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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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Hussars On A Sortie (1913)
으로 아우구스트 막케크기 시작 ₩282,209L’arbre Rouge
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩316,089La cuisinière (Femme en bleu) 1935
으로 샹 수틴크기 시작 ₩420,969Rayonnement Et Rotation
으로 폴 클레크기 시작 ₩306,459Reclining nude on Blue Cushion 1916
으로 아메데오 모디리아니크기 시작 ₩347,799Almaiisa 1916
으로 아메데오 모디리아니크기 시작 ₩331,949La Femme Du Peintre
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩343,839Landscape In Tegernsee Bavaria
으로 아우구스트 막케크기 시작 ₩266,599Portrait Young Man
으로 샹 수틴크기 시작 ₩312,119Rose Garden
으로 폴 클레크기 시작 ₩265,519La Femme au col rouge 1929
으로 샹 수틴크기 시작 ₩284,279La Muse
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩308,139Lesende Frau
으로 아우구스트 막케크기 시작 ₩252,439Reclining nude 1919
으로 아메데오 모디리아니크기 시작 ₩355,719Small Portrait Of A Girl In Yellow
으로 폴 클레크기 시작 ₩262,099Girl in Green
으로 샹 수틴크기 시작 ₩308,139La Musique
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩359,669Little Walter’s Toys
으로 아우구스트 막케크기 시작 ₩255,999Seated nude 1918
으로 아메데오 모디리아니크기 시작 ₩347,799Small Portrait Of A Girl In Yellow
으로 폴 클레크기 시작 ₩265,519Le Violoncelliste
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩324,019Our Street In Grey, 1911
으로 아우구스트 막케크기 시작 ₩266,599Portrait of the Sculptor, Oscar Miestchaninoff
으로 샹 수틴크기 시작 ₩316,089Suspended Fruit
으로 폴 클레크기 시작 ₩320,069Young Woman, Hand in Bust 1918
으로 아메데오 모디리아니크기 시작 ₩312,119José Pacheco – Man with hat 1915
으로 아메데오 모디리아니크기 시작 ₩292,239La folle
으로 샹 수틴크기 시작 ₩316,089Le Violoniste Sous la Lune
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩296,219Picnic On The Beach (Picnic After Sailing), 1913
으로 아우구스트 막케크기 시작 ₩266,599Temple Gardens
으로 폴 클레크기 시작 ₩293,999Blaise Cendrars 1917
으로 아메데오 모디리아니크기 시작 ₩296,219Garçon d’honneur
으로 샹 수틴크기 시작 ₩300,189Les Amoureux Dans le Bouquet de Fleurs
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩312,119Riding Indians At The Tent
으로 아우구스트 막케크기 시작 ₩264,739The Vase
으로 폴 클레크기 시작 ₩330,269Gypsy
으로 샹 수틴크기 시작 ₩300,189Les Amoureux
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩300,189Portrait of Dr. Paul Alexandre 1906
으로 아메데오 모디리아니크기 시작 ₩300,189Rocky Landscape (1914)
으로 아우구스트 막케크기 시작 ₩253,089Theater Mountain Construction
으로 폴 클레크기 시작 ₩282,599Buste De Manuel Humbert 1916
으로 아메데오 모디리아니크기 시작 ₩312,119Park At The Red House
으로 아우구스트 막케크기 시작 ₩226,959Souvenir D’hiver
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩288,259Versprengter Reiter
으로 폴 클레크기 시작 ₩282,599Woman in Profile 1937
으로 샹 수틴크기 시작 ₩363,619La Servante en bleu 1934
으로 샹 수틴크기 시작 ₩276,319Le Cirque au soleil jaune
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩305,079Portrait De Paul Alexandre 1911
으로 아메데오 모디리아니크기 시작 ₩343,839Staudacher’s House At The Tegernsee
으로 아우구스트 막케크기 시작 ₩232,619White Blossom In The Garden
