Expressionism: a brigde to the art of future
The roots of Expressionism, as an art history phenomenon, can be found long before the it was actually formed. The first similarities in technique can be traced back to the times of primitive art, the Northern Renaissance (15th century: Durer, Bosch), 19-th century Symbolism (Van Gogh, Munch, Gaugin). Basically there, where fantastic themes and elements of individualism gained significance. At the same time Expressionist trend was declining the set frames of academic art and brought a link between the spiritual, emotional context and stylistic peculiarities of painting. The era of urbanization provoked young artists to pursue more sympathetic and real art forms.
The movement emerged in the 19-th century Germany as a reaction on the lack of authenticity in art and human lifestyle in general. The term Expressionism brings together, probably the most broad selection of styles and techniques that can be united within a single art category. I was coined by A. Matejcek, an art historic, who tried to define something anti-impressionistic. Since it proclaims that a form should follow expression, it is possible to imagine how multifaceted an emotional specter of expression can be. Therefore, although there are some typical features that distinguish expressionistic artworks, it it still difficult to gather the artists under certain stylistic manner.
The ideology and power of Expressionism was concentrated within the artist group 'Die Brucke'. Created in the 1905 by 4 enthusiasts, the group was calling young artists to get together, give freedom to their individuality and abandon art academy, as a compulsory standard for art. The group was eager to build a 'bridge' to the art of future, that will fulfill spiritual need of humanity. In 1906 their manifesto, a woodblock printed piece, was issued. It stated that the art is about individuality, about what goes from within the artist, not effected by the outside world. 'Die Brucke' members broken the traditional approach to art, revived old techniques and went back in time to adopt more simple and authentic style. One of the founders of 'Die Brucke' Ernst Ludwig Kirchner said that painter doesn't paint the objectivity and reality, but invents new appearance of things that respond to artist's inner world.
'Marzella'
Ernst Ludwig Kirchner
1910
The portrait belongs to the 'Die Brucke' period of Kirchners'. Several influences can be outlined from the painting. We see the naivety, simplicity and roughness of human features and other shapes, reminds of Primitive art. The effect is exaggerated by the fast sketching-style look of the work. The artist uses thick brush strokes together with bold, 'screaming' colours. Besides, the colour palette is dictated by artist's subjective impressions only. All these elements evoke troublesome feelings and make us think about the story behind the portrait and probably some dramatic consequences. The analogy with Edward Munch's 'Puberty' emerges almost immediately. Not only because of thematic similarity, but the distorted hard-angled forms, multiple layering of colours and troubling emotional component. The figure of the girl contains a strong element of contradiction: her red lips and mature face expression contrasts with shy posing and ribbon in her hair. I seems like the artist tried to depict her evoking sexuality that was still trapped inside of the child.
Simultaneously, the idea of confronting the non-spiritual world provoked the emergence of non-objective approach in art. The concept of spiritual art was created and promoted by another branch of German Expressionists - the group 'Die Blaue Reiter'. Their views were based on the total abstraction, bold colours and theories from Kandinsky's 'Concerning the Spiritual in Art'. In contrast to 'Die Brucke' whose members tried to 'distort' the reality, 'DBR' though that the answer should be found by calling to the souls of artist. They strive to introduce painting as an abstract and even therapeutic form of art, that can be integrated with other forms, like music. Thus the painting practice could be detached from the material world. Theoretically, Abstract Expressionism relied on occult concepts and existence of mystical connection between spirit/idea an real-life forms. Kandinsky was particularly inspired by Annie Besant 'Thought forms', who dwells upon human aura and materialization of thoughts. As a helping practical tool, Kandinsky managed to classify colours by their symbolic 'properties' and functions within the emotional specter, so that they can correspond to the actual feelings.
