lrom Modernlsm Lo Lxpresslonlsm

and backwards
W WheLher modernlsm ls one among Lhe oLher
"lsms" ln Lhe age or a superordlnaLe Lerm Lo
lnclude Lhe varlous "lsms" ls sLlll a sub[ecL of
conLroversy
W WhaL unlLes Lhem ls Lhe deslre Lo break wlLh
Lhe pasL
Lxpresslonlsm lauvlsm
W 8y Lxpress|on|sm ]Iauv|sm we ldenLlfy a seL of more or less Lhe same feaLures
shared by a seL of someLlmes hlghly heLerogeneous works of arL
W @ey be|ong to d|fferent cu|tura| spaces
Lxpresslonlsm Lhe Cermanlc and norLhern CulLural Space
lauvlsm Lhe lrench CulLural Space
W r|g|n of te term
Iauv|sm crlLlc Lolus vauxcelles lrronlcally sald "uonaLello au mllleu des fauves!
(uonaLello among Lhe wlld beasLs) conLrasLlng Lhe palnLlngs wlLh a
8enalssanceLype sculpLure LhaL shared Lhe room wlLh Lhe expresslonlsL
palnLlngs aL Salon d'AuLomne
Lxpress|on|sm 1he Lerm was lnvenLed by Czech arL hlsLorlan AnLonln MaLe[cek ln
1910 as Lhe opposlLe of lmpresslonlsm An LxpresslonlsL wlshes above all Lo
express hlmself (an LxpresslonlsL re[ecLs) lmmedlaLe percepLlon and bullds on
more complex psychlc sLrucLures "
( Cordon 1987)
Lxpresslonlsm
W Lxpresslonlsm ls a manlfesLaLlon of modernlsm orlglnaLlng
ln Cermany aL Lhe beglnnlng of Lhe 20Lh cenLury
W Lxpresslonlsm ls born
ln an age marked by
|nstab|||ty (World War l ll)
re|at|v|ty (AlberL LnsLeln's Ceneral 1heory of 8elaLlvlLy)
foreground|ng of te unconsc|ous (Slreud and C!ung)
ouL of an expllclL sLaLe of revolL agalnsL a background of
crlsls
Lo creaLe a redeflnlLlon and renewed percepLlon of reallLy
as Lhe opposlLe Lo lmpresslonlsm
Lxpresslonlsm
W lL's an arLlslLlc sLyle ln whlch Lhe arLlsL seeks Lo deplcL noL
ob[ecLlve reallLy buL raLher Lhe sub[ecLlve emoLlons and
responses LhaL ob[ecLs and evenLs arouse wlLhln a
person
W 1he arLlsL accompllshes Lhls alm Lhrough
W ulsLorLlon
W LxaggeraLlon
W rlmlLlvlsm
W lanLasy
W lL ls a hlghly sub[ecLlve personal sponLaneous self
expresslon of Lhe arLlsL
Lxpresslonlsm
W "An arL of scepLlclsm of dlsllluslonmenL ln
fronL of a Lechnologlsed socleLy whlch
allenaLes Lhe lndlvldual lnsLead of freelng
hlm expresslonlsm foregrounds a creaLlve self
LhaL no longer passlve and subordlnaLed Lo
Lhe ob[ecL sLruggles Lo glve Lhlngs a new
expresslon lnfused wlLh sub[ecLlvlLy"
AMuobrlnescu "1he dlscourse of Modernlsm"
1he expresslonlsL arLlsL
W LxpresslonlsLs generally belleved LhaL an
lndlvldual's LhoughLs and experlences cannoL be
rendered ln ob[ecLlve Lerms because such
represenLaLlons would dlsLorL and sLerlllze
sub[ecLlve emoLlonal experlence
W LxpresslonlsLs porLray Lhelr sub[ecLs as
experlence or emoLlon raLher Lhan Lhrough
reallsLlc deLall
W LxpresslonlsLs Lended elLher Lo slmpllfy or Lo
dlsLorL Lhelr sub[ecLs Lo expose exLreme and
fragmenLed sLaLes of human consclousness
W hllosopher lrledrlch nleLzsche
had a role ln orlglnaLlng modern
Lxpresslonlsm ln Lhe publlcaLlon
1be 8lttb of 1toqeJy nleLzsche
presenLed hls Lheory of Lhe
anclenL duallsm beLween Lwo
Lypes of aesLheLlc experlence
W Lhe Apollonlan (llghL order
regularlLy calm ldenLlLy)
and
W Lhe ulonyslan (dark
forgeLfulness chaos ecsLaLlc
dlssoluLlon of ldenLlLy ln Lhe
collecLlve)
#emembrance #
o|| canvas
A|ekse[ Cve|ov
1he baslc
characLerlslLlc of
Lxpresslonlsm
are ulonyslan
18|ood co|ours
2D|storted
forms|n
d|sso|ut|on
3@o
d|mens|ona|
4W|tout
perspect|ve
#,oter#
o|| canvas
A|ekse[ Cve|ov
LxpresslonlsL
works are
ofLen seL ln a
nlghLmarlsh
aLmosphere Lo
emphaslze Lhe
dramaLlc gap
beLween
sub[ect|ve
and
ob[ect|ve
rea||ty
#I|s|on of ,ars 2#
o|| canvas
A|ekse[ Cve|ov
Lxpresslonlsm
Lended Lo explore
Lhe dark corners of
Lhe human mlnd
ofLen lllumlnaLlng
anxleLles fears and
secreL fanLasles
Lxpresslonlsm
Lhus arLlsLlcally
revealed Lhe
repressed fears and
anxleLles of Lhe
human psyche
# La [o|e de v|vre#
enr| ,at|sse
1he lauves sLyle ls a wlld
and unLamed sLyle of
palnLlng LhaL
emphaslzed brlllanL
arblLrary colors and
slmpllfled llnes
Penrl MaLlsse's arL
expresses emoLlonal
lnLenslLy splrlLuallLy and
poslLlve energy
Pow can we ldenLlfy an expresslonlsL palnLlng?
