Three Naked in the Forest by Ernst Ludwig Kirchner (1934/5)
Artist Jeanne Mammen Berlin, 21. November 1890 - 22 April 1976
NOSFERATU (1922) dir. F. W. Murnau
Ernst Ludwig Kirchner was a German🎨 expressionist painter and printmaker and one of the founders of the artists group Die Brücke or "The Bridge", a key group leading to the foundation of Expressionism in 20th century art.
Erich Heckel, German painter, printmaker, and sculptor who was one of the founding members of Die Brücke (“The Bridge”), an influential group of German Expressionist artists. He is best known for his paintings and bold woodcuts of nudes and landscapes. In 1904 Heckel began to study architecture in
1. New National Museum of… (fill in the blank) invites contemplation on the role and pervasiveness of US museums The Pittsburgh-based artist Jon Rubin’s latest public project, The National Museum, considers the pervasiveness of museums across the country, the narratives they present and those they exclude. The project occupies an abandoned storefront at 604 Wood Street…
1886 Self-Portrait oil on canvas 33 x 24.5 cm National Art Museum, Oslo The Norwegian artist Edvard Munch (1863-1944) is regarded as a pioneer in the Expressionist movement in modern painting. At an early stage Munch was recognized in Germany and central Europe as one of the creators of a new epoch. Munch’s art from the 1890s is the most well known, but his later work is steadily attracting greater attention. For full biographical notes on Munch see Edvard Munch part 1- introduction. For earlier works see parts 2-3 also. This is part 4 of a 20–part series of posts on the works of Edvard Munch: 1886 Man on the Veranda oil on canvas 32 x 19 cm Kreeger Museum, Washington, DC 1886 Red-Haired Girl with White Rat oil on canvas 38.5 x 22.5 cm Kunstmuseum Basel 1886 Thorvald Torgersen oil on canvas 100 x 68 cm Stenersenmuseet, Oslo 1886 Woman and Children in Arendal oil on canvas 31 x 52 cm Private Collection 1887 Betzy Nilsen oil on canvas 25.5 x 29 cm National Art Museum, Oslo 1887 Halvard Stub Holmboe oil on canvas 75 x 59 cm Bergen Art Museum 1887 Veierland near Tønsberg oil on canvas mounted on cardboard 66.5 x 44 cm National Art Museum, Oslo 1887 Woodland Landscape with Lake oil on canvas 32.7 x 51.2 cm Private Collection 1887c Seated Young Girl oil on canvas 32 x 20.5 cm Private Collection 1887c Two Men by the Window oil on cardboard 15.5 x 23.5 cm Private Collection 1888 Andreas Bjølstad oil on cardboard 56.5 x 37 cm Munch Museum, Oslo 1888 At the General Store in Vrengen oil on cardboard 45 x 69 cm Lillehammer Art Museum 1888 Beach oil on canvas 38 x 47 cm Munch Museum, Oslo 1888 Bendix Lange oil on cardboard 32.5 x 23 cm Private Collection 1888 Evening oil o canvas 75 x 100.5 cm Museo Thyssen-Bornemisza, Madrid 1888 Evening oil on cardboard 37 x 74 cm Private Collection 1888 Inger in the Sunshine oil on cardboard 73 x 46 cm Bergen Art Museum 1888 Karen Bjølstad oil on canvas 54.5 x 36.5 cm Munch Museum, Oslo 1888 Man Binding Fishnet oil on canvas 55 x 81 cm Private Collection 1888 Marius Selmer oil on cardboard 34 x 23 cm Private Collection 1888 On the Pier oil on canvas 40 x 59 cm Private Collection 1888 Self-Portrait oil on canvas 77.5 x 52 cm Munch Museum, Oslo 1888 Summer Day on the Pier oil on canvas 45.5 x 31 cm Private Collection 1888 The Tonsbergfjord oil on canvas 38.5 x 49 