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Strobl, Andreas, and Dennis Crockett. "German Post-Expressionism. The Art of the Great Disorder 1918-1924." Zeitschrift für Kunstgeschichte 63, no. 1 (2000): 149. http://dx.doi.org/10.2307/1587431.
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Dempsey, Anna, and Dennis Crockett. "German Post-Expressionism: The Art of the Great Disorder 1918-1924." German Studies Review 23, no. 2 (May 2000): 356. http://dx.doi.org/10.2307/1432697.
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Stojanova, Christina. "German Cinematic Expressionism in Light of Jungian and Post-Jungian Approaches." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 35–58. http://dx.doi.org/10.2478/ausfm-2019-0003.
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Abstract Prerogative of what Jung calls visionary art, the aesthetics of German Expressionist cinema is “primarily expressive of the collective unconscious,” and – unlike the psychological art, whose goal is “to express the collective consciousness of a society” – they have succeeded not only to “compensate their culture for its biases” by bringing “to the consciousness what is ignored or repressed,” but also to “predict something of the future direction of a culture” (Rowland 2008, italics in the original, 189–90). After a theoretical introduction, the article develops this idea through the example of three visionary works: Arthur Robison’s Warning Shadows (Schatten, 1923), Fritz Lang’s The Weary Death aka Destiny (Der müde Tod, 1921), and Paul Leni’s Waxworks (Wachsfigurenkabinett, 1924).
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Morgan, David. "The Enchantment of Art: Abstraction and Empathy from German Romanticism to Expressionism." Journal of the History of Ideas 57, no. 2 (1996): 317–41. http://dx.doi.org/10.1353/jhi.1996.0018.
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Golikova, Irina Sergeevna. "International aspect in the history of Russian contemporary graphics: problems of interpretation and identity." Культура и искусство, no. 11 (November 2020): 93–102. http://dx.doi.org/10.7256/2454-0625.2020.11.34375.
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This article analyzes the examples of formal compliance with global trends in Russian print design of the XX – early XXI centuries. The subject of this research is the comparative characteristics of Russian and world practice in the area of contemporary graphic art. In this context, the author highlights the stylistic characteristics of expressionism (1910 – 1920) and neo-expressionism (1960s – 1980s). Comparative analysis allows determining the points of intersection of Russian examples to Western analogues, as well as their originalities outlying the formal criteria. Emphasis is placed on the sources of determination of the uniqueness of graphics as a form of art within the history of Russian art studies. In the course of this research, the author brings the examples of “expressive” graphics in the works of N. N. Kupreyanov and A. I. Kravchenko in relation to printmaking of German expressionism, and some recent examples of Russian graphics (Saint Petersburg artists P. S. Bely, P. M. Shvetsov) in comparison to the graphic experiments of A. Kiefer. The conclusions lie in determination of the unique tradition of Russian realism (V. A. Vetrogonsky and V. I. Shistko), which in the author’s opinion, should be considered the crucial actor in the identity of Russian graphics against the trends leveling national cultural differences of international contemporary art.
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Varetska, Sofiya. "Picturesque of Literature and Literature of Fine Arts in Works of Twice Exceptional Expressionists." Pitannâ lìteraturoznavstva, no. 102 (December 28, 2020): 134–47. http://dx.doi.org/10.31861/pytlit2020.102.134.
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The article considers a problem of the arts interaction, which is a characteristic feature of German expressionism. It analyzes works of gifted expressionists, which are fulfilling themselves not only as writers, but as painters too and vice versa. All attention is paid to such figures of expressionism as Oscar Kokoschka, Franz Kafka, Alfred Kubin. The article argues that the power of talent of such artists is so great that self-realization in one of the arts is not enough for them, and therefore they actively use the opportunity to reveal the facets of their giftedness not only verbally, but also visually, alternately changing brushes to pen. Such a synthesis is quite productive because these works are enriched by narrative thematic motifs, genre varieties, a figurative vision of reality, compositional figures of the material organization, etc. It is proved that the expressionists did not follow the modernist concept “Art for the sake of art”, yet for them a human is with his fears, complexes and visions in the center. Thus, the main aim of an artist is using various artistic means to show a sacred inner world where in contrast to the real philistine life a spiritual unity and harmony do exist. In a combination of text, drawing or music, or, like Kokoschka’s light and paint, expressionists try to convey through multimedia the sensual and sacred that arises for them as the purpose of existence.
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Drysdale, Graeme R. "Kaethe Kollwitz (1867-1945): the artist who may have suffered from Alice in Wonderland Syndrome." Journal of Medical Biography 17, no. 2 (April 28, 2009): 106–10. http://dx.doi.org/10.1258/jmb.2008.008042.
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Kaethe Kollwitz was a 20th century German artist who grew to fame for her sociopolitical impressions of Germany during World Wars I and II. In her diary Kollwitz self-described symptoms of Alice in Wonderland Syndrome during her childhood. She complained of episodes where objects appeared to grow larger or smaller and perceptual distortions where she felt she was diminishing in size. This may explain why Kollwitz's artistic style appeared to shift from naturalism to expressionism, and why her artistic subjects are often shaped with large hands and faces. The distortion present in her visual art may have less to do with a deliberate emphasis of the artist's feelings and more to do with her perceptual experience.
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Schaefer, Helma. "Paul Kersten. The Bookbinder’s Role in the Development of Decorative Paper." Acta Musei Nationalis Pragae – Historia litterarum 62, no. 1-2 (2017): 41–46. http://dx.doi.org/10.1515/amnpsc-2017-0005.
