppe 1919, the Blaue Reiter circle and Die Blaue Vier. His first solo exhibit was at Sturm Gallery in Berlin,1917, when Walter Gropius founded the Bauhaus in Germany in 1919, Feininger was his first faculty appointment, and became the master artist in charge of the printmaking workshop. From 1909 until 1921, Feininger spent summer vacations on the island of Usedom to recover and he continued to create paintings and drawings of Benz for the rest of his life, even after returning to live in the United States. A tour of the sites appearing in the works of Feininger follows a path with markers in the ground to guide visitors and he designed the cover for the Bauhaus 1919 manifesto, an expressionist woodcut cathedral
Lyonel Feininger
–
1915, Jesuiten III (Jesuits III)
Lyonel Feininger
–
Lyonel Feininger, 1914, Benz VI, oil on canvas, 100 x 125 cm (39.3 x 49.2 in)
Lyonel Feininger
–
Lyonel Feininger, 1924, Gaberndorf II
Lyonel Feininger
–
Feininger Tour marker in Benz
36.
Oskar Kokoschka
–
Oskar Kokoschka was an Austrian artist, poet and playwright best known for his intense expressionistic portraits and landscapes. He was born in Pöchlarn, second child to Gustav Josef Kokoschka, a Czech goldsmith and his older brother died in infancy in 1887, he had a sister, Berta and a brother, Bohuslav. Oskar had a belief in omens, spurred by a story of a fire breaking out in Pöchlarn shortly after his mother gave birth to him. Kokoschkas life was not easy due to a lack of financial help from his father. They constantly moved into flats, farther and farther from the thriving center of the town. Concluding that his father was inadequate, Kokoschka drew closer to his mother, he felt that he was the head of the household, Kokoschka entered secondary school at Realschule, where emphasis was placed on the study of modern subjects such as science and language. Kokoschka was not interested in subjects, as he found he only excelled in art. This education of classic literature is said to have influenced his artwork, one of Kokoschkas professors suggested he pursue a career in fine art. Against his fathers will, Kokoschka applied to Kunstgewerbeschule in Vienna, Kunstgewerbeschule was an extremely progressive school that focused mainly on architecture, furniture, crafts and modern design. Unlike the more prestigious and traditional Academy of Fine Art in Vienna, Kokoschka studied there from 1904 to 1909, and was influenced by his professor Carl Otto Czeschka in developing an original style. Among Kokoschkas early works were drawings of children, which portrayed them as awkward. Kokoschka had no training in painting and so approached the medium without regard to the traditional or correct way to paint. The teachers at Kunstgewerbeschule helped Kokoschka gain opportunities through the Wiener Werkstätte or Viennese Workshops, Kokoschkas first commissions were postcards and drawings for children. Kokoschka said that it gave him the basis of artistic training and his early career was marked by portraits of Viennese celebrities, painted in a nervously animated style. Kokoschka had a passionate, often stormy affair with Alma Mahler and it began in 1912, shortly after the death of her four-year-old daughter Maria Mahler and her affair with Walter Gropius. After several years together, Alma rejected him, explaining that she was afraid of being too overcome with passion and he continued to love her his entire life, and one of his greatest works, The Bride of the Wind, is a tribute to her. The poet Georg Trakl visited the studio while Kokoschka was painting this masterpiece, Kokoschkas poem Allos Makar was inspired by this relationship. He volunteered for service as a cavalryman in the Austrian army in World War I, at the hospital, the doctors decided that he was mentally unstable
Oskar Kokoschka
–
The Bride of the Wind or The Tempest, oil on canvas, a self-portrait expressing his unrequited love for
Alma Mahler, widow of composer
Gustav Mahler, 1914
Oskar Kokoschka
–
The house in which Oskar Kokoschka was born in
Pöchlarn (August 2006)
Oskar Kokoschka
–
Oskar Kokoschka in 1963, by
Erling Mandelmann
Oskar Kokoschka
–
Portrait of Lotte Franzos 1909, (oil on canvas, 114.9 cm × 79.4 cm), The Phillips Collection, Washington, DC
37.