cm Private Collection 1888 Woman on Sea Coast woodcut 1888-89 Aasta Carlsen oil on canvas 46 x 30.5 cm 1888-89 Writer Hans Jaeger oil on canvas National Art Museum, Oslo 1889 Beach oil on canvas 55 x 75.5 cm Private Collection 1889 Beachscape oil on panel 25 x 35 cm Wallraf-Richartz-Museum & Fondation Corboud, Cologne 1889 Charlotte Dørnberger oil on canvas 47.5 x 35.3 cm Private Collection 1889 From Åsgårdtstrand oil on panel 25 x 35.5 cm Private Collection 1889 From Karl Johan oil on canvas 50.5 x 82 cm Munch Museum, Oslo 1889 Karl Dørnberger oil on canvas 133.5 x 91.6 cm Museum der Bildenden Künste, Leipzig 1889 Man Standing in the Doorway oil on canvas 55 x 35 cm Private Collection 1889 Morton Dammen's House, near Asgardstrand oil on canvas 40.6 x 68 cm Private Collection 1889 Shore oil on canvas 35.5 x 24 cm Private Collection 1889 Spring oil on canvas 169.5 x 263.5 cm National Art Museum, Oslo Summer Evening 1889 - 1925/7: 1889 Summer Evening oil on canvas 150.2 x 195.3 cm Statens Museum for Kunst, Copenhagen 1925-27 Summer Evening oil on canvas 147 x 187 cm Munch Museum, Oslo 1889 Summer Night. Inger on the Beach oil on canvas 126.5 x 161.5 cm Bergen Art Museum 1889c Inger on the Beach watercolour on paper mounted on card 18.4 x 27.6 cm Private Collection 1889 Summer oil on canvas 54 x 39 cm Stenersenmuseet, Oslo 1889 The Military Band on Karl Johan Street oil on canvas 101.5 x 140.5 cm Kunsthaus, Zurich 1890 Arrival of the Mail Boat oil on canvas 98 x 130 cm Private Collection 1890 Beach oil on canvas 52.5 x 147.5 cm Private Collection 1890 Garden Path 35 x 25 cm Private Collection 1890 In the Bar oil on canvas 64.5 x 70.5 cm Städelsche Kunstinstitut und Städtische Galerie, Frankfurt 1890 In the Café oil on canvas 59.5 x 49.5 cm Munch Museum, Oslo 1890 Landscape oil on canvas 35 x 31.5 cm Bergen Art Museum 1890 Landscape oil on canvas 47.5 x 39.5 cm Private Collection 1890 Night in Saint-Cloud oil on canvas 64.5 x 54 cm National Art Museum, Oslo 1890 Norwegian Spring Landscape oil on canvas 52.5 x 46 cm Private Collection 1890 Sunny Day in Åsgårdstrand oil on canvas 69.5 x 52 cm Private Collection 1890 Tavern in St. Cloud pastel on paper 49.5 x 64.5 cm Private Collection 1890 The Absinth Drinkers pastel on canvas 58 x 96 cm Private Collection Night in Saint-Cloud 1890 - 1895: 1890 Night in Saint-Cloud oil on canvas 70 x 56.5 cm National Art Museum, Oslo 1892 Night in Saint-Cloud oil on paper 28 x 23.5 cm Private Collection 1892 Night in Saint-Cloud pastel and crayon on canvas 78.5 x 73.5 cm Private Collection 1892 Night in Saint-Cloud pastel on canvas 73 x 69 cm Private Collection 1893 Night in Saint-Cloud oil on canvas 70 x 56.5 cm Private Collection 1895 Moonlight. Night in St Cloud drypoint with open bite and burnishing on cream wove paper 35.5 x 26.5 cm ( plate ) Art Institute of Chicago, IL
From The Cabinet of Dr. Caligari to Nosferatu, the trend for shadows, angst and exaggerated sets in 1920s German cinema laid the foundations for everything from film noir to the horror genre.
One of the most beautiful and contemporary wonder tale books I’ve seen, My Favourite Book of Fairy Tales, was published near the end of the Golden Age of illustration in 1921. It is illustrated by an exceptionally talented artist, acclaimed in her own lifetime, who history has transformed into an elusive mystery: Jennie Harbour.