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In her article, the author discusses the merits of the German craft bookbinder Paul Kersten (1865-1943) in the development of modern decorative papers as an expression of artistic individuality in the field of applied arts. From the Middle Ages, decorative paper had been used in decoration and bookbinding. Bookbinding workshops had traditionally made starched marbled paper. The interest of Paul Kersten, coming from a bookbinding family, in these papers had already dated from his youth. During his travels abroad, he was aware of the poor state of the bookbinding craft, which was affected by the mass production of books and book bindings as well as the industrialisation of paper production at the end of the 19th century. Kersten helped to introduce Art Nouveau into the design of German bookbinding and the methods of the modern production of decorative papers. At first, he worked as a manager in German paper manufactures and then as a teacher of bookbinding. His work was later oriented towards Symbolic Expressionism and he also tried to cope with the style of Art Deco.
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Barnett, David. "Joseph Goebbels: Expressionist Dramatist as Nazi Minister of Culture." New Theatre Quarterly 17, no. 2 (May 2001): 161–69. http://dx.doi.org/10.1017/s0266464x00014561.
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The young Joseph Goebbels, caught up in the heady mix of ideas and ideals permeating German artistic circles during and after the First World War, expressed both his convictions and his confusions through writing plays. None of these deserve much attention as serious drama: but all shed light on the ideological development of the future Nazi Minister of Culture. While also developing an argument on the wider relationship between Expressionism and modernism, David Barnett here traces that relationship in Goebbels' plays, as also the evolution of an ideology that remained equivocal in its aesthetics – the necessary condemnation of ‘degenerate’ art tinged with a lingering admiration, epitomized in the infamous exhibition of 1937. David Barnett has been Lecturer in Theatre Studies at the University of Huddersfield since 1998, and was previously Lecturer in German Language and Literature at Keble College, Oxford. His Literature versus Theatre: Textual Problems and Theatrical Realization in the Later Plays of Heiner Müller was published by Peter Lang in 1998, and other publications include articles on Heiner Müller, Franz Xaver Kroetz, Rolf Hochhuth, Heinar Kipphardt, Werner Schwab, Rainer Werner Fassbinder, and Peter Handke.
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Koroleva, A. Y. "Густав Хартлауб и «новая вещественность»: выставка, собирание коллекции, судьба." Iskusstvo Evrazii [The Art of Eurasia], no. 4(19) (December 30, 2020): 156–67. http://dx.doi.org/10.46748/arteuras.2020.04.013.
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The author of article views the curator activity of famous German art-historian and director of Mannheim Kunsthalle Gustav Friedrich Hartlaub in the context of the collecting and patronage. His interest to actual art has turned to most large-scaled project in the art of Weimar republic, that fixes the bone of new «neorealistic» art in the period between two world wars, that has got a name «New objectivity» after the Hartlaubs exhibition. The aim of article is the study of Hartlaubs role as a gallerist in the awareness of changing, which have took a place in the German art after expressionism and their fixation in the social consciousness by exhibition actual pieces of art and following acquiring of them for different museum collections. For the first time in Russian language tells this article about the rising of interest to the «New Objectivity», the history of the organization of famous exhibition in 1925 and her tourney about Germany, about the problem, that have took a place, also about the contradictions between the participants of two wings inside the movement. Special attention is given to the fate of collection, which was scattered by Nazi. В контексте рассмотрения проблемы коллекционирования и меценатства автор статьи рассматривает кураторскую деятельность известного немецкого искусствоведа Г.Ф. Хартлауба, чей интерес к актуальному искусству в период Веймарской республики обернулся широкомасштабным проектом, зафиксировавшим рождение нового «неореалистического» направления в искусстве между двумя мировыми войнами, получившего название с легкой руки куратора Мангеймского Кунстхалле «новая вещественность». Целью статьи является изучение роли Хартлауба как галериста в осознании перемен, произошедших в немецком искусстве после экспрессионизма, и фиксации их в общественном сознании путем экспонирования произведений остроактуального искусства и их последующего приобретения музеем в свою коллекцию. Статья впервые в русскоязычной литературе освещает предпосылки возникновения интереса к живописи «новой вещественности», историю организации и последующего турне знаменитой выставки 1925 года, рассматривает те проблемы, с которыми столкнулись организаторы, а также внутренние противоречия между участниками и течениями внутри движения. Отдельное внимание уделено судьбе коллекции, разрозненной нацистскими властями.
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Kacprzak, Dariusz. "FROM THE STUDIES ON ‘DEGENERATE ART’ TWENTY YEARS AFTER THE WASHINGTON CONFERENCE. SZCZECIN’S CASE (MUSEUM DER STADT STETTIN)." Muzealnictwo 60 (July 11, 2019): 126–42. http://dx.doi.org/10.5604/01.3001.0013.2857.
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On 5 August 1937, fulfilling the orders of the Chairman of the Reich Chamber of Fine Arts (Reichskammer der bildenden Künste), a confiscation committee showed up at the City Museum in Stettin, and demanded to be presented by the Director of the institution the Museum’s collection in view of ‘degenerate art’. While ‘hunting’ for the Avant-garde and ‘purging museums’, the Nazis confiscated works that represented, e.g. Expressionism, Cubism, Bauhaus Constructivism, pieces manifesting the aesthetics of the New Objectivity, as well as other socially and politically ‘suspicious’ art works from the late Belle Époque, WWI, German Revolution of 1918–1919, or from Weimer Republic Modernism of the 1920s and 30s. The infamous Munich ‘Entartete Kunst’ Exhibition turned into a travelling propaganda display, presented in different variants at different venues. A three-week show (11 Jan.–5 Feb. 1939) was also held in Stettin, in the Landeshaus building (today housing the Municipality of Szczecin). Provenance studies: biographies of the existing works, often relocated, destroyed, or considered to have been lost, constitute an interesting input into the challenging chapter on German and European Avant-garde, Szczecin museology, and on Pomerania art collections. Side by side with the artists, it was museologists and art dealers who cocreated this Pomeranian history of art. The Szczecin State Archive contains a set of files related to ‘degenerate art’, revealing the mechanisms and the course of the ‘museum purge’ at the Stettin Stadtmuseum. The archival records of the National Museum in Szczecin feature fragments of inventory ledgers as well as books of acquisitions, which provide a particularly precious source of knowledge. The published catalogue of the works of ‘degenerate art’ from the Museum’s collections covering 1081 items has been created on the grounds of the above-mentioned archival records, for the first time juxtaposed, and cross-checked. The mutually matching traces of information from Polish and German archives constitute a good departure point for further more thorough studies.