Otto Dix
–
Wilhelm Heinrich Otto Dix was a German painter and printmaker, noted for his ruthless and harshly realistic depictions of Weimar society and the brutality of war. Along with George Grosz, he is considered one of the most important artists of the Neue Sachlichkeit. Otto Dix was born in Untermhaus, Germany, now a part of the city of Gera. The eldest son of Franz and Louise Dix, he an iron worker and she a seamstress who had written poetry in her youth. Between 1906 and 1910, he served an apprenticeship with painter Carl Senff, in 1910, he entered the Kunstgewerbeschule in Dresden, where Richard Guhr was among his teachers. When the First World War erupted, Dix enthusiastically volunteered for the German Army and he was assigned to a field artillery regiment in Dresden. In the autumn of 1915 he was assigned as a officer of a machine-gun unit on the Western front. In November 1917, his unit was transferred to the Eastern front until the end of hostilities with Russia, back on the western front, he fought in the German Spring Offensive. He earned the Iron Cross and reached the rank of vizefeldwebel, in August of that year he was wounded in the neck, and shortly after he took pilot training lessons. He took part in a Fliegerabwehr-Kurs in Tongern, was promoted to Vizefeldwebel and he was discharged from service in 22 December 1918 and was home for Christmas. Dix was profoundly affected by the sights of the war, and he represented his traumatic experiences in many subsequent works, including a portfolio of fifty etchings called Der Krieg, published in 1924. At the end of 1918 Dix returned to Gera, but the year he moved to Dresden. He became a founder of the Dresden Secession group in 1919, in 1920, he met George Grosz and, influenced by Dada, began incorporating collage elements into his works, some of which he exhibited in the first Dada Fair in Berlin. He also participated in the German Expressionists exhibition in Darmstadt that year and his 1923 painting The Trench, which depicted dismembered and decomposed bodies of soldiers after a battle, caused such a furore that the Wallraf-Richartz Museum hid the painting behind a curtain. In 1925 the then-mayor of Cologne, Konrad Adenauer, cancelled the purchase of the painting, Dixs work, like that of Grosz—his friend and fellow veteran—was extremely critical of contemporary German society and often dwelled on the act of Lustmord, or sexual murder. He drew attention to the side of life, unsparingly depicting prostitution, violence, old age. In one of his few statements, published in 1927, Dix declared, The object is primary, when the Nazis came to power in Germany, they regarded Dix as a degenerate artist and had him sacked from his post as an art teacher at the Dresden Academy. He later moved to Lake Constance in the southwest of Germany, Dixs paintings The Trench and War cripples were exhibited in the state-sponsored Munich 1937 exhibition of degenerate art, Entartete Kunst
Otto Dix
–
Otto Dix on April 12, 1957
Otto Dix
–
Otto Nagel (left) and Dix (right) on April 12, 1957
Otto Dix
–
Otto Dix House in
Gera. The artist's birthplace opened as a museum in 1991
Otto Dix
–
Stormtroopers Advancing Under Gas, etching and
aquatint by Otto Dix, 1924
38.
Max Ernst
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Max Ernst was a German painter, sculptor, graphic artist, and poet. A prolific artist, Ernst was a pioneer of the Dada movement. Max Ernst was born in Brühl, near Cologne, the third of nine children of a middle-class Catholic family and his father Philipp was a teacher of the deaf and an amateur painter, a devout Christian and a strict disciplinarian. He inspired in Max a penchant for defying authority, while his interest in painting and sketching in nature influenced Max to take up painting himself, in 1909 Ernst enrolled in the University of Bonn, studying philosophy, art history, literature, psychology and psychiatry. In 1911 Ernst befriended August Macke and joined his Die Rheinischen Expressionisten group of artists, in 1912 he visited the Sonderbund exhibition in Cologne, where works by Pablo Picasso and post-Impressionists such as Vincent van Gogh and Paul Gauguin profoundly influenced his approach to art. His own work was exhibited the same year together with that of the Das Junge Rheinland group, at Galerie Feldman in Cologne, in 1914 Ernst met Hans Arp in Cologne. The two soon became friends and their relationship lasted for fifty years, after Ernst completed his studies in the summer, his life was interrupted by World War I. Ernst was drafted and served both on the Western and the Eastern front, such was the devastating effect of the war on the artist that in his autobiography he referred to his time in the army thus, On the first of August 1914 M. E. died. He was resurrected on the eleventh of November 1918, however, for a brief period on the Western Front, Ernst was assigned to chart maps, which allowed him to continue painting. Several German Expressionist painters died in action during the war, among them Macke, Ernst was demobilized in 1918 and returned to Cologne. He soon married art history student