German Expressionist Woodcuts (Dover Fine Art, History of Art)

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Her focal points of interest in art history encompass profiling specific artists and art movements, as it is these areas where she is able to really dig deep into the rich narrative of the art world. Additionally, she particularly enjoys exploring the different artistic styles of the 20 th century, as well as the important impact that female artists have had on the development of art history. a b Hind, Arthur M. (1963). An Introduction to a History of Woodcut. Houghton Mifflin Co. 1935 (in USA), reprinted Dover Publications, 1963. pp.64–94. ISBN 978-0-486-20952-4.

International audiences and appreciation for German cinema began to grow as anti-German sentiment decreased following the end of World War I. By the time its 1916 ban on imports on foreign film was lifted, Germany had become a part of the international film industry. [3] In Austria, Klimt led the way for artists including Oskar Kokoschkaand Egon Schiele, while in France, Rouault, Soutine, Chagall emerged as leaders of the style. The movement also influenced other media, most notably sculpture and architecture. Much like the Germans, Expressionists in other countries were inevitably affected by the war, with many volunteering for active duty or forced into exile. The Legacy of Expressionism Today, in Mexico the activist woodcut tradition is still alive. In Oaxaca, a collective called the Asamblea De Artistas Revolucionarios De Oaxaca (ASARO) was formed during the 2006 Oaxaca protests. They are committed to social change through woodcut art. [23] Their prints are made into wheat-paste posters which are secretly put up around the city. [24] Artermio Rodriguez is another artist who lives in Tacambaro, Michoacán who makes politically charged woodcut prints about contemporary issues. [1] Famous works in woodcut [ edit ] Ives, C F (1974). The Great Wave: The Influence of Japanese Woodcuts on French Prints. The Metropolitan Museum of Art. ISBN 978-0-87099-098-4. A contributor to Der Blaue Reiter, artist Marianne von Werefkin depicted intense emotional states through landscapes and self-portraits. Quoted as saying “color bites at my heart,” her works leveraged dramatic hues as a tool of expression. Her relationship in Munich with artist Alexej von Jawlensky was characterized by turbulence: as a champion of his work and primary financial support for the relationship, it served as a catalyst for much of what she put on canvas. Käthe KollwitzPainting was the dominant medium of the genre, and the resulting works represented epitomize the principles of the German Expressionist movement today. Sculpture, architecture, and film also played important roles. Beyond the visual arts, it transcended many industries and disciplines, including literature, music, theater, and even economics. Works from the movement have sustained popularity to this day, and though the genre’s active years were relatively brief, German Expressionism has remained an influential movement for artists and patrons alike. A Brief History of German Expressionism

Don Kornits (2 June 1999). "Alex Proyas – Director, Dark City". eFilmCritic . Retrieved 6 July 2007. Sertig Valley in Autumn (1920) by Ernst Ludwig Kirchner; Ernst Ludwig Kirchner, CC0, via Wikimedia Commons Colour [ edit ] Odawara-juku in the 1830s by Hiroshige, from his series The Fifty-Three Stations of the Tōkaidō Hung, Chang-Tai (1997). "Two images of Socialism: Woodcuts in Chinese Communist Politics". Comparative Studies in Society and History. 39 (1): 34–60. JSTOR 179238.

German Expressionist painters rejected the naturalistic depiction of objective reality, often portraying distorted figures, buildings, and landscapes in a disorienting manner that disregarded the conventions of perspective and proportion. This approach, combined with jagged, stylized shapes and harsh, unnatural colors, were used to convey subjective emotions.

Art today is moving in directions of which our forebears had no inkling. The Horsemen of the Apocalypse are heard galloping through the air,” Marc wrote of this heady moment in his 1912 Der Blaue Reiter manifesto. “Artistic excitement can be felt all over Europe—new artists are signalling to one another from all sides.” Shi zhu zhai shu hua pu, or, Ten Bamboo Studio collection of calligraphy and painting". Cambridge Digital Library . Retrieved 11 August 2015. so Landau and Parshall, 179–192; but Bartrum, 179 and Renaissance Impressions: Chiaroscuro Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna, Royal Academy, London, March–June 2014, exhibition guide, both credit Cranach with the innovation in 1507.For more on German Expressionism's most singularly important producer and director, see Leopold Jessner (1878–1945). For more on the period's most important production company and distributor, see Universum Film AG, popularly known as UFA. The horrors of war became a consistent theme for German Expressionist artists, and some of the movement’s most searing images are by the Berlin-based Käthe Kollwitz. While she originally studied painting, Kollwitz focused on printmaking as of 1890, a medium she believed could better convey social critique. Her early images highlight the plight of the poor and the oppressed as a means to condemn the German government’s conservative social policies. But her best-known and most expressive work was made in response to World War I and the death of her own son in battle.