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Expressionism: Final Part
[amazon_link asins=’B00KHLOXIM’ template=’ProductLink’ store=’parkstone-20′ marketplace=’US’ link_id=’e0bc337b-9cea-11e7-ad63-832aa7533b34′] In a watercolour titled like a holiday souvenir snapshot, Me in Brussels, Dix depicted himself as a soldier; cigarette clamped in the mouth and with hot red gaze fixed intently on the ample buttocks of a prostitute. He pursues her into the inviting light of a brothel. In his written notes and in interviews, Dix often underlined what he saw as the essential link between the drives to sex and to war. Later, in post-war Germany, he also came to see the fate of the male war cripple and the female prostitute as a shared one. Grosz emerged from mental hospital in 1917, convinced…
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[Part 5/6] Expressionism: Make Love, Not War
When war broke out in Europe in the summer of 1914, four years of battle and years more of devastating crises lay ahead. One of Marc’s paintings that articulates a grim anticipation of war and foresees its origins in South-Eastern Europe was Das arme Land Tirol (The Unfortunate Land of Tirol) of 1913. In the same year he painted a pack of wolves and subtitled the work Balkankrieg (Balkan War). Ernst Barlach sculpted a furious, hurtling avenging angel just as the hostilities commenced. Yet in spite of a tide of apocalyptic prophecies, few could imagine the cold reality of modern, technological warfare, in “this endless, loveless war” as Marc was…
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Evolution of Holy Art
Exploring the evolution of art that is inspired by the oldest story of time, one that established many age-old Western traditions, does provide an interesting opportunity to see how interpretations of Christ have changed through time. Many a biblical scene has been depicted by artists through the ages, and is done in style that reflects the time and culture from which the interpretation is founded. The expanse of religious art produced in the 14th and 15th centuries, for example, indicates that depicting conventional Christian scenes was in vogue. This period we now recognise as the Renaissance, did yield some monumental images of Christ in art. Take da Vinci’s Last Supper…
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Quand Vallotton s’en va-t-en guerre.
Vallotton le Nabi étranger, Vallotton le graveur, Vallotton le portraitiste, Vallotton le peintre de paysage, Vallotton peintre postimpressionniste, Vallotton peintre de la modernité artistique… À l’encontre des fondements mêmes de l’histoire de l’art et de ses principes méthodologiques, il est impossible de classer Félix Vallotton définitivement dans une catégorie. Il suffit de comparer ces deux toiles pour le comprendre :
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