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Journal articles on the topic 'Expressionism (Art)'
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Chow, Sow Yeng, and Sarena Abdullah. "The Shaping of Malaysian Abstract Expressionist Art within the Context of Malaysian Modern Art (1950s-1970s)." Melayu: Jurnal Antarabangsa Dunia Melayu 17, no. 1 (January 1, 2024): 57–84. http://dx.doi.org/10.37052/jm.17(1)no3.
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Abstract Expressionism is an art form that began in the West and later gained influence in the East. In the years after World War II, Abstract Expressionism became the catalyst in the transition of modern art in Asia. In Malaysia, with the advocacy of Abstract Expressionism and the spirit of Expressionism, abstract art became mainstream in the art scene since the 1950s. Abstract Expressionism from two different worlds—America and/or Europe and Malaysia—is different, especially in terms of the artists’ respective approach and creativity. This article discusses how the evolution of abstraction works through the artworks produced by Syed Ahmad Jamal, Yeoh Jin Leng, Latiff Mohidin, and Chew Teng Beng. This is followed by a discussion on the diversity of abstraction forms in Malaysian Abstract Expressionist art through the study of works by the aforementioned artists
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Guo, Miao, Zidi Guo, Jing Pan, and Qing Pi. "Analyze the Study of Expressionism in the Field of Visual Communication Design." BCP Social Sciences & Humanities 22 (August 2, 2023): 105–10. http://dx.doi.org/10.54691/bcpssh.v22i.5347.
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Expressionism is a complex term with different meanings in different periods. When we think of Expressionism, we think of the trend of French Impressionism, or of a wave of art in Germany and Austria in the early 20th century. The term Expressionism has a wide connotation and can include many painters. The Expressionist works represented by Munch's "The Scream" in this paper have played an active role in promoting the development of Expressionism and made an important contribution to contemporary art. Today, with the diversified development of contemporary art, it is possible to analyze the field of design from the perspective of Expressionism and explore the development characteristics suitable for visual communication design. In this paper, the influence of Expressionism on visual communication design is explained, starting from the color expression and artistic characteristics of Expressionism.
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Primochkina, Natalia N. "M. Gorky and German expressionism." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2022): 90–99. http://dx.doi.org/10.20339/phs.6-22.090.
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Based on archival documents and materials of M. Gorky’s personal library, the article examines the question of the writer’s attitude to German expressionism, the brightest trend in German art of the early twentieth century. The facts of Gorky’s creative and personal contacts with leading German theater directors M. Reinhardt and E. Piscator, with revolutionary expressionist writers I. Becher, E. Toller, etc. Аre considered, the interest of the Russian writer in various types of German expressionist art is revealed: literature, theater, cinema and painting. The analysis of Gorky’s works in the context of the work of the German Expressionists reveals a certain similarity in their ideological and aesthetic views, reveals their common anti-war, protest and humanitarian pathos aimed at protecting the human person suffering in the world deformed by wars and revolutions.
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Deshmukh, Marion F., and Donald E. Gordon. "Expressionism: Art and Idea." German Studies Review 12, no. 1 (February 1989): 184. http://dx.doi.org/10.2307/1430320.
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Butler, Rex. "What was Abstract Expressionism? Abstract Expressionism after Aboriginal Art." Australian and New Zealand Journal of Art 14, no. 1 (January 2, 2014): 76–91. http://dx.doi.org/10.1080/14434318.2014.936529.
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Stolyarova, Elena G., and Andrey Ev Berezin. "Aesthetic principles of expressionism in modern architecture." Urban construction and architecture 14, no. 1 (April 25, 2024): 150–56. http://dx.doi.org/10.17673/vestnik.2024.01.17.