으로 폴 클레크기 시작 ₩251,839Bella With White Collar
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩428,839La femme au chien 1917
으로 샹 수틴크기 시작 ₩320,059Seated Man (Leaning on a Cane) 1918
으로 아메데오 모디리아니크기 시작 ₩363,619Still Life With Begonia 1914
으로 아우구스트 막케크기 시작 ₩269,429Wi (In Memoriam)
으로 폴 클레크기 시작 ₩265,519Bethsabée
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩387,319Jeune homme obliquement étendu
으로 샹 수틴크기 시작 ₩288,259Portrait of the Painter Manuel Humbert 1916
으로 아메데오 모디리아니크기 시작 ₩343,839Still Life With Ostrich And Buddha
으로 아우구스트 막케크기 시작 ₩235,449Window In The Garden
으로 폴 클레크기 시작 ₩282,599La Danse
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩355,719Man in Blue (L’Homme en bleu) 1921
으로 샹 수틴크기 시작 ₩420,969Portrait of Mario
으로 아메데오 모디리아니크기 시작 ₩351,759Still-Life With Bowl Of Apples And Japanese Fan
으로 아우구스트 막케크기 시작 ₩229,789Winterbild
으로 폴 클레크기 시작 ₩322,009Chaim Soutine 1917
으로 아메데오 모디리아니크기 시작 ₩343,839David
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩387,319L’Homme au Chapeau
으로 샹 수틴크기 시작 ₩420,969Storytellers 1912
으로 아우구스트 막케크기 시작 ₩241,439Winterschlaf
으로 폴 클레크기 시작 ₩329,009Jacques and Berthe Lipchitz 1916
으로 아메데오 모디리아니크기 시작 ₩372,259Portrait of Moïse Kisling
으로 샹 수틴크기 시작 ₩324,019Roses et mimosas
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩308,139Two Women At The Table
으로 아우구스트 막케크기 시작 ₩235,449With The Entrance
으로 폴 클레크기 시작 ₩282,599Le bouquet des amoureux sur fond bleu
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩324,019Portrait d’un jeune homme
으로 샹 수틴크기 시작 ₩335,919Portrait De Roger Dutilleul 1919
으로 아메데오 모디리아니크기 시작 ₩343,839Street With Church In Kandern
으로 아우구스트 막케크기 시작 ₩258,099With The Wheel)
으로 폴 클레크기 시작 ₩308,019Le Cirque Rouge et Bleu
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩308,139Paul Guillaume 1915
으로 아메데오 모디리아니크기 시작 ₩327,989Portrait d’homme (Émile Lejeune)
으로 샹 수틴크기 시작 ₩296,219Tegernsee Landscape
으로 아우구스트 막케크기 시작 ₩238,279Woman Leaning Back
으로 폴 클레크기 시작 ₩255,259Le buisson en fleurs
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩308,139Leon Indenbaum 1916
으로 아메데오 모디리아니크기 시작 ₩296,219View From The Tegernsee
으로 아우구스트 막케크기 시작 ₩243,939Woman Seated in Armchair (Femme accoudée au fauteuil) 1919
으로 샹 수틴크기 시작 ₩327,989Zerstörtes Dorf
으로 폴 클레크기 시작 ₩272,359A Pride Of Lions (Take Note!)
으로 폴 클레크기 시작 ₩347,239Landscape On The Teggernsee With A Reading Man
으로 아우구스트 막케크기 시작 ₩235,449Le jongleur de Paris
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩312,119Portrait of Juan Gris 1915
으로 아메데오 모디리아니크기 시작 ₩331,949Young Woman in a White Blouse (Jeune femme à la blouse blanche)
으로 샹 수틴크기 시작 ₩316,089Abstract Garten Dämmerung
으로 폴 클레크기 시작 ₩290,489André Rouveyre 1915
으로 아메데오 모디리아니크기 시작 ₩351,759Deux anes verts
으로 마르크 샤갈 (영감을 받아서)크기 시작 ₩300,189La Liseuse Endormie (Madeleine Castaing) 1937
으로 샹 수틴크기 시작 ₩324,019Strollers At The Lake I
으로 아우구스트 막케크기 시작 ₩229,789