Luise Straus, whom he had met in 1914, in 1919, Ernst visited Paul Klee in Munich and studied paintings by Giorgio de Chirico, which deeply impressed him. Also in 1919 Ernst, social activist Johannes Theodor Baargeld, in 1919–20 Ernst and Baargeld published various short-lived magazines such as Der Strom and die schammade, and organized Dada exhibitions. Ernst and Luises son Ulrich Jimmy Ernst was born on 24 June 1920, Ernsts marriage to Luise was short-lived. In 1921 he met Paul Éluard, who became a lifelong friend. Éluard bought two of Ernsts paintings and selected six collages to illustrate his poetry collection Répétitions, a year later the two collaborated on Les malheurs des immortels, and then with André Breton, whom Ernst met in 1921, on the magazine Litterature. During his first two years in Paris Ernst took various odd jobs to make a living and continued to paint, in 1923 the Éluards moved to a new home in Eaubonne, near Paris, where Ernst painted numerous murals. The same year his works were exhibited at Salon des Indépendants, although apparently accepting the ménage à trois at first, Éluard eventually became more concerned about the affair. In 1924 he abruptly left, first for Monaco, and then for Saigon and he soon asked his wife and Max Ernst to join him, both had to sell numerous paintings to finance the trip
Max Ernst
–
Max Ernst, 1920, Punching Ball ou l'Immortalité de Buonarroti, photomontage, gouache, ink on photograph (self-portrait)
Max Ernst
–
Max Ernst, Ubu Imperator, (1923),
Musee National d'Art Moderne,
Centre Pompidou, Paris, France
Max Ernst
–
"Les Fusains": 22, rue Tourlaque,
18th arrondissement of Paris where Max Ernst established a studio in 1925
Max Ernst
–
L'Ange du Foyer, (1937)
39.
Giorgio de Chirico
–
Giorgio de Chirico was an Italian artist and writer. In the years before World War I, he founded the scuola metafisica art movement, after 1919, he became interested in traditional painting techniques, and worked in a neoclassical or neo-Baroque style, while frequently revisiting the metaphysical themes of his earlier work. De Chirico was born in Volos, Greece, to a Genoan mother and he entered the Academy of Fine Arts in Munich, where he studied under Max Klinger and read the writings of the philosophers Nietzsche, Arthur Schopenhauer and Otto Weininger. There, he studied the works of Arnold Böcklin. He returned to Italy in the summer of 1909 and spent six months in Milan and he also painted The Enigma of the Oracle while in Florence. In July 1911 he spent a few days in Turin on his way to Paris, De Chirico was profoundly moved by what he called the metaphysical aspect of Turin, especially the architecture of its archways and piazzas. De Chirico moved to Paris in July 1911, where he joined his brother Andrea. Through his brother he met Pierre Laprade, a member of the jury at the Salon dAutomne, where he exhibited three of his works, Enigma of the Oracle, Enigma of an Afternoon and Self-Portrait. During 1913 he exhibited paintings at the Salon des Indépendants and Salon d’Automne, his work was noticed by Pablo Picasso and Guillaume Apollinaire, in 1914, through Apollinaire, he met the art dealer Paul Guillaume, with whom he signed a contract for his artistic output. At the outbreak of World War I, he returned to Italy, upon his arrival in May 1915, he enlisted in the army, but he was considered unfit for work and assigned to the hospital at Ferrara. Here he met with Carlo Carrà and together founded the pittura metafisica movement. He continued to paint, and in 1918, he transferred to Rome, starting from 1918, his work was exhibited extensively in Europe. De Chirico is best known for the paintings he produced between 1909 and 1919, his period, which are characterized by haunted, brooding moods evoked by their images. In autumn,1919, De Chirico published an article in Valori Plastici entitled The Return of Craftsmanship, in which he advocated a return to traditional methods and iconography. In the early 1920s, the Surrealist writer André Breton discovered one of De Chiricos metaphysical paintings on display in Guillaumes Paris gallery, numerous young artists who were similarly affected by De Chiricos imagery became the core of the Paris Surrealist group centered around Breton. In 1924 De Chirico visited Paris and was accepted into the group, De Chirico met and married his first wife, the Russian ballerina Raissa Gurievich in 1925, and together they moved to Paris. His relationship with the Surrealists grew increasingly contentious, as they publicly disparaged his new work, by 1926 he had come to them as cretinous. They soon parted ways in acrimony, in 1928 he held his first exhibition in New York City and shortly afterwards, London
Giorgio de Chirico
–
In 1936, photographed by
Carl Van Vechten
Giorgio de Chirico
–
The Song of Love, 1914, oil on canvas, 73 × 59.1 cm,
Museum of Modern Art, New York
Giorgio de Chirico
–
Le mauvais génie d’un roi (The Evil Genius of a King), 1914-15, oil on canvas, 61 × 50.2 cm,
Museum of Modern Art, New York
Giorgio de Chirico
–
The Seer, 1914-15, oil on canvas, 89.6 x 70.1 cm,
Museum of Modern Art, New York
40.