This is my entry in the Movies Silently's SLEUTHATHON. Click here to get your gumshoe on! I love it when Hollywood gets all continental! After the German Expressionist movement swept the cinematic world by storm in the 1920s, Hollywood just had to have it. Films like THE CABINET OF DOCTOR CALIGARI, METROPOLIS, M and DR. MABUSE: THE GAMBLER were impressing the hell out of movie-going world and the moguls of tinsel town wanted in. Highly regarded directors F.W. Murnau, Fritz Lang and Ernst Lubitsch were hired by Hollywood, where light and shadow met glitz and glamour. Say What? A scene from Leni's 1924 film, WAXWORKS. Pickford had Lubitsch, Fox had Murnau and Lang went to MGM. Carl Laemmle of Universal Studios wanted a German, too, and, in 1927, enticed Paul Leni to come work for him. Leni is largely forgotten today. His resume is short, as he died in 1929 of blood poisoning, but he made his mark on Universal. Leni's debut American film was 1927's THE CAT AND THE CANARY. Based on a popular and long-running play of the same name, it is essentially an Old Dark House story played for laughs and chills. What makes this film special is the look and atmosphere created by the director. The creepy West mansion: New York by way of Berlin The story concerns Cyrus West, a dying millionaire whose money hungry family hangs over his impending corpse like cats around a canary. His home is a Gothic house perfect for haunting and his life is consumed with pills and medicine. Both the home and the medicine nightmare are eerily depicted in fine expressionistic fashion that create a most unsettling vision. His dying edict is that his will, bequeathing his fortune to an unnamed relative, is to be read at the stroke on midnight exactly 20 years after his death. In the 20 years following his death only faithful servant Mammy Pleasant (!) has inhabited his home. As you can see from the photo above, she was not a very conscientious housekeeper. Morticia & Gomez would approve Hollywood meets Berlin when the greedy relatives appear. Lawyer Tully Marshall waits for all to gather by midnight, but already knows that the will, presumably locked away in a vault since the old man died, has been tampered with. He is joined by expectant relatives Harry Blythe (Arthur Edmund Carewe), Charlie Wilder (Forrest Stanley), Paul Jones (Creighton Hale), Susan Silby (Flora Finch) and her daughter Cecily (Gertrude Astor). They are all wary of one another and are all dreaming of the millions they could soon have their hands on. Yikes!!!! Last to arrive is Annabelle West (the very modern and very pretty Laura La Plante), the designated heiress and our heroine, who must only spend on night in the creepy mansion with her creepy relatives and be declared sane by Dr. Lazar (Lucien Littlefield). Easier said than done. You see, there is a second will naming an alternate beneficiary if Annabelle flunks the sanity clause and, just to add a cherry on the cake, a maniacal criminal called The Cat has escaped and is probably prowling around the mansion as we speak! The Cat Bodies fall, creepy hands creep across the screen, shadows loom in ominous shapes and a criminal who looks a lot like Dr Caligari is on the loose and after Annabelle. Yes, it's spooky, but is is also fun. Leni's visual style set the standard for the decades of Universal horror films to come. Who inherits the loot? This is one film I would love to see in a theater with an audience. Paul Jones is the bumbling and reluctant sleuth, but the real sleuth in the film is you, the viewer. Who is the Cat? Did you guess his identity? I'll never tell!
Aside from The Cabinet of Dr. Caligari, Nosferatu or Metropolis, how many German Expressionist films can you name? (Or maybe I should say, how many semi-German-Expressionist-ish films can you name?…
Ernst Ludwig Kirchner was a German🎨 expressionist painter and printmaker and one of the founders of the artists group Die Brücke or "The Bridge", a key group leading to the foundation of Expressionism in 20th century art.
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In autumn 1911, Kirchner, like the rest of the members of Die Brücke, moved from Dresden to Berlin in pursuit of new stimuli...
Ernst Ludwig Kirchner was a German🎨 expressionist painter and printmaker and one of the founders of the artists group Die Brücke or "The Bridge", a key group leading to the foundation of Expressionism in 20th century art.
