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The different histories of Expressionism
Read the full article here: https://bit.ly/3kU7bgR
«We no longer live, we are lived. We no longer have freedom, we no longer know how to decide, man is deprived of the soul, nature is deprived of man […]. Never was there an era more ravaged by despair, horror, death. Never has more sepulchral silence reigned over the world. Never has man been smaller. Never has he been more restless. Never has joy been more absent, and freedom more dead. And here is howling despair: man cries out for his soul, a single cry of anguish rises from our time. Art, too, screams in the darkness, calls for rescue, invokes the spirit: it is Expressionism».
Hermann Bahr, an Austrian art critic who lived from 1863 to 1934, said this in his 1916 essay titled "Expressionism." His words capture the essence of an art movement that grew up mostly in northern Europe at the beginning of the 20th century. It had several cores, but all of them were driven by a strong need to show, through mostly figurative compositions, the inner world of the artists rather than just showing what was real. In fact, the term "Expressionism" is different from the more general meaning of the word "expression" in that any artist can show who he or she is through their art, but only an expressionist can make the viewer "live" the artist's deepest feelings by making him or her have strong emotional responses. In this context, it's important to note that this kind of figurative innovation in the 20th century has roots that go back much further. These roots, which can be traced back to the end of the 19th century, can be seen in Van Gogh's swirling brushstrokes, Gauguin's focus on the essential, Munch's drama and social criticism, and Munch's anti-naturalistic language and distortion of primitive art. In art history, we can instead look at what art historian Giulio Carlo Argan said about the difference between Expressionism and Impressionism at the end of the 20th century: «Literally, expression is the opposite of impression. Impression is a movement from the outside to the inside. It is reality (the object) making an impression on consciousness (subject). Expression is a movement in the opposite direction, from the inside to the outside. It is the subject leaving a mark on the object.
At a meeting of the Berlin Secession in 1911, a member of the jury said these words, which foretold the name that art critic and historian Wilhelm Worringer would give to the art movement of the 20th century. German Expressionism was how artists reacted to the climate in Germany at the beginning of the 20th century, which was characterized by an expansionist policy that aimed to create a single state and was fueled by strong nationalist, reactionary, and repressive ideas. These things were perfect for making artists rebel against official art and any kind of conformity. The first group of artists who were part of German Expressionism came together in Dresden in 1905. Ernst Ludwig Kirchner, Fritz Bleyl, Erich Heckel, and Karl Schmidt-Rottluff were all architecture students at Hermann Obrist's school. Referring to a part of Nietzsche's book Thus Spoke Zarathustra, this group called itself Die Brücke, which literally means "artists of the bridge." They did this because they wanted to connect with the future of art and stop those who want to kill the creative spirit with rigid and outdated morality. When it comes to Die Brücke's style, Kirchner's work is a good example. He was the movement's most devoted and passionate supporter, and he made aggressive images with sharp edges, deep blacks, strong color contrasts, and disharmonious, biting figures that were meant to expose the lies and hypocrisies of bourgeois society. The second group of German Expressionism, which started in Munich in 1911 and was called Der Blaue Reiter, or the Blue Rider, put more emphasis on colors in pictures. In fact, colors took on such strong symbolic meanings that the movement moved more and more toward abstraction...
...
https://www.youtube.com/watch?v=1mzM6WCkW40
«We no longer live, we are lived. We no longer have freedom, we no longer know how to decide, man is deprived of the soul, nature is deprived of man […]. Never was there an era more ravaged by despair, horror, death. Never has more sepulchral silence reigned over the world. Never has man been smaller. Never has he been more restless. Never has joy been more absent, and freedom more dead. And here is howling despair: man cries out for his soul, a single cry of anguish rises from our time. Art, too, screams in the darkness, calls for rescue, invokes the spirit: it is Expressionism».