Francis Bacon (painter)
–
Francis Bacon was an Irish-born British figurative painter known for his bold, grotesque, emotionally charged and raw imagery. Bacon was a bon vivant and gambler who took up painting in his early 20s and he drifted as an interior decorator in his 20s and 30s, he admitted that his artistic career was delayed because he spent too long looking for subject matter that could sustain his interest. His abstracted figures are typically isolated geometrical spaces, set against flat, Bacon said that he saw images in series, and his work typically focused on a single subject or format for sustained periods, often in triptych or diptych formats. These were followed by his early 1960s variations on crucifixion scenes, from the mid-1960s he mainly produced portraits of friends and drinking companions, either as single or triptych panels. Following the 1971 suicide of his lover George Dyer, his art became more sombre, inward-looking and preoccupied with the passage of time, the climax of this later period is marked by masterpieces, including his 1982s Study for Self-Portrait and Study for a Self-Portrait—Triptych, 1985–86. Francis Bacon was the subject of two Tate retrospectives and a showing in 1971 at the Grand Palais. Since his death his reputation and market value have grown steadily, in the late 1990s a number of major works, previously assumed destroyed, including early 1950s popes and 1960s portraits, reemerged to set record prices at auction. In 2013 his Three Studies of Lucian Freud set the record as the most expensive piece of art sold at auction. Francis Bacon was born in a home in the heart of old Georgian Dublin at 63 Lower Baggot Street. His father, Captain Anthony Edward Mortimer Bacon was born in Adelaide, South Australia to an English father and an Australian mother. His father, a veteran of the Boer War, was a trainer, while his mother, Christina Winifred Firth, known as Winnie, was heiress to a Sheffield steel business. His father was a descendant of Sir Nicholas Bacon, elder half-brother of Sir Francis Bacon. His great-great-grandmother, Lady Charlotte Harley, was acquainted with Lord Byron. When Bacons paternal grandfather was given the chance to revive the title of Lord Oxford by Queen Victoria, Bacon had an older brother, Harley, two younger sisters, Ianthe and Winifred, and a younger brother, Edward. He was brought up by the nanny, Jessie Lightfoot, from Cornwall, known as Nanny Lightfoot. In the 1940s, she helped him in keeping gambling houses in London, the family moved house often, moving back and forth between Ireland and England several times, leading to a feeling of displacement which remained with the artist throughout his life. They returned to Ireland after the First World War, as a child Bacon was shy and enjoyed dressing up. This, coupled with his manner, upset his father
Francis Bacon (painter)
–
Centre panel,
Study for a Self-Portrait—Triptych, 1985–86
Francis Bacon (painter)
–
Francis Bacon photographed in the early 1980s.
Francis Bacon (painter)
–
Bacon's birthplace at 63
Lower Baggot Street, Dublin
Francis Bacon (painter)
–
A baby in a carriage falling down the "Odessa Steps"
41.
