"Everyone who renders directly and honestly whatever drives him to create is one of us."
Expressionism emerged simultaneously in various cities across Germany as a response to a widespread anxiety about humanity's increasingly discordant relationship with the world and accompanying lost feelings of authenticity and spirituality. In part a reaction againstand academic art, Expressionism was inspired most heavily by the currents in late nineteenth-century art. , , and proved particularly influential to the Expressionists, encouraging the distortion of form and the deployment of strong colors to convey a variety of anxieties and yearnings. The classic phase of the Expressionist movement lasted from approximately 1905 to 1920 and spread throughout Europe. Its example would later inform , and its influence would be felt throughout the remainder of the century in German art. It was also a critical precursor to the artists of the 1980s.
With the turn of the century in Europe, shifts in artistic styles and vision erupted as a response to the major changes in the atmosphere of society. New technologies and massive urbanization efforts altered the individual's worldview, and artists reflected the psychological impact of these developments by moving away from a realistic representation of what they saw toward an emotional and psychological rendering of how the world affected them. The roots of Expressionism can be traced to certain Post-Impressionist artists like Edvard Munch in Norway, as well as Gustav Klimt in the Vienna Secession, and finally emerged in Germany in 1905.
Edvard Munch in Norway
The late nineteenth-century Norwegian Post-Impressionist painter Edvard Munch emerged as an important source of inspiration for the Expressionists. His vibrant and emotionally charged works opened up new possibilities for introspective expression. In particular, Munch's frenetic canvases expressed the anxiety of the individual within the newly modernized European society; his famous painting(1893) evidenced the conflict between spirituality and modernity as a central theme of his work. By 1905 Munch's work was well known within Germany and he was spending much of his time there as well, putting him in direct contact with the Expressionists.
Gustav Klimt in Austria
Another figure in the late nineteenth century that had an impact upon the development of Expressionism was Gustav Klimt, who worked in the Austrian Art Nouveau style of the Vienna Secession. Klimt's lavish mode of rendering his subjects in a bright palette, elaborately patterned surfaces, and elongated bodies was a step toward the exotic colors, gestural brushwork, and jagged forms of the later Expressionists. Klimt was a mentor to painter, and introduced him to the works of and , among others, at an exhibition of their work in 1909.
The Advent of Expressionism in Germany
Although it included various artists and styles, Expressionism first emerged in 1905, when a group of four German architecture students who desired to become painters -, , , and - formed the group Die Brücke (the Bridge) in the city of Dresden. A few years later, in 1911, a like-minded group of young artists formed (The Blue Rider) in Munich, after the rejection of 's painting The Last Judgment (1910) from a local exhibition. In addition to Kandinsky, the group included , , and , among others, all of whom made up the loosely associated group.
The Term "Expressionism"
The term "Expressionism" is thought to have been coined in 1910 by Czech art historian Antonin Matejcek, who intended it to denote the opposite of Impressionism. Whereas the Impressionists sought to express the majesty of nature and the human form through paint, the Expressionists, according to Matejcek, sought only to express inner life, often via the painting of harsh and realistic subject matter. It should be noted, however, that neither Die Brücke, nor similar sub-movements, ever referred to themselves as Expressionist, and, in the early years of the century, the term was widely used to apply to a variety of styles, including Post-Impressionism.
Concepts and Styles
Die Brücke: Kirchner, Schmidt-Rottluff, Heckel, and Bleyl
Influenced by artists such as Munch, van Gogh, and Ensor, the members of the Dresden-basedgroup sought to convey raw emotion through provocative images of modern society. They depicted scenes of city dwellers, prostitutes, and dancers in the city's streets and nightclubs, presenting the decadent underbelly of German society. In works such as 's (1913), they emphasized the alienation inherent to modern society and the loss of spiritual communion between individuals in urban culture; fellow city dwellers are distanced from one another, acting as mere commodities, as in the prostitutes at the forefront of Kirchner's composition.