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Zavarský, Ján. "Alred Roller – An Innovator and a Traditionalist." Slovenske divadlo /The Slovak Theatre 65, no. 4 (December 1, 2017): 383–401. http://dx.doi.org/10.1515/sd-2017-0023.
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Abstract This study focuses on the scenographer Alfred Roller (1864–1935) and his productions of Wagner’s musical dramas, with emphasis on Tristan and Isolde and Parsifal. It places Roller’s aesthetics in a historical, aesthetic, and artistic context, points to his inspiration by the Swiss scenography reformer Adolphe Appia, and cooperation with the music composer and conductor Gustav Mahler in the Vienna Court Opera. The text analyses the specifics of Roller’s scenography, which diverged from illusive stage and used light work as an important production principle. It concludes with a summary of the effect of Roller’s aesthetics on Ľudovít Hradský, the first leader of the production team at the Slovak National Theatre (1923–1928). The visual aspects of the Slovak National Theatre’s productions in that period were strongly inspired by expressionism and Art Nouveau, which were typical of German theatre at that time.
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Smith, Tyron Tyson, and Ajit Duara. "Postmodernism: The American T.V. Show, 'Family Guy, As a Politically Incorrect Document." Revista Gestão Inovação e Tecnologias 11, no. 4 (August 24, 2021): 4868–84. http://dx.doi.org/10.47059/revistageintec.v11i4.2510.
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Postmodernism is a movement that grew out of modernism. Movements in art, literature, and cinema focused on a particular stance. The visual artists who created entertainment focused on expressing the creator herself/himself beginning from German expressionism to modernism, surrealism, cubism, etc. These art movements played an important part in what an artist (literature, art, and visual) portrayed to his or her audience. As perspectives played an important part, an understanding of what the artist needed to portray was critical. Modernism dealt with this portrayal, which came about due to the changes taking place in society. In terms of the industry, where the overall product dealt with features like individualism, experimentation and absurdity, modernism dealt with a need to overthrow past notions of what painting, literature, and the visual arts needed to be. "After World War II, the focus moved from Europe to the United States, and abstract expressionism (led by Jackson Pollock) continued the movement's momentum, followed by movements such as geometric abstractions, minimalism, process art, pop art, and pop music." Postmodernism helped do away with these shortcomings. An understanding of postmodernism is explored in this paper. The main point which sets it apart is concepts like pastiche, intersexuality, and spectacle. Concerning pop culture, an understanding of referencing is a constant trait used by postmodern art. Postmodern television and the central part of this study applied to the popular animated American TV show, 'family guy' is a postmodern show in its truest form, while attempting to use certain aspects of postmodernism tropes to help emphasize that visual art can be considered a historical document while doing an in-depth analysis of the visual text of 'family guy by itself, several other research papers were used to help further put in stone that 'family guy' is a true representation of postmodern television. It is divided into two phases of data collection: context analysis, which involves a qualitative study. The second being in-depth interviews (also qualitative) which in itself helps give a subjective view of participants between the ages of 20 and 28. These comprise students who are familiar with the show and the concepts of the show. All of them, both frequent viewers of the show and those also politically informed of world politics, helped further emphasize the concept of the paper, which was the idea of how a television show in all its absurd narrative and pastiche functions as a historical document. The purpose of this study, along with the results for this research, is to help bring about the comprehension of how postmodern shows are influenced by other past events, figures of history, etc.; this understanding can explain how a television show like 'family guy could be considered a historical document – by its narrative, by the cultural references connected to these said events, and also with the help of paintings, which the makers of the show use to design the episode of the show, and which reflect and refer to the actual historical figures. Historiography is being proven to be biased in more ways than one, which leads us to an understanding of a different narrative depending on one’s own opinions of history and historical documents as we know it.
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Gavaris, Peter. "The Horror of the Real: Filmic Form, The Century, and Fritz Lang's M." Dianoia: The Undergraduate Philosophy Journal of Boston College 6, no. 1 (October 2, 2019): 19–28. http://dx.doi.org/10.6017/dupjbc.v6i1.11731.
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It is not surprising that film became the dominant art form of the twentieth century. The promise of a medium that could capture life in motion proved exciting, though soon after its conception, debates cropped up pitting the merits of realism against those of expressionism. Should a medium predicated on recording life adopt expressionistic sensibilities? Writing on the burgeoning cinema, Walter Benjamin seemed to imply that film carried with it a distinctly political responsibility to show life as it really is. In attempting to rethink this argument, I argue for the political potential of an expressionistic cinema, as understood by considering the theoretical underpinnings of Alain Badiou’s The Century (2008) when read in relation to Fritz Lang’s M (1931)—a film that embodies Badiou’s musings on the twentieth century’s aesthetic ideals and violent tendencies. Badiou writes that “the torment of contemporary art” is that it is situated at a crossroads between “romantic pathos, on the one hand, and a nihilistic iconoclasm” on the other: a knowing admission that the Real can never be truly represented, and an oppositional desire to convey it anyways. M knowingly exposes these aesthetic contradictions at the heart of the filmic medium by leaning into its own artificiality, and, in doing so, it prophetically exposes the thinking behind a growingly fascist German state in the 1930s. By the end of my paper, I arrive at the conclusion that the violence found in both twentieth century aesthetics and politics came about as the result of a similarly idealistic principle.