Pablo Picasso
–
Pablo Ruiz y Picasso, also known as Pablo Picasso, was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Picasso demonstrated extraordinary artistic talent in his years, painting in a naturalistic manner through his childhood. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, Picassos work is often categorized into periods. Much of Picassos work of the late 1910s and early 1920s is in a neoclassical style and his later work often combines elements of his earlier styles. Ruiz y Picasso were included for his father and mother, respectively, born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco and María Picasso y López. His mother was of one quarter Italian descent, from the territory of Genoa, though baptized a Catholic, Picasso would later on become an atheist. Picassos family was of middle-class background and his father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts, Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were piz, piz, a shortening of lápiz, from the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was an academic artist and instructor, who believed that proper training required disciplined copying of the masters. His son became preoccupied with art to the detriment of his classwork, the family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. On one occasion, the father found his son painting over his sketch of a pigeon. In 1895, Picasso was traumatized when his sister, Conchita. After her death, the moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home, Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, the student lacked discipline but made friendships that would affect him in later life. His father rented a room for him close to home so he could work alone, yet he checked up on him numerous times a day. Picassos father and uncle decided to send the young artist to Madrids Real Academia de Bellas Artes de San Fernando, at age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrolment
Pablo Picasso
–
Picasso in 1908
Pablo Picasso
–
Pablo Picasso with his sister Lola, 1889
Pablo Picasso
–
Pablo Picasso, 1901, Old Woman (Woman with Gloves), oil on cardboard, 67 x 52.1 cm,
Philadelphia Museum of Art
Pablo Picasso
–
Pablo Picasso, 1901-02, Femme au café (Absinthe Drinker), oil on canvas, 73 x 54 cm,
Hermitage Museum, Saint Petersburg, Russia
42.
Der Blaue Reiter
–
Der Blaue Reiter was a group of artists united in rejection of the Neue Künstlervereinigung München in Munich, Germany. They considered that the principles of the Neue Künstlervereinigung München, a group Kandinsky had founded in 1909, had become too strict, Der Blaue Reiter was an art movement lasting from 1911 to 1914, fundamental to Expressionism, along with Die Brücke which was founded in 1905. Der Blaue Reiter lacked an artistic manifesto, but it was centered on Kandinsky, Kandinsky wrote 20 years later that the name is derived from Marcs enthusiasm for horses and Kandinskys love of riders, combined with a shared love of the colour blue. For Kandinsky, blue is the colour of spirituality, the darker the blue, within the group, artistic approaches and aims varied from artist to artist, however, the artists shared a common desire to express spiritual truths through their art. They believed in the promotion of art, the connection between visual art and music, the spiritual and symbolic associations of colour, and a spontaneous. Members were interested in European medieval art and primitivism, as well as the contemporary, as a result of their encounters with cubist, fauvist and Rayonist ideas, they moved towards abstraction. Der Blaue Reiter organized exhibitions in 1911 and 1912 that toured Germany and they also published an almanac featuring contemporary, primitive and folk art, along with childrens paintings. In 1913 they exhibited in the first German Herbstsalon, the group was disrupted by the outbreak of the First World War in 1914. Franz Marc and August Macke were killed in combat, Wassily Kandinsky, Marianne von Werefkin and Alexej von Jawlensky were forced to move back to Russia because of their Russian citizenship. There were also differences in opinion within the group, as a result, Der Blaue Reiter was short-lived, lasting for only three years from 1911 to 1914. Supported by their dealer Galka Scheyer, Kandinsky, Feininger, Klee, together they exhibited and lectured together in the United States from 1924 on. An extensive collection of paintings by Der Blaue Reiter is exhibited in the Städtische Galerie in the Lenbachhaus in Munich. Conceived in June 1911, Der Blaue Reiter Almanach was published in early 1912, by Piper, Munich, in an edition of 1100 copies, on 11 May, Franz Marc received a first print. The volume was edited by Kandinsky and Marc, its costs were underwritten by the industrialist and art collector Bernhard Koehler and it contained reproductions of more than 140 artworks, and 14 major articles. A second volume was planned, but the start of World War I prevented it, instead, a second edition of the original was printed in 1914, again by Piper. The art reproduced in the Almanac marked a turn away from a Eurocentric. The five works by Van Gogh, Cézanne, and Gauguin were outnumbered by seven from Henri Rousseau and thirteen from child artists. From January 1912 through July 1914, the exhibition toured Europe with venues in Cologne, Berlin, Bremen, Hagen, Frankfurt, Hamburg, Budapest, Oslo, Helsinki, Trondheim and Göteborg
Der Blaue Reiter
–
Wassily Kandinsky, cover of Der Blaue Reiter almanac, c.1912
Der Blaue Reiter
–
Franz Marc, Blue Horse I, 1911
Der Blaue Reiter
–
Wassily Kandinsky, Der Blaue Reiter, 1903
Der Blaue Reiter
–
100th anniversary postage stamp, Germany (2012)
43.
