2. EXPRESSIONISM
1905-1940s
Center: Germany
overlapped with other major 'isms' of the modernist
period: with Futurism, Vorticism, Cubism,
Surrealism and Dadaism
a movement that developed in the early twentieth-
century mainly in Germany in reaction to the
dehumanizing effect of industrialization and the
growth of cities
inspired by Symbolists
3. Expressionism
a style in which the intention is not to reproduce
a subject accurately, but instead to portray it in such a
way as to express the inner state of the artist
Expressionist artists
- rejected the ideology of realism.
- sought to express meaning or emotional experience
rather than physical reality
4. Goal of Expressionism:
“To evoke the subjective responses that the artist has to
objects or events.”
Contrasted with Impressionism- sought to capture the
outward impression of an object or scene.
Expressionism did not attempt a realistic portrayal of
the world, but rather the extreme and distorting
emotions that the world causes in the sensitive
individual.
8. Edvard Munch
Dec. 12, 1863- January 23,
1944
“No longer shall I paint
interiors with men reading
and women knitting. I will
paint living people who
breathe and feel and suffer
and love.”
“For as long as I can
remember I have suffered
from a deep feeling of anxiety
which I have tried to express
in my art.”
9. “Art is the opposite of
Nature. A work of art
can only come from
inside a person. Art is
the shape of the picture
fashioned through the
nerves, heart, brain and
eye of a man.”
self-portrait of
Edvard Munch
20. Ernst Ludwig
Kirchner
"A painter paints the
appearance of things, not
their objective correctness,
in fact he creates new
appearances of things.“
"My paintings are allegories
not portraits."
27. Wassily Kandinsky
“Of all the arts, abstract painting is
the most difficult. It demands that
you know how to draw well, that
you have a heightened sensitivity
for composition and for colors,
and that you be a true poet. This
last is essential.“
"Colour is the keyboard, the eyes
are the hammers, the soul is the
piano with many strings. The
artist is the hand which plays,
touching one key or another, to
cause vibrations in the soul
34. MUSIC
Arnold Schoenberg
• Leader of Second Viennese
School
• Known for Atonality and Twelve
Tone Technique of composition
• Students: Anton Webern and
Alban Berg
• Compositions:
Fünf Orchesterstücke, Op. 16
(1909), Erwartung, Op. 17 (1909),
Pierrot Lunaire, Op. 21 (1912)
37. MOVIE
“The Cabinet of Dr. Caligari ”, 1920
-short horror film directed by Robert Wiene
-Used stylized sets, abstract jagged
buildings painted in background
-actor used an unrealistic style that
exhibited dancelike movements
Editor's Notes
early 20th century, following right after WWI
early 20th century, following right after WWISymbolists-characterized by an emphasis on the mystical, romantic and expressive, and often by the use of symbolic figures. Reaction in favor of imagination and dreams
Expressionism-new standard of art wherein the art comes from the artist’s feeling and not a depiction or just about the compositionRealism-NOT: they don’t paint landscapes or everyday or usual events
The stylistic premise of Expressionism was that the artist's response to the environment was so intense that it affected the form of the art. Surface elements are distorted or exaggerated by subjective pressures. As a reflection of the times, Expressionist painting tended to be vivid and violent, with jarring images(serpentinefirgures.swirling, swaying and exaggerated brush strokes ---these techniques are used to convey the emotions of the artist reacting to the anxieties of the modern world.
To get a better grasp on the idea of Expressionism, Let’s take this as an example. (Portrait of Pope Innocent X by Diego Velasquez)Simply depicting or painting what the artist saw. Compare this to
Still sitting on the Cathedra, both arms on the chair, garments the sameDisturbingIn Bacon's version of Velasquez's masterpiece, the Pope is shown screaming yet his voice is "silenced" by the enclosing drapes and dark rich colors. The dark colors of the background lend a grotesque and nightmarish tone to the painting.The pleated curtains of the backdrop are rendered transparent and appear to fall through the representation of the Pope's face.NAWALA:yung presence or feel of POWER, AUTHORITY, RESPECTREPLACED: with fear, SCARYSo this is what we said earlier that:Expressionism did not attempt a realistic portrayal of the world, but rather the extreme and distorting emotions that the world causes in the sensitive individual.