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Mykhailova, O. V. "Woman in art: a breath of beauty in the men’s world." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.
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Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and their influence on its development has become of special relevance. The purpose of the article is to summarize segmental of information that highlights the contribution of women to the treasury of world art, their creative and inspiring power. Analytical, historical-biographical and comparative studying methods were applied to reveal the gender relationships in art and the role of woman in them as well as in the sociocultural space in general. The results from this study present a panorama of gifted women from the world of art and music who paved the way for future generations. Among them are: A. Gentileschi (1593–1653), who was the first woman admitted to The Florence Academy of Art; M. Vigee Le Brun (1755–1842), who painted portraits of the French aristocracy and later became a confidant of Marie-Antoinette; B. Morisot (1841–1895), who was accepted by the impressionists in their circle and repeatedly exhibited her works in the Paris Salon; F. Caccini (1587–1640), who went down in history as an Italian composer, teacher, harpsichordist, author of ballets and music for court theater performances; J. Kinkel (1810–1858) – the first female choral director in Germany, who published books about musical education, composed songs on poems of famous poets, as well as on her own texts; F. Mendelssohn (1805–1847) – German singer, pianist and composer, author of cantatas, vocal miniatures of organ preludes, piano pieces; R. Clark (1886–1979) – British viola player and composer who created trio, quartets, compositions for solo instruments, songs on poems of English poets; L. Boulanger (1893–1918) became the first woman to receive Grand Prix de Rome; R. Tsekhlin (1926–2007) – German harpsichordist, composer and teacher who successfully combined the composition of symphonies, concerts, choral and vocal opuses, operas, ballets, music for theatrical productions and cinema with active performing and teaching activities, and many others. The article emphasise the contribution of women-composers, writers, poetesses to the treasury of world literature and art. Among the composers in this row is S. Gubaidulina (1931), who has about 30 prizes and awards. She wrote music for 17 films and her works are being performed by famous musicians around the world. The glory of Ukrainian music is L. Dychko (1939) – the author of operas, oratorios, cantatas, symphonies, choral concertos, ballets, piano works, romances, film music. The broad famous are the French writers: S.-G. Colette (1873–1954), to which the films were devoted, the performances based on her novels are going all over the world, her lyrics are being studied in the literature departments. She was the President of the Goncourt Academy, Chevalier of the Legion of Honour, a square in the center of Paris is named after her. Also, creativity by her compatriot, L. de Vilmorin (1902–1969), on whose poems С. Arrieu, G. Auric, F. Poulenc wrote vocal miniatures, is beloved and recognized as in France as and widely abroad. The article denotes a circle of women who combined the position of a selfsufficient creator and a muse for their companion. M. Verevkina (1860–1938) – a Russian artist, a representative of expressionism in painting, not only helped shape the aesthetic views of her husband A. Yavlensky, contributing to his art education, but for a long time “left the stage” for to not compete with him and help him develop his talent fully. Furthermore, she managed to anticipate many of the discoveries as for the use of light that are associated with the names of H. Matisse, A. Derain and other French fauvist. F. Kahlo (1907–1954), a Mexican artist, was a strict critic and supporter for her husband D. Rivera, led his business, was frequently depicted in his frescoes. C. Schumann (1819–1896) was a committed promoter of R. Schumann’s creativity. She performed his music even when he was not yet recognized by public. She included his compositions in the repertoire of her students after the composer lost his ability to play due to the illness of the hands. She herself performed his works, making R. Schumann famous across Europe. In addition, Clara took care of the welfare of the family – the main source of finance was income from her concerts. The article indicates the growing interest of the twentieth century composers to the poems of female poets. Among them M. Debord-Valmore (1786–1859) – a French poetess, about whom S. Zweig, P. Verlaine and L. Aragon wrote their essays, and her poems were set to music by C. Franck, G. Bizet and R. Ahn; R. Auslender (1901–1988) is a German poetess, a native of Ukraine (Chernovtsy city), author of more than 20 collections, her lyrics were used by an American woman-composer E. Alexander to write “Three Songs” and by German composer G. Grosse-Schware who wrote four pieces for the choir; I. Bachmann (1926–1973) – the winner of three major Austrian awards, author of the libretto for the ballet “Idiot” and opera “The Prince of Hombur”. The composer H. W. Henze, in turn, created music for the play “Cicadas” by I. Bachmann. On this basis, we conclude that women not only successfully engaged in painting, wrote poems and novels, composed music, opened «locked doors», destroyed established stereotypes but were a powerful source of inspiration. Combining the roles of the creator and muse, they helped men reach the greatest heights. Toward the twentieth century, the role of the fair sex representatives in the world of art increased and strengthened significantly, which led Western European culture to a new round of its evolution.
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Weinstein, Joan, and Jill Lloyd. "German Expressionism, Primitivism and Modernity." Art Bulletin 75, no. 1 (March 1993): 183. http://dx.doi.org/10.2307/3045940.
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Mehring, Frank. "Welcome to the machine! The representation of technology in Zeitopern." Cambridge Opera Journal 11, no. 2 (July 1999): 159–77. http://dx.doi.org/10.1017/s0954586700004997.
