Though individualized and separated through pose, they are united through the position of their hands, which create an arching line across the foreground of the canvas to pull them together.
In Portrait of Johann Harms , Schiele elongates the form of his elderly father-in-law and includes a resigned gesture that conveys the awareness of deteriorating health and loss of physical vigor, which is further manifest in the somber, melancholy palette fig. Schiele and Kokoschka were aligned in the usefulness of self-portraiture to study the power of pose, gesture, and facial expression, and throughout their works, the position of the hands is often central.
In one of his most famous works, Kokoschka is able to offer insight into his psychological state of mind during a defining love affair with Alma Mahler.
In The Tempest Bride of the Wind , the couple appears within an ethereal realm of color within an atmospheric landscape fig. Kokoschka was the author of several dramatic plays that relied on non-linear narrative structure and aphoristic content, while Schiele wrote poetry using alliteration and rhythmic construction to heighten the sensual descriptiveness of his prose.
This literary work is part of the larger reorganisation and regeneration in languages of creative form within Expressionism. In Vienna, one of the most profound and influential mediums was music.
Arnold Schoenberg, Anton Webern and Alban Berg experimented with atonal compositions, harmonic dissonance and strong subjective allusions, showing the capability of Expressionism to express deep meaning by transcending existing limitations.
In contrast to the German movement, Polish Expressionism did not involve a whole generation of artists but only a small part of it.
The Kubickis and Hulewicz also produced the earliest examples of abstract art in Poland. The second exhibition was organized at the Berlin gallery Die Aktion in June. The anthology of the movement was Zmierzch Epoki Twilight of the Epoch , Expressionism was also present as literary poetics in manifestations of Polish Futurism and Dadaism in Cracow and Warsaw.
Like their visual artist contemporaries, expressionist writers born in the s and s opposed the values of pre-war German Wilhelminian society, and reacted to the developments of modern urban civilisation. Though they are all connected via these central lines of theme and effect, the broad variety of literary style and form practiced by expressionist writers makes it notoriously difficult to arrive at a widely accepted definition of Expressionism, a problem mostly put aside today by regarding expressionist literature as a forerunner of postmodern heterogeneity.
In poetry, the effects of urbanisation and mechanisation were expressed by lining up disparate images in paratactical style "Reihungsstil" , showing the new perceptional demands caused by acceleration, new technologies and media see the poems of Jakob van Hoddis, Alfred Lichtenstein and Ernst Blass , leading to the "dissociation of self" "Ich-Dissoziation", Vietta and to the impersonality of a technicized society Gottfried Benn, "Morgue"-poetry.
Given that Expressionism was an urban movement, writers found opportunities to publish their texts or to present them at lectures and recitals associated with places such as Munich, Leipzig, Dresden, Vienna and, especially, Berlin, one of the fastest-growing cities of the time.
The impact of modern technological warfare and the millions of dead on the battlefields of World War I , where many expressionist writers lost their lives, became central subjects of expressionist literature, giving rise to pacifist appeals and to the politically engaged messianic-activist Expressionism of the post-war years.
The general decline of Expressionism by the mids was furthered by the implausibility and vagueness of the messianic stance see for example the poems of Franz Werfel or Ludwig Rubiner and the rise of new stylistic concepts Dada, Neue Sachlichkeit.
Research from the last three decades has stressed the importance of gender themes in Expressionism and the role of female writers such as Henriette Hardenberg as well as the significance of lesser-known authors such as Hermann Kasack or Georg Kulka who were forgotten because their texts had not been included in the major anthologies of their time.
Expressionist architecture is characterized by its use of expressive color and of both organic and crystalline shapes and lines. It is also marked by an interest in monumental and unbuildable structures. In the years around , Poelzig took inspiration from Gothic, Romanesque, and Baroque styles for his design of industrial and public buildings. The Water Tower in Poznan drew its expressiveness from technology fig.
Taut had also been an early protagonist of expressionist architecture, most notably with his Glass Pavilion—a temporary structure for the glass industry built at the Deutsche Werkbund exhibition in Cologne fig. Through his writings and architectural drawings, which appeared in publications such as in Der Weltbaumeister The World Architect , , Die Stadtkrone The Crown of the City , ; see fig.