Quote 1: (GENRE SCENES) Bringing out the innermost feelings of humans; To see humans from within and not from their outside or physical appearance; Bring out true emotions.Quote 2: About his gloomy past which appears in most of his paintingsA Norwegian born expressionist painter, Edvard Munch lived a tumultuous life, which was represented in his paintings. As a child, he was often ill in the winter, and kept out of school. To pass the time, he spent his days drawing. He also had a troubled childhood, as his mother died of tuberculosis after the birth of his youngest sister, and his favorite sister died of the same illness nine years later. Their deaths were explained by Munch's father, a Christian fundamentalist, as acts of divine punishment.His father would read Edvard and his sisters ghost stories and the stories of Edgar Allen Poe. The vivid ghastly tales, combined with his poor health, the young Munch was plagued by nightmares and paranoid visions of death, which he would later incorporate into his artwork. His art = preocuppied with themes of anxiety, emotional suffering, and human vulnerability. =intense color, semi-abstraction, and mysterious subject matter
As an artist, he was one of the founders of Expressionism, which can be defined as the distortion of reality for the expression of inner emotion and personal vision. Very Dark, seriousHead popping out of the darknessArms- instead of flesh, BONESSKELETON ARM/ Bones- death
The Sick ChildThis is the 1896- second painting1885- 1st original painting Because there are 6 painted versions (lithographs, drypoints, ecthings)Moment before the death of his older sister Johanne Sophie (1862–1877) from tuberculosis at 15. Throughout his career, Munch often returned to and created several variants of his paintings. The Sick Child became for Munch—who nearly died from tuberculosis himself as a child—a means to record both his feelings of despair and guilt that he had been the one to survive and to confront his feelings of loss for his late sister. In the versions, Sophie is typically shown on her deathbed accompanied by a dark-haired, grieving woman assumed to be her aunt Karen. She is obviously suffering from pain, propped by a large white pillow, looking towards an ominous curtain likely intended as a symbol of death. She is shown with a haunted expression, clutching hands with a grief-stricken older woman who seems to want to comfort her but whose head is bowed as if she cannot bear to look the younger girl in the eye.Look closely:-rough Brush strokes or patterns in different directions, melancholic tones---personal experience-Mixture of colors-Blurrish depiction-Flat, no sense of space or dimention
Another Versionalso done in 1896Paterns of lines that make up the entire imageBecause of his technique, rough(because of the emotion he want to depict), not smooth and skinny- his work was criticized to be unfinished
The genesis of The Scream (painted in 1893) came about when he was taking a walk by the sea with two friends as the sun was setting and turning the clouds fiery red. In his words:“I stopped and leaned against the fence, feeling unspeakably tired. Tongues of fire and blood stretched over the bluish black fjord. My friends went on walking, while I lagged behind, shivering with fear. Then I heard the enormous, infinite scream of nature.”The Scream is therefore an idealised self-portrait, not of his face and body but of his fear. Walking out of the picture on the left are the two friends, but Munch himself has turned around to stare out of the canvas, head in hands and mouth open- SCREAMING. Behind him the sea swirls, sodoes the sky. The sea is in deep blues and greens, while the sky is vivid red and yellow. Munch painted more than one version of The Scream, and the colours are not the same in every version.What strikes the viewer most forcibly is the agonised face of the figure and the violence of the background. The head is painted very simply, almost as a cartoon shape with very little detail, and the hands are completely unreal in their lack of proportion, but it is the posture that conveys the horror. By being such a generic image, every viewer can relate to it in their own way, so that it speaks to their own inner anguish.Colors, Swirls, Facial Expression, SENSE OF PANIC = very Nightmarish-No proportion-Free brush strokes, no pattern followed-Mix of wide range colors. Mostly dark and hot. Random colors, patongpatonglangyung colors. Mix mix.