Hermann Bahr, an Austrian art critic who lived from 1863 to 1934, said this in his 1916 essay titled "Expressionism." His words capture the essence of an art movement that grew up mostly in northern Europe at the beginning of the 20th century. It had several cores, but all of them were driven by a strong need to show, through mostly figurative compositions, the inner world of the artists rather than just showing what was real. In fact, the term "Expressionism" is different from the more general meaning of the word "expression" in that any artist can show who he or she is through their art, but only an expressionist can make the viewer "live" the artist's deepest feelings by making him or her have strong emotional responses. In this context, it's important to note that this kind of figurative innovation in the 20th century has roots that go back much further. These roots, which can be traced back to the end of the 19th century, can be seen in Van Gogh's swirling brushstrokes, Gauguin's focus on the essential, Munch's drama and social criticism, and Munch's anti-naturalistic language and distortion of primitive art. In art history, we can instead look at what art historian Giulio Carlo Argan said about the difference between Expressionism and Impressionism at the end of the 20th century: «Literally, expression is the opposite of impression. Impression is a movement from the outside to the inside. It is reality (the object) making an impression on consciousness (subject). Expression is a movement in the opposite direction, from the inside to the outside. It is the subject leaving a mark on the object.
At a meeting of the Berlin Secession in 1911, a member of the jury said these words, which foretold the name that art critic and historian Wilhelm Worringer would give to the art movement of the 20th century. German Expressionism was how artists reacted to the climate in Germany at the beginning of the 20th century, which was characterized by an expansionist policy that aimed to create a single state and was fueled by strong nationalist, reactionary, and repressive ideas. These things were perfect for making artists rebel against official art and any kind of conformity. The first group of artists who were part of German Expressionism came together in Dresden in 1905. Ernst Ludwig Kirchner, Fritz Bleyl, Erich Heckel, and Karl Schmidt-Rottluff were all architecture students at Hermann Obrist's school. Referring to a part of Nietzsche's book Thus Spoke Zarathustra, this group called itself Die Brücke, which literally means "artists of the bridge." They did this because they wanted to connect with the future of art and stop those who want to kill the creative spirit with rigid and outdated morality. When it comes to Die Brücke's style, Kirchner's work is a good example. He was the movement's most devoted and passionate supporter, and he made aggressive images with sharp edges, deep blacks, strong color contrasts, and disharmonious, biting figures that were meant to expose the lies and hypocrisies of bourgeois society. The second group of German Expressionism, which started in Munich in 1911 and was called Der Blaue Reiter, or the Blue Rider, put more emphasis on colors in pictures. In fact, colors took on such strong symbolic meanings that the movement moved more and more toward abstraction...
...
https://www.youtube.com/watch?v=1mzM6WCkW40
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PAUL
paul-allen-from-microsoft-corporation-to
Read the full article here: https://tinyurl.com/bdhpa4xc
Paul Gardner Allen, born on January 21, 1953, and regrettably departing this world on October 15, 2018, was a versatile and influential figure in American society. He played a wide range of roles, from being a successful business magnate, computer programmer, and researcher, to an accomplished investor, film producer, and a prominent philanthropist. Perhaps his most notable achievement was co-founding Microsoft Corporation alongside his childhood friend, Bill Gates, in 1975. This groundbreaking venture played a pivotal role in sparking the microcomputer revolution that defined the technological landscape of the 1970s and 1980s. Under his leadership, Microsoft grew to become the world's leading personal computer software company.
In terms of wealth, Paul Allen was ranked as the 44th wealthiest individual globally by Forbes in 2018, with an estimated net worth of a remarkable $20.3 billion at the time of his passing.
Paul Allen's life took an unexpected turn when he stepped away from active involvement at Microsoft in early 1983 due to a diagnosis of Hodgkin lymphoma. Nevertheless, he continued to contribute his expertise to the company as the vice-chairman of its board. In 1986, together with his sister Jody Allen, he established Vulcan Inc., a privately held organization responsible for managing his diverse business and philanthropic ventures. His financial interests spanned various domains, including technology, media, scientific research, real estate, private space exploration projects, and investments in various other sectors. Notably, he held ownership stakes in the Seattle Seahawks of the National Football League, the Portland Trail Blazers of the National Basketball Association, and had a partial ownership position in the Seattle Sounders FC of Major League Soccer. In 2000, he stepped down from Microsoft's board and took on the role of senior strategy advisor to the company's management.