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Condemned as degenerate art during the Third Reich, German Zeitopern and their artistic treatment of technological infiltration during die Weimar Republic have sparked a variety of new research projects, world-wide musical performances and CD releases from Decca/London in a continuing series entitled ‘Entartete Kunst.’ Manifestos were written in response to the penetration of technology into nearly every aspect of human life, envisaging a future where human beings would interact organically with their new urban environments. Expressionism, Americanism and the concept of Neue Sachlichkeit (New Objectivity) symbolized fresh driving forces that emerged most visibly in opera. In contrast to pre-war Romanticism and Wagnerian mythology, the ‘New Objectivity’ demonstrated a radical commitment to the modern environment, focusing on visible, objective reality rather dian on the emotions of the artist. Particularly in Zeitopern, composers like Max Brand, Paul Hindemith, and Ernst Krenek embraced contemporary ideas of progress, new technological inventions, modern electronic communication systems and means of transportation as props, story topics and artistic vehicles to introduce new sound-effects. In several instances modern technology appeared as simply anodier stage-prop in die long history of opera stage design. In die context of European conceptions of Americanism, technology was pardy understood as a threat to the establishment's reverence for Romantic high culture. And yet in many instances it was also a welcome tool in the project of redirecting all the arts from their stagnant, inflexible pasts to modern, progressive forms of contemporary entertainment. Such diverse attitudes to the potent symbolism of the machine indicate a conflict inherent in aesthetic practice at the time and raise fundamental questions. Do composers successfully represent human beings as creative and autonomous individuals while simultaneously introducing technological images of dominance and depersonalization? If there are contradictory aspects in the representation of technology, how do they relate to the various aesthetic views of the 1920s? Max Brand's central work and acclaimed prototype of Zeitopern, Maschinist Hopkins (1928), brings the world of technology and its sophisticated artifacts to the musical stage. A close analysis reveals basic contradictions, symptomatic of the era, in the composer's embrace of modern technology.
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Knapp, Gerhard P., and David Pan. "Primitive Renaissance: Rethinking German Expressionism." German Studies Review 25, no. 1 (February 2002): 154. http://dx.doi.org/10.2307/1433284.
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Benson, Timothy O., and Jill Lloyd. "German Expressionism: Primitivism and Modernity." German Studies Review 15, no. 3 (October 1992): 621. http://dx.doi.org/10.2307/1430407.
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Lewis, Bethirwin, Rose-Carol Washton Long, Patrick Werkner, and Nicholas T. Parsons. "Expressionism in Germany and Austria." Art Journal 53, no. 4 (1994): 104. http://dx.doi.org/10.2307/777572.
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James, Kathleen. "Expressionism, Relativity, and the Einstein Tower." Journal of the Society of Architectural Historians 53, no. 4 (December 1, 1994): 392–413. http://dx.doi.org/10.2307/990909.
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The Einstein Tower was the product of the complementary investigations of expressionism, reinforced concrete construction, and relativity undertaken by its architect, Erich Mendelsohn, between 1912 and 1920. The war-ravaged German economy of 1921, which impeded its construction, and the scientific agenda of its patron, Erwin Finlay Freundlich, which determined the character of its interior spaces, also helped shape its final appearance. Designed to serve scientific inquiry, it occupies a distinctive intellectual, as well as stylistic, position within the history of German expressionism. In this building Mendelsohn established the design approach that would characterize the rest of his German career, fusing attention to program with bold images of the thrilling instability of modern life. As its reception demonstrates, the functional aspects of the tower have been overshadowed by the degree to which its form has mistakenly been identified with a contemporary enthusiasm for mysticism, which in fact played no role in its design.
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Reichman, Jessica, and E. R. Hagemann. "German Expressionist Artist Karl Hofer." Journal of Popular Culture 22, no. 4 (March 1989): 1–12. http://dx.doi.org/10.1111/j.0022-3840.1989.2204_1.x.
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Sheppard, Richard. "Georg Lukacs, Wilhelm Worringer and German Expressionism." Journal of European Studies 25, no. 3 (September 1995): 241–82. http://dx.doi.org/10.1177/004724419502500301.
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Coco, Janice. "Dialogues with the Self: New Thoughts on Marsden Hartley's Self-Portraits." Prospects 30 (October 2005): 623–49. http://dx.doi.org/10.1017/s0361233300002209.
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Scholars have long acknowledged the crucial role biography plays in Marsden Hartley's oeuvre, as many have used his autobiography Somehow a Past and his homosexuality to interpret his recurring motifs. As a recognized writer and painter, he figured prominently in American modernism and was among the first to explore abstraction as his prime expression. Heavily influenced by European models, he forged a mature style drawn from German expressionism and his affinity for the mystic transcendentalism of writers such as Ralph Waldo Emerson, William James, and Walt Whitman. A lifelong transient, he stood apart from those in the Alfred Stieglitz circle (Figure 1), spending more time outside the United States than in, returning at the end of his life to become “the painter of Maine.” General consensus allows that Hartley's early life influenced his images directly; but, more specifically, art historian Bruce Robertson suggests that Hartley turned to self-portraiture in his last years to work through childhood issues of loss and abandonment. Following suit, this essay considers these tender issues further with a reading of four late paintings, of which two are not yet recognized as self-portraits.The paintings themselves are treated as sites to explore and define the self, in the words of the psychoanalyst D. W. Winnicott, as a “potential space” in which the artist reengages with and attempts to resolve past issues. More specifically, Winnicott describes a psychological transition, a buffer zone between mind and reality, used to cope with maturational issues. In this metaphorical space, one creates symbols and forms object relationships, meaning, a personal language with which to negotiate the real world and one's place in it. All cultural production, Winnicott argues, results from this interim process, which acts as a defensive filter to mitigate harsh truths — in Hartley's case, the loss of both parents and feelings of rejection. From this perspective, I focus narrowly on the symbolic arrangement by which identity issues merge with metaphysics, sex, and death. Although much has been written on these themes, I interpret the paintings' usefulness to Hartley, the ways that they functioned as tools, moving him toward personal integration. In dealing with issues of loss and mourning, I necessarily reflect on dark subject matter; even so, this study is not meant to represent the whole of Hartley's character. A complex person, he was not in a constant state of turmoil and, as Jonathan Weinberg, Donna Cassidy, and many others have demonstrated, Hartley was driven by much more than psychological angst. However, the lens of psychoanalysis (in this case, psychobiography and object relations) provides an additional way to interpret these late images.