After his father’s death, leaving the Munch family destitute, and Munch, feeling that everyone around him had died, was plagued by suicidal thoughts. His personal tragedies and psychological idiosyncrasies evolved into a symbolic art form that expressed more internal emotion and feeling than projected an image of outside reality. He often refused to sell his paintings, calling them his children, and so would create reproductions of them to sell. =Kaya may 4 Versions ng the screamUpper left- 1910 temperaMiddle- 1895 pastel-was sold for $119,922,600 at Sotheby's Impressionist and Modern art auction on 2 May 2012 to financier Leon Blackthereby making it the most expensive painting sold at auction.Lower right- 1895 lithographMonalisa of our time. Leonardoda Vinci evoked a renaissance ideal unlike Munch version- uncertainty and anxiety
Contemporary with The Scream, Munch's Madonna is rendered with softer brushstrokes and comparatively subdued pigments. Arms fade along with background Munch depicts the Virgin Mary in a manner that defies all preceding "historical" representations - from Renaissance-era Naturalism to 19th-century Realism - of the chaste mother of Jesus Christ. With a sense of modesty conveyed only by her closed eyes, the nude appears to be in the act of lovemaking, her body subtly contorting and bending towards a nondescript light. Indeed, Munch's Madonna may very well be a modernist, if irreverent depiction of the Immaculate Conception. The red halo upon the Madonna's head, as opposed to the customary white or golden ring, indicates a ruling passion befitting Baroque-era renditions of the subject, minus any measure of religious discretion. While the artist himself never fully succumbed to his father's religious fervor and teachings, this work clearly suggests Munch's constant wrangling over the exact nature of his own spirituality.Body- not detailed, no proportion; not curvacious,Arms- fade along with the background Background can’t really tell what it is: DIRTY, Smeared with blackPARA SA ISANG MADONNA- portrayed with very conservatively, grand detailed clothing, angels, tapos HEAVENLY background. Enlightening. Motherly. THIS ONE IS DIRTY and DOESN’T SAY VIRGIN AT ALL.
Left- Litograph -1895-1902Right- 1894
-portrait of adolescence and isolation-depicts a young pubertal girl, nude, sitting with her legs together in a shy pose. It is at once a respectful representation of the girl’s awareness of her changing body, as well as an indication of repressed sexual desire. the lone and guarded female figure symbolizes a stae of sexual depression and frustration- - both of which plagued the artist himself throughout his life while the girl, although apparently shy (to judge by her posture), indicates quite the opposite by way of her frank stare Shadow-fear of life and death-colorspatongpatongUse of serpentine figure for shadow
Other Works:Heavy, emotional, dark themesAnxiety: Same settings with the ScreamTitles pa lang, alamnang may pinagdadaan
Melancholy- sad, gloomy, dark, black clothes=SorrowAshes- devastated, confused, lost
1895- painting colored1896- black and white
Paintings- depiction of what they feel in a certain subject
He is one of the founding members of The Bridge, a group of German expressionistsan admirer of Albercht Durer, he revived the old art of woodblock printing but inspired by modern city-by painting nudes, he was trying to approah his ideal life free from rich moral inhibitions, and uncorrupted by civilization-convey raw emotion through provocative images of modern society---depicted scenes of city dwellers, prostitutes, and dancers in the streets and nightclubs, presenting the German society-human figure is central in his artART TECHNIQUES-Brushwork- air of freedom-high keyed colors(not realistic)- express extreme emotion-graphic, agitated lines-use compelete abstraction-angular forms
-Woodcut print-group of voluptuous nude female dancers on stage-the large areas of light and dark create an ambiguous sense of spatial depth on a two dimensional surface. -renders a balance between the two extremes (light and dark, bold and delicate) to create a harmonious composition,-abstract
-based on Munch’s “Puberty”. -the girl depicted is the daughter of a circus artiste's widow (moritzberg)-provocative depiction of a young, pre-pubescent girl. The youth of the figure, coupled with the intense gaze and heavily made-up face, give the appearance of uncanny maturity. -Unnatural colors and self-conscious body language add to the unease in the composition. -example of a technique of rapid sketching used by members of Die Brücke, who believed this process allowed them to capture the "soul" of the subject.High keyedcolorsDirection ng brush iba iba visible sa chest- madaliang ginawa
-reveals Kirchner's shift in subject matter from the female nude to depictions of the metropolis-Distorted, -perspective is skewed, a clear rejection of his previous study of architecture-The quick, gestural use of line creates a sense of immediacy and speed within the piece, capturing the essence of a busy German city.The use of clashing blues and yellows to depict the cityscape is typical of Kirchner's style
