Wall Texts Introduction No two other styles were as intensely and unsparingly contrasted with one another in their time as Impressionism and Expressionism. Impressionism is inextricably linked with France and with artists such as Claude Monet, Edgar Degas, and Auguste Renoir. The German Impressionism of Max Liebermann, Lovis Corinth, and Max Slevogt developed in the 1890s as a response to the movement in France. A fierce backlash followed shortly thereafter with the advent of Expressionism, spearheaded by painters such as Ernst Ludwig Kirchner, Erich Heckel, Emil Nolde, and Franz Marc in Germany. The simultaneous emergence of these two styles provided critics and theorists with an ideal basis to compare the seemingly antithetical cultures of France and Germany. It was gallery owner Herwarth Walden who first spoke of a ‘turning point’ in the transition from Im(pressionism) to Ex(pressionism). Despite the stark distinction that would later be drawn between the two styles, Impressionism and early Expressionism share surprisingly many characteristics. Both movements take an anti-academic stance, hold painting en plein air in high regard, portray immediate experiences of light and colour, and focus on the material details of the artists’ surroundings. In addition, subjectivity and the individual character of each artist’s brushwork were highly prized among exponents of both artistic movements. The Nationalgalerie is closely tied to the history of artists working in both styles. Through its director, Hugo von Tschudi, the Nationalgalerie was the first museum in the world to acquire Impressionist paintings, beginning in 1896 even before the Paris museums. Tschudi’s successor, Ludwig Justi, on the other hand, amassed a spectacular collection of Expressionist works after 1918 for the new wing of the Nationalgalerie, at the former crown prince’s palace on Unter den Linden. Moreover, Justi developed a ‘School of Seeing’ over many years, which aimed to elucidate the particular characteristics of various artworks by comparing them to one another. Bathers Variations on the theme of the bather in pastoral and idyllic settings have been found since antiquity. Bathing figures became a major motif in the paintings of late Impressionism and Expressionism as well. Paul Cézanne's images of unclothed men or women by the water, were not painted from nature but were carefully conceived and staged in his studio. They became the much-admired ideal for artists from both movements. The naked bodies which no longer met ideals of beauty, the absence of a mythological overlay and the reduction of shapes and spatial relationships all had a provocative effect. They inspired Cézanne’s contemporaries Pissarro, Degas, and Renoir from the end of the nineteenth century, and later influenced German artists such as Liebermann, Kirchner, and Pechstein. The modernist representations of bathers outdoors in nature, at the Moritzburg lakes and on the beaches of the North Sea and the Baltic Sea were based on a dream of a benevolent togetherness, close to nature and far from the stifling rules of the bourgeois world. Other painters looked for true ‘primitiveness’ in the South Seas, among the natives of Tahiti or Papua New Guinea. At the same time, however, the artists’ representations of people bathing, resting, or drying themselves also celebrate the pure joy of living and the appeal of nudity. Page 1 of 5 City, Suburb, Pedestrians Impressionism and Expressionism are urban cultures. Artists from both movements discovered the beauty of the growing metropolises for themselves: from the 1860s, Claude Monet and his fellow Impressionists were inspired by Paris, while from 1900, the Expressionists focused mainly on Berlin. Both cities were a source of artistic innovations in their time. Rapidly changing cities with their increasingly busy streets, glittering lights, broad boulevards, and bustling squares became a key motif for artists. In 1863, Charles Baudelaire described a painter wandering through the city as a flâneur: ‘He is looking for that something which you must permit me to call modernity.’ That ‘something’ also included darting pedestrians and cocottes in the city at night, the new means of transport and electric lights. Cityscapes seen by rain, fog or snow helped artists including Camille Pissarro and Lesser Ury, as well as Max Beckmann and Otto Dix, to make a variety of artistic discoveries. The artists’ subjective sensibilities, which were a product of their respective time, are captured in these images. The motif of the bridge crops up surprisingly often, including both traditional bridges over rivers and the new railway bridges. Frequently, it is precisely these pictures that testify to a poetic treatment of the cityscape, by means of reflections in the water and the depiction of space in atmospheric tones. Out of Doors The idea and experience of leisure time developed in the nineteenth century as a result of urbanization and industrialization, which entailed a life with fixed working hours. Leisure was seen as the private part of one’s life, and