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[Part 4/6] The Bridge Die Brücke, le pont – Bridging Two Worlds
An important early statement of intent came in 1906. In the catalogue to their first group exhibition, held in Löbtau, Dresden, they issued their rallying cry. This was in the form of a founding “manifesto” of the Künstlergruppe Brücke (Bridge Artists’ Group). Printed in stylized, quasi-primitive lettering, the text reads: WITH FAITH IN DEVELOPMENT AND IN A NEW GENERATION OF CREATORS AND APPRECIATORS, WE CALL TOGETHER ALL YOUTH. AS YOUTH, WE CARRY THE FUTURE AND WANT TO CREATE FOR OURSELVES FREEDOM OF LIFE AND OF MOVEMENT AGAINST THE LONG-ESTABLISHED OLDER FORCES. EVERYONE WHO WITH IMMEDIACY AND AUTHENTICITY CONVEYS THAT WHICH DRIVES HIM TO CREATE BELONGS WITH US. The “drive” to…
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[Part 3/6] Expressionism: The Revolution of Woman: Rosa Luxemburg, Paula Modersohn, Käthe Kollwitz…
At the beginning of the twentieth century, two of Germany’s most distinctive and original artists were women: Paula Modersohn-Becker and Käthe Kollwitz. Kollwitz had a long, prolific career that lasted from the 1890s until her death – just days before the end of the Second World War – well after Expressionism’s demise. Like Munch, her work often deals with profound emotion, birth, suffering and death. But it is otherwise very different. His work emerged from a Symbolist, bohemian milieu, pungent with sex and decadence, on the one hand, and a highly personal, subjective sensitivity to the natural sublime on the other. Hers came from a Realist tradition of humane socio-political…
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[Part 2/6] Expressionism: The Battle of Emotions
The era of German Expressionism was finally extinguished by the Nazi dictatorship in 1933. But its most incandescent phase of 1910-1920 left a legacy that has caused reverberations ever since. It was a period of intellectual adventure, passionate idealism, and deep yearnings for spiritual renewal. Increasingly, as some artists recognized the political danger of Expressionism’s characteristic inwardness, they became more committed to exploring its potential for political engagement or wider social reform. But utopian aspirations and the high stakes involved in ascribing a redemptive function to art meant that Expressionism also bore an immense potential for despair, disillusionment and atrophy. Along with works of profound poignancy, it also produced a…
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David Hockney Pulls Out His Mushroom Trip
With Amsterdam just a stone’s throw away from his native England, there’s no way David Hockney didn’t take weekend trips to gather a little inspiration. With his landscapes breathing and ever-so-subtly undulating, Hockney has, in his art work, rather astutely recreated the kind of mushroom trip that the majority of festival-goers revel in: a magical connection with those insanely charming and huggable trees. Seemingly familiar, the works trick the viewer into recalling memories of frolics in the woods (both authentic and false memories), the works play on vivid colour, scale and distance, and leading lines to push our psyches into the surreal. Reminiscent of A Scanner Darkly the line between…
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"Art must be an expression of love or it is nothing" – Marc Chagall
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Filth for Filth’s Sake
It is not the mission of art to wallow in filth for filth’s sake, to paint the human being only in a state of putrefaction, to draw cretins as symbols of motherhood, or to present deformed idiots as representatives of manly strength. So declared Adolf Hitler in 1935, leaving no uncertainty over his views on much of modern art. Many German and Austrian artists at the time were trying to express their own views of the world and their anger and despair towards society following the horrors of the First World War, yet Hitler saw only intolerable statements undermining his vision of a perfect German society. In 1937, the Degenerate…
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Lessons to be Learnt from The Wizard of Oz and Matisse
Imagine you’re Dorothy. You have just escaped Auntie Em and a life of rusticated farm-life. You step out of your house, and no more black-and-white, but BOOM! It’s a colour explosion, where you are literally on the other side of the rainbow. And never mind those Munchkins… What would you think, honestly? That you are in some strange kind of fever-dream? Or that you have accidentally ingested a potent hallucinogenic (let’s forget for the moment that Dorothy probably doesn’t know what that is)? Or, simply, that you’ve just gone crazy? I think it fair enough to say that these feelings may be eerily similar to those experienced by Matisse and…
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Centennial Vortexes
You can blame it on my being an emotional woman if you’d like, I take full responsibility for that, but when I discovered the Wallraf-Richardtz-Museum’s intention to reunite some of the pieces from the 1912 Sonderbund Exhibition of Post-Impressionism through German Expressionism, featuring Van Gogh, Cézanne, Gauguin, Munch, Picasso, Macke, Nolde, Schiele, Signac, etc., I got a bit teary-eyed. Pieces that have been separated (and sometimes out of view) will be reunited in Cologne until year’s end. It’s reminiscent of one’s days in University and coming back so many years later (clearly not 100) to see how much you’ve changed – or in the case of these paintings and sculptures,…
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