DOCSLIB.ORG

Paul Klee Centennial: Prints and Transfer Drawings

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Paul Klee Centennial: Prints and Transfer Drawings Paul Klee Centennial PRINTS AND TRANSFER PR AWTM1S jk f i-Vioo JJBRARYJ ' Museumcf !,; &:n : Rail h lee Centennial PRINTS AND TRANSFER DRAWINGS January8 - April3, 1979 TheMuseum of ModernArt, New York /hclui/C tit? ft i j iSj T> Trusteesof The Museumof ModernArt WilliamS. Paley,Chairman of the Board;Gardner Cowles, Mrs.Bliss Parkinson, David Rockefeller, ViceChairmen; Mrs. John D. Rockefeller3rd, President;Mrs. Frank Y. Larkin,Donald B. Marron, JohnParkinson III, Vice Presidents; John ParkinsonIII, Treasurer; Mrs. L. vA.Auchincloss, EdwardLarrabee Barnes, Alfred H. Barr,Jr.,* Mrs.Armand P. Bartos,Gordon Bunshaft, Shirley C. Burden,William A.M. Burden, Thomas S. Carroll, FrankT. Cary, IvanChermayeff, Mrs. C. Douglas Dillon,Gianluigi Gabetti, PaulGottlieb, George HeardHamilton, Wallace K. Harrison,*Mrs. Walter Hochschild,*Mrs. John R. Jakobson,Philip Johnson, Mrs.Frank Y. Larkin,Ronald S. Lauder,John L. Loeb, RanaldH. Macdonald,*Mrs. G. Macculloch Miller,*J. IrwinMiller,* S. I. Newhouse,Jr., RichardE. Oldenburg,Peter G. Peterson,Gifford Phillips,Nelson A. Rockefeller,*Mrs. Albrecht Saalfield,Mrs. Wolfgang Schoenborn,* Martin E. Segal,Mrs. Bertram Smith, James Thrall Soby,* Mrs.Alfred R. Stern,Mrs. Donald B. Straus,Walter N. Thayer,R.L.B. Tobin, EdwardM.M. Warburg,* Mrs.Clifton R. Wharton,Jr., MonroeWheeler,* John HayWhitney* * HonoraryTrustee Ex Officio EdwardI. Koch, Mayorof the Cityof New York; HarrisonJ. Goldin,Comptroller of the Cityof New York. Frontcover: VulgarComedy (1922) Copyright©1979, TheMuseum of ModernArt 11 West53 Street,New York,New York10019 2 PAULKLEE CENTENNIAL: PRINTS AND TRANSFERDRAWINGS The graphicwork of PaulKlee reveals in itsdiversity a complexnetwork of interlockingthemes realized throughinventive working methods. His intricate visualvocabulary was evolvedthroughout a lifetime in whichhe conceivedand pursuedideas relating to time, music,science, and philosophy.Klee's journey "with in"-- by whichhe examinedhis own thoughtprocesses as an aid to renderingthem visible -- is registered in coDiousnotations in diariesand letters,later to takeform as theoreticalwritings oublished during hisdecade at the Bauhausin Weimarand Dessau. Bornto a Germanfather and Swissmother in 1879near Bern,Switzerland, in the smalltown of Munchenbuch- see,Klee grew up amidstthe tensions of twocultures in a musicians'household. Music remained a solid influencethroughout his life,as seenin the rhythmic undulationof line(at times figures and abstract passagesare representedby bandsof parallellines whichsuggest music notations) and in the serialver sionsof themesthat appear in hiswork like repeated yet alteredmelodic passages. In a diaryentry Klee stated:"In my eyes,the engravings lie before me as a complicatedOpus One." In 1905he stated:"More and moreparallels between music and thegraphic arts forcethemselves upon my consciousness." Kleefirst became interested in printmakingtech niquesduring the summerof 1899when he met Walter Ziegler,who showedhim his printmaking workshop in Burghausen.In a letterto hismother he wrote:"And nowcomes the most important thing: I havemet a well knownetcher^named Ziegler. He hasseen my sketch bookand he immediatelyinvited me to comesee him. He'wantsto tellme themost important things about etchingand aquatint " AlthoughKlee's prints representa small percentage of hisoeuvre of more than8,000 works, his analysis of graphicprocesses helpedto instilla tastefor technicalexperimen tationand expansionof the limitsof allmedia. The transferprocess, a formof monotypeprocedure whichhe developedin 1919as a meansof transferring a drawingonto another piece of drawingpaper or lithographictransfer paper, was bornout of early graphicexperimentation and a willingnessto take risks.