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
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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
44.
Erich Heckel
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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
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Erich Heckel painting at the
easel – portrait by
Ernst Ludwig Kirchner
Erich Heckel
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Weisses Haus in Dangast, oil painting by Erich Heckel, 1908.
Erich Heckel
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DPAG-2005-DieBrueckeSitzendeFraenzi
Erich Heckel
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Bathers in the Reeds, 1909Oil on canvas, 71 x 81 cmMuseum Kunst Palest, Düsseldorf
45.
Karl Schmidt-Rottluff
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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
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Woman with a Bag by Karl Schmidt-Rottluff (1915)
46.
Emil Nolde
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Emil Nolde was a German-Danish painter and printmaker. He was one of the first Expressionists, a member of Die Brücke and he is known for his brushwork and expressive choice of colors. Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise somber tones and his watercolors include vivid, brooding storm-scapes and brilliant florals. Noldes intense preoccupation with the subject of flowers reflects his continuing interest in the art of Vincent van Gogh, Emil Nolde was born as Emil Hansen near the village of Nolde, in the Prussian Duchy of Schleswig. His parents, devout Protestants, were Frisian and Danish peasants and he realized his unsuitability for farm life and that he and his three brothers were not at all alike. Between 1884 and 1891, he studied to become a carver and illustrator in Flensburg and he spent his years of travel in Munich, Karlsruhe and Berlin. In 1889, he gained entrance into the School of Applied Arts in Karlsruhe, from 1892 to 1898 he was a drawing instructor at the school of the Museum of Industrial and Applied Arts in St. Gallen, Switzerland. He eventually left this job to pursue his dream of becoming an independent artist. As a child he had loved to paint and draw, and he became a member of the revolutionary expressionist group Die Brücke, of Dresden, in 1906, upon the groups invitation. This association lasted only until the end of the following year, from 1908 to 1910 he was a member of the Berlin Secession, before being excluded in 1910 due to a disagreement with the leadership. In 1912 he exhibited with Kandinsky’s Munich-based group Der Blaue Reiter, from 1902 he called himself after his birthplace. Nolde was a supporter of the Nazi party from the early 1920s and he expressed anti-semitic, negative opinions about Jewish artists, and considered Expressionism to be a distinctively Germanic style. This view was shared by other members of the Nazi party, notably Joseph Goebbels. However Hitler rejected all forms of modernism as degenerate art, until that time he had been held in great prestige in Germany. A total of 1,052 of his works were removed from museums, some were included in the Degenerate Art exhibition of 1937, despite his protests, including a personal appeal to Nazi gauleiter Baldur von Schirach in Vienna. He was not allowed to paint—even in private—after 1941, nevertheless, during this period he created hundreds of watercolors, which he hid. He called them the Unpainted Pictures, in 1942 Nolde wrote, There is silver blue, sky blue and thunder blue. Every color holds within it a soul, which makes me happy or repels me, to a person who has no art in him, colors are colors, tones tones. and that is all
Emil Nolde
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Head with Pipe (Self Portrait) (1907) Lithograph
Emil Nolde
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Blumengarten (ohne Figur),
oil on canvas, 1908
Emil Nolde
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The Burial (Die Grablegung, Begravelsen), 1915, oil on canvas, 87 x 117 cm, Stiftung Nolde, Seebüll, Nasjonalmuseet,
National Museum of Art, Architecture and Design, Norway
Emil Nolde
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Emil Nolde The Prophet,
woodcut, 1912
47.
