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#Expressionism

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Hotspur🏳️‍🌈🇺🇦

"Portrait of a Lady's Smile," Paul Klee, 1921.

Klee (pronounced "Clay," you philistines) was a Swiss/German artist who experimented a lot in Expressionism, Cubism, and Surrealism.

Klee (1879-1940) was teaching at the Bauhaus when he painted this It's a vastly intriguing work when you look closely. The lady here seems simultaneously in profile and facing front, a Cubist flair as they monkeyed with perspective, as well as how the overlapping shapes create a profile. But the features are almost cartoonish, which I think reflects Klee's humor; apparently a lot of his works contain dry jokes, if you know where to look.

From the Virginia Museum of Fine Arts, Richmond.

An Expressionist painting with aspects of Cubism. A variety of overlapping shapes in yellow and orange form a picture of a woman, who is simultaneously in profile and en face. Her eyes and mouth are cartoonishly drawn and are prominent by their incongruity.
#Art#Bauhaus#PaulKlee
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"Four Girls in Åsgårdstrand,"Edvard Munch, 1903.

We all know Munch. One thing that he did a lot was portraits of children, always without their parents. Munch's own mother had died when he was five, and he had a distant, uncaring father. So the sense of isolation and self-reliance that he felt as a child is externalized here.

There were just neighbor's children, posed by the wall of Munch's house. They stand facing the viewer, and the world, with only each other and their own resources to call on. It's partly sad, partly frightening, and partly empowering.

From the Munch Museum, Oslo.

An Expressionist quadruple-portrait of four young girls standing at a wall. The tallest, to the left, wears a gray smock with red edging and a broad straw hat. She holds the hand of a much younger child, in a blue dress, dark blue coat, and white hat. Next to her, a slightly taller girl with reddish hair wears a gray dress and a red hat. Beside her stands a slightly taller blond girl in a gray dress and black hat with points.
#Art#EdvardMunch#Expressionism
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Hotspur🏳️‍🌈🇺🇦

"Death and Life," Edvard Munch, 1894.

Norwegian Munch (1863-1944) is almost insanely famous for one painting, "The Scream," (which has become one of the art world's most parodied and marketed images) but there's so much more to him and his work.

His early life was often touched by illness and death, and he himself feared inheriting a mental illness that ran in his family. He took to painting to deal with his dreads.

He traveled around Europe, meeting people like Van Gogh, Gauguin, Toulouse-Lautrec, and even playwright August Strindberg. When WWII came, his work was banned by the Nazi party, and some of it seized, but most survived (a handful are still missing), securing his legacy.

He experienced mental health troubles, exacerbated by drinking, but with therapy and treatment he powered through and became more optimistic and bright in his outlook. He died during the Nazi occupation of Norway, and the party orchestrated his funeral and tried to hint that he had become one of them at the end, but nobody bought it.

This vision of a woman and a skeleton embracing reflects one of his common themes, the mingling of love and death, Eros and Thanatos. And it's seasonal.

From the Munch Musem, Oslo

An Expressionist painting. A skeleton and a nude woman embrace. They are roughly depicted, not realistic. The background is streaks of brown and blue and seem to indicate they are standing among bare trees.
#Art#NorwegianArt#EdvardMunch
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Hotspur🏳️‍🌈🇺🇦

"Interior with Three Figures in a Cafe," Erma Bossi, c. 1910.

Bossi (1875-1952) was Italian-born but her style was German Expressionism, with some influence, I think, from the Nabis.

There's not much biographical info about her, other than how she learned art in Munich, fled to Paris at the outbreak of WWI, and then returned to Milan but continued to exhibit with the avant-garde artists in Paris. She was one of the few women to participate in the Venice Biennales in 1930 and 1935.

I like how the figures communicate through posture, given that they have no faces, and the patches of color and pattern remind me very much of Vuillard, whose work is so dear to me.

From the Städtische Galerie im Lenbachhaus, Munich.

An Expressionist scene, with influence from the Nabi school. In a cafe, the eye is drawn first to a row of lights that cross the canvas diagonally. In the lower right corner, two women are seated in close conversation in a banquette, evidently sharing something private. In the background, a waiter in a white apron looks on, as if wondering if they need refills. None of the figures have facial features; all is communicated through posture. There are other chairs and tables, all empty, an orange wallpaper, and green curtains.
#Art#ItalianArt#Expressionism
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"Autumn," Marianne von Werefkin, c. 1907.

No, this isn't from the Madeline books by Ludwig Bemelmans, although it's certainly reminiscent. This is a few decades before that.

Russian-born von Werefkin (1860-1938) was a noted Expressionist painter who moved around a bit. She was from a noble Russian family, moved to Munich to immerse herself in the artistic and Expressionist scene (living on a pension from the Tsarist government), and fled to Switzerland at the outbreak of WWI, and experienced hardships after the October Revolution ended her pension and made her a stateless person. She passed away in the city of Ascona, where she is still a popular figure.

Here we have a scene of schoolgirls walking across a park as the sun sets. While cute on the surface, the paired-off students are all separate, and nobody seems to be talking or even looking at the other. Werefkin had a knack for depicting modern alienation, and despite her elite Tsarist background, would depict the common working man with dignity.

From the Museo Comunale d'Arte Moderna, Ascona, Italy.

An Expressionist painting. The scene is a city park at sunset. Against some mountains in the background. Some buildings can be seen to the right. On a path through bare trees, a group of girl students in school uniforms are walking, followed by their teacher. Although the girls walk two by two, the duos are spaced apart from each other, and there's no indication that they're speaking to each other or anything. Everyone seems intent on heading forward. The sky has a streak of orange against gray clouds.
#Art#Expressionism#MarianneVonWerefkin
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Matt Potter

In that painting, ‘Storm’ (1907), you can feel the figures resisting, in a Blakean way. Pushing against the forms that threaten, together. Their will becoming a force, & that force taking form in the physical world, as barriers, shelters, torrents, winds, trees.

The craving for protection and agency that the work of the mind, will & imagination could give her. Here it is again in ‘The Red Tree’.

The Red Tree, painting by Marianne von Werefkin. An artist sitting in the shadows of the mountain, with a red tree sheltering her from its bulk
#mariannevonwerefkin#art#expressionism
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Matt Potter

One of my favourite painters was at the Tate Modern’s ‘Blaue Reiter’ show, tho the she wasn’t one of the headline names. Marianne von Werefkin was Russian, via Germany and Switzerland. Her life in love, friendships, & art, was dynamic & untraditional, even chaotic.

But in all her work, you can feel the need to push against that overwhelming weight & chaos of the world, with whatever strength we have - physical, creative, psychological...

The Storm, by Mariannne von Werefkin, 1907, showing a group of figures seeming to hold off waves
#TateModern#Expressionism#art
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