^ In a notewritten on September1, 1902,Klee said:"Today I madea niceexperiment. I covereda glassplate witha layerof asphalt;with a needle,I rew linesinto it, which I was thenable to copy photographically.The resultresembles an engraving." The firstetchings on copperand zinc(Klee preferred workingon zincbecause of thequality of lineit pro duced)_reflect _the influenceof a tightformalist academictraining at the ErwinKnirr School and the MunichArt Academy, where he workedfrom life models and fromnature. However, his studyof humananatomy gaveway to therendering of grotesquesatirical imagesrooted partly in lifeand partly in the imagin ation- Exaggeratedanatomical details are drawnand etchedwith the same meticulous detail as inanimate objects,as in themerging of a treeand humanform in 903),,,the nnnr? in Tree O and The Herowith the Winn (1905).He notedin 1905:"Insight: Ihe new art does not formfrom objects but feelingsfor objects and withobjects. The end of theOld Master School. The artistdoes not produce nature herself, but ratherthe aw of nature."His inventionof fantasticspectral nguresdemonstrates his admirationfor thework of FranciscoGoya and WilliamBlake. The fantasydraws fromlife its parody of theaesthetic taste and social moresof theperiod. AlthoughKlee utilized aquatint as a meansof augment ingthe surface and tonalqualities of hisetchinqs he movedtowards a sugarlift etching process as a meansof creatinga moredynamic, textured linear 9?:+u(In rocess II?H P a mixtureof sugar,water, and lithographicink is usedto drawupon a copperor zincetching plate. Asphaltum is appliedover the entireplate which is thenplaced in waterand the PPlied lftS ] areaS of the a asphaltum.) he liftingof an area,whether accidental or in tentional,and the falsebiting of theplate, as well subtleuse of platetone (that is, leavinga thin filmof inkover the unbittenareas when wiping the plate),turned Klee's efforts away from the more tightlycontrolled image and surface of hisearlier etchings.Examples of thesurface quality rendered in thesugar lift process may be seenin Two Nudes ! (1907),The Drinker(1910), Height (1928),and Tl931Prickle,the Clown~ ). Additionalexperimentation withthe intaglioprocess included developing a tech niqueof drypointon celluloid:a softer drypoint lineis createdwith ink feathering out fromthe core, as canbe seenin Pergola(1910), and Railroad Station0911). Hand-printingplates that he worked likea woodblockrather than an etchingmay havebeen an earlylink to Klee'slater development of an oil transferprocess for his drawingsand prints.In a diarynotation of 1907Klee wrote about a hand-printed etchingof whichfew proofs were pulled, "... a zinc plateworked [etched] under heavy pressure. It is an exampleof thestyle of oldwoodcuts. I was ableto makea fewprints of it by hand. It is notetched deeplyenough for the press. I was ableto makethe printappealing by coloring[it]." Concurrentwith his experiments, Klee developed his themesthrough_numerous versions in differentmedia. Theearly physiognomical allegorical etchings were eachpreceded by a meticulouslyrendered drawing, a Never, processhe was to continue.( Endingan etching of 1930,corresponds to a penciland pen-and-inkdraw ing;the transferlithograph Vulgar Comedy was pre cededby a crayondrawing). Klee developed the oil- tracingtransfer method in 1919,after having served twoyears in WorldWar I. Glimmersof thepossibil itiesof the transferprocess are seenin an early . lithographof 1912,At theWindow Therethe imageis drawnon thestone, over which Klee imposed texturingby meansof a transferprocess. In Comedy of (1918),Klee's fingerprints, used as a com positionalelement, are clearlytransferred in the lowerright of the image,while the ghosts of other transferredimages