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Robertson, Ritchie. "Book Review: German Studies: A Companion to the Literature of German Expressionism." Journal of European Studies 37, no. 1 (March 2007): 97–99. http://dx.doi.org/10.1177/004724410703700116.
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Parrott, A. C. "Aesthetic Responses to Traditional and Modern Paintings by Art Experts and Nonexperts." Perceptual and Motor Skills 79, no. 1 (August 1994): 297–98. http://dx.doi.org/10.2466/pms.1994.79.1.297.
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16 art experts and 18 nonexperts assessed six paintings of different styles. It was predicted that nonexperts would like traditional paintings, whereas art experts would prefer modern styles, but this was not found. Instead, both groups produced their highest ratings for one of the modern abstracts (Klee), while the nonexperts rated the two modern representational paintings (German Expressionist) more highly than the experts.
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Kater, M. H. "The End of Expressionism: Art and the November Revolution in Germany, 1918-19." German History 11, no. 2 (April 1, 1993): 253–55. http://dx.doi.org/10.1093/gh/11.2.253.
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Lidtke, Vernon L., and Joan Weinstein. "The End of Expressionism: Art and the November Revolution in Germany, 1918- 19." American Historical Review 98, no. 2 (April 1993): 520. http://dx.doi.org/10.2307/2166917.
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Epstein, Mark. "The end of expressionism: Art and the November revolution in Germany, 1918–19." History of European Ideas 18, no. 5 (September 1994): 762–64. http://dx.doi.org/10.1016/0191-6599(94)90433-2.
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Funkenstein, Susan Laikin. "There's Something about Mary Wigman: The Woman Dancer as Subject in German Expressionist Art." Gender History 17, no. 3 (November 2005): 826–59. http://dx.doi.org/10.1111/j.0953-5233.2005.00406.x.
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Tumasonis, Elizabeth. "Bernhard Hoetger's Tree of Life: German Expressionism and Racial Ideology." Art Journal 51, no. 1 (1992): 81. http://dx.doi.org/10.2307/777258.
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Kuhns, David F. "Expressionism, Monumentalism, Politics: Emblematic Acting in Jessner's ‘Wilhelm Tell’ and ‘Richard III’." New Theatre Quarterly 7, no. 25 (February 1991): 35–48. http://dx.doi.org/10.1017/s0266464x00005170.
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Leopold Jessner's productions of Schiller's Wilhelm Tell (1919) and Shakespeare's Richard III (1920) marked a culminating point in the short-lived, politically volatile era of German theatrical Expressionism. Jessner's distinctive work in this staging style did much to define the features of one mode of performance among several which billed themselves – or were branded as – ‘Expressionist’. In the following article, David Kuhns explores the particularly striking impact of Jessner's ‘emblematic’ approach to Schiller and Shakespeare upon the acting of those productions. By transforming his actors from mimetic agents into monumentalized emblems, Jessner analyzed political consciousness in what amounted to allegorical terms. The result was a politically provocative presentation of political behaviour – particularly the will to power – as an essentially spiritual matter. David Kuhns teaches theatre history, dramatic literature, and critical theory at Washington University in St. Louis.
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Albinus, Lars. "Når værk bliver til vold." K&K - Kultur og Klasse 36, no. 105 (August 22, 2008): 102–27. http://dx.doi.org/10.7146/kok.v36i105.22041.
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When Work is Violence:Drawing on examples as divergent as current Muslim responses to the Danish cartoons and German terrorism in the 70s, this article aims to show how a closed alliance between art, politics and religion carries the risk of inducing violence which, among other things, annuls the function of art as being inherently ambiguous.It is argued that the function of art in Islam is bound up with the inviolable authority of the prophet and is therefore basically unable to fulfil satiric purposes. Although satire and laughter were also confined to unofficial activities under the Roman Church in medieval times, it is claimed, along the lines of Bakhtin, that a ‘culture of laughter’ actually did survive in the European history of art and paved the way for the appreciation of the potential of satirical critique. Following Benjamin, it is further claimed that the post-auratic function of art joined up with the revolutionary hope for a new aesthetics of life contrary to the fragmentary world of urban capitalism. Finally, as its major case, the article discusses the sliding of aesthetic provocation into political activism in 70s Germany resulting in Urban terrorism. In this case, the function of art once again falls back into a totalitarian critique which merely acknowledges a singular picture of the world. In conclusion, it is pointed out that aesthetic expressions are only imbued with an anti-violent vitality due to a non-condemning, ambiguous openness.
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Fox, Christopher. "British Music at Darmstadt 1982–92." Tempo, no. 186 (September 1993): 21–25. http://dx.doi.org/10.1017/s0040298200003065.
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The new music summer school in Darmstadt is perhaps the most important gathering of and performers of contemporary music in Europe. Launched in 1946 in the then American Zone of occupied Germany, as part of the postwar process of internationalization (and, therefore, de-Nazification) of German culture, the Darmstadt Ferienkurse quickly gained a reputation as a forum for the promulgation of a radically abstract musical aesthetic, based on reductive analyses of the serial works of Webern in particular. While some composers saw this new aesthetic as a ‘mechanistic heresy’, the music of what came to be known as the Darmstadt School – Boulez, Maderna, Nono, Stockhausen – soon attracted official support since, like Abstract Expressionist painting, ‘a seemingly abstract art could readily be elevated as an emblem of “terrible freedom”’. This ‘terrible freedom’, the freedom to be unpopular, was a potent symbol of Western individualism in the symbolic battle that characterized the European theatre of the Cold War during the 1950s.
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Raguin, Virginia Chieffo. "Three German Saints and a Taste for German Expressionism: Valentiner at the Detroit Institute of Arts." Gesta 37, no. 2 (January 1998): 244–50. http://dx.doi.org/10.2307/767266.
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Bottomore, Stephen. "German expressionist cinema: the world of light and shadow." Early Popular Visual Culture 9, no. 2 (May 2011): 163. http://dx.doi.org/10.1080/17460654.2011.571044.
