Expressionism

Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. Expressionist artists sought to express meaning or emotional experience rather than physical reality. Expressionism was developed as an avant-garde style before the First World War. It remained popular during the Weimar Republic, particularly in Berlin. The style extended to a wide range of the arts, including painting, literature, theatre, dance, film, architecture and music. The term is sometimes suggestive of emotional angst. In a general sense, painters such as Matthias Grnewald and El Greco are sometimes termed expressionist, though in practice the term is applied mainly to 20th-century works. The Expressionist emphasis on individual perspective has been characterized as a reaction to positivism and other artistic styles such as naturalism and impressionism.

Contents
1 Origin of the term 2 Visual artists 3 Expressionist groups of painters 4 Selected Expressionist paintings 5 In other arts 5.1 Dance 5.2 Sculpture 5.3 Cinema 5.4 Literature 5.5 Theatre 5.6 Music 5.7 Architecture 6 References

Origin of the term

The term was invented by Czech art historian Antonn Matjek in 1910 as the opposite of impressionism: "An Expressionist wishes, above all, to express himself... (an Expressionist rejects) immediate perception and builds on more complex psychic structures... Impressions and mental images that pass through mental peoples soul as through a filter which rids them of all substantial accretions to produce their clear essence [...and] are assimilated and condense into more general forms, into types, which he transcribes through simple short-hand formulae and symbols." (Gordon, 1987) The term "Expressionism" is usually associated with paintings, graphic work, and other forms of artistic practice in Germany at the beginning of the 20th century that challenged academic traditions, particularly the Die Brcke and Der Blaue Reiter groups. More generally, the term refers to art that expresses intense emotion. It is arguable that all artists are expressive but there are many examples of art production in Europe from the 15th century onward which emphasize emotion. Such art often occurs during times of social upheaval, such as the Protestant Reformation, German Peasants' War, Eight Years' War, and Spanish Occupation of the Netherlands, when the rape, pillage and disaster associated with periods of chaos and oppression are presented in the documents of the printmaker. Often the work is unimpressive aesthetically, yet has the capacity to cause the viewer to experience strong emotions with the drama and often horror of the scenes depicted. Expressionism has been likened to Baroque by critics such as art historian Michel Ragon and German philosopher Walter Benjamin. According to Alberto Arbasino, a difference between the two is that "Expressionism doesn't shun the violently unpleasant effect, while baroque does. Expressionism throws some terrific 'fuck you's, baroque

doesn't. Baroque is well-mannered."

Visual Artist
Some of the style's main visual artists of the early 20th century were:
Australia: Sidney Nolan, Charles Blackman, John Perceval, Albert Tucker and Joy Hester Austria: Egon Schiele, Oskar Kokoschka and Alfred Kubin Belgium: Constant Permeke, Gustave De Smet, Frits Van den Berghe, James Ensor, Albert Servaes, Floris Jespers and Albert Droesbeke. Brazil: Anita Malfatti, Cndido Portinari, Di Cavalcanti and Lasar Segall. Finland: Tyko Sallinen, Alvar Cawn, Juho Mkel and Win Aaltonen. France: Georges Rouault, Georges Gimel, Gen Paul and Chaim Soutine Germany: Ernst Barlach, Max Beckmann, Fritz Bleyl, Heinrich Campendonk, Otto Dix, Conrad Felixmller, George Grosz, Erich Heckel, Carl Hofer, Ernst Ludwig Kirchner, Kthe Kollwitz, Wilhelm Lehmbruck, Elfriede Lohse-Wchtler, August Macke, Franz Marc, Ludwig Meidner, Paula Modersohn-Becker, Otto Mueller, Gabriele Mnter, Rolf Nesch, Emil Nolde, Max Pechstein and Karl Schmidt-Rottluff. Hungary: Tivadar Kosztka Csontvry Iceland: Einar Hkonarson Ireland: Jack B. Yeats Indonesia: Affandi Italy: Emilio Giuseppe Dossena Mexico: Mathias Goeritz (German migr to Mexico), Rufino Tamayo Netherlands: Charles Eyck, Willem Hofhuizen, Jaap Min, Jan Sluyters, Vincent van Gogh, Jan Wiegers and Hendrik Werkman Norway: Edvard Munch, Kai Fjell Poland: Henryk Gotlib Portugal: Mrio Eloy, Amadeo de Souza Cardoso Russia: Wassily Kandinsky, Marc Chagall, Alexej von Jawlensky, Natalia Goncharova, Konrad Magi, Eduard Wiiralt, Mstislav Dobuzhinsky, and Marianne von Werefkin (Russianborn, later active in Switzerland).