After Berlin Street Scene 1913 Brushes app on iPhone
About Emil Betzler German Expressionist tempera painting on ingrain 'Harlequins 1', 1962 ('Harlekins 1') Outstanding piece of Expressionist art. Not signed, but clearly attributable to Emil Betzler. Similar work shown in 'Emil Betzler' - monograph of his art work released in 1968 by Prof. Dr. Hans Meyers, Metopen Verlag Franfurt/M, illustration No. No. 32, 41 or 48. The motif of harlequins, court jesters, clowns or bajazzos occurs early in his work. Further harlequin pictures are in private collections in Kairo, New York, Vienna, Munich and Frankfurt. Painting size: 60 x 30.5 cm / 23.6 x 12 in Black cardboard size: 70 x 50 cm / 27.5 x 19.7 in. The condition of the painting is excellent, aging of the cardboard can be noticed. Emil Betzler (1892-1974) was a German Expressionist painter and graphic artist, author and a teacher. He belongs to the generation of Chagall, Ernst, Dix and Grosz and was a friend of Germany's best known Expressionist painter, sculptor and printmaker Max Beckmann. He was co-founder of the artist group 'Ghat‘. In 1933 Emil Betzler was accused by the National Socialists of being a 'representative of deformed, expressionistic, Bolshevik art' a spy of the Jews and a member of the KPD. The Nazis had branded his work as ‘Degenerate Art‘. 1967 he has been awarded the German Federal Cross of Merit. Paintings by Emil Betzler are rarely seen on the art market. His artwork was shown in 32 galleries and museums inter alia in Frankfurt/M., Düsseldorf, Berlin, Ancona and Paris, thereof 8 solo exhibitions.
Gabriele Münter 1877-1962 Masque Nature Morte Mask still life 1940 Musée d'Art Moderne de Louisiana Copenhague Exposition temporaire (Centre Pompidou Paris) UNE HISTOIRE DE LA PEINTURE PLATE (3) L'Art Moderne ? A partir des années 1830-1850 environ, les peintres romantiques, les premiers, puis les préé-impressionnistes, les impressionnistes, les post-impressionnistes, "les peintres modernes", parcourent, en sens inverse, le chemin qu'avaient pris les peintres de l'art Roman, de l'art Gothique et de "la Renaissance". A partir de la deuxième moitié du 19è siècle beaucoup de peintres européens rejettent la précision et le réalisme du dessin, refusent la vérité des couleurs telles que nos sens les perçoivent. Les peintres rejettent l'exigence d'une représentation naturaliste et réaliste du monde. Une exigence technique, qui a caractérisée toute la peinture européenne, depuis le gothique tardif et la renaissance. Finie "la tyrannie" de l'illusion des trois dimensions sur la surface plane du tableau. Vive "la liberté" de la peinture plate, qui épouse son support. Les peintres suppriment la perspective et les volumes, reviennent à des formes stéréotypées et stylisées. Ils pratiquent le "tachisme", usent et abusent de l'esquisse, inventent les couleurs arbitraires, décomposent les volumes, multiplient les points de vue sur le même objet. Les peintres européens s'éloignent ainsi toujours plus d'une représentation fidèle du monde qui les entoure, pour proposer les plus diverses interprétations et reconstructions, voire même inventions, du réel. Il est très clair que ce chemin est suivi de manière tout à fait volontariste. Nous ne sommes plus dans la situation des peintres et des mosaïstes de l'Empire romain finissant, dont les techniques étaient dictées par leurs méconnaissances des règles, techniques, du bien faire. Les imperfections, techniques, de la peinture plate et de l'esquisse, s'imposent non pas comme une incapacité à bien représenter, mais comme une ouverture sur une esthétique nouvelle Les artistes veulent faire du "Nouveau". C'est même une obsession. Et pour faire du nouveau, parfois, il n'y a rien de mieux que l'Ancien ! Mais il ne faut pas trop le dire ! Les visages stéréotypés et les grands yeux inexpressifs des peintures et mosaïques Paléo-chrétiennes et Byzantines retrouvent un charme "moderne" avec Modigliani. Les corps de femme peuvent aussi se passer des modelés subtiles, et se réduire à des lignes, comme aux temps de Byzance, de la peinture Siennoise et du gothique international (Maurice Denis, Henri Matisse, Edward Munch....). Masaccio, "moderne" en 1410 parce qu'il donne une épaisseur et un volume plus réaliste à ses personnages, devient un peintre académique en 1900 ! C'est ainsi que, contre les peintres académiques, classiques, accusés d'être réactionnaires et dépassés, Edouard Manet et ses successeurs reviennent à une interprétation stylisée, symbolique, suggestive, inventée, du monde qui les entoure. En fait ils empruntent beaucoup à l'esthétique de Ravenne, des fresques romanes, de Giotto, de l'école de Sienne, et du Gothique international. Une esthétique dont ils avaient évidemment une parfaite connaissance par leurs fréquentations assidues des musées et lieux artistiques européens, leurs voyages en Italie... Evidemment ces techniques s'appliquent