An early abstract painting that represents the period of artist's establishment in the genre. He depicted Cossacks during the battle, and the castle behind them. It is not so obvious, but is still possible to recognize the real-life shapes on the painting. The artist uses bold black lines to set the accents, that somehow open up where the objects are. Kandinsky relied on his work ' On the Spiritual in Art' and used various combinations of colours around the painting, that were visually recalling to the motif in his head. The colours here are mostly bold and rather bright. I would say that colours are dominating shapes and are central in creating the contrast (yellow against sharp black forms). The feeling of action (battle) is conveyed by a range of lines on the left side bent in different directions. The painting can be characterized as dynamic, intense and precisely executed.
Even though the Expressionists share futuristic view points on art and world order, they were hardly excepted in their time. The people and government in Germany seemed still more conservative about art and leaned towards classic art school and more or less realistic depiction of the world. Expressionists at their turn, became victims of mass mockery and their art was referred to as 'degenerate art'. Nevertheless, 'Die Brucke' became a soil on which individual art could spread around Europe and inspire such people as Egon Shiele, Oskar Kokoschka and Otto Dix. Whereas 'Die Blaue Reiter' approach expand withing different movements like Synchromism, Simultanism, Orphism, Vorticism, etc.
Simultaneously, the idea of confronting the non-spiritual world provoked the emergence of non-objective approach in art. The concept of spiritual art was created and promoted by another branch of German Expressionists - the group 'Die Blaue Reiter'. Their views were based on the total abstraction, bold colours and theories from Kandinsky's 'Concerning the Spiritual in Art'. In contrast to 'Die Brucke' whose members tried to 'distort' the reality, 'DBR' though that the answer should be found by calling to the souls of artist. They strive to introduce painting as an abstract and even therapeutic form of art, that can be integrated with other forms, like music. Thus the painting practice could be detached from the material world. Theoretically, Abstract Expressionism relied on occult concepts and existence of mystical connection between spirit/idea an real-life forms. Kandinsky was particularly inspired by Annie Besant 'Thought forms', who dwells upon human aura and materialization of thoughts. As a helping practical tool, Kandinsky managed to classify colours by their symbolic 'properties' and functions within the emotional specter, so that they can correspond to the actual feelings.
'Composition IV'
Wassily Kandinsky
1911
An early abstract painting that represents the period of artist's establishment in the genre. He depicted Cossacks during the battle, and the castle behind them. It is not so obvious, but is still possible to recognize the real-life shapes on the painting. The artist uses bold black lines to set the accents, that somehow open up where the objects are. Kandinsky relied on his work ' On the Spiritual in Art' and used various combinations of colours around the painting, that were visually recalling to the motif in his head. The colours here are mostly bold and rather bright. I would say that colours are dominating shapes and are central in creating the contrast (yellow against sharp black forms). The feeling of action (battle) is conveyed by a range of lines on the left side bent in different directions. The painting can be characterized as dynamic, intense and precisely executed.
Even though the Expressionists share futuristic view points on art and world order, they were hardly excepted in their time. The people and government in Germany seemed still more conservative about art and leaned towards classic art school and more or less realistic depiction of the world. Expressionists at their turn, became victims of mass mockery and their art was referred to as 'degenerate art'. Nevertheless, 'Die Brucke' became a soil on which individual art could spread around Europe and inspire such people as Egon Shiele, Oskar Kokoschka and Otto Dix. Whereas 'Die Blaue Reiter' approach expand withing different movements like Synchromism, Simultanism, Orphism, Vorticism, etc.
Sources:
http://www.palishop.com/images/oilpro/The%20Mulberry%20Tree%20by%20Vincent%20Van%20Gogh.jpg
http://www.metmuseum.org/toah/works-of-art/24.63.111/
https://spuntisullarte.files.wordpress.com/2016/05/ernst-ludwig-kirchner-marcella-1910.jpg
https://libbybroad.files.wordpress.com/2014/04/kandinsky-composition-iv.jpg
https://spuntisullarte.files.wordpress.com/2016/05/ernst-ludwig-kirchner-marcella-1910.jpg
https://libbybroad.files.wordpress.com/2014/04/kandinsky-composition-iv.jpg
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