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Expressionism was a cultural movement originating in Germany at the start of the 20th-century as a reaction to positivism and other artistic movements such as naturalism and impressionism. It sought to express the meaning of “being alive” and emotional experience rather than physical reality. It is the tendency of an artist to distort reality for an emotional effect, it is a subjective art form.
Expressionism is exhibited in many art forms, including: painting, literature, theatre, film, architecture and music. The term often implies emotional angst. In a general sense, painters such as Matthias Grunewald and El Greco can be called expressionist, though in practice, the term is applied mainly to 20th century works.
Although it is used as a term of reference, there has never been a distinct movement that called itself “expressionism”, apart from the use of the term by Herwarth Walden in his polemic magazine Der Sturm in 1912. The term is usually linked to paintings and graphic work in Germany at the turn of the century which challenged the academic traditions, particularly through the Die Brucke and Der Blaue Reiter groups. Philosopher Friedrich Nietzsche played a key role in originating modern expressionism by clarifying and serving as a conduit for previously neglected currents in ancient art.
In The Birth of Tragedy Nietzsche presented his theory of the ancient dualism between two types of aesthetic experience, namely the Apollonian and the Dionysian, a dualism between the plastic “art of sculpture”, of lyrical dream-inspiration, identity (the principium individuationis), order, regularity, and calm repose, and, on the other hand, the non-plastic “art of music”, of intoxication, forgetfulness, chaos, and the ecstatic dissolution of identity in the collective. The analogy with the world of the Greek gods typifies the relationship between these extremes: two godsons, incompatible and yet inseparable. According to Nietzsche, both elements are present in any work of art. The basic characteristics of expressionism are Dionysian: bold colours, distorted forms-in-dissolution, two-dimensional, without perspective.
More generally the term refers to art that expresses intense emotion. It is arguable that all artists are expressive but there is a long line of art production in which heavy emphasis is placed on communication through emotion. Such art often occurs during time of social upheaval, and through the tradition of graphic art there is a powerful and moving record of chaos in Europe from the 15th century on the Protestant Reformation, Peasants’ War, Eight Years’ War, Spanish Occupation of the Netherlands, the rape, pillage and disaster associated with countless periods of chaos and oppression are presented in the documents of the printmaker. Often the work is unimpressive aesthetically, but almost without exception has the capacity to move the viewer to strong emotions with the drama and often horror of the scenes depicted.
The term was also coined by Czech art historian Antonin Matejcek in 1910 as the opposite of impressionism: “An Expressionist wishes, above all, to express himself….(An Expressionist rejects) immediate perception and builds on more complex psychic structures…. Impressions and mental images that pass through mental peoples soul as through a filter which rids them of all substantial accretions to produce their clear essence […and] are assimilated and condense into more general forms, into types, which he transcribes through simple short-hand formulae and symbols.” (Gordon, 1987)
The movement primarily originated in Germany and Austria. There were a number of Expressionist groups in painting, including the Blaue Reiter and Die Brucke. The Der Blaue Reiter group was based in Munich and Die Brucke was based originally in Dresden (although some later moved to Berlin). Die Brucke was active for a longer period than Der Blaue Reiter which was only truly together for a year (1912). The Expressionists had many influences, among them Munch, Vincent van Gogh, and African art. They also came to know the work being done by the Fauves in Paris.
Influenced by the Fauves, Expressionism worked with arbitrary colors as well as jarring compositions. In reaction and opposition to French impressionism which focused on rendering the sheer visual appearance of objects, Expressionist artists sought to capture emotions and subjective interpretations: It was not important to reproduce an aesthetically pleasing impression of the artistic subject matter, the Expressonists focused on capturing vivid emotional reactions through powerful colors and dynamic compositions instead. The leader of Der Blaue Reiter, Kandinsky, would take this a step further. He believed that with simple colors and shapes the spectator could perceive the moods and feelings in the paintings, therefore he made the move to abstraction.
Expressionist imagery exploded into modern art from the subconscious. Its diverse formal means and emotional effects range from anguish to exuberance. As the powerful, personal creations of modern individuals, these images have little in common except their inventive power and their reliance upon a distinctly private vision.
In late 1939, at the beginning of World War II, New York welcomed a great number of leading European artists.
The heritage of their interest in the mythic realm of the unconscious would be continued-and extended-by another group of younger, New World artists-New York School.