Following the pavilion, Taut took inspiration from the poet Paul Scheerbart , whose rhymes and poems evoked visions of colorful castles, domes, buildings on mountaintops, and an architecture made of glass, as illustrated by Taut in Alpine Architecture ; fig.
These ideas fueled a German utopian spirit that had been gaining momentum since World War I, the abdication of Wilhelm II, and the establishment of the Weimar Republic. Architects saw themselves as demiurges of a new society and future. Disguized by pseudonyms, twelve artists and architects exchanged thoughts, visions, and drawings in a search for the roots of creativity, the origins of architecture, and the relationship between architecture and the cosmos. They were among numerous revolutionary organizations initiated by workers and artists all over Germany to watch over the provisional government of November Here, ideas of combining art and architecture to create a Gesamtkunstwerk total work of art , relating back to the Werkbund exhibition in Cologne, resurfaced in both publications.
The majority of efforts by the Arbeitsrat related to architecture, demanding the abolition and replacement of established institutions such as building authorities, insisting upon an art for the people, and advocating the transformation of existing teaching systems Washton Long, , and Pehnt, The idea of a Gesamtkunstwerk and the reformation of teaching institutions were also essential to the Bauhaus in Weimar in the years between and The Bauhaus program aimed to unify art and architecture, echoing the writings of the Arbeitsrat and Taut.
In contrast to the formal and classical work before the war, this building did not adhere to the same rules of symmetry and serial arrangement as previously, but incorporated romantic and dramatic elements. Expressionist film emerged during the Weimar Republic era , and was most pronounced in a number of films from the early s.
The stylistic and thematic concerns of Expressionism are most fully on display in The Cabinet of Dr. These elements, in addition to its fantastical plot and macabre themes, make Caligari the archetypal expressionist film. In the aftermath of World War I, as the laws and traditions of the Prussian monarchs gave way to newfound freedoms, much of German society was undergoing a sexual, artistic, and political reawakening.
At the same time, the economic and bodily wreckage of the Great War had a profound impact on the German psyche. New ways of thinking, perceiving, and creating had to be devised. During this time, directors such as Fritz Lang, F. Murnau, Robert Wiene, Paul Leni, and Karl Heinz Martin drew inspiration from painting, literature, architecture, and theater associated with Expressionism, which sought to depict the internal and imaginative reality of things rather than their external, "objective" appearance.
Expressionist filmmakers also sampled from German fairy tales and Gothic art to realise their fantastical worlds and the doppelgangers, monsters, madmen, and strange visitors to populate them. In the vast majority of movies made before , naturalism was the rule.
German Expressionism arrived as the first major anti-realist movement in film. Beyond their extreme styles, these films depict stories within stories, performers and spectators, magic and confabulation, mirrors and doubles in a way that thematises spectacle itself, and reminds viewers that they are watching a film.
Their overtly synthetic character has led some critics to accuse expressionist films of being "embarrassingly fake" Arnheim, , and others to see them as reflexive, ironic, and theatrical Elsaesser, , , Telotte, Such a view of Expressionism as self-referential and purposefully unstable aligns it with the project of modernism generally.
At the same time, there were undoubtedly economic, industrial, and ideological issues at play in the production of these films. No outside knowledge is needed to fully take in the piece of art and appreciate its meaning. Post-Modernism Post-modernism appears to be a direct theological reactionary stance to modernism, in which the main foundation is that everything is relative. How a person could interpret a work of art is really only relative to their social constructs.
How old are they? Where were they born? Realism Realism in the artistic sense means to represent and interpret the form as specifically and as truly as possible — without the artist adding any extra adornments of their own, which would change the true meaning of the work.
Realism began in France in the mids as a direct revolt again romanticism, in which the artist injected his own sense of fancy into the works, regardless if it was needed for interpretation. Most artistic works falling into the realism category depict humans doing everyday things, such as working, cleaning, and being around others. It was founded in in by Piet Mondrian and Theo van Doesburg, and had a profound influence on the development both of abstract art and modern architecture and design.
Dada: Formed in Zurich as a response to the horrors of the First World War, the aim of the Dada artists was to destroy traditional values in art and to create a new art that could reflect the modern world. The art, poetry and performance produced by dada artists is often satirical and nonsensical in nature. In addition to being anti-war, dada was also anti-bourgeois and had political affinities with the radical left. Surrealism: Surrealism was a movement which began in the s of writers and artists.