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Saul, Gerald, and Chrystene Ells. "Shadows Illuminated. Understanding German Expressionist Cinema through the Lens of Contemporary Filmmaking Practices." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 103–26. http://dx.doi.org/10.2478/ausfm-2019-0006.
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Abstract The article looks at German Expressionist cinema through the eyes of contemporary, non-commercial filmmakers, to attempt to discover what aspects of this 1920s approach may guide filmmakers today. By drawing parallels between the outsider nature of Weimar artist-driven approaches to collaborative filmmaking and twenty-first-century non-mainstream independent filmmaking outside of major motion picture producing centres, the writers have attempted to find ways to strengthen their own filmmaking practices as well as to investigate methods of re-invigorating other independent or national cinemas. Putting their academic observations of the thematic, technical, and aesthetic aspects of Expressionist cinema into practice, Ells and Saul illustrate and discuss the uses, strengths, and pitfalls, within the realm of low-budget art cinema today.
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Özyürek, Esra. "Rethinking empathy: Emotions triggered by the Holocaust among the Muslim-minority in Germany." Anthropological Theory 18, no. 4 (December 2018): 456–77. http://dx.doi.org/10.1177/1463499618782369.
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In the last decade there has been widely shared discomfort about the way Muslim minority Germans engage with the Holocaust. They are accused of not showing empathy towards its Jewish victims and, as a result, of not being able to learn the necessary lessons from this massive crime. By focusing on instances in which the emotional reactions of Muslim minority Germans towards the Holocaust are judged as not empathetic enough and morally wrong, this article explores how Holocaust education and contemporary understandings of empathy, in teaching about the worst manifestation of racism in history, can also at times be a mechanism to exclude minorities from the German/European moral makeup and the fold of national belonging. Expanding from Edmund Husserl’s embodied approach to empathy to a socially situated approach, via the process of paarung, allows us to reinterpret expressions of fear and envy, currently seen as failed empathy, as instances of intersubjective connections at work. In my reinterpretation of Husserl’s ideas, the process of paarung that enables empathy to happen is not abstract, but pairs particular experiences happening at particular times and places under particular circumstances to individuals of certain social standing and cultural influences. An analogy can be made to shoes. Anyone has the capacity to imagine themselves in someone else’s shoes. Nevertheless, the emotional reactions the experience triggers in each person will be shaped by individual past experiences and social positioning. Hence, grandchildren of workers who arrived in Germany after World War II to rebuild the country resist an ethnicized Holocaust memory and engage with it keenly through their own subject positions.
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Goldman, Natasha. "From Ravensbrück to Berlin: Will Lammert’s Monument to the Deported Jews 1957/1985." Images 9, no. 1 (May 22, 2016): 140–63. http://dx.doi.org/10.1163/18718000-12340056.
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In 1985 one of the earliest memorials dedicated to the Jewish victims of the Holocaust was installed in East Berlin. The Monument to the Deported Jews was an arrangement of thirteen bronze figures in expressionist style. Will Lammert, the artist, originally designed the figures for the base of his monument for Ravensbrück in 1957. The artist died in 1957, however, before finalizing his design for the monument. Only two figures on a pylon were installed at the concentration camp in 1959. The figures meant for the base of the Ravensbrück memorial were unfinished, but were nonetheless cast in bronze by the artist’s family. Thirteen of those figures were installed on the Große Hamburger Straße in 1985 by the artist’s grandson, Mark Lammert. This essay analyzes the Große Hamburger Straße monument in three ways: first, it returns to the literature on the Ravensbrück memorial in order to better understand the role that the unfinished figures would have played, had they been installed. I argue that they originally were most likely meant to depict “Strafestehen”—or torture by standing—at Ravensbrück. Secondly, it aims to explain why and how Lammert’s seemingly expressionist memorial would have been acceptable to East Germany in 1959. While Western art historical attitudes toward East Germany up until the 1990s assumed that Soviet socialist realism was the de facto art style of the Deutsche Demokratische Republik (DDR), some elements of expressionism were being theorized in the late 1950s, at precisely the time when Lammert designed the Ravensbrück monument. Finally, I analyze the role that a monument for Ravensbrück plays in this particular neighborhood of Mitte, Berlin: standing silently, they are no longer legible as women being tortured by standing. Instead, the sculptures signify, at the same time, the deported Jews of Berlin and the harrowing aftermath of their deportations, the improbable return of the deported Jews, and the changing attitudes toward the history of the neighborhood in which the sculptural group is located.
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Kowsari, Masoud, and Mehrdad Garousi. "Fractal art and multi-blended spaces." Virtual Creativity 9, no. 1 (December 1, 2019): 23–41. http://dx.doi.org/10.1386/vcr_00003_1.
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Abstract Artworks, especially in the last two centuries, have been more created through a process of blending than at any other time. This blendedness is seen not only in many modern and postmodern works of art, from German expressionist woodcuts to Picasso's paintings and spontaneous action paintings of Pollock, but in fractal works of art perhaps more than anywhere else. This study, based on Fauconnier and Turner's blended space and conceptual blending theories, will show how fractal artworks are the result of a multi-blending process. This multi-blending is not only because fractal artworks have roots simultaneously in science, technology and art but also because their creation and understanding is dependent on knowledge of fractal aesthetics. Fractal aesthetics not only makes the artist have a continuous back and forth movement between mathematical, digital and artistic spaces, but simultaneously makes the visitor/audience have such an effort as well.1
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Pfanner, Helmut, and Seth Taylor. "Left-Wing Nietzscheans: The Politics of German Expressionism 1910-1920." German Studies Review 15, no. 3 (October 1992): 619. http://dx.doi.org/10.2307/1430406.
