By Starr Figura, Peter Jelavich, Heather Hess
Expressionism, the emblem of modernism that flourished in Germany and Austria in the course of the first 20 years of the 20th century, is a vital bankruptcy within the historical past of recent paintings. one in all its defining facets is the fervor with which the Expressionists embraced printmaking and works on paper. This quantity showcases The Museum of recent Art’s awesome holdings of German Expressionist prints along a variety of drawings, work, and sculptures from the gathering. greater than 250 works through a few thirty artists—including Max Beckmann, Ernst Ludwig Kirchner, Emil Nolde, Vasily Kandinsky, and Oskar Kokoschka—are observed by way of essays that debate the centrality of printmaking in German Expressionism and describe the movement’s sociocultural backdrop.
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Extra info for German Expressionism: The Graphic Impulse
23 Kokoschka was even more involved in the most prominent spin-off of variety shows: cabaret. Partly inspired by similar ventures that had been launched in Paris twenty years earlier, German-language cabarets first appeared in Berlin, Munich, Vienna, and other Central European cities in 1901. Cabarets explicitly sought to “ennoble” variety shows, inasmuch as they retained the format of vaudeville — a concatenation of short songs, monologues, skits, and dances — but aspired to higher artistic quality; indeed, they too claimed to express the spirit of Nietzsche.
18), by 1925, when the school moved to Dessau, the printmaking workshop was converted to mechanical presses and movable type; the nostalgic, Germanic, and handmade were rejected in favor of the international, future-looking, and machine-made. Ironically, just as printmaking had helped give birth to the movement some twenty years earlier, printmaking also contributed to the end of Expressionism in the mid-1920s. The inflationary period brought many mediocre printmakers into the booming market — many of them encouraged by smaller, short-lived publishers who wanted in on the trend — and they took a formulaic approach to the Expressionist vocabulary of distortion, simplification, and angularity.
4 Yet whereas most nudist groups were sexually very prudish (in part out of concern for laws against immoral behavior), the Brücke artists were definitely not. 3 Ernst Ludwig Kirchner Kirchner Dancing in the New Studio. 9 cm) Stiftung Historische Museen Hamburg/ Altonaer Museum, Germany 38 and spontaneous expressions was dance. 3). Other images suggest that the Brücke artists, their friends, and their models did not need such special occasions to doff their clothes and shake their feet (plates 2, 63).
German Expressionism: The Graphic Impulse by Starr Figura, Peter Jelavich, Heather Hess