was regarded as a counterweight to the all-consuming world of work. Peace and quiet, amusing diversions and stimulating time spent together with friends and family offered a change of scene and the chance to relax. Recently constructed railways allowed members of the working class and middle class to travel to the city’s outskirts and into the countryside, away from the noise and stench of the metropolis. The Impressionists and Expressionists also heeded the call of the countryside and sought to redefine their relationship with nature within the context of recreational spaces. Here, even more than in the city, they employed the technique of painting en plein air using tubes of paint invented around 1840, which dried up less quickly and were easy to transport. River banks, meadows, and gardens, public parks, zoos, and lively spots in restaurants along the Seine in Paris or the Alster lake in Hamburg served as the artists’ subjects. Impressionism and Expressionism were the last modern and comprehensive styles to provide an unmediated, realistic view of ordinary people’s everyday lives. Country Homes The urge to travel to the countryside is as old as the city itself, dating back to antiquity. Representations of villas in the verdant locations can be found in Pliny and Vitruvius, forming the models on which architects and land owners based their country estates as late as the nineteenth century. Most of these homes were surrounded by carefully landscaped gardens and parks and were viewed as places of relaxation and repose. Shielded from the outside world, these estates served as retreats from the hectic bustle of the city, offering their owners not only a chance to connect with nature but also to increase their social standing. Towards the end of the nineteenth century, the garden became a popular and important motif for the avant-garde due to purely artistic reasons. Representations of gardens were not subject to an established tradition but rather were set in opposition to the generic canons of academic painting. Many artists including Claude Monet, Max Liebermann, Max Slevogt, and Emil Nolde acquired a Page 2 of 5 garden of their own. These gardens provided with a place to linger and offered the painter an appropriate range of subjects he might study under the most varied light and weather conditions. The phenomenon of the painter’s garden stems from this period. The play of colours itself was easily as important as observing the light and the effect of the atmosphere on the colours. Diversions The variety of establishments found in cities offered numerous options for socializing. Beginning in the 1850s, song and dance interludes offered by restaurants and known as ‘café-concerts’ were especially popular. Such venues supplied the stage for the female clown Cha-U-Kao to perform, for the chanson singer Emélie Bécat to sing risqué songs, and for can-can dancers to flounce their skirts. Vaudeville theatres such as the Moulin Rouge or the dance hall at the Moulin de la Galette in the Montmartre district of Paris also proved attractive. Ballets, operas and operettas, cabarets, theatres, fairgrounds, and circuses were part of a firmly established entertainment industry. Conversations over drinks in smoky pubs and restaurants led to fleeting sexual encounters – and lively artistic exchanges. Ludwig Meidner describes the coffeehouse as a preferred location for meetings, diversions, and pleasures. Yet an oppressive undercurrent often permeated this tremendous bustle, which many painters found particularly striking and worthy of representation. In 1863, Charles Baudelaire described the artist Constantin Guys, the dégagé flâneur of nighttime Paris, as a ‘painter of modern life’. Kirchner and Nolde recorded their experiences exploring Berlin’s nightlife for inspiration in very similar terms. Relationships The traditional roles of men and women shifted alongside the social and economic changes of the nineteenth century. This period gave rise to the concept of the distinct individual. Popular magazines and novels were filled with such themes as marriages of convenience or love, romantic affairs, and personal tragedies. Writers created striking psychological portraits of failed marriages: the era of Emma Bovary, Anna Karenina, and Hedda Gabler commenced in the 1850s. French and German Impressionism and early Expressionism originated from similar social conditions. Both movements produced a surprising number of pictures of couples and families, many of which were remarkably large in size. In a deliberate rejection of a Biedermeier-era family idyll, these paintings do not simply reflect reality, but rather show new models for familial roles. They emphasize the specific character of the individual rather than a couple’s togetherness or a family’s sense of belonging. Those painted are often turning or looking in different directions. Manet’s work, for example, is characterized by the vacant gaze of some of his subjects. Thus, in various ways, these pictures reflect the shifting gender dynamic of the late nineteenth century.