 Switzerland: Carl Eugen Keel, Cuno Amiet, Paul Klee USA: Ivan Albright, Milton Avery, George Biddle, Hyman Bloom, Peter Blume, Charles Burchfield, David Burliuk, Stuart Davis, Elaine de Kooning, Willem de Kooning, Beauford Delaney, Arthur G. Dove, Norris Embry, Philip Evergood, Kahlil Gibran, William Gropper, Philip Guston, Marsden Hartley, Albert Kotin, Yasuo Kuniyoshi, Rico Lebrun, Jack Levine, Alfred Henry Maurer, Alice Neel, Abraham Rattner, Ben Shahn, Harry Shoulberg, Joseph Stella, Harry Sternberg, Henry Ossawa Tanner, Dorothea Tanning, Max Weber, Hale Woodruff and Karl Zerbe

Expressionist group of painters

The style originated principally in Germany and Austria. There were a number of groups of Expressionist painters, including Der Blaue Reiter and Die Brcke. Der Blaue Reiter (The Blue Rider, named for a magazine) was based in Munich and Die Brcke was based originally in Dresden (although some members later relocated to Berlin). Die Brcke was active for a longer period than Der Blaue Reiter, which was only together for a year (1912). The Expressionists had many influences, among them Edvard Munch, Vincent van Gogh, and African art. They were also aware of the work being done by the Fauves in Paris, who influenced Expressionism's tendency toward arbitrary colours and jarring compositions. In reaction and opposition to French Impressionism, which emphasized the rendering of the visual appearance of objects, Expressionist artists sought to portray emotions and subjective interpretations. It was not important to reproduce an aesthetically pleasing impression of the artistic subject matter, they felt, but rather to represent vivid emotional reactions by powerful colours and dynamic compositions. Kandinsky, the main artist of Der Blaue Reiter group, believed that with simple colours and shapes the spectator could perceive the moods and feelings in the paintings, a theory that encouraged him towards increased abstraction.

The ideas of German expressionism influenced the work of American artist Marsden Hartley, who met Kandinsky in Germany in 1913. In late 1939, at the beginning of World War II, New York received a great number of major European artists. After the war, Expressionism influenced many young American artists. Norris Embry (19211981) studied with Oskar Kokoschka in 1947 and during the next 43 years produced a large body of work in the Expressionist tradition. Norris Embry has been termed "the first American German Expressionist". Other American artists of the late 20th and early 21st century have developed distinct styles that may be considered part of Expressionism. Another prominent artist who came from the German Expressionist "school" was Bremen-born Wolfgang Degenhardt. After working as a commercial artist in Bremen, he migrated to Australia in 1954 and became quite well known in the Hunter Valley region. American Expressionism and American Figurative Expressionism, particularly the Boston figurative expressionism, were an integral part of American modernism around the Second World War. Major figurative Boston Expressionists included: Karl Zerbe, Hyman Bloom, Jack Levine, David Aronson, Philip Guston. The Boston figurative Expressionists post World War II were increasingly marginalized by the development of abstract expressionism centered in New York City. After World War II, figurative expressionism influenced worldwide a large number of artists and styles. Thomas B. Hess wrote that "the New figurative painting which some have been expecting as a reaction against Abstract Expressionism was implicit in it at the start, and is one of its most lineal continuities." New York Figurative Expressionism of the 1950s represented New York figurative artists such as Robert Beauchamp, Elaine de Kooning, Robert Goodnough, Grace Hartigan, Lester Johnson, Alex Katz, George

McNeil, Jan Muller, Fairfield Porter, Gregorio Prestopino, Larry Rivers and Bob Thompson. Lyrical Abstraction, Tachisme of the 1940s and 1950s in Europe represented by artists such as Georges Mathieu, Hans Hartung, Nicolas de Stal and others. Bay Area Figurative Movement represented by early figurative expressionists from the San Francisco area Elmer Bischoff Richard Diebenkorn, and David Park. The movement from 1950 to 1965 was joined by Theophilus Brown, Paul Wonner, James Weeks, Hassel Smith, Nathan Oliveira, Bruce McGaw, Joan Brown, Manuel Neri, Joan Savo and Roland Peterson. Abstract Expressionism of the 1950s represented American artists such as Louise Bourgeois, Hans Burkhardt, Mary Callery, Nicolas Carone, Willem de Kooning, Jackson Pollock, and others that participated with figurative expressionism. In the United States and Canada, Lyrical Abstraction beginning during the late 1960s and the 1970s. Characterized by the work of Dan Christensen, Peter Young, Ronnie Landfield, Ronald Davis, Larry Poons, Walter Darby Bannard, Charles Arnoldi, Pat Lipsky and many others. Neo-expressionism was an international revival style that began in the late 1970s and included artists from many nations: Germany: Anselm Kiefer and Georg Baselitz and others; USA: Jean-Michel Basquiat, Eric Fischl, David Salle and Julian Schnabel; Cuba: Pablo Carreno; France: Rmi Blanchard, Herv Di Rosa and others; Italy: Francesco Clemente, Sandro Chia and Enzo Cucchi; England: David Hockney, Frank Auerbach and Leon Kossoff Belarus: Natalia Chernogolova