1#-ude# by Scott Andre Spencer
Lxpress|on|st ork
2#,oment of creat|on# by ,|ce|ange|o
(S|st|ne Cape|) ena|ssance ork
1#-ude# by Scott Andre Spencer
Lxpress|on|st ork
8rlghL/lnLense colours are used
freely and are generally noL
represenLaLlonal of Lhe sub[ecLs
real color
LxpresslonlsL arLlsLs also used
expresslve /aglLaLed brushsLrokes
ln Lhelr palnLlng
1he flgure as a sub[ecL noL only
conLalns unusual colours buL also
losL lLs 8enalssance proporLlons
llgures were dlsLorLed laces and
oLher planes were slmpllfled and
harsh llnes ofLen played an
lmporLanL role ln deflnlng feaLures
Controversy
,enta| |||ness may be profound|y
respons|b|e for te creat|on and endur|ng
popu|ar|ty of Lxpress|on|sm Ian Gogs
e|| documented menta| |nstab|||ty and
Ldvard ,uncs traumat|c c||dood and
endur|ng neuroses e|ped to produce
some of te Lxpress|on|sts most |mportant
orks
Ldvard ,unc Se|fortra|t
|t 8urn|ng C|garette
(189S)
Munch accepLed
LhaL hls menLal
lllness was parL of
hls genlus I
ou|d not cast off
my |||ness for
tere |s muc |n
my art tat I oe
to |t
#Anybody o pa|nts and sees a sky green
and pastures b|ue ougt to be ster|||zed#
sald APlLler who hlmself palnLed as a very
young man
1he expresslonlsL movemenL was
bruLally suppressed by Lhe nazl
governmenL 1hey organlzed exhlblLlons
of conflcaLed works of expresslonlsLs Lo
demonsLraLe Lhelr "decadence" and
"absurdlLy
lronlcally Lhe exhlblLlon backflred and
Lhousand of people sLarLed Lo
appreclaLe Lhe works of Lhe famous
expresslonlsL arLlsLs
#oses #by A|t|er
"PlLlerMasLer of ueaLh
An average palnLer" ools 8olow
#Catedra| |n I|enna#
The art of animals
Franz Marc
(February 8,1880-March 4,1916)
W Franz Marc was a German painter and printmaker, one oI
the key Iigures oI the German Expressionist movement.
W He was a Iounding member oI er Blaue Reiter(The Blue
Rider) which became the center oI an artist circle with
Macke,Wassily Kandinsky and others who wanted to split
oII Irom the 'New artists movement`.
W n 1912, Marc establishes ties to the other major group oI
German expressionist artists, ie Brcke. This relation,
imposed against Kandinsky's will, enhances his interest in
woodcuts.
$tyle
W !rintmaking is the process oI making art works by
printing, normally on paper, being a process oI
originality, rather than a reproduction oI a painting.
W oodcut is a type oI relieI print, recessed areas being
ink Iree.
W ithography is a technique based on chemical
repulsion oI oil and water.
W ubist representation oI animals.
The signiIication oI painting
W n art, the term painting describes both the act and the
result oI the action.
W Painting is a mode oI expression, colour and tone
being its essence, as pitch and rhythm are oI music.
W Colour is highly subjective, having psychological
eIIects and adding a diversity context oI meaning.
W I one deIines rhythm as 'a pause incorporated into a
sequence, then there is rhythm in paintings too.
These pauses add new creations such as Iorm, melody
and coloration.
The image oI animals in art
The little blue horses The tower of the blue horses
The dreaming horses The resting horses
orse in a landscape The little yellow horses
The grassing horses
8lue horse oll on canvas1911
SLadLlsche Calerle
W omparison
W ll these paintings show the
representation oI horses in
diIIerent positions, shapes and
states, such as dreaming, resting
or grassing.
W These are the elements which
separate the animal Irom its
natural environment, a dominant
one.
W The colouration is oI diIIerent
nuances.
W The painter used blue to suggest
the masculinity and spirituality,
yellow Ior Ieminine joy and red to
illustrate the sound oI violence.
oxes, oil on canvas Tiger, oil on canvas
The comparison oI the canvas
paintings
W The two paintings have in common the cubist style, the
expressive and symbolic inIluence Irom Van Gogh and
Gauguin.
W The Ioxes are painted in red, little shapes oI yellow and green
being used, while the tiger is painted in light colours and strong
black shapes outline the body, the Iorce oI this animal.
W n the 'Tiger` painting, it is used the green colour in
comparison with 'The foxes`. new colour is used too, that is
purple, meaning a change oI perspective and psychological
eIIect on the viewer`s perception.
W There is also a rhythmic movement oI the rocks which
represent the background oI this painting.
