German Expressionism

[LCR]

Let us gather stories about this investment and promising (dixit Frosik) direction

Enumeration of artists whose works were shown at exhibitions degenerative art: http://forum.artinvestment.ru/showth...8C%D0%B4%D0%B5

Excellent story about Munke from perfect, unfortunately, too rare on the forum Munch: http://forum.artinvestment.ru/showth...8C%D0%B4%D0%B5

The plot of Jawlensky: http://forum.artinvestment.ru/showth...BA%D0%B8%D0%B9

The plot of Nolde: http://forum.artinvestment.ru/showth...8C%D0%B4%D0%B5

The plot of Kirchner: http://forum.artinvestment.ru/showthread.php?t=59491


Today will post Schmidt-Rottluffa or Pechstein, has not yet decided, then Hekelya - and with a "bridge" will be over.
In general, we will gradually fill up.

Pechstein will be tomorrow, in Schmidt-Rottluff here: http://forum.artinvestment.ru/showth...d=1#post876071

Instead Pechstein hung Hekelya: http://forum.artinvestment.ru/showth...d=1#post878281

[Seriy]

Kokoschka and does not apply to the German Expressionists?

[LCR]

Originally Posted by Seriy

and Kokoschka not apply to the German Expressionists?

It is usually considered to be German, or better say, severnoevropeyskomu (if we consider that, and Munch, had a tremendous impact on this trend, was not a German, Expressionism, as Frantisek Kupka), both of them ethnic Czechs from the Austro-Hungarian Empire.

Generally in the last 15-20 years there has been a departure from frankotsentrizma in the evaluation of art in the first half of the twentieth century, the reassessment and enter the world market of artists that previously existed only on the local. The best examples of this - Klimt and Schiele, figures which, as I already wrote about it 30 years ago you could buy in Vienna for very little money and that is outside of Austria, nobody is interested.

[LCR]

Another story - Max Pechstein: http://forum.artinvestment.ru/showth...d=1#post880371

With a "bridge" we are finished, because it found on NETE playback works Blyaylya poor fellows proved impossible.

Yesterday's announcement was somewhat premature - a "bridge" we just finished today, hung out a story about Feininger.
One job (very, incidentally, a good, in my opinion) poor fellows Blyaylya I hang out here, so you can get a very general and approximate idea of his work.

[LCR]

January 29, 1909 established a new obeschstvo myunhenskoi artists (NOMH), which included artists of different tendantsy - from neo-impressionism to modern-style. Kandinsky, Munter Jawlensky and entered into this society since its formation. Soon they were joined by Marc and Macke. NOMH 3 of the cycle organized exhibitions.
But soon in NOMH differences emerged between the radical artists who attempted to update the artistic language, headed became friendly with one another Kandinsky and Marc, and artists more moderate views. In preparation for the third cycle of exhibitions of works by Kandinsky odlna was rejected, and the two friends had left the NOMH. Was followed by other artists.
Kandinsky and Marc decided to create their own grouping. Pkrvaya exhibition of this group was organized in a matter of urgency odzhnovremenno with the third cycle of exhibitions NOMH.

A new group of Kandinsky and Marc termed the "Blue Rider" - is nadvanie they devised for the collection of texts on contemporary art, which was published in 1912, but which they had prepared even before the break with NOMH. In the name of the beloved image of Kandinsky - Rider - combined with the constant subject of Mark - a blue horse.
The most prominent of its members were Gabriele Munter, Alfred Kubin, Franz Marc, Paul Klee, August Macke, Robert Delaunay, Henri Campendonk, artist and composer Arnold Schoenberg, Wassily Kandinsky.
Exhibitions organized by this group, titled "Exhibitions Publications Committee of the Blue rider". The first one was held in lekabre 1911 in Munich, then drove her to Germany and Northern and Central Europe. The second was held in Munich in February 1912, it has been shown 315 graphic works by German, French and Russian artists, as well as works by artists of the members of the group "Most" (despite the critical attitude Kandinskeogo to these artists).

Beginning of World poyny put an end to the existence of this group.