Paul Allen's unwavering commitment extended to founding the Allen Institutes, encompassing fields such as Brain Science, Artificial Intelligence, and Cell Science. Additionally, he ventured into the creation of companies like Stratolaunch Systems and Apex Learning. His philanthropic efforts knew no bounds, as he directed over $2 billion towards a wide array of causes, including education, wildlife conservation, environmental protection, the arts, healthcare, and community services. As a pioneer in the realm of space exploration, he provided funding for the historic crewed private spaceplane project, SpaceShipOne, in 2004. His remarkable contributions were widely recognized, and he was honored with numerous awards and accolades. Paul Allen was named among the Time 100 Most Influential People in the World in both 2007 and 2008.
However, life presented a formidable challenge when Paul Allen was diagnosed with non-Hodgkin lymphoma in 2009. His courageous battle against this relentless adversary came to a close on October 15, 2018, as septic shock, closely associated with cancer, claimed his life at the age of 65.
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https://www.youtube.com/watch?v=6u7bpgbIYXw
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BOJAN
bojan-jevtic-processing-digital
Read the full interview here: https://tinyurl.com/m2knsan5
What made you approach art and become an artist? (events, feelings, experiences...)
I don't know exactly when the artist "woke up" in me. Probably from the earliest days of my life, I showed inclinations towards more creative expression of my personality. Later, that creativity developed and was directed in the areas of life in which I wanted to say more and express myself more creatively, artistically. Art is an integral part of our lives and all people tend to express themselves creatively in a variety of ways. For some it becomes a profession, for some it is not, but creativity is still present in them.
What is your artistic journey, techniques and subjects you have experimented with to date?
The artistic technique I focused on is processing digital photography and giving an artistic stamp that is impossible to do with a camera. I prefer to do such artwork based on photography in Adobe Photoshop. I realized that it provides great opportunities in creating a work of art, if you are inspired of course. When I do a work of art, I print it on a canvas and as such it can exist for more than 200 years.
The theme that is most present in my artwork are themes from life mostly personified in the picture of a woman. Basically, I try to send a deeper message in my artwork than just portrait of the person.
What are 3 aspects that differentiate you from other artists, making your work unique?
The first aspect is the message I send through my artwork, the second aspect is the message and the third aspect is the message, of course. The messages I try to send are multi-layered and everyone can see the one he has chosen to be intended for him. Someone sees all messages, even those that are derived and created as a product of previous messages that are visible. Someone sees the messages he created himself, in the way he was inspired by the work of art. Anyway, I like it when the observer sees some meaning in my artwork.
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HENRI
henri-cartier-bresson,-the-art-of
➡️ Read the full article here: https://tinyurl.com/ym4eur8p
Henri Cartier-Bresson was a major 20th-century photographer. Many people consider him the pioneer of photojournalism as we know it today. His "decisive moment" photography technique left an indelible imprint on the medium.
Cartier-Bresson began his career as a painter but quickly shifted his focus to photography. His first Leica, a tiny camera that allowed him to shoot candid street scenes, was purchased by him in 1931. He has traveled all over the world taking photographs of people and historical events.
His work is distinguished by its meticulous composition, skillful use of light, and ability to catch fleeting moments. He had faith in the authenticity of the moment and never touched up his photographs. Cartier-Bresson was a master of black and white photography, and his pictures are famous for their timeless beauty.
Biographie
Henri Cartier-Bresson is a privileged young man who grew up in a wealthy family. He shows early promise in the arts of drawing and photography. At age 12, he re-enrolls in the French Scouts and begins taking pictures with the Brownie Kodak his parents gave him as a gift. Despite his father's wishes that he join the family business, Henri rejects this idea in favor of pursuing his interest in art and painting.
Surrealist Influence
Cartier-Bresson first studied painting under Jean Cottenet and then under André Lhote. He delves into the "divine proportion" analysis of master artists' canvases and reads Matila Ghyka's book on the golden ratio. He becomes acquainted with surrealists and photographers like Gretchen and Peter Powell while serving in the military. In 1930, he travels to Africa, where he uses a used Krauss camera to take his first photographs. After that, he buys a Leica and devotes his life to photography. He has mastered composition and captured spontaneous, impregnated moments of everyday life thanks to his travels across Italy, Spain, Mexico, and Morocco. Surrealist influences have led him to see photography as a tool for capturing the miraculous in the urban environment. He takes Andre Breton's concept of "beauty convulsive," in which an object is perceived both in motion and at rest, and uses it to investigate voyeurism in his artwork. He also enjoys taking pictures of spectators from the sidelines, which allows him to practice another sort of covert sexism.