These paintings suggest two diIIerent perspectives on the use oI Ieminine
presence at the same time with the animal representation.
n the Iirst painting, the woman holds in her hands a cat, the medium is not
painted as strong as in the second . The colour oI the hair is the same with the
red cat, being covered with blue, illustrating the violence and the power oI
masculinity on the Ieminine side. There is also a black shape, surrounding her.
n the second painting, the woman is not covered, having a Iree status. $he is in
the middle, between the tiger (yellow) and horses (blue), that is between
Iemininity and masculinity, spirituality.
ellow cow-the happiness and Ieminine joy are suggested through the
application oI yellow colour.
eer in the snow- white, blue, diIIerent positions oI the body and Red deers-
red, blue, green, the deers representing a part oI the tower oI the blue horses, a
kind oI harmony oI Ieelings.
rellmlnary Concluslons
W `Now I know for sure that I have found what is right for my nature` he said.
W Franz Marc has painted in his works oI art a true language oI colour, shapes and
various representations oI the animal body, but also oI Ieminine image in the middle
oI the art oI animals.
W n these paintings, the animals represent the age oI innocence, without corruption and
materialism, the spirit and the religion being the main objectives oI his work.
W There is a dominant representation oI animals in art, leading to the Iact that these are
considered as idealized creatures, a perIect harmony between the painter`s Ieelings
and the kingdom oI animals.
W There is also an interest in human image-the Ieminine one.
W He Ialls in the battle Ior Verdun, on a horse. (see his interest in painting horses)
W Franz Marc`s opinion about his work. I think a lot about my own art, he said.
y instincts have so far guided me not too badly on the whole, even though my
works have been flawed. Above all I mean the instinct which has led me away from
people to a feeling of animality, for pure beasts.The ungodly people around me
(particularly the men) did not arouse my true feelings, whereas the undefiled vitality
of animals called forth everything good in me ... I found people ugly very early on,
animals seemed to me more beautiful, more pure.
The fate of animals The fighting forms
AugusL Macke
W AugusL Macke (18871914) was a
Cerman palnLer whose
harmonlous and slmple scenes of
everyday llfe made a unlque
conLrlbuLlon Lo Lxpresslonlsm
W AugusL Mackes work can be
consldered as parL of
Lxpresslonlsm and also as parL of
lauvlsm 1he palnLlngs
concenLraLe prlmarlly on
expresslng feellngs and moods
raLher Lhan reproduclng ob[ecLlve
reallLy usually dlsLorLlng colour
and form
AugusL Macke elfpotttolt 1906 Cll on
canvas
AugusL Macke's sLyle
W Macke was fasclnaLed by Lhe power of color Lo consLrucL
space and dlsLance permlLLlng hlm Lo make flgures and
surroundlngs equally lmporLanL
W Macke chose as hls maln Lhemes slmple everyday scenes
from Lhe llfe he loved so much
W 1here ls no hasLe ln Lhe movemenLs of hls flgures quleL
conversaLlons people readlng or waLchlng anlmals or Lhe
rlver flow by scenes rarely found elsewhere ln Cerman
Lxpresslonlsm
W Pe palnLed modern
ofLen eleganLly dressed
human flgures ln quleL
harmonlous manmade
surroundlngs ln parks
ln Lhe zoo on Lhe banks
of rlvers or ln fronL of
shop wlndows as well
as scenes from Lhe
clrcus
Clrcus 1913
W 1hls palnLlng represenLs a
scene from Lhe clrcus
Lhree acrobaLs aLLend Lo a
female rlder who suffered
an accldenL ln Lhls work Lhe
clrcus reveals lLs dual
naLure lL brlngs [oy and
happlness buL someLlmes lL
can brlng sadness and grlef
danger and deaLh
consLanLly lle ln walL
oo|og|ca| Garden I 1912
W 1hls palnLlng ls showlng an eleganL and urban landscape LhaL ls a park ln whlch human flgures
and anlmals are arranged ln such a way LhaL glves Lhe vlewer Lhe lmpresslon of a sLage wlLh
acLors performlng scenes from everyday llfe people and anlmals of a dlfferenL klnd deer
anLllopes brlghLly coloured parroLs llnger under park Lrees
W 1he cage bars are Lhere buL wlLhouL fulfllllng Lhelr funcLlon as barrlers LhaL separaLes each
elemenL ls lmporLanL ln lLs funcLlon as parL of a whole
W Man who ls deplcLed as belng ln harmony wlLh Lhe anlmals and Lhe naLure ls never shown as
an lndlvldual wlLh dlsLlncL porLralL feaLures lL remalns schemaLlc faceless and ls