flicker around the centralaxis of thecomposition. In Klee'sinnovative method, tracing paperwas transformedinto a typeof carbonpaper by paintingone sidewith printer's ink or oil paint.The 6 drawing(or model of a drawing)was placedon topand meticulouslytraced with a needle.Simultaneously a pieceof drawingpaper or lithographictransfer paper was placedunder the painted surface to receivethe drawing.The pressureof hishand left an impression of theweave of the paper,making visible the paper's surfacequalities (Klee could intentionally rub the surfaceor accidentallytransfer surface texture monotypically"to the paper).The Twittering Machine (1922)was drawnby thistransfer method and augmented withwatered or and penand ink. (Kleeis saidto haveinvented a mechanicalcontraption he calleda "twitteringmachine"). The Tightrope Walker (1923), a colorlithograph, was alsomade by thismethod, in whichthe imagewas transferredto lithographictrans ferpaper and thenrun throughthe press to transfer the imageto thestone. The finalprinted image appearsin thesame order as thedrawing, and notas a mirrorimage. The edges and surfacearea of the tracing-papertransfer image, smaller than the over allsize of thestone and sheet,add a simultaneous, accidental,"compositional note. Kleewas invitedto jointhe facultyof the Bauhausin 1921as Masterof Form. Duringhis tenurehe worked withstudents in workshopson stainedglass, weaving, painting,and bookbinding.This opportunity permitted himaccess to the Bauhausprint workshop and to work alongsideartists whose ideas were compatible, such as LyonelFeininger (with whom he sharedan interestin music)and Kandinsky(whom he met in 1911during his involvementwith Blaue Reiter activities in Munich), andwith others whose ideas differed from his own, suchas WalterGropius and Oskar Schlemmer. "I wel comedthe fact that forces so diverselyinspired are workingtogether at our Bauhaus,"he wrote. "I approveof theconflict between them if theeffect is evidentin thefinal product. To tacklean obstacle is a goodtest of strength,if it is a realobstacle ....On thewhole, there is
Load more

Recommended publications
  • Feininger Klee Bauhaus Feininger Klee Bauhaus
    feininger klee bauhaus feininger klee bauhaus 01.05.2019 — 18.01.2020 New York Dortmund Wien Inhalt contents 06 Lyonel Feininger – vom Karikaturisten zum Bauhausmeister Wolfgang Büche 07 Lyonel Feininger —from Caricaturist to Bauhaus Master Wolfgang Büche 22 werke Lyonel Feininger 22 works by Lyonel Feininger 60 lyonel feininger über paul klee 61 lyonel feininger on paul klee 70 werke Paul Klee 70 works by paul klee 84 biografien 84 biographies 92 ausgestellte werke 92 exhibited works 104 impressum Die Bauhausmeister auf dem Dach des Bauhauses in Dessau anlässlich der Eröffnung am 4. und 5. Dezember 1926 The Bauhaus Masters on the roof of the Bauhaus in Dessau at its opening on December 4 & 5, 1926 104 imprint Lyonel Feininger 04 05 Lyonel Feininger Lyonel Feininger – vom Karikaturisten —from Caricaturist zum Bauhausmeister to Bauhaus Master Wolfgang Büche Wolfgang Büche Als Lyonel Feininger im Mai 1919 als der erstberufene Bau- When Lyonel Feininger was sitting on the train to Weimar hausmeister im Zug nach Weimar saß, gehörte er in Deutsch- in May 1919 on his way to become one of the first Bauhaus land bereits zu den arrivierten Malern. Es gab Sammler masters appointed to teach at the school, he was already seiner Werke und Museen begannen sich für sein Schaffen a well-established painter in Germany. There were already zu interessieren. Mit seiner ersten Einzelausstellung 1917 in a few collectors of his work, and museums were starting to der Galerie Der Sturm in Berlin war er endgültig als einer der take an interest in him. His first solo exhibition at the Galerie Protagonisten der Moderne in Deutschland eingeführt.