In other arts
Expressionist dance (German: Ausdruckstanz, also translated as "expressive dance") is a European dance form that is part of the German Expressionist movement. Although considered a part of the modern dance movement, it is separate from modern dance per se.[clarification needed] Other names for it that have fallen out of use include Moderner Tanz, Absoluter Tanz, Freier Tanz, Tanzkunst and Bewegungskunst. German Expressionist dance is related to Tanztheater. Dance artists associated with expressionist dance include: Pina Bausch Gertrud Bodenwieser Hilde Holger Kurt Jooss Rudolf Laban Jo Mihaly (born Elfriede Alice "Piete" Kuhr) Alwin Nikolais Staluse Pera Mary Wigman

Sculpture
Some sculptors used the Expressionist style, as for example Ernst Barlach. Other expressionist artists known mainly as painters, such as Erich Heckel, also worked with sculpture.

Cinema
There was an Expressionist style in the cinema, important examples of which are Robert Wiene's The Cabinet of Dr. Caligari (1920), The Golem: How He Came Into the World (1920), Fritz Lang's Metropolis (1927) and F. W. Murnau's Nosferatu, a Symphony of Horror (1922) and The Last Laugh

(1924). The term "expressionist" is also sometimes used to refer to stylistic devices thought to resemble those of German Expressionism, such as Film Noir cinematography or the style of several of the films of Ingmar Bergman. More generally, the term expressionism can be used to describe cinematic styles of great artifice, such as the technicolor melodramas of Douglas Sirk or the sound and visual design of David Lynch's films.

Literature
Two leading Expressionist journals published in Berlin were Der Sturm, published by Herwarth Walden starting in 1910,

and Die Aktion, which first appeared in 1911 and was edited by Franz Pfemfert. Der Sturm published poetry and prose from contributors such as Peter Altenberg, Max Brod, Richard Dehmel, Alfred Dblin, Anatole France, Knut Hamsun, Arno Holz, Karl Kraus, Selma Lagerlf, Adolf Loos, Heinrich Mann, Paul Scheerbart, and Ren Schickele, and writings, drawings, and prints by such artists as Kokoschka, Kandinsky, and members of Der blaue Reiter. In prose, the early stories and novels of Alfred Dblin fall under the heading of Expressionism, and Franz Kafka is sometimes labelled an Expressionist. Expressionist poetry also flourished, mainly in the German-speaking countries. Some of the key Expressionist poets are Georg Trakl, Georg Heym, Else Lasker-Schler, Ernst Stadler, Gottfried Benn and August Stramm.

Theatre
There was a concentrated Expressionist style in early 20thcentury German theatre, of which Georg Kaiser and Ernst Toller were the most famous playwrights. Other notable Expressionist dramatists included Reinhard Sorge, Walter Hasenclever, Hans Henny Jahnn, and Arnolt Bronnen. They considered Swedish playwright August Strindberg and German actor and dramatist Frank Wedekind as precursors of their dramaturgical experiments. During the 1920s, Expressionism enjoyed a brief period of popularity in American theatre, including plays by Eugene O'Neill (The Hairy Ape, The Emperor Jones and The Great God Brown), Sophie Treadwell (Machinal) and Elmer Rice (The Adding Machine). Oskar Kokoschka's 1909 playlet, Murderer, The Hope of Women is often termed the first expressionist drama. In it, an unnamed man and woman struggle for dominance. The man brands the woman; she stabs and imprisons him. He frees himself and she falls dead at his touch. As the play ends, he slaughters all around him (in the words of the text) "like mosquitoes." The extreme simplification of characters to mythic types, choral effects, declamatory dialogue and heightened intensity all would become characteristic of later expressionist plays. The young Paul Hindemith created an operatic version of this play, which premiered in 1921. Expressionist plays often dramatise the spiritual awakening and sufferings of their protagonists. Some utilise an episodic dramatic structure and are known as Stationendramen (station plays), modeled on the presentation of the suffering and death of Jesus in the Stations of the Cross. August Strindberg had pioneered this form with his autobiographical trilogy To Damascus. The plays often dramatise the struggle against bourgeois values and established authority, often personified by the Father. In Sorge's The Beggar, (Der Bettler), the young hero's mentally ill father raves about the prospect of mining the