Beginning with the most loved (along with Mark) - August Macke: http://forum.artinvestment.ru/showth...061#post884061

Story of Franz Marc: http://forum.artinvestment.ru/showthread.php?t=60351

[LCR]

Another story, about Heinrich Campendonk (do not be disheartened, will soon be over!): Http://forum.artinvestment.ru/showthread.php?t=60611

Added after 10 minutes 23 minutes
With the continuation of a conversation about the colors of artists "Blue Rider", I decided to move the story - after all, it is relevant not only to Campendonk, and all others too.

So this:

Читать дальше... 

This is what Kandinsky wrote in his book "On the Spiritual in Art" on the yellow color:

"... The first movement of yellow - the aspiration to person and it can be raised to the level of intrusiveness (with increasing intensity of yellow color) as well as the second movement - skipping over the border, disperse into the surrounding forces - similar to the properties of each physical force, which unconsciously throws himself on the subject and aimlessly spreads in all directions. On the other hand, the yellow color when viewed directly (in any geometric form), worried man, tunic, excites him, and reveals character consists in the color of violence, which in the end, acting brazenly and persistently per capita .* This property yellow, its a great tendency to lighter tones can be brought to the unbearable for the eyes and soul strength and height. Sound at the same time increasing like louder the sound becomes a high pipe or brought to the upper notes of the tone fanfare .** Yellow - typically terrestrial color. The yellow color can not be brought to a great depth. Upon cooling, the blue he receives, as stated above, sickly hue. When compared with the mental condition of the person it can be seen as a colorful picture of madness, not melancholy or hypochondria, a rabies attack, blind madness, raving madness, I'll attack the people who breaks all around, wasting every aspect of their physical strength, randomly and without restraint expended until completely exhaust them. It seems crazy and waste of the last forces of the summer in bright autumn foliage, which is taken from the soothing blue, rising to the sky. There are paints furious force, which is completely absent gift deepening ".

Now about the blue:

"Blue - typically celestial color. If a strong element of its deepening develops peace. Plunging into the black, it acquires superhuman overtones of sadness. It becomes infinite depth, in the state of concentration, for which no end and can not be. Turning to the light, to which the blue color also has less propensity, he becomes more indifferent nature and, as a high blue sky, made for people far away and irrelevant. The lighter it becomes, the more soundlessness until perevdet as a silent rest - do not become white. "

Finally, the red:

"Red, as we had imagined it - unlimited characterized by a warm color, internally it acts as a very lively, restless moving paint, which, however, is not the frivolous nature of sowing on all sides are yellow, and despite all the energy and intensity produces a certain impression of purposeful almost boundless power. In this boiling and burning - mostly within themselves and very little outside - is there a so-called men's maturity ... ".

See, how interesting? Just compare this understanding of the yellow /blue /red with the symbol of Mark in which they symbolized, respectively, a) femininity, gentleness, etc., b) the masculine, the severity and spirituality, and c) red - the color of violence to realize that the total Theoretically platform they had not.

Of course, not all artists feel the need to clothe their aesthetics in theoretical form. But nobody will convince me that those who do, write their works in accordance with developed their theoretical platform. On the contrary, I am sure that this theoretical platform invented by them to justify the legality of his vision and thus adopt the quality of work. I give a lengthy excerpt from the same book, I think, podtverdzhdayuschy my opinion:

"Viewed in isolation warm red color significantly alter its intrinsic value, if there is no longer isolated and will not remain an abstract sound, and associated with the natural form, is seen as part of any substance. This combination of red with various forms of natural causes and various internal effects, which, however, be akin to sound, as a result of constant, usually isolated, the impact of red. Color in this red sky, flower, dress, face, horse, tree. Red sky cause we have an association with the sunset, with the fire and the like. This raises "estvestvennoe" impression (in this case, the solemn, threatening). There are many, of course, depends on the interpretation of other items that we combine with a red sky. If you put them in a causal relationship, as well as connect them with potential colors, the natural sound of the sky will be even stronger. If other objects are very far from nature, they can, therefore, to weaken the "natural" impression of the sky, and in some cases even destroy it. Quite similar connection will be red with a human face. Here, the red color can act as an expression of emotion or will be assigned to special lighting, and this effect can be eliminated only through a strong abstraction of other parts of the picture.
Red dresses - the case, by contrast, quite different, as the dress can be any color. Then the red color will be best to act as a "scenic" necessity, because the red color can be applied here alone, without a direct connection to material goals.
/... /It is a different case, finally, is the red horse. The very sound of those words takes us into another atmosphere. Natural impossibility of existence of the red horse necessarily requires an equally unnatural environment, which put this horse. Otherwise, the overall effect will be to produce or the impression of a curiosity (ie, the effect will only be superficial and completely non-artistic), or to create the impression of a fairy tale awkwardly composed (ie, informed curiosity with non-artistic effect). Ordinary naturalistic landscape, molded, anatomically drawn figures in connection with such a horse would have created such disharmony, for which no sense could not be followed, and connect it together would not be possible any more.
/... /This conclusion may be drawn that can be divided into separate parts of the whole picture, load it into the contradictions and carry it through all kinds of external planes, build it on all sorts of external surfaces, with, however, the inner plane always remain the same. Structural elements of the picture right now must be sought not in this front, but only in the inner necessity.