    [Show full text]
  • UNSEEN WORKS of the EUROPEAN AVANT-GARDE An
    Press Release July 2020 Mitzi Mina | [email protected] | Melica Khansari | [email protected] | Matthew Floris | [email protected] | +44 (0) 207 293 6000 UNSEEN WORKS OF THE EUROPEAN AVANT-GARDE An Outstanding Family Collection Assembled with Dedication Over Four Decades To Be Offered at Sotheby’s London this July Over 40 Paintings, Sculpture & Works on Paper Led by a Rare Cubist Work by Léger & an Intimate Picasso Portrait of his Secret Lover Marie-Thérèse Pablo Picasso | Fernand Léger | Alberto Giacometti | Wassily Kandinsky | Lyonel Feininger | August Macke | Alexej von Jawlensky | Jacques Lipchitz | Marc Chagall | Henry Moore | Henri Laurens | Jean Arp | Albert Gleizes Helena Newman, Worldwide Head of Sotheby’s Impressionist & Modern Art Department, said: “Put together with passion and enjoyed over many years, this private collection encapsulates exactly what collectors long for – quality and rarity in works that can be, and have been, lived with and loved. Unified by the breadth and depth of art from across Europe, it offers seldom seen works from the pinnacle of the Avant-Garde, from the figurative to the abstract. At its core is an exceptionally beautiful 1931 portrait of Picasso’s lover, Marie-Thérèse, an intimate glimpse into their early days together when the love between the artist and his most important muse was still a secret from the world.” The first decades of the twentieth century would change the course of art history for ever. This treasure-trove from a private collection – little known and rarely seen – spans the remarkable period, telling its story through the leading protagonists, from Fernand Léger, Pablo Picasso and Alberto Giacometti to Wassily Kandinsky, Lyonel Feininger and Alexej von Jawlensky.
    [Show full text]
  • LYONEL FEININGER Cover of the Manifesto
    LYONEL FEININGER Cover of the manifesto »The01 ultimate aim of all creative Feininger’s Expressionist cathedral has three towers with star-topped spires, from which beams activity is the building,« states of light go out in various directions. The three spires stand for architecture, the arts, and the Walter Gropius’ Bauhaus manifesto. crafts. Naturally, architecture was represented by the central and tallest spire. The primacy He saw building as a social, intel- of architecture was unquestioned, and the study of architecture was to stand at the center of lectual,and symbolic activity, a education. The other arts and crafts were ancillary to it. union of genres and vocations, the But, as so often, there was a world of difference between the vision and the reality, for leveling of differences in status. The though Feininger’s visionary woodcut makes a clear affirmation, the training of architects Gothic cathedral epitomized this. played virtually no part in the early years of the Weimar Bauhaus. In 1923, Gropius was able to mount the International Architectural Exhibition, which he had put together in the context of the Bauhaus exhibition—the first presentation of modern architecture in the 1920s—but the setting up of the study of architecture as a Bauhaus training program did not take place until the Bauhaus moved to Dessau. Two versions: one goal Even before Lyonel Feininger became the first teacher to be appointed by Walter Gropius, in the spring of 1919, and to begin his activity at the newly founded Bauhaus, he was given the 1871 Born in New York on July 17 task of supplying a programmatic illustration for the Bauhaus manifesto.