American Expressionism and American Figurative Expressionism particularly the Boston figurative expressionism were an integral part of American modernism around the Second World War.
Major figurative Boston expressionists included: Karl Zerbe, Hyman Bloom, Jack Levine, David Aronson, Philip Guston. The Boston figurative expressionists post World War II were increasingly marginalized by the development of abstract expressionism centered in New York City.
Later in the 20th century, after World War II, figurative expressionism influenced worldwide a large number of artists and movements. Thomas B. Hess, wrote:
“the ‘New figurative painting’ which some have been expecting as a reaction against Abstract Expressionism was implicit in it at the start, and is one of its most lineal continuities.”
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Ad Parnassum
으로 폴 클레크기 시작 ₩286,989Circus Horse
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩304,169In The Bazar
으로 아우구스트 막케크기 시작 ₩255,269Jeanne Hebuterne with a large hat 1917
으로 아메데오 모디리아니크기 시작 ₩327,989Le Bœuf 1923
으로 샹 수틴크기 시작 ₩320,059Die Zwitscher-Maschine
으로 폴 클레크기 시작 ₩289,419In the Countryside
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩292,239Jeanne Hébuterne (Au Chapeau) 1919
으로 아메데오 모디리아니크기 시작 ₩367,579L’homme au Foulard Rouge 1921
으로 샹 수틴크기 시작 ₩331,949Market In Tunis
으로 아우구스트 막케크기 시작 ₩238,279Couple At The Garden Table
으로 아우구스트 막케크기 시작 ₩243,939Fish Magic
으로 폴 클레크기 시작 ₩282,599Jeanne Hébuterne (Au Foulard) 1919
으로 아메데오 모디리아니크기 시작 ₩367,579Le Bœuf écorché (Carcass of Beef)
으로 샹 수틴크기 시작 ₩375,479Paris through the Window
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩280,529Jeanne Hébuterne with Yellow Sweater 1918
으로 아메데오 모디리아니크기 시작 ₩343,839Le petit pâtissier 1927
으로 샹 수틴크기 시작 ₩284,279The Falling Angel
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩304,169The Goldfish
으로 폴 클레크기 시작 ₩296,239Türkisches Café
으로 아우구스트 막케크기 시작 ₩294,919Der Kunftige
으로 폴 클레크기 시작 ₩282,599Mme Hebuterne in a Blue Chair 1918
으로 아메데오 모디리아니크기 시작 ₩347,799Pastry Cook of Cagnes (Le pâtissier de Cagnes) 1922
으로 샹 수틴크기 시작 ₩308,139The Madonna of the Village
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩272,329Turkish Cafe I
으로 아우구스트 막케크기 시작 ₩269,429Children With Goat
으로 아우구스트 막케크기 시작 ₩269,429Jeanne Hébuterne Seated in Profile in a Black and Red Dress 1918
으로 아메데오 모디리아니크기 시작 ₩343,839Pastry Cook with Red Handkerchief
으로 샹 수틴크기 시작 ₩316,089Senecio
으로 폴 클레크기 시작 ₩258,679The Wedding
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩320,059Cow with Parasol
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩320,059Jeanne Hébuterne Seated in Profile in a White Dress 1918
으로 아메데오 모디리아니크기 시작 ₩343,839The Pastry Chef (Baker Boy) (Le Pâtissier) 1919
으로 샹 수틴크기 시작 ₩308,139Tunesian Gardens
으로 폴 클레크기 시작 ₩282,599Woman With A Yellow Jacket
으로 아우구스트 막케크기 시작 ₩277,929Cat And Bird
으로 폴 클레크기 시작 ₩306,459I and the Village 1911
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩308,139Jeanne Hébuterne 1919
으로 아메데오 모디리아니크기 시작 ₩343,839Le Petit Pâtissier (The Little Pastry Cook) 1921
으로 샹 수틴크기 시작 ₩464,179The Lady In The Green Jacket
으로 아우구스트 막케크기 시작 ₩226,959Au-Dessus de la Ville