The aim of surrealism was to reveal the unconscious and reconcile it with rational life. Abstract expressionism: In the s and s American painters such as Jackson Pollock, Mark Rothko and Willem de Kooning developed a new approach to painting characterised by gestural mark-making, and the impression of spontaneity.
They were supported by probably the most influential art critic in the twentieth century Clement Greenberg, who emphasised the importance of the formal properties of art — such as colour, line and space — over subject or meaning.
Minimalism: Developed in the USA in the s, and typified by artworks composed of simple geometric shapes, minimalism extended the idea that art should have its own reality and not be an imitation of some other thing. The medium, or material from which it is made, and the form of the work is the reality. Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.
Abstract art is art that does not attempt to represent an accurate depiction of a visual reality but instead use …. Formalism is the study of art based solely on an analysis of its form — the way it is made …. Term coined by art critic Clive Bell in to describe the idea that the form of an artwork or …. In its specific sense realism refers to a mid nineteenth century artistic movement characterised by subjects painted from everyday life ….
Impressionism developed in France in the nineteenth century and is based on the practice of painting out of doors and …. Post-impressionism is a term which describes the changes in impressionism from about , the date of last Impressionist group show …. Cubism was a revolutionary new approach to representing reality invented in around —08 by artists Pablo Picasso and Georges Braque. The Post-Impressionists were dissatisfied with the triviality of subject matter and the loss of structure in Impressionist paintings, although they did not agree on the way forward.
Georges Seurat and his followers, for instance, concerned themselves with Pointillism, the systematic use of tiny dots of color. Vincent van Gogh used vibrant colors and swirling brush strokes to convey his feelings and his state of mind. Hence, although they were often exhibited together, Post-Impressionist artists were not in agreement concerning a cohesive movement, and younger painters in the early 20th century worked in geographically disparate regions and in various stylistic categories, such as Fauvism and Cubism.
He used planes of color and small brushstrokes to form complex fields and convey intense study of his subjects. Later, he became more interested in working from direct observation, gradually developing a light, airy painting style. To this end, he structurally ordered whatever he perceived into simple forms and color planes.
Additionally, his desire to capture the truth of perception led him to explore binocular graphic vision. This exploration rendered slightly different, yet simultaneous, visual perceptions of the same phenomena, providing the viewer with a different aesthetic experience of depth.
He later called these works, mostly portraits, une couillarde a coarse word for ostentatious virility. All in all, works of the Dark Period include several erotic or violent subjects.
In , he attracted the attention of collector Victor Chocquet, whose commissions provided some financial relief. Jas de Bouffan , The lightness of his Impressionist works contrast sharply with his dramatic resignation in his final period of productivity from — This resignation informs several still life paintings that depict skulls as their subject.
Pyramid of Skulls , c. A prize for special achievement in the arts was created in his memory. Vorticism, an offshoot of Cubism, was a brief modernist movement in British art and poetry of the early 20th century.
Vorticism was a brief modernist movement in British art and poetry during the early 20th century. It was based in London but was international in make-up and ambition. As a movement, Vorticism rejected the typical landscapes and nudes of the time in favor of a geometric style tending towards abstraction.
The Vorticism group began with the Rebel Art Centre established by Wyndham Lewis as a break with other traditional schools, and had its intellectual and artistic roots in the Bloomsbury Group, Cubism, and Futurism.
Lewis saw Vorticism as an independent alternative to Cubism, Futurism, and Expressionism. Though the style grew out of Cubism, it is more closely related to Futurism in its embrace of dynamism, the machine age, and all things modern.
However, Vorticism diverged from both Cubism and Futurism in the way it tried to capture movement in an image. It contained work by Ezra Pound, T. Eliot, and by the Vorticists themselves. Its typographical adventurousness was cited by El Lissitzky as one of the major forerunners of the revolution in graphic design in the s and s. After this, the movement broke up, largely due to the onset of World War I and public apathy towards their work.
Symbolism was a late 19th century art movement of French, Russian, and Belgian origin that manifested in poetry and other arts. Symbolism was largely a reaction against naturalism and realism, anti-idealistic styles that were attempts to represent reality in its gritty particularity, and to elevate the humble and the ordinary over the ideal.
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