The Political Involvement
Cartier-Bresson is a staunch communist and anti-fascist activist. Beginning in 1933, he is a regular at the AEAR (Association des Écrivains et Artistes Révolutionnaires), where he becomes friends with influential communists like Robert Capa, Chim, Henri Tracol, Louis Aragon, Léon Moussinac, and Georges Sadoul. He becomes politically and aesthetically influenced by Soviet film and becomes actively involved in the New York collective of activist filmmakers known as Nykino. Although he hasn't joined the PCF formally, he has strong communist beliefs and attends materialist dialectic courses and communist cell group meetings.
In 1937, he weds Eli, a Japanese dancer who was actively fighting for Indonesian independence. He signs all of his activist works as Henri Cartier to distinguish himself from his wealthy family. He also uses this name in his photographic and filmic works.
He works as an assistant to Jean Renoir, assisting with the production of several politically charged films, including "La vie est à nous," which was commissioned by the communist Party. The films "Partie de campagne" and "La Règle du jeu" have his involvement, among others. Concurrently, he and the Frontier Film crew are shooting "Victory of Life in Spain," which will shed light on the aftereffects of the bombing and worldwide medical aid in the country.
Cartier-Bresson is drafted, taken prisoner, and eventually escapes to join a group of resistance fighters in Lyon during World War II. It records the fighting during the Liberation of Paris and depicts the horrors of the martyred village of Oradour-sur-Glane. His video "Le Retour" describes how the Allies found the camps and brought the prisoners back to France.
After the war, Cartier-Bresson hid his political leanings because the French Communist Party had been dissolved and the Communist press had been banned. This concealment of his political militantism results in incorrect interpretations of his work over a period of years. But he kept voting communist right up until the Soviets crushed the Hungarian Revolution in 1956.
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https://www.youtube.com/watch?v=KDcyVfoUw9U
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HOW D
how-do-artists-view-the-eiffel-tower
Read the full article here: https://tinyurl.com/az8x5ty2
Upon your arrival in Paris, the irresistible urge to immortalize your presence with the iconic Eiffel Tower or capture the blend of joy, excitement, and awe coursing through you inevitably leads to the composition of a thoughtful, solitary selfie. This snapshot in time forever etches your image against the backdrop of the metallic masterpiece completed in 1889. In fact, it's widely known that almost every visitor to the French capital dedicates hours to its contemplation, gazing at it from every conceivable angle as if they seek to carry a vivid memory of it home, often in the form of themed souvenirs. Yet, the Eiffel Tower transcends its role as a ubiquitous symbol, endlessly replicated in small figurines, keychains, and t-shirts. Its significance, like its regal presence on the Parisian skyline, derives primarily from its rich history, a facet that eludes the knowledge of many despite the structure's fame.
Traveling back to 1887, we find ourselves at the inception of the Eiffel Tower's construction, a meticulous endeavor overseen by engineers Maurice Koechlin and Émile Nouguier. They meticulously executed the vision of French entrepreneur and metal structure specialist Gustave Eiffel. The project was conceived to mark the centenary of the French Revolution, commemorated by the 1889 Universal Exhibition held on the Champ de Mars in the heart of the city. The tower, then the tallest man-made structure globally, stood as the grand entrance to the exhibition, proudly showcasing France's industrial prowess and global influence.
However, it didn't find favor with its contemporaries, who regarded it as a metallic monstrosity marring the Parisian skyline, eagerly anticipating its scheduled demolition in 1909. This sentiment is best encapsulated in the famous words of author Guy de Maupassant, a frequent patron of one of the tower's restaurants, where he could escape the sight of that "horrible steel monster!" Nevertheless, the Iron Lady has endured to this day, not due to aesthetics, but rather its functionality. It proved invaluable during wartime, serving as a platform for positioning early radio signal antennas.
Now, let's delve into the realm of art history, where numerous artists deemed the Eiffel Tower a compelling subject to capture, whether in its entirety or during its various stages of construction.