riches of Mars and is finally poisoned by his son. In Bronnen's Parricide (Vatermord), the son stabs his tyrannical father to death, only to have to fend off the frenzied sexual overtures of his mother. In Expressionist drama, the speech is either expansive and rhapsodic, or clipped and telegraphic. Director Leopold Jessner became famous for his expressionistic productions, often set on stark, steeply raked flights of stairs (having borrowed the idea from the Symbolist director and designer, Edward Gordon Craig.

Music
Expressionism as a musical genre is difficult to exactly define. It is, however, one of the most important movements of 20th Century music. The three central figures of musical expressionism are Arnold Schoenberg and his pupils, Anton Webern and Alban Berg, the so-called Second Viennese School. Musical expressionism may be regarded in terms of the music Arnold Schoenberg composed between 1908 and 1921, which is his period of "free atonal" composition, before he devised twelve-tone technique. Compositions from the same period with similar traits, particularly works by his pupils Alban Berg and Anton Webern, are often also included under this rubric, and the term has also been used pejoratively by musical journalists to describe any music in which the composer's attempts at personal expression overcome coherence or are merely used in opposition to traditional forms and practices (Fanning 2001). It can therefore be said to begin with Schoenberg's Second String Quartet (written 190708) in which each of the four

movements gets progressively less tonal. The third movement is arguably atonal and the introduction to the finale is very chromatic, arguably has no tonal centre, and features a soprano singing "Ich fhle Luft von anderem Planeten" ("I feel the air of another planet"), taken from a poem by Stefan George. This may be representative of Schoenberg entering the 'new world' of atonality. In 1909, Schoenberg composed the one-act 'monodrama' Erwartung (Expectation). This is a thirty minute, highly expressionist work in which atonal music accompanies a musical drama centered around a nameless woman. Having stumbled through a disturbing forest, trying to find her lover, she reaches open countryside. She stumbles across the corpse of her lover near the house of another woman, and from that point on the drama is purely psychological: the woman denies what she sees and then worries that it was she who killed him. The plot is entirely played out from the subjective point of view of the woman, and her emotional distress is reflected in the music. The plot to Erwartung has some grounding in the case history of Anna O. (real name Bertha Pappenheim). The author of the libretto, Marie Pappenheim, a recently graduated medical student familiar with Freud's newly developed theories of psychoanalysis, was Bertha's 'second cousin once removed': that is, Marie's father was Bertha's cousin. In 1909, Schoenberg completed the Five Pieces for Orchestra. These were constructed freely, based upon the subconscious will, unmediated by the conscious, anticipating the main shared ideal of the composer's relationship with the painter Wassily Kandinsky. As such, the works attempt to avoid a recognisable form, although the extent to which they achieve this is debatable. Between 1908-1913, Schoenberg was also working on a musical drama, Die glckliche Hand. The music is again atonal. The plot begins with an unnamed man, cowered in the centre of the stage with a beast upon his back. The

man's wife has left him for another man; he is in anguish. She attempts to return to him, but in his pain he does not see her. Then, to prove himself, the man goes to a forge, and in a strangely Wagnerian scene (although not musically), forges a masterpiece, even with the other blacksmiths showing aggression towards him. The woman returns, and the man implores her to stay with him, but she kicks a rock upon him, and the final image of the act is of the man once again cowered with the beast upon his back. This plot is highly symbolic, written as it was by Schoenberg himself, at around the time when his wife had left him for a short while for the painter Richard Gerstl. Although she had returned by the time Schoenberg began the work, their relationship was far from easy. The central forging scene is seen as representative of Schoenberg's disappointment at the negative popular reaction to his works. His desire was to create a masterpiece, as the protagonist does. Once again, Schoenberg is expressing his real life difficulties. At around 1911, the painter Wassily Kandinsky wrote a letter to Schoenberg, which initiated a long lasting friendship and working relationship. The two artists shared a similar viewpoint, that art should express the subconscious (the 'inner necessity') unfettered by the conscious. Kandinsky's Concerning The Spiritual In Art (1914) expounds this view. The two exchanged their own paintings with each other, and Schoenberg contributed articles to Kandinsky's publication Der Blaue Reiter. This inter-disciplinary relationship is perhaps the most important relationship in musical expressionism, other than that between the members of the Second Viennese School. The inter-disciplinary nature of expressionism found an outlet in Schoenberg's paintings, encouraged by Kandinsky. An example is the self portrait Red Gaze , in which the red eyes are the window to Schoenberg's subconscious. Webern's music was close in style to Schoenberg's expressionism for only a short while, c. 1909-13. His Five Pieces for Orchestra, Op. 10 (1911-13) are an example of his