Unlike the pastoral scenes of Impressionism and the academic drawings of Neoclassicism, Die Brücke artists used distorted forms and jarring, unnatural pigments to elicit the viewer's emotional response. The group was similarly united by a reductive and primitive aesthetic, a revival of older media and medieval German art, in which they used graphic techniques such as woodblock printing to create crude, jagged forms.
The group published a woodcut broadsheet in 1906, called Programme, to accompany their first exhibition. It summarized their break with prevailing academic traditions calling for a freer, youth-oriented aesthetic. Although mostly written by Kirchner, this poster served as manifesto stating the ideals of Die Brücke. The members of Die Brücke drew largely from the writings of German philosopherin terms of both their artistic project and their philosophical grounding. Their name came from a quote from Thus Spoke Zarathustra (1883-85) that states, "What is great in man is that he is a bridge and not an end." The group exhibited and collaborated through 1913, when Kirchner penned Chronik der Brücke (Brücke Chronicle) and the collective effectively dissolved.
: Kandinsky, Macke, Klee, and Marc
The artists ofgroup shared an inclination towards abstraction, symbolic content, and spiritual allusion. They sought to express the emotional aspects of being through highly symbolic and brightly colored renderings. Their name emerged from the symbol of the horse and rider, derived from one of Wassily Kandinsky's paintings; for Kandinsky, the rider symbolized the transition from the tangible world into the spiritual realm and thus acted as a metaphor for artistic practice. For other members such as Franz Marc, Paul, Klee, and Auguste Macke, this notion became a central principle for transcending realistic depiction and delving into abstraction.
Althoughnever published a manifesto, its members were united by their aesthetic innovations, which were influenced by medieval and primitivist art forms, , and . However, the group itself was short-lived; with the outbreak of World War I in 1914, Franz Marc and Auguste Macke were drafted into German military service and were killed soon after. The Russian members of the group - , , and others - were all forced to return home. dissolved immediately thereafter.
French Expressionism: Rouault, Soutine, and Chagall
Expressionism's elasticity has meant that many artists beyond Germany's borders have been identified with the style., the French artist sometimes described as an Expressionist, may have influenced the Germans, rather than the other way around. He learned his vivid use of color and distortion of form from Fauvism, and, unlike his German Expressionist counterparts, Rouault expressed an affinity for his Impressionist predecessors, particularly for the work of . He is well known for his devotion to religious subjects, and particularly for his many depictions of the crucifixion, rendered in rich color and heavy layers of paint.
The Russian-French Jewish artistdrew upon currents from Cubism, Fauvism, and Symbolism to create his own brand of Expressionism in which he often depicted dreamy scenes of his Belarusian hometown, Vitebsk. While in Paris during the height of the modernist avant-garde, Chagall developed a visual language of eccentric motifs: "ghostly figures floating in the sky, the gigantic fiddler dancing on miniature dollhouses, the livestock and transparent wombs and, within them, tiny offspring sleeping upside down." In 1914, his work was exhibited in Berlin, and had an impact on the German Expressionists extending beyond World War I. He never associated his work with a specific movement, and considered his repertoire to be a vocabulary of images meaningful to himself, but they inspired many, including the Surrealists. remarked in the 1950s, "When Matisse dies, Chagall will be the only painter left who understands what colour really is."
, the Russian-Jewish, Paris-based painter, was a major proponent of the development of Parisian Expressionism. He synthesized elements from Impressionism, the French Academic tradition, and his own personal vision into an individualized technique and version of the style. The artist's expressive style has proved highly influential on subsequent generations.