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The purpose of the article is to study the aesthetic principles of expressionism that influenced the development of modern architecture. An analysis of the concepts and means of artistic expression of the direction under study is proposed. The conditions for the emergence and formation of expressionism, its artistic methods of expression from conventionally realistic to abstract, as well as the manifestation of this direction of art in architectural design are considered. A brief analysis of the connection between expressionism and other parallel trends or movements of art of the twentieth century is given. Variations of expressionism from the standpoint of abstract art are identified, where the search for interactivity between the artist and the viewer in the process of visual perception of the painting is indicated. It is concluded that imagination is one of the main ways of artistic thinking in the process of author’s artistic design. The manifestation of the aesthetic principles of expressionism in the architecture of individual countries is considered. It has been revealed that expressionism in architecture is characterized by a departure from traditional forms in order to achieve the maximum emotional impact on the recipient. The study of the stated topic allows us to draw a conclusion about the relevance of expressionism at the beginning of the 21st century, which, with its traditions, continues the achievements of expressionism of the 20th century. and at the same time gives a new impetus to artistic expressions of the personal views of artists and architects on the ongoing processes in society. Parallels of the beginning of the 20th – beginning of the 21st centuries. revealed similarities in the aesthetic principles of the formation of the subject-spatial architectural environment. Expressionist techniques, means and methods of working on a painting or object are most accurately able to express the feelings of artists and architects, their psychological stress, the conviction that the viewer must go through a new experience while looking at an architectural or artistic work.
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Fazra Risky Nasution and Morida Siagian. "Contemporary Art Gallery (Expressionism Architecture)." International Journal of Architecture and Urbanism 4, no. 2 (August 27, 2020): 174–80. http://dx.doi.org/10.32734/ijau.v4i2.4520.
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Some issues prove that the development of art in Medan is relatively slow and does not become a concern of the public because of the availability of minimal and inadequate space, while Medan is a multicultural city in terms of art, many artists in the city of Medan have great potential. The construction of contemporary art gallery aims to meet the needs and facilities of art activities in the city of Medan because Medan does not yet have a decent art gallery for art activities, from exhibitions, artwork making space, to fine arts training venues and also as a center for art development likeness of the City of Medan. This gallery plans to be a productive place or place to introduce and provide attractive insights or knowledge to local people and tourists and to be able to preserve and preserve the fine arts in the city of Medan. The methodology used in this project is by collecting data through from literature review and by doing a site surveys. This building design uses the theme of expressionism architecture, where this building can express the meaning of art that it can be enjoyed visually.
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Ziółkowski, Sebastian. "Arthur Rimbaud et l’expressionnisme dramatique." Romanica Cracoviensia 22, no. 1 (June 30, 2022): 43–51. http://dx.doi.org/10.4467/20843917rc.22.004.15636.
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Arthur Rimbaud and Dramatic Expressionism The aim of this paper is to analyse some characteristics of the art of poetry by Rimbaud in the context of dramatic expressionism. The expressionist movement seems in fact to have inherited some concepts and motifs from the new aesthetic introduced by Rimbaud (poetic language revolution, a very personal vision of art where all the elements of the fictional world seem subordinated to fluctuations of the author’s psyche, subjectivism which abolishes the rules of the Aristotle’s mimesis, etc.). This new analytic perspective is particularly interesting because we can easily find realisation of the Rimbaudian vision of the new art of poetry in some pieces by such expressionist dramatic authors as Strindberg, Lenormand or Pellerin.
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Wale, Instr Kamal. "Expressionism in Susan Glaspell's Trifle." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 219, no. 1 (November 8, 2018): 25–38. http://dx.doi.org/10.36473/ujhss.v219i1.498.
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The main purpose of this research paper is to show how Expressionism is influential to postwar American literature, especially to the one-act play entitled Trifles (1916) written by Susan Glaspell (1876-1948). America witnessed a new period of special culture and art during the second half of the twentieth century, especially after the second world war. The traditional forms of art have failed to satisfy the wishes and aspirations of the new artists who deliberately look for new forms to express their attitudes towards the new state of life to be lived after grave wars that have caused humanity great losses on many and various levels. Thus, they have felt the need to break away with the existing traditional modes of expression. Hence, there appears new dramatic movements like existentialism, surrealism and Expressionism. The latter movement advocates the expression of the enthusiastic emotional state of the artist reacting to the anxieties of the modern world. The title one-act play Trifles can be regarded as a very well example illustrating the aims of this new movement and anticipating its appearance.