expressionist output, and might be compared to Schoenberg's Five Orchestral Pieces, Op. 16, composed 1909. Berg's contribution includes his Op. 1 Piano Sonata, and the Four Songs of Op. 2. His major contribution to the genre, however, is the opera Wozzeck, composed between 191425, a very late addition to the genre. The opera is highly expressionist in subject material in that it expresses mental anguish and suffering and is not objective, presented, as it is, largely from Wozzeck's point of view, but it presents this expressionism within a cleverly constructed form. The opera is divided into three acts, the first of which serves as an exposition of characters. The second develops the plot, while the third is a series of musical variations (upon a rhythm, or a key for example). Berg unashamedly uses sonata form in one scene in the second act, describing himself how the first subject represents Marie (Wozzeck's mistress), while the second subject coincides with the entry of Wozzeck himself. This heightens the immediacy and intelligibility of the plot, but is somewhat contradictory with the ideals of Schoenberg's expressionism, which seeks to express musically the subconscious unmediated by the conscious. While Wozzeck helped to popularise the genre, it did so at the expense of the ideals. Indeed, by the time Wozzeck was performed in 1925, Schoenberg had introduced his twelve-tone technique to his pupils, representing the end of his expressionist period (in 1923) and roughly the beginning of Serialism. As such, musical expressionism can be said to be chiefly centred upon the ideas and work of Arnold Schoenberg (1907-1923), although Berg and Webern did also contribute significantly to the genre. It was a significant, if not altogether popular style, and some of its influences can be seen in Bla Bartk's opera Bluebeard's Castle (1911), with its emphasis on psychological drama represented in music.

Architecture
In architecture, two specific buildings are identified as Expressionist: Bruno Taut's Glass Pavilion of the Cologne Werkbund Exhibition (1914), and Erich Mendelsohn's Einstein Tower in Potsdam, Germany completed in 1921. The interior of Hans Poelzig's Berlin theatre (the Grosse Schauspielhaus), designed for the director Max Reinhardt, is also cited sometimes. The influential architectural critic and historian Sigfried Giedion, in his book Space, Time and Architecture (1941), dismissed Expressionist architecture as a part of the development of functionalism. In Mexico, in 1953, German migr Mathias Goeritz, published the "Arquitectura Emocional" (Architecture emotional) manifesto with which he declared that "architecture's principal function is emotion". Modern Mexican architect Luis Barragn adopted the term that influenced his work. The two of them

collaborated in the project Torres de Satlite (195758) guided by Goeritz's principles of Arquitectura Emocional. It was only during the 1970s that Expressionism in architecture came to be re-evaluated more positively.

References
Bruce Thompson, University of California, Santa Cruz, lecture on WEIMAR CULTURE/KAFKA'S PRAGUE Chris Baldick Concise Oxford Dictionary of Literary Terms, entry for Expressionism 2. Victorino Tejera, 1966, pages 85,140, Art and Human Intelligence, Vision Press Limited, London 3. The Oxford Illustrated Dictionary, 1976 edition, page 294 4. Garzanti, Aldo (1974) [1972] (in Italian). Enciclopedia Garzanti della letteratura. Milan: Guido Villa. pp.963. page 241
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Michel Ragon (1968) Expressionism quotation: There is no doubt that Expressionism is Baroque in essence

6. 7.

Benjamin, Walter (1998). Origin of German Tragic Drama. London: Verso. ISBN978-1859848999. Gabriele Pedull, Alberto Arbasino [2000] Sull'albero di ciliegie [On the cherry tree] - Conversando di letteratura e di cinema con Alberto Arbasino in CONTEMPORANEA Rivista di studi sulla letteratura e sulla comunicazione, Volume 1, 2003 quotation: Lespressionismo non rifugge dalleffetto violentemente sgradevole, mentre invece il barocco lo fa. Lespressionismo tira dei tremendi vaffanculo, il barocco no. Il barocco beneducato translation: Expressionism doesn't shun the violently unpleasant effect, while baroque does. Expressionism throws some terrific "Fuck you"s, baroque doesn't. Baroque is well-mannered.

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