    [Show full text]
  • Lyonel Feininger
    1. Lucia Moholy 2. Lyonel Feininger British, born Czechoslovakia, 1894–1989 American, 1871–1956 Untitled [Southern View of Newly Completed Bauhaus, Dessau], 1926 “Moholy’s Studio Window” around 10 p.m., 1928 Gelatin silver print Gelatin silver print Sheet: 5.7 x 8.1 cm (2 1/4 x 3 3/16 in.) Image: 17.8 x 12.8 cm (7 x 5 1/16 in.) The J. Paul Getty Museum, Los Angeles Bauhaus-Archiv Berlin © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn 85.XP.384.100 EX.2011.6.82 The J. Paul Getty Trust 1200 Getty Center Drive, Suite 403 Tel 310 440 7360 www.getty.edu Communications Department Los Angeles, CA 90049-1681 Fax 310 440 7722 The J. Paul Getty Trust 1200 Getty Center Drive, Suite 403 Tel 310 440 7360 www.getty.edu 3. LyonelCommunications Feininger Department Los Angeles, CA 90049-1681 Fax 310 440 77224. Lyonel Feininger American, 1871–1956 American, 1871–1956 Bauhaus, March 22, 1929 Bauhaus, March 26, 1929 Gelatin silver print Gelatin silver print Image: 17.8 x 23.9 cm (7 x 9 7/16 in.) Image: 17.9 x 24 cm (7 1/16 x 9 7/16 in.) Harvard Art Museums/Busch-Reisinger Museum, Gift of Mr. and Mrs. Harvard Art Museums/Busch-Reisinger Museum, Gift of T. Lux Lyonel Feininger Feininger © ArtistsThe J. PaulRights Getty Society Trust (ARS), New1200 York Getty / VG Center Bild-Kunst, Drive, Suite Bonn 403 Tel 310 440 7360 © Artistswww.getty.edu Rights Society (ARS), New York / VG Bild-Kunst, Bonn EX.2011.6.1Communications Department Los Angeles, CA 90049-1681 Fax 310 440 7722 EX.2011.6.2 The J.
    [Show full text]
  • Outstanding Works of German Expressionism at Villa Grisebach's
    Outstanding works of German Expressionism at Villa Grisebach’s autumn auctions Villa Grisebach’s autumn auctions from November 27 until 30 present 1294 works of art with a median pre-sale estimate of 18 million euros. Masterworks of Modern Art form the traditional focus, while the Photography, 19th Century Art and Contemporary Art sections find themselves expanded again. Selected Objects of the decorative and fine arts enrich the discriminating offerings of the four-day sales in the ORANGERIE auction (see separate press release). The sales’ opening auction is 19th Century Art on November 27: A late, finished master drawing by Adolph Menzel created in 1894 in Karlsbad deserves special attention (estimate € 50,000 / 70,000) much as the preliminary study in oil for Max Liebermann’s famous “Flachsscheuer” painting at Alte Nationalgalerie in Berlin (€ 140,000 / 180,000). After the ORANGERIE auction on the morning of November 28, Selected Works presents from 5 PM a selection of highlights that span the entire 20th century: This evening sale begins with Paula Modersohn-Becker’s painting, “Landschaft mit Moortümpel,” from 1900; it ends with Thomas Demand’s photograph, “Campingtisch” from 1999. In between, modern master works of museum quality are on offer: Max Liebermann’s painting “Garten in Noordwijk-Binnen” of 1909 (€ 500,000 / 700,000) and his “Blumenterrasse im Wannseegarten nach Nordwesten” of 1915 (€ 350,000 / 500,000). The leading artist groups of German Expressionism, “Die Brücke” and “Der Blaue Reiter,” are represented with important works. Karl Schmidt-Rottluff’s “Watt bei Ebbe” is a museum quality example for the Expressionists’ new will around 1912 to experiment with composition and powerful colors (€ 1,000,000 / 1,500,000).