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Serikova, Tatiana Yu. "“CONSTRUCTIVE EXPRESSIONISM” BY EVGENIA TOLMASHOVA." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 203–13. http://dx.doi.org/10.17223/22220836/39/19.
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The relevance of the research topic is conditioned by the need to search for new interdisciplinary approaches to the problem of cognition of the world. The degree of scientific development of the subject covers the period from antiquity to modern times. Vasilyeva E.V., Khazieva E.V., Petrenko Yu.A., Shatilov S.F., Stoletov A.I. actively works on the problem of subjective reality. It should also be noted that the works devoted directly and directly to the study of subjective re-ality within the framework of the existence of a work of art exist relatively few in comparison with studies of other aspects of art. The object of research is the current issues of cognition of the world order. As the subject of re-search, the subjective reality that the author creates in the space of a work of art is chosen. The study is based on the material of the paintings of the Krasnoyarsk painter Tolmashov (1966–2014). The aim of the research is to reveal the essence, specificity and ways of forming subjective reali-ty in a work of art. In accordance with the purpose of the study, the following tasks are set: to deter-mine the motivation and principles of constructing a sub-reality in a work of fine art. The basis of the methodological base was laid as general scientific principles, as well as special art research methods, including: formal-stylistic, iconographic and structural. When working on the study, the determining method was a method of scientific cognition as an interpretation that allows us to reveal the principles of the construction and existence of subjective reality. Structural-functional and dialectical methods are also used. The empirical basis of the study is the experience of studying the paintings of the Krasnoyarsk artist E.N. Tolmashova. The scientific novelty of the research consists in the following statement: the subjective of reality in pictorial works is conditioned by the desire of the author of the work through the experimental con-struction of new, not previously existed realities, to understand the structure of objective reality exist-ing in addition to his consciousness. The obtained conclusions and generalizations of the basic principles of subjective of objective reality in a work of fine art can be used in the analysis of artistic creativity as a way of constructing an analog model of the world order. Also it should be said that the work of E.N. Tolmashova is not well studied in art history. The scientific material has been introduced not previously studied material, allowing expanding the under-standing of the art of painting in Siberia, as well as the trends and forms of its development at the turn of the XX and XXI century. The materials of the research were used in lecturing and conducting seminars on the discipline “Art culture of Siberia”, which is basic for the preparation of bachelors on specialty 54.03.01. The training was conducted on the basis of the Siberian Federal University.
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Zhang, Xiaotong. "On Chinese Aesthetics of Abstract Expressionism Art." Highlights in Art and Design 3, no. 2 (June 26, 2023): 76–79. http://dx.doi.org/10.54097/hiaad.v3i2.10495.
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In the development trend of modern and contemporary art, abstract expressionism has occupied a decisive position in the history of art since its birth. As a representative art school in the 20th century in the West, it unexpectedly has a very distinctive artistic characteristic of China. In terms of objective environment, the artistic dialogue between China and the West in the 20th century was promoted to the field of metaphysical philosophy. Western artists' interest in oriental art surpassed their superficial understanding of their unique brushwork, and abstract art became the best cultural bridge to communicate between the East and the West. This paper compares the characteristics of Chinese and western artistic thoughts and the characteristics of abstract expressionism art, and explains how it has oriental artistic thoughts on the basis of world outlook.
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B. Dhanalakshmi, S. Pavithra, D. Daniel Sebastian, K. Vishnu, and K. Swarna. "The Rise of Expressionism: When Literature Meets Art in History." International Journal of Research Publication and Reviews 04, no. 01 (2023): 846–48. http://dx.doi.org/10.55248/gengpi.2023.4127.