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩321,419Bellboy 1925
으로 샹 수틴크기 시작 ₩304,169Jeanne Hébuterne (in the hat) 1917
으로 아메데오 모디리아니크기 시작 ₩312,119Pflanze Und Fenster Stilleben
으로 폴 클레크기 시작 ₩283,479Promenade
으로 아우구스트 막케크기 시작 ₩244,349Couple In The Forest
으로 아우구스트 막케크기 시작 ₩226,959Insula Dulcamara
으로 폴 클레크기 시작 ₩384,349Jeanne Hébuterne Au Collier 1916
으로 아메데오 모디리아니크기 시작 ₩331,949Le Garcon Detage 1928
으로 샹 수틴크기 시작 ₩296,219The Birthday 1915
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩309,159Flower Myth
으로 폴 클레크기 시작 ₩347,239Jeanne Hébuterne 1919
으로 아메데오 모디리아니크기 시작 ₩304,169Lady In A Park 1914
으로 아우구스트 막케크기 시작 ₩294,919Portrait of a Boy 1928
으로 샹 수틴크기 시작 ₩327,989The Promenade
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩272,329Double Portrait with a Glass of Wine
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩371,529Jeanne Seated with the Arm Resting on the Back of the Chair 1918
으로 아메데오 모디리아니크기 시작 ₩343,839Le Valet de Chambre
으로 샹 수틴크기 시작 ₩375,479Modefenster
으로 아우구스트 막케크기 시작 ₩255,269Struck From The List
으로 폴 클레크기 시작 ₩286,009Fiddler on the Roof
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩296,219Le Valet de chambre 1927
으로 샹 수틴크기 시작 ₩351,759Portrait of Jeanne Hébuterne
으로 아메데오 모디리아니크기 시작 ₩359,669Rokoko
으로 아우구스트 막케크기 시작 ₩226,959Tänzerin
으로 폴 클레크기 시작 ₩268,939Le valet de chambre 1927 1
으로 샹 수틴크기 시작 ₩371,529Portrait of Jeanne Hebuterne, Seated, 1918
으로 아메데오 모디리아니크기 시작 ₩331,949Russian Ballet I
으로 아우구스트 막케크기 시작 ₩255,269The Bride
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩308,139The Singer
으로 폴 클레크기 시작 ₩309,859Angelus Novus
으로 폴 클레크기 시작 ₩286,009Jeanne Hébuterne Seated, 1918
으로 아메데오 모디리아니크기 시작 ₩347,799Le Maître D’hôtel 1927
으로 샹 수틴크기 시작 ₩300,189Moi et le village
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩316,089Three Girls In Yellow Straw Hats I
으로 아우구스트 막케크기 시작 ₩266,599Four Girls
으로 아우구스트 막케크기 시작 ₩260,929Le Garçon d’étage
으로 샹 수틴크기 시작 ₩312,119Portrait of Jeanne Hébuterne 1919
으로 아메데오 모디리아니크기 시작 ₩363,619Self Portrait
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩288,259Town Castle Kr.
으로 폴 클레크기 시작 ₩272,359American WIndow panel-left
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩304,169Geschwister
으로 폴 클레크기 시작 ₩313,269Girl Under Trees
으로 아우구스트 막케크기 시작 ₩260,929Le chasseur de Chez Maxim’s 1925
으로 샹 수틴크기 시작 ₩280,299Portrait De Jeanne Hébuterne 1918
으로 아메데오 모디리아니크기 시작 ₩351,759American WIndow panel-center
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩309,159Death And Fire
으로 폴 클레크기 시작 ₩255,259Jeanne Hébuterne in Profile 1918
으로 아메데오 모디리아니크기 시작 ₩359,669Page Boy at Maxim’s
으로 샹 수틴크기 시작 ₩413,089Zoological Garden I 1912
으로 아우구스트 막케크기 시작 ₩308,439American WIndow panel-right
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩304,169Castle And Sun
으로 폴 클레크기 시작 ₩268,939Femme à la poupée
으로 샹 수틴크기 시작 ₩304,169Portrait of Jeanne Hébuterne
으로 아메데오 모디리아니크기 시작 ₩351,759Walk On The Bridge 1913
으로 아우구스트 막케크기 시작 ₩250,169Heiliger Bezirk
으로 폴 클레크기 시작 ₩292,829La femme entrant dans l’eau 1931
으로 샹 수틴크기 시작 ₩351,759Portrait of Jeanne Hebuterne
으로 아메데오 모디리아니크기 시작 ₩339,879The Dream
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩316,089Walk On The Bridge
으로 아우구스트 막케크기 시작 ₩249,609