explores the figure of the city prostitute: chic streetwalkers who have angular, masklike faces.depict stylishly dressed streetwalkersAngular perspective, jagged brush strokes, caustic color to show the sickness, the city have
-examines the psychological distress experienced by Kirchner during his service in the military WWI- fictive amputation stump on his right arm represents the trauma he experienced in the war-He was a reluctant soldier and soon became preoccupied with avoiding service, and following a self-induced psychosis, aided by his use of alcohol and drugs, he was dischargedKirchner's picture stands a nude who bears a resemblance to his lover of the time, Erna Schilling.motif is based on Van Gogh's Self-Portrait with a Bandaged Ear (1889)-angular-nude-bold colors-brushstrokes
to convey his own inner world, rather than imitate the natural world—abstractcredited with painting the first purely abstract worksKandinsky's analyses on forms and colours result not from simple, arbitrary idea-associations but from the painter's inner experience. He spent years creating abstract, sensorially rich paintings, working with form and colour, tirelessly observing his own paintings and those of other artists, noting their effects on his sense of colourA few years later he first likened painting to composing music in the manner for which he would become noted, , QUOTE2
-group of artist from munich, germany-composed of german and russian artists-Emotional aspects through abstract forms, sumbolic and bright color renderingsColours on the painter's palette evoke a double effect: a purely physical effect on the eye which is charmed by the beauty of colours, This effect can be much deeper, however, causing a vibration of the soul or an "inner resonance"—a spiritual effect in which the colour touches the soul itself."Inner necessity" is, for Kandinsky, the principle of art and the foundation of forms and the harmony of colours. He defines it as the principle of efficient contact of the form with the human soul. In his writings, Kandinsky analyzed the geometrical elements which make up every painting—the point and the line. He did not analyze them objectively, but from the point of view of their inner effect on the observer.
-a lone rider racing across a landscape - yet it represented a decisive moment in Kandinsky's developing style.-contrasts of light and dark on the sun-dappled hillside- Variety of colors that almost blend on the landscape
-accdg to Kandinsky, the most complex piece he ever painted-shows the artist's rejection of pictorial representation through a swirling hurricane of colors and shapes.-The operatic and tumultuous roiling of forms around the canvas exemplifies Kandinsky's belief that painting could evoke sounds the way music called to mind certain colors and forms.-Even the title, Composition VII, aligned with his interest in the intertwining of the musical with the visual.As the different colors and symbols spiral around each other, Kandinsky eliminated traditional references to depth and laid bare the different abstracted glyphs in order to communicate deeper themes and emotions common to all cultures and viewers.
-organic shapes-relies upon a black background to heighten the visual impact of the brightly colored undulating forms in the foreground. The presence of the black expanse is significant. Kandinsky had always expressed a strong dislike for the color black and it is significant that he chose it as the dominating color of his last major artistic statement it is evocative of the cosmos as well as the darkness at the end of life.-contrast ofharsh edges and black background illustrates the harmony and tension present throughout the universe, as well as the rise and fall of the cycle of life.
-rational, geometric order-influence of Suprematism and Constructivism -flat planes of color and the clear, linear quality-dynamic balance-significance of shapes like triangles, circles, and the checkerboard. Kandinsky relied upon a hard-edged style to communicate the deeper content of his work for the rest of his career.The background also works to enhance the dynamism of the composition. The layered background colorsi define depth
An expressionist work portrays what is going on inside the composer's mind: it is an expressionof what is being felt.Music at this era: Emotions are taken to the extreme, leading to disturbing, unsettling and sometimes violent music.
HE IS ALSO A PAINTERAtonality- absence of tonal center (sounding like a horror music)Twelve Tone Technique- The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one note[3] through the use of tone rows, an ordering of the 12 pitches.===== By using 12-tone harmony he is able to change moods on a dime and can express horror and delight in ways tonal music cannot.Students: Anton Webern and Alban Berg who are well known Expressionist composers.PLAY:1- String Quartet no. 3 (1/4) 2-Pierrot Lunaire
Webern: Wozzeck, Op. 7 (1921), Violin Concerto (1935)Berg: "Lulu," "Wozzeck," "Five Orchestral Songs," "String Quartet," "Lyric Suite," "Chamber Concerto, Opus 8" and the "Violin Concerto."