/... /Viewer too accustomed to look for in such cases, "meaning", ie, the external connection between the parts of the picture. The same period of materialism brought up throughout life, and therefore in the art, the viewer, who may not perceive the pattern is simple (especially "a connoisseur of art") and is looking for a picture of anything (imitation of nature, nature, reflected in the temperament of an artist, so e. his temperament, the direct mood "painting, anatomy, perspective, exterior mood, etc., etc.), not looking for it only perception of the inner life of paintings ( allocation my ), does not attempt to give a picture directly affect themselves. His spiritual sight, blinded by external means, not looking that lives with the help of these funds.

/... /The true work of art there is a mysterious, enigmatic, mysterious ways "from the artist." Separated from him, it receives an independent life, becomes a person, independent, spiritual breathing entity, leading to the material and real life, it is being ( the allocation of my ).

/... /also, and paints should be applied, not because they exist or not exist in the sound in nature and, therefore, that this is the sound they are needed in the picture. In short, the artist is not only entitled but obliged to treat forms as necessary for its purposes. And the essential is not anatomy or something like that, do not neglect these fundamental sciences, but only the total unrestricted freedom of the artist in choosing their means, * The need is there right, unlimited freedom, which immediately becomes a crime if it is not based on this need. For art, this right is a moral plan, about which we spoke. Throughout the life (and hence in art) is important flawless goal ( the allocation of my ) ! »

Well, today all

[Сима]

Originally Posted by LCR

perception of the inner life of paintings (emphasis mine), not trying to give a picture directly affect themselves. His spiritual sight, blinded by external means, not looking that lives with the help of these funds.

Originally Posted by LCR

Do you see how interesting? Just compare this understanding of the yellow /blue /red with the symbol of Mark in which they symbolized, respectively, a) femininity, gentleness, etc., b) the masculine, the severity and spirituality, and c) red - the color of violence to realize that the total Theoretically platform they had not.

Of course, not all artists feel the need to clothe their aesthetics in theoretical form. But nobody will convince me that those who do, write their works in accordance with developed their theoretical platform. On the contrary, I am sure that this theoretical platform invented by them to justify the legality of his vision and thus adopt the quality of work.

LCR, thanks for the quote. I think they just confirm what I wrote. The generality of aesthetic and ideological platform is not determined by what color that symbolizes, and shared their relation to color as the "essence" that is visible spiritual eyes. "Spiritual Vision" - this is quite anthroposophical category.
But, thank God, the art has never been a "handmaiden of philosophy and even religion. But agree that a certain view of the world is always present in any art "text" (excuse the structuralist term). As in the Gothic cathedral, and in Watteau painting.
But I think that Kandinsky gave the world its forms more than Steiner and anthroposophy. While adherents, of course, believe that this is only an illustration of learning.
(Boyus. that tag nabegut anthroposophy, as has recently been so rounded off). And in general - is not art criticism site .

[lusyvoronova]

LCR, thanks to great!

[LCR]

Plot of Garbiele Munter (penultimate): http://forum.artinvestment.ru/showth...d=1#post893421

Sima, fully agrees: Long live Expressionists, down okozory

[LCR]

Plot of Marianne Verevkina: http://forum.artinvestment.ru/showth...d=1#post897001

Like with nametskimi expressionists we finished.