characLerlzed as a represenLaLlve of hls soclal class and specles
W Lven Lhough Lhls deplcLlon of people and anlmals ln gardens ls very much allke Lhe vlslon of
paradlse Lhe lnLenLlon of hls plcLure ls noL Lo descrlbe paradlse buL Lo annul Lhe slgnlflcance
of lLs own sub[ecL maLLers
romenade Sun||gt Wa|k
W 1hese Lwo palnLlngs are an example of Mack's lnLeresL ln Lhe
power of colors brlghL sLrongly colored plcLures( green
yellow blue) buL also hlghly aLmospherlc wlLh people slngle
flgures palrs or small groups llngerlng under park Lrees or
promenadlng on Lhe banks of lakes lL seems LhaL Lhe naLural
surroundlngs represenL a klnd of resorL a healLhy one for Lhe
lndlvldual
W 1he people LhaL Mack palnLs are very well dressed eleganL
women wearlng long dresses haLs men ln sulLs and Lhls facL
proves LhaL Lhey are of a hlgh soclal level LhaL ls people from
Lown noL from Lhe counLryslde SLlll Lhey prefer Lhe naLural
background whlch comforLs and confers Lhe lndlvldual Lhe
posslblllLy Lo dlscover hlmself
1he not 5hop 1914
W SLandlng alone ln fronL of a haL shop
wlndow a seemlngly welldressed
lady Lakes a momenL Lo look aL Lhe
selecLlon of haLs dlsplayed on Lhe
shop she sLands alone She mlghL
promenadlng Lhe clLy sLreeL on a
Sunday afLernoon or be plannlng Lhe
nexL purchase of Lhe laLesL season's
fashlons She represenLs Lhe poLenLlal
consumer Lhe woman engaglng ln
wlndowshopplng(an ordlnary
woman on an ordlnary day)
W Macke dld noL search for a new
reallLy behlnd Lhe wlndow buL
aLLempLed Lo creaLe a vlsual
meLaphor for a beauLlful sunny yeL
very real and ordlnary day (8oberL
uelaunay)
ody in o 6reen locket 191l
W 1hls palnLlng shows an especlally
harmonlous arrangemenL of form and a
flne equlllbraLlon of colour
W 1he focal polnL of Lhls palnLlng ls Lhe
green [ackeL on Lhe young lady ln Lhe
cenLre of Lhe plece When Lhe vlewer
flrsL glance aL Lhe palnLlng hls/her
focus ls lmmedlaLely drawn Lo Lhe
[ackeL SofL colours seem Lo be used
mosLly buL Lhe bold green LhaL makes
up Lhe [ackeL slgnlflcanLly sLands ouL
W 1here are Lwo couples ln Lhe porLralL
and Lhe woman wlLh Lhe green [ackeL ls
alone Per face ls looklng Lowards Lhe
ground whlch could slgnlfy grlef
8esldes Lhe green [ackeL she ls wearlng
dark cloLhes anoLher slgn of her belng
sad or feellng alone
ark restaurant 1912
W 1he arLlsL had lncorporaLed prevlous
sLyles ln hls palnLlngs (expresslonlsm
fauvlsm) And Lhls ls exacLly whaL we
see ln 9otk testootoot a collage of
dlfferenL sLyles
W Cn one hand Lhe sub[ecL ls
lmpresslonlsL a scene where Lhe
lndlvlduals en[oy quleLly an ouLdoor
resLauranL ln Lhe foreground we see
a man readlng Lhe newspaper whlle
Lhe group behlnd hlm slLs Lo eaL on a
Lable and Lhe couple of men Lalklng
aL Lhe rlghL seem LhaL are dolng
buslness LogeLher Cn Lhe
background we can flnd a group of
women wllllng Lo have some Lea 8uL
we also see Lhe fauvlsL lnfluence ln
Lhe lnLense colours and Lhe slmpllfled
human flgures AL lasL Lhe sLrong
expresslonlsL brushsLrokes Lle
everyLhlng ln a composlLlon LhaL
makes sense
,on keodinq in the Pork 1914
W 1he work ls rendered almosL
llke a skeLch buL made
vlbranL by rlch colours such as
green blue or yellow
W Cne can see whaL seems Lo
be ouLllnes of Lhe Lrees Lhe
man Lhe bench buL none of
Lhese elemenLs are as
lmporLanL as Macke's use of
colour Lo convey a mood or
an expresslon of hls own
reallLy
Ilew loto o looe 1914
W 1he charm of Lhls plcLure resldes ln
Lhe clarlLy and slmpllclLy of lLs
organlzaLlon as well as ln lLs radlanL
colors especlally blue and yellow
W 1he lmage appears Lo show a deLall
of a narrow sLreeL ln an Arab quarLer
lf we look aL Lhe cloLhlng of Lhe man
W 1he yellow back of a robed plcLure ln
Lhe foreground draws Lhe eye lnLo
Lhe depLh of an alley whlch desplLe
lLs narrowness ls flooded wlLh llghL
W 1here are some shadowy sllhoueLLes
ln Lhe background LhaL glves Lhe
llluslon of spaLlal exLenslon
W 1he ob[ecLlve reallLy becomes a
medlum full of llghL and brllllanL
colors
Landscape near ammamet 1914
W 1hls plcLure ls dlvlded lnLo
Lwo plans ln Lhe
foreground Lhere ls a
colorful [umble of boaLs
cases barrels and some
oLher Lhlngs 1he
background ls represenLed
by a chaln of hllls under a
blue sky
W 1hls plcLure glves Lhe
feellng of warmLh and
charm due Lo Lhe colors
and Lhe scenery
rellmlnary Concluslons
1he palnLlngs of AugusL Macke concenLraLe prlmarlly on