    [Show full text]
  • Storm of Progress: German Art After 1800 from the Collection of the Saint Louis Art Museum
    Audio Guide Transcript Storm of Progress: German Art After 1800 from the Collection of the Saint Louis Art Museum November 8, 2020–February 28, 2021 Main Exhibition Galleries STOP 1 Introduction Gallery: Director’s Welcome Speaker: Brent Benjamin Barbara B. Taylor Director Saint Louis Art Museum Hello, I’m Brent Benjamin, Barbara B. Taylor Director of the Saint Louis Art Museum. It’s my pleasure to welcome you to Storm of Progress: German Art after 1800 from the Collection of the Saint Louis Art Museum. COVID-19 has disrupted most art shipping, and as a consequence, we have revised our exhibition schedule to develop this extraordinary show, which tells a 200-year story of German art drawing on the Museum’s holdings, a collection that is virtually unparalleled outside of Germany. The Museum’s collection of German art is unique for an American museum. It includes a strong focus on German Expressionism and the works of Max Beckmann as well as every major artist in German postwar and contemporary art, including such luminaries as Anselm Kiefer, Gerhard Richter, and Sigmar Polke. This unique civic treasure is a testament to the philanthropic support of our patrons, notably Morton D. May, and we celebrate that generosity by presenting Storm of Progress free of charge. This exhibition audio guide offers 16 expert commentaries. You will discover many different perspectives on German art narrated by the Museum’s modern and contemporary art curators. You will also hear from our curators of American art, decorative arts and design, and prints, drawings, and photographs, highlighting the collaborative nature of this collection and institution.
    [Show full text]
  • THE WHITNEY to PRESENT LYONEL FEININGER: at the EDGE of the WORLD , the ARTIST’S MOST COMPLETE RETROSPECTIVE to DATE June 30-October 16, 2011
    THE WHITNEY TO PRESENT LYONEL FEININGER: AT THE EDGE OF THE WORLD , THE ARTIST’S MOST COMPLETE RETROSPECTIVE TO DATE June 30-October 16, 2011 Lyonel Feininger, In a Village Near Paris (Street in Paris, Pink Sky), 1909. Oil on canvas, 39 ¾ x 32 in. (101 x 81.3 cm) University of Iowa Museum of Art, Iowa City; gift of Owen and Leone Elliott 1968.15 © Lyonel Feininger Family, LLC./Artists Rights Society (ARS), New York NEW YORK, April 19, 2011 – Lyonel Feininger has long been recognized as a major figure of the Bauhaus, renowned for his romantic, crystalline depictions of architecture and the Baltic Sea. Yet the range and diversity of his achievement are less well known. Lyonel Feininger: At the Edge of the World , the artist’s first retrospective in the United States in forty-five years, is the first ever to incorporate the full breadth of his art by integrating his well-known oils with his political caricatures and pioneering Chicago Sunday Tribune comic strips; his figurative German Expressionist compositions; his architectural photographs of Bauhaus and New York subjects; his miniature hand-carved, painted wooden figures and buildings, known as City at the Edge of the World ; and his ethereal late paintings of New York City. Curated by Barbara Haskell with the assistance of Sasha Nicholas, the exhibition debuts at the Whitney Museum of American Art from June 30 to October 16, 2011, and subsequently travels to The Montreal Museum of Fine Arts, January 16 –May 13, 2012. Born and raised in New York City, Lyonel Feininger (1871–1956) moved at the age of sixteen to Germany to study music.