Franz Marc
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Franz Marc was a German painter and printmaker, one of the key figures of the German Expressionist movement. He was a member of Der Blaue Reiter, a journal whose name later became synonymous with the circle of artists collaborating in it. Franz Marc was born in 1880 in Munich, then the capital of the Kingdom of Bavaria and his father, Wilhelm Marc, was a professional landscape painter, his mother, Sophie, was a homemaker and a devout, socially liberal Calvinist. In 1900 Marc began to study at the Academy of Fine Arts, Munich, in 1903 and 1907, he spent time in France, particularly in Paris, visiting the museums in the city and copying many paintings, a traditional way for artists to study and develop technique. In Paris, Marc frequented artistic circles, meeting numerous artists and he discovered a strong affinity for the work of painter Vincent van Gogh. In 1906, Marc traveled with his elder brother Paul, a Byzantine expert, to Thessaloniki, Mount Athos, a few years later, in 1910, Marc developed an important friendship with the artist August Macke. In 1910 Marc painted Nude with Cat and Grazing Horses, Marc showed several of his works in the first Der Blaue Reiter exhibition at the Thannhauser Galleries in Munich between December 1911 and January 1912. As it was the apex of the German expressionist movement, the exhibit also showed in Berlin, Cologne, Hagen and he painted The Tiger and Red Deer in 1912 and The Tower of Blue Horses, Foxes, and Fate of the Animals in 1913. With the outbreak of World War I in 1914, Marc was drafted into the German Army as a cavalryman, by February 1916, as shown in a letter to his wife, he had gravitated to military camouflage. His technique for hiding artillery from aerial observation was to paint canvas covers in broadly pointillist style, after mobilization of the German Army, the government identified notable artists to be withdrawn from combat for their own safety. Marc was on the list but was struck in the head, Marc made some sixty prints in woodcut and lithography. Most of his mature work portrays animals, usually in natural settings and his work is characterized by bright primary color, an almost cubist portrayal of animals, stark simplicity and a profound sense of emotion. Even in his own time, his work attracted notice in influential circles. ”One of Marcs best-known paintings is Tierschicksale, Marc had completed the work in 1913, when the tension of impending cataclysm had pervaded society, as one art historian noted. On the rear of the canvas, Marc wrote, Und Alles Sein ist flammend Leid, serving in World War I, Marc wrote to his wife about the painting, is like a premonition of this war—horrible and shattering. I can hardly conceive that I painted it and his family house in Munich is marked with a historical plaque. In October 1998, several of Marcs paintings garnered record prices at Christies art auction house in London, including Rote Rehe I, in October 1999, his Der Wasserfall was sold by Sothebys in London to a private collector for $5. 06m. This price set a record for both Franz Marcs work, and twentieth-century German painting, during his twenties, Marc was involved in a number of stormy relationships, including an affair lasting for many years with Annette Von Eckardt, a married antique dealer nine years his senior. He married twice, first to Marie Schnür, then to Maria Franck, both were artists
Franz Marc
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Franz Marc in 1910
Franz Marc
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Blaues Pferd I, Blue Horse I (1911)
Franz Marc
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Plaque on the house where Marc was born
Franz Marc
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Die gelbe Kuh, The Yellow Cow (1911)
48.
August Macke
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August Macke was one of the leading members of the German Expressionist group Der Blaue Reiter. Like a true artist of his time, Macke knew how to integrate into his painting the elements of the avant-garde which most interested him, August Robert Ludwig Macke was born in Germany on 3 January 1887, in Meschede, Westphalia. Shortly after Augusts birth the family settled at Cologne, where Macke was educated at the Kreuzgymnasium and became a friend of Hans Thuar, in 1904 Mackes father died, and in that year Macke enrolled at the Kunstakademie Düsseldorf, under Adolf Maennchen. Thereafter Macke lived most of his life in Bonn, with the exception of a few periods spent at Lake Thun in Switzerland and various trips to Paris, Italy. In Paris, where he traveled for the first time in 1907, Macke saw the work of the Impressionists and his style was formed within the mode of French Impressionism and Post-impressionism and later went through a Fauve period. In 1909 he married Elisabeth Gerhardt, in 1910, through his friendship with Franz Marc, Macke met Kandinsky and for a while shared the non-objective aesthetic and the mystical and symbolic interests of Der Blaue Reiter. Mackes