W serene and balanced vlslons showlng a world of vlsual poeLry
whlch separaLes hlm from Lhe more forceful works of hls
expresslonlsL frlends
W llvely colors used Lo express hls own personal feellngs and
ldeas raLher Lhan aLLrlbuLlng Lhem absLracL values and
slgnlflcances
W slmple and dlrecL approach Lo everyday llfe
W carefully balanced composlLlons
CSkA8 kCkCSCPkA
(18861980)
Cskar kokoschka
W AusLrlan arLlsL poeL and playwrlghL besL
known for hls lnLense expresslonlsLlc
porLralLs and landscapes
W Pe revoluLlonlzed Lhe arL of Lhe Lurn of
Lhe cenLury adopLlng a radlcal approach
Lo arL whlch was for hlm essenLlal Lo Lhe
human condlLlon and pollLlcally engaged
W kokoschka promoLed a new vlsual effecL ln
palnLlng relaLed Lo maklng vlslble Lhe
lmmaLerlal forces acLlve behlnd exLernal
appearance of Lhlngs ln whlch Lhe ob[ecL
was a llvlng movlng subsLance LhaL
revealed lLs lnner essence Lo Lhe eye (Lhls
applled Lo Lhe porLralLs as well as Lo Lhe
Lownscapes)
Cskar kokoschka
W 1he arL hlsLorlcal basls for hls work lles ln Lhe palnLlng LradlLlon of AusLrlan laLe
8aroque and especlally ln Lhe colorfully expresslve vlslons of lranz AnLon
MaulberLsch
W As was Lrue of many arLlsLs of hls generaLlon kokoschka's creaLlve urge was also
expressed ln llLeraLure and showed a clear lncllnaLlon Lowards muslc and
llLeraLure
W ln 1908 he exhlblLed ln Lhe kunsLschau exhlblLlon organlzed by Lhe kllmL clrcle
1hls LogeLher wlLh hls acLlvlLy as a poeL and playwrlghL broughL hlm lnLo conLacL
wlLh Lhe clLy's avanLgarde arLlsL communlLy
W Llke Lhe oLher greaL AusLrlan LxpresslonlsL hls conLemporary Lgon Schlele (1890
1918) kokoschka was lnlLlally lnfluenced by Lhe Cerman and AusLrlan verslons of
ArL nouveau buL hls sLyle qulckly moved from kllmLsLyle decoraLlve llnearlsm Lo a
more lnLense expresslonlsm
W ln Lhe nazl Cermany hls works were banned by Lhe auLhorlLles and
mocked as examples of degeneraLe arL
W In order to descr|be te consc|ousness of v|s|ons I |mag|ne |n te one
and a steady po|nt of ||fe and on te oter a ta|| bu||d|ng tat not on|y
goes deep |nto te aves but r|ses |g |nto te a|r Consc|ousness |s te
cause of a|| t|ngs even of |mag|nat|on It |s a sea tat as v|s|ons for |ts
or|zon Consc|ousness |s te grave of t|ngs te p|ace ere tey cease
to ex|st beyond |c tey end And en tey ave ended |t seems
tat tey no |onger ave any essent|a| ex|stence except |n te v|s|ons |n
me @ey exa|e te|r sp|r|t as a ||t |amp consumes |ts o|| troug te
|ck (kokoschka ln okoscbko by Cluseppe CaLL 1971)
sychologlcal orLralLure
W lrom 19081912 kokoschka began a serles of psychologlcal porLralLs" of
vlennese celebrlLles seen as Lhe flrsL works Lo reveal modern exlsLenLlal
anxleLles
W Puman belngs are noL sLlll llfes" lecLured Cskar kokoschka ln vlenna ln
1912 Pe clalmed Lhe arLlsL musL look behlnd Lhe face and palnL Lhe soul
1o flnd hls sub[ecL's soul kokoschka has sLrlpped away Lhelr flesh leavlng
sadness sufferlng and paln
W Pls porLralLs show an exLremely senslLlve preoccupaLlon wlLh Lhe
characLer of Lhe sub[ecLs as well as an lncreaslng concern wlLh expresslng
Lhls characLer Lhrough colour ln early examples of Lhese porLralLs he
made use of dellcaLe aglLaLed llnes Lo descrlbe flgures whlch he palnLed
ln relaLlvely naLurallsLlc colours kokoschka exaggeraLed cerLaln feaLures
and gesLures of Lhe slLLers Lo express Lhelr psychologlcal sLaLes Among
Lhese porLralLs whlch secured kokoschka's early repuLaLlon are Lhose of
Pans 1leLze and Lrlca 1leLzeConraL eLer AlLenberg and AugusLe lorel
eLer AlLenberg
(1909)
W 1he porLralL of eLer AlLenberg
(1909) deplcLs a face ln harsh red
Lones blood rushlng Lhrough flesh
brlghL red skln
W 1he eyes are sad and weary wlLh
heavy llds and bags below Pls hands
are gesLlculaLlng ouL of Lhe porLralL
plane [abblng ouL lnLo plcLorlal
space each flnger gnarled and
arLhrlLlc
W 1he background places Lhe sub[ecL ln
some Pelllsh nowhere wlLh absLracL
expresslonlsLlc slashes of black and
red kokoschkas flngerprlnLs are
everywhere llLerally Pe wanLs you Lo
be aware Lhls ls palnL plgmenL on
canvas puL on Lhe canvas by an
arLlsL
AugusLe lorel
(1910)
W ln Lhe sprlng of 1910 Cskar
kokoschka palnLed a porLralL of Lhe
emlnenL Swlss psychlaLrlsL AugusLe
lorel
W 1he palnLlng ls a remarkable
psychologlcal porLralL buL also
appears Lo predlcL Lhe sLrokes and
rlghL hemlparesls LhaL affecLed lorel