    [Show full text]
  • Paul Klee Born 1879 in Münchenbuchsee, Switzerland
    This document was updated January 5, 2021. For reference only and not for purposes of publication. For more information, please contact gallery. Paul Klee Born 1879 in Münchenbuchsee, Switzerland. Died 1940 in Muralto, Switzerland. EDUCATION 1898 Royal Academy of Fine Arts, Munich SOLO EXHIBITIONS 2020 Mapping Klee, Zentrum Paul Klee, Bern, Switzerland, May 21 – October 4, 2020 Paul Klee: Late Klee, David Zwirner, London, March 6 – April 18, 2020 Klee in North Africa: 1914, Tunisia | Egypt, 1928, Museum Berggruen, Staatliche Museen zu Berlin, March 3 – July 26, 2020 2019 Paul Klee / Roland Kollnitz – Balance, Beck & Eggeling International Fine Art, Vienna, September 19 – November 7, 2019 [two-person exhibition] Paul Klee: 1939, David Zwirner, New York, September 10 – October 26, 2019 Beyond Laughter and Tears: Klee, Chaplin, Sonderegger, Zentrum Paul Klee, Bern, Switzerland, August 23, 2019 – May 24, 2020 [two-person exhibition] Paul Klee and Anni Albers, San Francisco Museum of Modern Art, San Francisco, March 22 – August 4, 2019 [two-person exhibition] Paul Klee – Equilíbrio Instável, Centro Cultural Banco do Brasil, São Paulo, February 13 – April 29, 2019 [itinerary: Centro Cultural Banco do Brasil, Rio de Janeiro, May 14 – August 12, 2019; Centro Cultural Banco do Brasil, Belo Horizonte, August 27 – November 18, 2019] 2018 Paul Klee, The Berggruen Collection from The Metropolitan Museum of Art, National Gallery of Canada, Ontario, Canada, November 16, 2018 – March 17, 2019 [collection display] Paul Klee. Alle orgini dell’arte, Museo delle Culture (MUDEC), Milan, Italy, October 31, 2018 – March 3, 2019 Paul Klee. Animality, Zentrum Paul Klee, Bern, Switzerland, October 19, 2018 – March 17, 2019 Paul Klee.
    [Show full text]
  • Report 2, by Dr Jill Lloyd Assessment of the Collection As a Key Asset In
    Report 2, by Dr Jill Lloyd Assessment of the collection as a key asset in the worldwide understanding of German Expressionism Introduction Leicester City’s collection of German Expressionist Art plays a unique role in promoting the worldwide understanding of German Expressionism. Not only does it feature outstanding individual examples of German Expressionist art; it also includes an impressive range of artworks, in particular works on paper, which illuminate the history, background and development of the Expressionist movement. Although certain artists (such as August Macke) and certain representative works, which are present in the most important international collections of German Expressionism (particularly in Germany and the United States), are missing from the Leicester collection, this weakness is compensated for by the inclusion of émigré artists and women artists whose works are difficult to find elsewhere. The so-called ‘lost generation’ of German and Austrian émigré artists - including Martin Bloch, Marie-Louise von Motesiczky, Ernst Neuschul and Margarete Klopfleisch - is particularly well represented in Leicester by works in the permanent collection and important loans that contribute to the collection’s unique character. Moreover, although there are several museums in the United States (listed in section B) that have benefited from donations by German émigré collectors, Leicester is the only museum in the United Kingdom that has such deep historical links with major émigré collectors of German Expressionism, such as Albert, Tekla and Hans Hess, and Dr Rosa Schapire. From an international perspective, Leicester’s collection of German Expressionist art tells the story of émigré culture in the United Kingdom in a unique fashion, playing a vital role in our understanding of the reception and dissemination of the Expressionist movement, and preserving many works for posterity that might otherwise have fallen victim to the violent upheavals of twentieth-century history.
    [Show full text]
  • Modern Times: Responding to Chaos Drawings and Films Selected by Lutz Becker
    Modern Times: responding to chaos drawings and films selected by Lutz Becker 16 January – 14 March 2010 Feature in Landscape, 1948, William Gear Teachers’ Support Notes • Introduction to the exhibition • Brief biography of the curator, Lutz Becker, and a full list of artists in the show • Key ‘isms’ and art movements o Geometrical (Futurism, Suprematism, Constructivism, Minimalism) o Expressive (Expressionism, Abstract Expressionism, Conceptual Art) • Key ideas, including suggested lines of questioning o Time o Movement o Gesture o Body o Technology and the Machine Age • Artists who names appear in bold are included in the exhibition To book a visit, please call 01223 748100 or email [email protected]. Kettle’s Yard, Castle Street, Cambridge, CB3 0AQ, www.kettlesyard.co.uk Modern Times: responding to chaos drawings and films selected by Lutz Becker Kettle’s Yard is launching a new series of exhibitions called Modern Times. People creatively involved in the 20th and 21st centuries are asked to trace their own paths through the art of our times. For the first exhibition, Modern Times: responding to chaos, film-maker, painter and curator, Lutz Becker focuses on drawing and film, the oldest and most fundamental medium and one of the most modern. The subtitle of this first exhibition, ‘responding to chaos’, reflects the predicament of artists in a period marked by totalitarian regimes, world wars, nuclear and climatic threats, and accelerating technological and social change. It has also been a time when established values have been open to criticism and doubt and international cultural influences have enhanced the awareness of their relativity.