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Trommler, Frank. "The End of Expressionism: Art and the November Revolution in Germany, 1918- 1919. Joan Weinstein." Journal of Modern History 67, no. 2 (June 1995): 482–83. http://dx.doi.org/10.1086/245151.
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Wijaya, Hanny. "Wassily Kandinsky: Seni Modern dan Teori." Humaniora 4, no. 1 (April 30, 2013): 348. http://dx.doi.org/10.21512/humaniora.v4i1.3445.
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Modern art development, especially in abstract art had been started since Expressionism period in Germany. Wassily Kandinsky was one of the pioneers of pure abstract art, he created his masterpieces not only as an artist, but also as an art theorist. Although at first he did not have the education background in art field, since Kandinskywas an academic faculty in art and economic, however he gained his success because of his high interest and spirit in art field.Besides, Kandinsky had created many art theories and perspectives of colors, compositions, forms, and had succeeded to apply it in his paintings. His style was inspired by Claude Monet’s painting ‘Haystack’ and the opera performance ‘Lohengrin’ by Richard Wagner. Kandinsky began to study new theories of art by learning art elements and principles more profound, he learned about colors deeply and tried to develop Goethe’s color theory, he also tried to elaborate the meaning of forms and applied the compositions in his artworks as well.
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Schindler, Stephan K., and Paul Coates. "The Gorgon's Gaze: German Cinema, Expressionism, and the Image of Horror." German Studies Review 16, no. 1 (February 1993): 122. http://dx.doi.org/10.2307/1430248.
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Langston, Richard, and Rainer Rumold. "The Janus Face of the German Avant-Garde: From Expressionism toward Postmodernism." German Quarterly 76, no. 3 (2003): 343. http://dx.doi.org/10.2307/3252097.
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Schonfeld, Christiane. "The Urbanization of the Body: Prostitutes, Dialectics, and Utopia in German Expressionism." German Studies Review 20, no. 1 (February 1997): 49. http://dx.doi.org/10.2307/1432329.
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Niehaus, Erika. "Kommunikationsprobleme Von "Near Native Speakern" Deutsch." Taalonderwijs aan gevorderden 25 (January 1, 1986): 37–46. http://dx.doi.org/10.1075/ttwia.25.05nie.
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Communication has at least two different aspects: the propositi-onal aspect and the social aspect. Any utterance in a face-to-face-interaction therefore has the function to give information and to indicate how the ralation to the other participant is interpreted. In order to establish his communicative goal, the speaker has to analyse the social situation and the preceding context. Depending on this interpretation he selects between the different verbal patterns to perform a certain speech act. This involves for instance the choice of direct/indirect speech act realizations, the selection of certain linguistic elements (modality markers) for downtoning or upgrading the illocutionary force of speech acts. The contrastive analysis of the realizations of the speech act REQUEST in three different dialogue batteries elicited via role play from Dutch learners of German, native speakers of Dutch and native speakers of German has shown 1. that Dutch native speakers use modality markers in different communicative functions than German native speakers, 2. that Dutch learners of German mostly choose the same social strategies when speaking the target language as they do when speaking the mother tongue, 3. that the learners are not always able to establish their modal goal, that is, the are not able to communicate their intentions on an interpersonal level. The reason for this seems to be that in the Netherlands the teaching of German as a second language is mainly a matter of teaching grammatical rules and linguistic expressions without taking into consideration that the meaning of these expressions is pragmaticalley conditioned and that their usage is motivated by the relevant characteris-tics of such social situations.
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Heckart, Beverly. "The Cities of Avignon and Worms as Expressions of the European Community." Comparative Studies in Society and History 31, no. 3 (July 1989): 462–90. http://dx.doi.org/10.1017/s0010417500016005.
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At the end of 1978, the German art critic Walter Frentz, introducing a film and public lecture in the city of Worms, postulated that Europeans could breathe new life into the idea of European unity by devoting greater care and attention to the shape and form of European cities. The theme of his remarks that night specifically encouraged the preservation of historic urban cores, but more striking was his general concept linking the development of the European Community with the treatment of the European city. As a growing literature on architectural symbolism and urban imagery suggests, cities take the shapes that are expressions of a total society, reflecting the spectrum of their political, economic and cultural life. As Europeans rebuilt and developed their cities in the period after World War II, they also charted the course of their unification.
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Schmidt, Sabine, and Jean Wotschke. "From the Home Fires to the Battlefield. Mothers in German Expressionist Drama." German Studies Review 22, no. 2 (May 1999): 294. http://dx.doi.org/10.2307/1432085.
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Warnaby, John. "A New Left-Wing Radicalism in Contemporary German Music?" Tempo, no. 193 (July 1995): 18–26. http://dx.doi.org/10.1017/s0040298200004277.
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‘Communism is dead’, crowed a recent Prime Minister, little realizing that the shaky condition of capitalism would precipitate her downfall in short order. ‘Socialist art is a phenomenon of the past’, pronounced many post-modernist critics, who equated creative expressions of radical politics with a modernist aesthetic they had already consigned to their re-interpretation of history. Yet as the developed economies totter from one crisis to the next, interspersed with stock market upheavals or corruption scandals, and the ‘new world order’ fails to materialize, a new left-wing idealism is beginning to assert itself in the work of several German composers, and the growing number of discs of their music testifies to the existence of a substantial international audience for their output. It is a movement of considerable diversity, but also genuine sophistication, for it takes account of the limitation of modernism, and is not averse to encompassing expressions of radicalism from the ‘romantic’ era, where appropriate. Thus, it does not shun post-modernism, but incorporates those features which have not been sucked into the new world chaos, or into the prevalent nostalgia, usually associated with the banner of ‘pluralism’. Above all, the new radicalism reaffirms certain fundamental truths, respected by socialism, which have been overlooked both by postmodernists and proponents of the ‘new world order’. It also asserts the importance of artistic integrity at a time when consumerism is undermining creative values.