more Lhan a year laLer
W AlLhough lL ls posslble LhaL kokoschka
shared a glfL of psychlc predlcLlon
wlLh hls moLher and grandmoLher a
more llkely explanaLlon can be
ascrlbed Lo a comblnaLlon of Lhe
arLlsL's acuLe percepLlon and Lhe
presence of subcllnlcal slgns of sLroke
dlsease
Pans 1leLze and Lrlca 1leLzeConraL (1909)
W Cne of kokoschkas masLerpleces
W AlLhough Pans ls placed nexL Lo hls wlfe each ls
ln a dlfferenL menLal sphere each ls lndependenL
of Lhe oLher
W 1helr hands whlle close do noL Louch 1he
flngers are buL an lnch aparL and a spark musL
[ump across a chasm of emoLlonal dlsLance ?eL
Lhe arms and hands creaLe an arc a brldge
beLween Lhe Lwo
W 1he backgound of Lhls double porLralL ls agaln
falrly vague buL wlLh rays of llghL emanaLlng
from Pans 1leLze scraLched lnLo Lhe plgmenL
nelLher husband nor wlfe look aL each oLher nor
do Lhey confronL Lhe vlewer Pans appears Lo be
lecLurlng hls wlfe on some esoLerlc aspecL of arL
hlsLory She llsLens pollLely buL has more
quoLldlan concerns occupylng her
Alma Mahler
(1912)
W ln Lhe early days of Lhelr
acqualnLance ln Aprll 1912 Alma
Mahler asked kokoschka Lo palnL her
porLralL kokoschka has her pose as a
new Cloconda and gave her Lhe same
mysLerlous feaLures as Lhose glven by
Leonardo Lo hls Mona Llsa
W Pe palnLed Lhe beauLlful young
woman ln a dellcaLe lrldescenL hue
blueeyed and sLrawberry blonde
wlLh long loose dlshevelled halr AL
Lhe same Llme wlLh her narrow
energeLlc mouLh she appears very
deLermlned almosL dangerous
1wo nudesLovers
(1913)
W 1wo nudesLovers" (elf
9otttolt wltb Almo Moblet)
ls dlfferenL Lhan many of
Lhese porLralLs lL ls a self
porLralL of Cskar and hls
love Alma
W Pere Lhere ls llLLle
expresslonlsLlc slashlng of
palnL llLLle lmpasLo and Lhe
colors are cool blue
1he 8rlde of Lhe Wlnd
(1914)
8rlde of Lhe wlnd
(1914)
W Pls romance wlLh Alma Mahler led Lo hls famous palnLlng #@e 8r|de of te W|nd#
(1he 1empest)
W Cskar kokoschka made @e @empest uslng Lhe muLed color Lones of pasLel green
and plnk wlLh a promlnenL use of dark blue and grey composlng Lhe background
Loo kokoschkas use of dull color scheme adds Lo Lhe mysLlcal aspecL of Lhe
lllusLraLlon Pe palnLed @e @empest ln Lhe mournlng of hls falled lnLense and
passlonaLe love affalr wlLh hls muse Alma Mahler1he blzarre palnLlng was a LrlbuLe
Lo her
W @e @empest (8r|de of te W|nd) deplcLs Alma and Cskar hlmself lylng naked
unLll Lhe walsL enLwlned on a shell llke vessel floaLlng on LurbulenL waves lL
seems as lf Lhey have been ln a shlpwreck and are ln Lhe mlddle of Lhe ocean
W 1helr lndlvldual expresslons and body language are lmmensely conLrasLlve and
speak volumes of Lhelr characLers Alma ls lylng sldeways bllssfully asleep Per
preLLy face appears serene obllvlous Lo Lhe dangers surroundlng Lhem Cn Lhe
oLher hand lylng nexL Lo her ls Cskar devold of sleep Pe seems Lo be sLarlng lnLo
Lhln alr as lf consumed wlLh worry Pe looks weak and hls body appears brulsed aL
some places
8rlde of Lhe wlnd
(1914)
W 1he wlldness of Lhe waves ls accenLuaLed wlLh Lhe vlgorous
brushwork of Lhlck lmpasLo color 1he swlrly background
Symbollzes Lhe sLormy and passlonaLe relaLlonshlp LhaL Lhey
shared
W kokoschka creaLes a sllhoueLLe of shapes sklllfully layerlng
Lhe colors and blends ln some places Lhe waves seem Lo
form Lhe Lraces of ghosLly flgures whlch probably lmply Lhe
Lraumas haunLlng Cskar
W 1he 1empesL ls an exemplary of Cskars lnLensely
LxpresslonlsL sLyle of work
Landscapes
W AL flrsL kokoschka palnLed mosLly landscapes developlng a
Lechnlque of vlbranL fluld llnes and expresslve colors
W AL flrsL glance kokoschka's landscapes seem Lo follow Lhe
prlnclples of Lhe lmpresslonlsL school because of Lhelr brlghL
colours ephemeral dellneaLlon of shapes and preoccupaLlon
wlLh llghL
W Pls vlslon however was dlfferenL from LhaL of Lhe
lmpresslonlsLs who soughL Lo represenL only whaL sLrlkes Lhe
eye kokoschka soughL Lo express Lhrough hls colours Lhe
emoLlonal aspecLs of a scene
uenLs du mldl
(1909)
W 1hls alm ls exempllfled
ln one of hls earllesL
palnLlngs eots Jo
MlJl (1909) a
snowscape rendered ln
warm colors an
lmpresslonlsL mlghL
have used cool colors
Lo evoke Lhe acLual
llghL emanaLlng from
Lhe snow
Landscapes
W uurlng Lhe 1920s kokoschka LaughL prlmarlly as a professor of
flne arLs aL Lhe uresden Academy (191923) and he Lraveled
ln Lurope norLh Afrlca and Lhe Mlddle LasL where he
