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

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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 Kollwitz The German Expressionist movement was initially confined to Germany due to the country's isolation during World War I. In 1916, the government banned foreign films, creating a sharp increase in the demand for domestic film production, from 24 films in 1914 to 130 films in 1918. With inflation also on the rise, Germans were attending films more freely because they knew that their money's value was constantly diminishing. [3] 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. This monumental work is considered by many to be Rouault's masterpiece. The artist started to work on it as early as 1912, preparing a book of drawings in Indian ink. In 1916, the "difficult" art dealer Ambroise Vollard commissioned a book of prints and Rouault decided to transfer these original drawings into copperplates that would later become the prints for Miserere. Originally conceived as a two-volume book, this publication contains 58 illustrations that fall into two sections: Miserere and Guerre (War). It was finished in 1927 but would not be published until 1948. 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.

Ugo da Carpi after Parmigianino: Diogenes (17.50.1) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art". Metmuseum.org. 3 February 2012 . Retrieved 18 February 2012. German silent cinema was arguably far ahead of Hollywood during the same period. [8] Cinema outside Germany benefited both from the emigration of German film makers and from German expressionist developments in style and technique that were apparent on the screen. The new look and techniques impressed other contemporary film makers, artists and cinematographers, and they began to incorporate the new style into their work. Schiefler, Gustav, and Christel Mosel. Emil Nolde: Das graphische Werk. 2 vols. Cologne: DuMont, 1995. Self-Portrait with Hand on Forehead, etching by Käthe Kollwitz, 1910; in the National Gallery of Art, Washington, D.C. (more)

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Sjöberg, Leif, Torsten Billman and the Wood Engraver's Art, pp. 165–171. The American Scandinavian Review, Vol. LXI, No. 2, June 1973. New York 1973. In cinema, this was created through the use of high angles, deep shadows, impossible sets, and extreme camera tilting. Keywords: self, psyche, body, sexuality, nature, spirit, emotions, mysticism, distortion of reality, exaggeration, heightened use of color A frame from director Arthur Robison's 1923 silent film Schatten – Eine nächtliche Halluzination ( a.k.a., Warning Shadows). 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

In the 1860s, just as the Japanese themselves were becoming aware of Western art in general, Japanese prints began to reach Europe in considerable numbers and became very fashionable, especially in France. They had a great influence on many artists, notably Édouard Manet, Pierre Bonnard, Henri de Toulouse-Lautrec, Edgar Degas, Paul Gauguin, Vincent van Gogh, Félix Vallotton and Mary Cassatt. In 1872, Jules Claretie dubbed the trend "Le Japonisme". [6] Untitled woodcut depicting a flying woman by Friedrich König, c. 1902; Los Angeles County Museum of Art, Public domain, via Wikimedia Commons In Japan colour technique, called nishiki-e in its fully developed form, spread more widely, and was used for prints, from the 1760s on. Text was nearly always monochrome, as were images in books, but the growth of the popularity of ukiyo-e brought with it demand for ever-increasing numbers of colours and complexity of techniques. By the nineteenth century most artists worked in colour. The stages of this development were: Avila, Theresa (4 May 2014). "El Taller de Gráfica Popular and the Chronicles of Mexican History and Nationalism". Third Text. 28 (3): 311–321. doi: 10.1080/09528822.2014.930578. ISSN 0952-8822. S2CID 145728815.Chiaroscuro woodcuts [ edit ] Chiaroscuro woodcut depicting Playing cupids by anonymous 16th-century Italian artist Benizuri-e (紅摺り絵, "crimson printed pictures") – red ink details or highlights added by hand after the printing process；green was sometimes used as well

Seed for sowing should not be milled (1941) by Kathe Kollwitz, crayon lithograph; Suzanne, CC BY 2.0, via Wikimedia CommonsNazis prohibited him from exhibiting and confiscated 729 works from public collections. Studio and its contents in Berlin destroyed during World War II. The explosion of sales of cheap woodcuts in the middle of the century led to a fall in standards, and many popular prints were very crude. The development of hatching followed on rather later than engraving. Michael Wolgemut was significant in making German woodcuts more sophisticated from about 1475, and Erhard Reuwich was the first to use cross-hatching (far harder to do than engraving or etching). Both of these produced mainly book-illustrations, as did various Italian artists who were also raising standards there at the same period. At the end of the century Albrecht Dürer brought the Western woodcut to a level that, arguably, has never been surpassed, and greatly increased the status of the "single-leaf" woodcut (i.e. an image sold separately). A revival of the art of the woodcut began in Japan in the late 1920s as part of the modern art movement. Onchi Kōshirō and Hiratsuka Un’ichi were early exponents who, though working in different styles, did most for the renaissance of this national art, which thrived once again after World War II. Among the notable woodcut artists of the postwar period are Munakata Shikō and Saitō Kiyoshi. In both Europe and East Asia in the early 20th century, some artists began to do the whole process themselves. In Japan, this movement was called sōsaku-hanga ( 創作版画, creative prints), as opposed to shin-hanga ( 新版画, new prints), a movement that retained traditional methods. In the West, many artists used the easier technique of linocut instead.

Many artists were important figures throughout the development of German Expressionism, however, Ernst Ludwig Kirchner, Franz Marc, and Wassily Kandinsky were instrumental Expressionist artists. The prime example is Robert Wiene's dream-like film The Cabinet of Dr. Caligari (1920) which is universally recognized as an early classic of Expressionist cinema. Hermann Warm, the film's art director, worked with painters and stage designers Walter Reimann and Walter Röhrig to create fantastic, nightmarish sets with twisted structures and landscapes with sharp-pointed forms and oblique, curving lines. Some of these designs were constructions, others were painted directly onto canvases.Colour [ edit ] Odawara-juku in the 1830s by Hiroshige, from his series The Fifty-Three Stations of the Tōkaidō The term ‘Expressionism’ was popularised by several writers in 1910 including Czech art historian Antonin Matejcek and German art critic Herwarth Walden, publisher of the Berlin Avant-Garde review Der Sturm, 1910-32. The term defined an art in opposition to Impressionism; where Impressionists looked outwards to the real world, Expressionists searched inwards for deeper meaning. The style is defined by free brushwork, heightened colour and jagged or elongated forms. It was such a ground-breaking notion that in the twentieth century the term ‘Expressionism’ came to describe many styles of modern art. Influence of Munch, Van Gogh and Klimt Steffen, James. "Shadows and Fog". Turner Classic Movies: Film Article . Retrieved 7 February 2017. Strong elements of monumentalism and Modernism appear throughout the canon of German Expressionism. An excellent example of this is Metropolis, as evidenced by the enormous power plant and glimpses of the massive yet pristine "upper" city.