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https://www.youtube.com/watch?v=t9LcXu-xREU
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LAS M
las-meninas-by-diego-velázquez
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The Spanish painter Diego Velázquez lived from 1599 to 1660. He is known for his portraits, genre scenes, and historical paintings. He is thought to be one of the most important artists of the Golden Age of Spain. Velázquez's work began in Seville, where he studied with Francisco Pacheco. He went to Madrid in 1622 and became King Philip IV's court painter. Velázquez is best known for his pictures of the king and other members of the Spanish court. Velázquez's style was defined by the way he used light and shadow, how he captured the unique personality of each of his models, and how he paid close attention to details. He was also a master of composition, and the figures and items in his works are often put together in complicated ways. Some of Velázquez's best-known works are "Las Meninas," "The Surrender of Breda," and "The Rokeby Venus." He had a big impact on painters who came after him, like Manet and Picasso, and his work is still praised and studied today. "Las Meninas" by the Spanish artist Diego Velázquez is a well-known picture. It was finished in 1656 and shows a scene in the court of King Philip IV of Spain. In the background, a mirror shows the king and queen. The picture is known for how complicated it is to put together, how it uses light and shadow, and how it shows reality in a vague way. In the middle of the picture is Infanta Margarita, a young princess who is surrounded by her maids, or "meninas" in Spanish. Velázquez himself is in the picture. He is standing in front of a blank canvas and holding a paintbrush, which makes it look like he is painting the scene we see. Many people have different ideas about what the picture means. Some think it's about the nature of art, while others think it's about the role of the artist in society. "Las Meninas" is a gem of the Spanish Golden Age and is often thought to be one of the best paintings ever made. It is still one of the most important pieces in the Museo del Prado in Madrid, where it can be seen today. Infanta Margaret Theresa was a princess from Spain who lived in the 1600s. She was the daughter of Philip IV of Spain and Mariana of Austria, his second wife. Margaret Theresa was born in 1651, making her the couple's oldest living child. As a child, Margaret Theresa was seen as a valuable pawn in the political relationships of the time. At the age of five, she was engaged to her uncle, Leopold I, Holy Roman Emperor. The marriage was meant to bring Spain and Austria closer together. Margaret Theresa grew up in a strict home and got a well-rounded education that included lessons in religion, music, art, dancing, and more. She was beautiful and smart, and she could speak more than one language fluently. Margaret Theresa's marriage to Leopold I was finally completed, and she had four children, including two sons who would later become Holy Roman Emperors. But her life was cut short when she died at the age of 21 in 1673. It may have been because of problems she had while giving birth. Even though Margaret Theresa only lived a short time, her children kept her memory alive, and her beauty and intelligence were praised in art and writing. She is known as a symbol of the political alliances and dynastic ambitions of Europe in the 17th century. In Las Meninas, Maria Augustina Sarmiento and Isabel de Velasco pay attention to L'Infanta, the blonde child.
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LA PS
la-psyché'-london's-national-gallery
Read the full article here: https://tinyurl.com/bdjjdm9x
The National Gallery in London has acquired "La Psyché" (The Full-length Mirror), its first painting by Eva Gonzalès, a prominent French Impressionist. Gonzalès, who passed away in 1883, is now the 20th female artist represented in the gallery's collection of roughly 750 artists. The painting, dating from around 1869-70 and purchased for £1.5 million, is only the second of Gonzalès' works in a UK public collection.
Gonzalès began her art training at 16 and later studied under Édouard Manet, significantly influencing him, particularly in his use of pastels. Despite dying young at 34, she had established herself as a significant artist, though her legacy was often overshadowed by Manet. The curator, Christopher Riopelle, emphasizes Gonzalès' unique artistic identity and impact, noting that more of her works are beginning to be appreciated.
The painting was previously owned by a private British collection and acquired through legacy donations. Riopelle expressed the gallery's intent to continue acquiring notable works by women, highlighting the importance of featuring artists whose works stand out significantly, like Gonzalès' depiction of a woman's private world.