palnLed a serles of landscapes LhaL mark Lhe second peak of
hls career
W 1hese panoramlc vlews of clLles or mounLalns mosLly seen
from a hlgh vanLage polnL are lyrlcal ln mood and
communlcaLe effecLs of llghL and aLmosphere Lhrough
kokoschka's characLerlsLlcally nervous brushsLrokes and
aglLaLed composlLlons
W Among Lhese works are ooJoo otqe 1bomes Ilew (1926)
Ietosolem (192930) and 9toqoe cbotles 8tlJqe (wltb 8oot)
(1934)
London Large 1hames vlew
(1926)
!erusalem
(19291930)
rague Charles 8rldge
(1934)
rellmlnary Concluslons
W lor Lhe mosL of Lhese works we don'L see Cskar Lhe
Lover we see Cskar Lhe 8easL whose vlslon of Lhe
world looks raLher grlm erhaps hls porLralLs deplcL
Lhe sufferlng beasLs lnslde Lhe souls of hls sub[ecLs
buL perhaps Lhey deplcL kokoschka's sufferlng soul
pro[ecLed onLo Lhose he was Lrylng Lo capLure
W kokoschka was Lhe grand old man of flguraLlve
palnLlng ln Lhe 20
Lh
cenLury Pls porLralLs were
among Lhe mosL remarkable of Lhe cenLury
W Pls palnLlngs of clLles evoke Lhe speclal splrlL of each
Marc Chagall
(1887-1985)
^, nvnc i. ^v. , n,
cnoionv i{c i. .cn.ii.c
vnv n, v.c i. cn, , v
nc, .v, 1 nv.c vcn.
W elarusian-French Jewish artist
W n early modernist who created
works in virtually every artistic
medium, including painting, book
illustrations, stained glass, stage
sets, ceramic, tapestries and Iine
art prints
W He experienced modernism`s
golden age in Paris where he
synthesized the art Iorms oI
Cubism, $ymbolism, and
Fauvism, and the inIluence oI
Fauvism gave rise to $urrealism.
W Even though he absorbed many
techniques Irom Cubism and
Fauvism, he was able to blend
them with his own Iolkish style.
SelforLralL wlLh 8rushes
W When Chagall Iirst arrived in Paris, the dominant art
Iorm was Cubism and French art was still dominated by
the materialistic outlook oI the 19
th
century. ut Chagall
came Irom Russia with a developed color giIt, a Iresh,
blatant response to sentiment, a Ieeling Ior simple poetry
and a sense oI humor. ll these notions were new to
Paris at that time. Consequently, Chagall was Iirst
observed by poets (laise Cendrars, Guillaume
pollinaire) and not by painters.
W Chagall thought oI art as immerging from the internal
being outward, from the seen obfect to the psychic
outpouring which was the reverse oI the Cubist way oI
creating.
W Chagall's early paintings are unusual in nature, reIlecting a
"dream-like" quality that shows the inIluence oI his early
liIe in Russia. Though his early liIe was impoverished and
stained by religious intolerance common at that time,
Chagall's work shows a happiness in his liIe.
W Most oI Chagall's work is an expression oI his philosophy,
his religious sensibility in the Iorm oI the "literalization oI
metaphors", deeply grounded in the mystical and symbolic
Hasidic world and Yiddish Iolktales.
W The viewer is drawn into the work by its striking color and
busy subject matter and is compelled to study it, because the
meaning oI the painting must be discovered as it is not
apparent on a superIicial viewing oI the miraculous events.
ncn ^vi..c vic., (nvv .i
c nc on, vinc c{ .no
vnvc.vnv. .nv .oo i.. 1i.
.vn.v. vc cv, vincv, no
]v. o..cv ocnc. onc o{ nc
v. nin. nc. vonc in (cn.c
.on.in.c nc nv ncc. nc.c
ccn vn,ov, .in.c )cnoi .no
nv. nc {ccin {o in nv
(nvv nv..
Pablo Picasso
8ella wlLh WhlLe Collars
%nc .oo. vc v i.in,
incv v o{ nc i.vc
vnv vc nc.c v..i.c, {v,
o vnv i[c vn
v{cnovn. %nc, ..v
vnv vninvc nc .ovnc o{
nc .nvc.... nc, invvc in
{in. o{ {vn., vnv
in.cnion .ni.n vvv nc.
c.c.i.c. vnv vvvvcv,
cnvcv onc.... 1i. .oo.
vo no c.cn vcn o
inivc nvvc v vnc o
.vc. no.cncn., vnc.
vnv n,nn..
Raymond Cogniat
ride with lue Face
(nvv i. vni.vcv in
ni. vii, o i.c v
.i.iv inc..ion o{
c_o.i.c no.cncn
.in nc .inc. v.c o{
.oo....
He was able to convey
striking images using only
two or three colors.
Throughout his liIe his
colors created a vibrant
atmosphere which was
based on his own personal
vision.
Raymond Cogniat
1he lalllng Angel
W Chagall's art can be understood as the response to the major
historical events that he experienced (spanning through the Russian
revolution, two World Wars, the Holocaust and the establishment oI
the $tate oI srael), his personal inner conIlict between his
"Jewishness" and his Iocus on Christ's CruciIixion, and also his
attempt at secularism in many oI his paintings.