Austrian Expressionism: Kokoschka and Schiele
Austrian artists such asand , were inspired by German Expressionism, but interpreted the style in their individual and personalized manners never forming an official association like the Germans. Kokoschka and Schiele sought to express the decadence of modern Austria through similarly expressive representations of the human body; by sinuous lines, garish colors, and distorted figures, both artists imbued their subjects with highly sexual and psychological themes. Although Kokschka and Schiele were the central proponents of the movement in Austria, Kokoschka became increasingly involved in German Expressionist circles; he left Austria and moved to Germany in 1910. Initially Kokoschka worked in a Viennese Art Nouveau style, but starting in 1908 he instinctively worked as an Expressionist, passionately seeking to expose an inner sensibility of the sitter in his early portraits. Schiele left Vienna in 1912 but remained in Austria, where he worked and exhibited until his death in the worldwide influenza epidemic of 1918.
Further Developments and Legacy
While certain artists rejected Expressionism, others would continue to expand upon its innovations as a style. For example, in the 1920s, Kandinsky transitioned to completely non-objective paintings and watercolors, which emphasized color balance and archetypal forms, rather than figurative representation. However, Expressionism would have its most direct impact in Germany and would continue to shape its art for decades afterwards. After World War I, Expressionism began to lose impetus and fragment. Themovement developed as a direct response to the highly emotional tenets of Expressionism, while the Neo-Expressionists emerged in Germany and then in the United States much later in the twentieth century, reprising the earlier Expressionist style.
New Objectivity: Dix, Grosz and Beckmann
Already by 1918, themanifesto claimed, "Expressionism...no longer has anything to do with the efforts made by active people." But its ethos would have a vivid afterlife; it was crucial in the early formation of artists , , and , who together formed the movement known as the Neue Sachlichkeit (New Objectivity). These artists sought, as the name suggests, an unsentimental and objective approach to artistic production. Their naturalistic renderings of individuals and urban scenes highlighted this new aesthetic and paralleled the general attitude of practicality that characterized Weimar culture.
Neo-Expressionism: Baselitz, Kiefer, and Schnabel
The emergence of's paintings of layered, vibrant colors and distorted figures in the 1960s, and of images buried amidst thick impasto built up from a variety of materials on the canvas in the 1970s, signaled an important and influential revival of the style within Germany, which would eventually culminate in a global movement in the 1980s. Artists in New York City, like , also employed thick layers of paint, unnatural color palettes and gestural brushwork to hearken back to the Expressionist movement earlier in the twentieth century.
The original Expressionist movement's ideas about spirituality, primitivism, and the value of abstract art would also be hugely influential on an array of unrelated movements, including Abstract Expressionism. The Expressionists' metaphysical outlook and instinctive discomfort with the modern world impelled them to antagonistic attitudes that would continue to be characteristic of various avant-garde movements throughout the century.
"With faith in progress and in a new generation of creators and spectators we call together all youth. As youth, we carry the future and want to create for ourselves freedom of life and of movement against the long-established older forces. Everyone who reproduces that which drives him to creation with directness and authenticity belongs to us."
- Ernst Ludwig Kirchner, from a woodcut broadsheet that accompanied the Die Brücke exhibition at the Seifert factory, Dresden, 1906
"The German artist creates out of his imagination, inner vision, the forms of visible nature are to him only a symbol."
- Ernst Ludwig Kirchner
"Art is nothing but the expression of our dream; the more we surrender to it the closer we get to the inner truth of things, our dream-life, the true life that scorns questions and does not see them."
- Franz Marc
"I really feel a pressure to create something that is as strong as possible. The war has really swept away everything form the past. Everything seems weak to me and I suddenly see things in their terrible power. I never liked the type of art that was simply appealing to the eye, and I have the fundamental feeling that we need still stronger forms, so strong, that they can withstand the force of the crazed masses."
- Karl Schmidt-Rottluff
"True dreams and visions should be as visible to the artist as the phenomena of the objective."
- Oskar Kokoschka
"Incomprehensible ideas express themselves in comprehensible forms...Form is a mystery to us for it is the expression of mysterious powers...Our senses are our bridge between the incomprehensible and the comprehensible."
- August Macke