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DRAMA
dramatic-evacuation-to-the-hamptons,-a
➡️ Read the full article here: https://tinyurl.com/yh9tf432
Rains that threatened millions of dollars' worth of artwork, including Van Gogh masterworks, prompted a dramatic evacuation at the Hamptons Art Fair. The cancellation of the season's most anticipated event has caused widespread anxiety and disruption. There were paintings, jewelry, and watches at the art fair that were collectively valued at over $400 million. Master artists like Matisse, Picasso, and the incomparable Van Gogh were represented. However, the three pavilions constructed for the event were swamped by heavy rains, thereby ending the art celebration. The fire chief and police department, realizing the gravity of the situation, took the split-second decision to issue an immediate evacuation order and cut power. The team, led by Rick Friedman, responded swiftly to get people out of there and protect the priceless artworks that were still on display.
The artwork could not have been removed in a circumstance where every second counted. Even when bad weather was impending, curators apparently thought the artworks would be better off indoors. This is according to Friedman. It was too dangerous to leave them vulnerable to the forces of nature. A bizarre situation played out in the VIP section when an opera singer started singing songs, evoking images of the Titanic's orchestra. This "Pavarotti of precipitation" was asked to end her spontaneous performance when the water level increased dangerously. This water diva, who apparently was not employed to sing, nonetheless found the initiative to do so.
Armed guards and police officers were stationed outside the premises after hours to deter any potential thieves. Anyone who broke the law by entering the building would have been promptly apprehended. Even under these unusual conditions, protecting these priceless artworks was of the utmost importance. The extent of the damage to the works is still unknown. According to Friedman, they are currently examining the situation, but there have been no reports of severe damage so far. The ceilings and walls looked unharmed, which was encouraging because it meant the artwork might have survived. The paintings, however, have been asked to be removed from the floor by all artists and exhibitors as a safety measure.
The MS RAU booth was one of the best in the event, and they showed off a Renoir painting with great pride. Even though the fair ended early, it was rumored that a Picasso for $5.5 million was sold over the phone, which was an astonishing feat considering the fair had already ended. Perhaps this unexpected outcome offered some much-needed relief to the event's organizers. In addition to works by the aforementioned artists, the Hamptons Art Fair also showcased works by the likes of the legendary David Hockney, Robert Motherwell, and Norman Lewis. The "Picasso at the Hamptons" exhibition showcased thirty of the artist's works, the most valuable of which was a drawing estimated at $1 million. Eighteen of Norman Rockwell's original works for the Saturday Evening Post were on exhibit as part of a tribute to the artist, including the $8 million "Dugout" painting of the Chicago Cubs.
Although power had not been restored the day following the evacuation, employees started to begin packing up the artwork. This measure was necessary to ensure the safety and longevity of the works. As the Hamptons Art Fair begins to pick up the pieces after the devastating flood, organizers are assessing the damage and planning for the future. This unforeseen difficulty highlights the significance of safeguarding our priceless artistic heritage, which represents our nation's history and culture.
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the-painting-of-daria-kolosova✨
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ANTON
antoni-dragan-i-am-self-taught
Read the full interview here: https://tinyurl.com/5cmpt6wy
What inspired you to create art and become an artist? (events, feelings, experiences...)
I loved painting since I remember myself. As a child, still at school in Germany, I participated in several local painting contests for kids, where I won several small presents (watches, books, pens..). I continued to paint without having in mind to become a professional artist. I knew from the reactions of the people which saw my paintings that my art had that something that makes people react in this very positive way. So I started to upload them. From then on everything happened very fast. I knew that this was what I love to do, to make people happy, to make them explore all these feelings by only looking at something.
What is your artistic background, the techniques and subjects you have experimented with so far?
As an artist, I am self taught. From the very beginning, with a clear head I achieved to invent a painting technique where depending on light circumstances the artworks completely change appearance. So you may look at one of my artworks where someone can see a Vincent van gogh inspired painting of "The Starry Night" and as soon the lights go off, a completely other painting like the popart interpretation of Vincent van gogh's "Bedroom in Arles" appears, which was invisible before. My artworks also have a third stage where with the use of uv light specific areas glow or more shapes appear. I have named this unique technique "Progressive Multipaint ".
What are the 3 aspects that differentiate you from other artists, making your work unique?
I think that the 3 aspects that differentiate me from other artist are: first and most important the invention of the "Progressive Multipaint technique ", second the very distinguished painting style which is completely spontaneous colorful and recognizable and last but not least beside my paintings my very unique sculptures which became a great success.
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