1n ni. vinin., v. vnv c.cn, vcvn vnv cvi,, vi vnv .o.n, .c.vv
vnv o.c.vn, c.ovionv, vnv }c., }c.v. vnv 1i]vn...v .onninc vnv
ncc in v .ov .ncc ni.o, vnv covn, v v.o nc v.. o{ n,.i.. vnv
nvvc nv.c ccn .v.cnvcv.
(Jonathan Wilson)
W n other words, Chagall's liIe was an attempt through his art at the
reconciliation between two worlds, a genuine eIIort universalizing
or merging opposites.
I and te v|||age
WThis oil on canvass painting
portrays the artist's memories oI
Hasidic Community, a native
community present outside
Vitebsk.
W nspired by Marc's Jewish liIe
and his Russian childhood and it
unIolds as a beautiIul hori:on of
fantasy.
WThe give and take relationship oI
humans with the nature.
W The mutual interdependence oI
humans (here peasants), animals,
and plants on each other.
WThe background shows a violinist
woman and two houses on the top,
placed inverted, as hagall did
not give any importance to logical
sequence.
W|ndo I|tebsk
n,. n, viv 1 cv.c ,ov nvn,
,cv. vo. ... ov novn, nc o,
.cc[. .oncnin, .cc[. .v.n v .c.iv
.vc,, nv .oo vc..cnvin i[c
.v. {on nc .[, vnv vnvin,
in vnv vn.vcn, i[c .no. on
ov oo{.. ncc viv nc c i. 1o.
.ovv i .onc o v o, i[c nin. 1
von [no. .n, nc .ovvn {inv i
.in v., in nc .i,-in ni.
noncvnv. ^v,c nc o, i. .v:,,
v .v:, {o nc .v[c o{ v. ...ov
novn: 1 .vn .cc, 1 vn c.ncv in
nc o,. ncv, v nc i. .i {,in,
nc i. .i .i.in o v[c o{{, nc nv.
.inv in ni. ncvv. ... 1 viv no i.c
.in ,ov, v 1 vivn nv.c onc
.inc vinin nv vivn cvnc
.in ,ov .ii vnv c{c.ion.
To My City Vitebsk
W PowerIul visual memory and
pictorial intelligence
ar|s through te W|ndo
W Chagall was excited, intoxicated,
as he wandered through the streets
and along the banks oI the $eine.
Everything about the French
capital thrilled him: the shops, the
smell oI Iresh bread in the
morning, the markets with their
Iresh Iruit and vegetables, the
wide boulevards, the caIe's and
restaurants, and above all the
EiIIel Tower.
W$eems to come Irom a dream
WColors are used in unusual ways
WFeeling oI happiness
WDual worlds: Paris and Vitebsk
The C|rcus
n, vn 1 .o ov.ncv , nci
nv[cv vnv inv.c.. in
ncn 1 .vn no.c o.vv nc.
noi:on.... (nvin .cc[. o vo
in {in .nv 1 vn ,in o vo
in n, vinin.. 1c i. cnv.
nc on, vi. ovv, 1 .ovv c
von .in .inov nv.in o
.v, v .inc .ov.
1n ov i{c ncc i. v .inc .oo, v. on vn vi.. vcc, .ni.n o.ivc.
nc ncvnin o{ i{c vnv v. 1 i. nc .oo o{ o.c.
1he overs
@e irthday
1{ 1 .cvc {on nc ncv,
ncv, c.c,nin .o[.,
i{ {on nc ncvv, vno.
nonin.
iblical themes
1 viv no .cc nc ic, 1 vcvncv i. 1.c .in.c cv, .nivnoov, 1 nv.c ccn .vi.vcv ,
nc ic. 1 nv. v.v,. .ccncv o nc vnv .i .ccn. ovv, nc cvc. .ov.c o{ oc, o{
v inc.
n ni. .vn.v.c. .c cvv nc ivnn o{ novcni.n, nc cv[novn
in v o vn c_c..ion o{ innc i{c nv ... i. onc o{ nc v. .cnv,.
.inv cv.ic.. / nc .vnc inc (nvv .v. c.onv, ..c v in
nc noo. o{ 1vocvn ni.o, c.ccn 1^1! vnv 1^!: .ov
.v., c.ovion, cnni. c.c.vion, nc nvvc vnv c_ic o{ niion..
1n vn vc .ncn nvn, nv]o vi.. {cv cvi, {o v.v.ion, nc
vi.icv ni. c_cicn.c. o{ .v{{cin vnv vcv, ino invc. v on.c
inncvivc, .inc, vnv .,noi. o .ni.n c.c,onc .ovv c.onv.
Chagall was a plooeet of moJeto ott wbo loveoteJ o
vlsool looqooqe tbot tecotJeJ tbe tbtlll ooJ tettot of tbe
tweotletb ceototy
!ackle Wullschlager
Concluslons
Lxpresslonlsm ls valuable and worLhs Lo be LhoughL of as an
D-IILSAL LA-GDAGL
because
by means of D|stort|on Lxaggerat|on r|m|t|v|smIantasy
Co|our makes vlslble Lhe lmmaLerlal forces acLlve behlnd
exLernal appearance of Lhlngs lL emmerges from Lhe
lnLernal beelng ouLward from seen ob[ecL Lo Lhe psychlc
ouLpourlng
Lxpresslonlsm ls sLlll Lhe mosL shoklng and reveallng sLyle where Lhe
arLlsL looks behlnd Lhe face and palnLs Lhe soul