    [Show full text]
  • 100 Years of Bauhaus
    The Wayback Machine - https://web.archive.org/web/20190330143124/https://www.blouinartinfo.com/news/story/3604227/100-years-of-bauhaus 100 Years of Bauhaus BY NINA SIEGAL | MARCH 27, 2019 (/WEB/20190330143124IF_/HTTPS://WWW.BLOUINARTINFO.COM/#FACEBOOK) (/WEB/20190330143124IF_/HTTPS://WWW.BLOUINARTINFO.COM/#TWITTER) (/WEB/20190330143124IF_/HTTPS://WWW.BLOUINARTINFO.COM/#PINTEREST) View Slideshow (/web/20190330143124/https://www.blouinartinfo.com/photo- galleries/100-years-of- bauhaus) The Bauhauschapel (T. Lux Feininger: clarinet, Waldemar Alder: Trumpet, Ernst Egeler: Drums, Clemens Röseler: Trombone, Friedhelm Strenger: Piano), Dessau 1930. Exhibition: 2019 Triennale der Moderne – Weimar, Dessau, Berlin (January 1, 2019 – December 31, 2019). (Image Courtesy: Photo: Unknown/ © Bauhaus-Archive Berlin) Bauhaus was a school, but it was much more than a school. It was a locus of experimentation, for art and architecture, lighting, stage design, typography, performance, dance and furniture design — but more than that, it was where the teaching of art itself was revolutionized. “Art and the people must form an entity,” a flyer for the Bauhaus boldly declared. “Art shall no longer be a luxury of the few but should be enjoyed and experienced by the broad masses.” The first iteration of the school, Staatliches Bauhaus, opened 100 years ago this year, in 1919 in Weimar, Germany, during the period of the Weimar Republic. It lasted just 14 years, in three locations, and became the ultimate expression of inter-war values — an effort to expunge the violent history of the First World War — and an expression of freedom in Europe that existed only until the Nazis came to power. Even when the school finally closed in 1933, Bauhaus did not end — it simply moved and morphed and influenced almost everything that we think of today as Modernist culture.
    [Show full text]
  • Gallery Guide German Expressionism from the Detroit Institute of Arts
    from the Detroit Institute of Arts Fig. 1 In 1905, four architecture students named Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner, and Karl Schmidt-Rottluff formed the artist group Die Brücke (The Bridge) in Dresden. One year later, they issued a woodcut with this rallying cry to fellow artists: With faith in development and in a new generation of creators and appreciators we call together all youth. As youth, we carry the future and want to create for ourselves freedom of life and of movement against long-established older forces. Everyone who with directness and authenticity conveys that which drives him to creation, belongs to us.1 Die Brücke sought to overthrow the established order of art and society in turn-of-the-century Germany. Working together until 1913, its members developed a group painting style characterized by distorted forms, vigorous brushstrokes, and vivid colors (cover and fig. 2). Simultaneously, they experimented with the starkness of traditional German black-and-white printmaking (fig. 1). Following in the footsteps of the Dutch artist Vincent van Gogh (1853–1890) and the Norwegian artist Edvard Munch (1863–1944), they focused on conveying psychological states and emotions rather than outward appearances. The young, self-trained artists of Die Brücke formulated the distinctive visual language and the fundamental premise of German Expressionism, one of the major movements in modern art. This exhibition of German Expressionist painting, sculpture, and works on paper, which is drawn exclusively from the extraordinary collection of the Detroit Institute of Arts (DIA), explores the entire breadth of this artistic movement from its beginnings around 1905 through 1950.
    [Show full text]