meeting with Robert Delaunay in Paris in 1912 was to be a sort of revelation for him, Delaunays chromatic Cubism, which Apollinaire had called Orphism, influenced Mackes art from that point onwards. His Shops Windows can be considered an interpretation of Delaunays Windows. August Mackes oeuvre can be considered as Expressionism, and also as part of Fauvism, the paintings concentrate primarily on expressing feelings and moods rather than reproducing objective reality, usually distorting colour and form. Mackes career was cut short by his death in the second month of the First World War at the front in Champagne, France. His final painting, Farewell, depicts the mood of gloom that settled after the outbreak of war and this was also the same year that he painted the famous painting, Türkisches Café in München. The August Macke Prize, was given the first time in 1959 by the districts Arnsberg, Brilon, Olpe and Meschede, the August-Macke-Haus is a museum dedicated to August Macke founded in 1991. It is located in Mackes former home in Bonn, where he lived from 1911 to 1914, at a 1997 Christies auction, Mackes The Couple at a Garden Table was sold for £2 million. Market in Tunis sold for £2.86 million in 2000, consigned by the estate of Ernst Beyeler, the artist’s In the Bazar was auctioned for £3.96 million – then four and a half times the high estimate – at Christies in 2011. August Macke und die rheinischen Expressionisten, August Macke und die fruhe Moderne in Europa Ursula Heiderich, August Macke Aquarelle Werkverzeichnis Anna Meseure, August Macke 1887-1914 G
August Macke
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August Macke,
Self-portrait, 1906, oil on canvas
August Macke
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Rokoko,1912, oil on canvas, 89 x 89 cm,
National Museum of Art, Architecture and Design, Norway
August Macke
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Tightrope walker, 1913
August Macke
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Street with church in Kandern, 1911
49.
Alexej von Jawlensky
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Alexej Georgewitsch von Jawlensky was a Russian expressionist painter active in Germany. He was a key member of the New Munich Artists Association, Der Blaue Reiter group, Alexej von Jawlensky was born in Torzhok, a town in Tver Governorate, Russia, as the fifth child of Georgi von Jawlensky and his wife Alexandra. At the age of ten he moved with his family to Moscow, after a few years of military training, he became interested in painting, visiting the Moscow World Exposition c. Thanks to his social connections, he managed to get himself posted to St. Petersburg and, from 1889 to 1896, studied at the art academy there. Free to pursue his vision, he moved to Munich in 1894. In 1905 Jawlensky visited Ferdinand Hodler, and two later he began his long friendship with Jan Verkade and met Paul Sérusier. Together, Verkade and Sérusier transmitted to Jawlensky both practical and theoretical elements of the work of the Nabis, and Synthetist principles of art, in Munich he met Wassily Kandinsky and various other Russian artists, and he contributed to the formation of the Neue Künstlervereinigung München. His work in this period was lush and richly coloured, but later moved towards abstraction, between 1908 and 1910 Jawlensky and Werefkin spent summers in the Bavarian Alps with Kandinsky and his companion Gabriele Münter. Here, through painting landscapes of their mountainous surroundings, they experimented with one another’s techniques, expelled from Germany in 1914, he moved to Switzerland. He met Emmy Scheyer in 1916, another artist who abandoned her own work to champion his in the United States. In 1922, after marrying Werefkin’s former maid Hélène Nesnakomoff, the mother of his son, Andreas, born before their marriage. In 1924 he organized the Blue Four, whose works, thanks to Scheyer’s tireless promotion, were exhibited in Germany. From 1929 Jawlensky suffered from crippling arthritis, which necessitated a reduced scale. He began to dictate his memoirs in 1938 and he died in Wiesbaden, Germany, on 15 March 1941. He and his wife Helene are buried in the cemetery of St. Elizabeths Church, in November 2003 his Schokko sold for US$9,296,000 and in February 2008 for GB£9,450,000. The 2006 album by the jazz group Acoustic Ladyland, Skinny Grin, features one of his works, Portrait of The Dancer Alexander Sacharoff, as its cover art. The five CDs issued by CPO with the string quartets by the Polish composer Mieczysław Weinberg. Volume 2 has Kind mit blauen Augen, and volume 5 shows Mädchen mit Haube
Alexej von Jawlensky
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Self-portrait, 1905
Alexej von Jawlensky
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External video
Alexej von Jawlensky
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Schokko with Red Hat, 1909
Alexej von Jawlensky
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Portrait of
Alexander Sakharoff, 1909
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