à des thèmes tous différents de ceux de l'époque gothique. Mais c'est un autre aspect de l'histoire de la peinture européenne. Au bout de ce chemin, la peinture européenne aboutit à l'art abstrait, non figuratif. En effet, de simplifications et stylisations en synthèses, et d'interprétations et suggestions en inventions, les peintres s'éloignent toujours plus d'une représentation naturaliste et réaliste du réel, le réel tel que les hommes le perçoivent par leurs yeux, et finissent par le quitter. Les villages et les églises de Lyonel Feininger ne sont bientôt plus que des lignes qui s'entrecroisent. Les peintres vont ainsi arriver à l'art abstrait, l'art non figuratif qui progressivement rompt tout lien avec le réel. A HISTORY OF THE FLAT PAINTING (3) Modern Art ? From the years 1830-1850 approximately, The European Romantic painters, the firsts, then the pre-Impressionists, Impressionists, Post-Impressionists, in short the "moderns painters", browse, in the opposite direction, the path that have followed the painters of the Roman art, Gothic art, and "Renaissance." From the second half of the 19th century, many European painters reject the accuracy and the realism of the drawing, are refusing the truth of the colors, such as our senses perceive them. The Painters reject the requirement of a naturalistic and realistic representation of the world. A technical requirement, which has characterized all European painting since the late Gothic and Renaissance. Finished the "tyranny" of the illusion of the three dimensions on the flat surface of the painting. Long live the "freedom" of the flat paint, who marries his support. The painters suppress the perspective and the volumes. They return to stereotyped and stylized forms. They practice the "tachisme", use and abuse of the sketch, invent the arbitrary colors, decompose the volumes, multiply the points of view on the same subject. The European painters move away so always more than a true representation of the world around them, for propose the most diverse interpretations and reconstructions and even inventions, of the real. It is very clear that this path is followed entirely voluntarist. We are no longer in the situation of the painters and mosaic artists of the late Roman Empire, whose techniques were dictated by their misunderstandings of the rules, technical, of the doing well. The imperfections, technical, of the flat painting and of the sketching, are needed not as an inability to well represent, but as a an opening on a new aesthetic. The European artists want to make the "New", this is even an obsession. And to make the New, sometimes there's nothing better than the Old! But Just don't say it too much! The stereotyped faces and the big eyes expressionless of the paintings and mosaics Paleo-Christian and Byzantine found a charm "modern" with Modigliani. The female body can also dispense with subtle patterns, and be reduced to lines, as in the time of Byzantium and Gothic painting XIVth international (Maurice Denis, Henri Matisse, Edward Munch...) Masaccio, "modern" in 1410 because it gives a more realistic thickness and volumes to his characters, becomes an academic painter in 1900! Thus, against the academic painters, classics, accused of being reactionary and surpassed, Edouard Manet and his followers return to a stylized interpretation, symbolic, suggestive, invented, of the world around them. In fact they borrow much from the aesthetics of Ravenna, of the Romanesque frescoes, of Giotto, of the Siena School, and of the International Gothic. An aesthetic which they obviously had a perfect knowledge of their courtship of European museums and artistic venues, their travels in Italy ... Obviously these techniques apply to themes all differents from those of the Gothic period. But this is another aspect of the history of European painting. At the end of this road, European painting comes to abstract art, non-figurative art. Indeed, from simplification and stylisation into syntheses, from interpretations and suggestions into inventions, the painters always away more than a naturalistic and realistic representation of the real, this real, as men perceive with their eyes, and eventually leave him. The villages and churches of Lyonel Feininger. Painters will thus arrive at abstract art, non-figurative art that gradually breaks all links with reality.
Marianne von Werefkin's paintingss held an intense social and spiritual consciousness, and were an important contribution to European Expressionism.
Ernst Ludwig Kirchner, Der Maler (Selbstbildnis) [The Painter (Self Portrait)], 1919-1920
Here's a quick blog post about some of my favorite figurative expressionists in the contemporary art world. These artists explore the bo...
Corpus Christi in Bruges 1914 Erich Heckel
What Is German Expressionism Art? ✔ Notable German Expressionist Groups and Artists ✔ German Expressionism Film ✔