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Expressionism was a literary and artistic avant-garde movement that originated in Germany at the turn of the 20th century. The expressionist writers and artists wanted to create and bring to life their reality, as well as their inner idea or vision of what they saw. Their approach to their subject matter was more creative. They thought it was completely pointless to make just an imitation of the world. Expressionism could be seen as the revival and development of the Romantic tradition because of this attitude turning away from physical reality. The expressionist drama introduced a novel method of directing, designing scenes, and staging. This study highlighted the journey of literature in terms of sharing knowledge and amazed the audience with greater visualization. The study of art's evolution and stylistic shifts over time in art history. Western art history, or the progression of art from the Renaissance to modern art, is the primary topic of this page. Many writers shared their thoughts, the truth behind the artwork, and the social and economic condition of the artist in the racing time of the 20th century
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Фотиева, И. В. "Expressionism in painting: philosophical reflections." Iskusstvo Evrazii [The Art of Eurasia], no. 3(30) (September 30, 2023): 234–45. http://dx.doi.org/10.46748/arteuras.2023.03.016.
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Статья посвящена философским аспектам экспрессионизма в живописи первой половины XX века. Рассмотрены истоки и предшественники экспрессионизма, философские школы и основные идеи, на которые опирались представители данного направления, показано их своеобразное преломление в работах теоретиков экспрессионизма и в произведениях ведущих художников. Выявлены различные и часто противоречивые интерпретации ряда основных идей, в том числе идеи единства мира и роли чувства в художественном творчестве. Отмечено, что само стремление экспрессионистов понять природу художественного творчества, сущность и специфику искусства; осознать его место не только в рамках человеческой культуры, но и самого Бытия заслуживает внимания и что многие вопросы, поднятые экспрессионистами, сегодня незаслуженно ушли на второй план в исследованиях не только искусствоведов, но и представителей философии искусства, хотя здесь огромное пространство для дальнейших исследований. The article is devoted to the philosophical aspects of the expressionism in painting in the first half of the 20th century. The origins and predecessors of expressionism, philosophical schools and the main ideas on which the representatives of this direction relied are considered. Their peculiar refraction in the works of the theorists of expressionism and in the works of leading artists is shown. Various and often contradictory interpretations of a number of basic ideas are revealed, including the idea of the unity of the world and the role of feeling in artistic creativity. It is noted that the very desire of expressionists to understand the nature of artistic creativity, the essence and specificity of art; to realize its place not only within the framework of human culture, but also of Being itself deserves attention. Many questions raised by expressionists today have undeservedly gone by the wayside in the studies of not only art historians, but also representatives of the philosophy of art, although there is a huge space for further research.
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Porwal, Tina. "THE IRONIC EXPLORATION FROM ABSTRACT EXPRESSIONISM TO MINIMALISM." International Journal of Research -GRANTHAALAYAH 1, no. 2 (September 30, 2014): 38–47. http://dx.doi.org/10.29121/granthaalayah.v1.i2.2014.3078.
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An art movement in sculpture and painting that began in the 1950s and emphasized extremesimplification of form and colour. A school of abstract painting and sculpture that emphasizes extreme simplification of form, as by the use of basic shapes and monochromatic palettes of primary colors, objectivity, and anonymity of style. Also called ABC art, minimal art, reductivism, rejective art. The early 1960s brought about a significant shift in American art, largely in reaction to the critical and popular success of the highly personal and expressive painterlygestures of Abstract Expressionism. Minimalist artists produced pared-down three-dimensional objects that have no resemblance to any real objects. Their new vocabulary of simplified, geometric forms made from humble industrial materialschallenged traditional notions of craftsmanship, the illusion of three dimensions, or spatial depth, and the idea that a work of art must be one of a kind.
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Ahmad Awsaj, Sufyan, and Ikhlas Yas Khudair. "The aesthetics of abstract expressionism and its representations in the artistic productions of the students of the Department of Art Education." Al-Academy, no. 109 (September 15, 2023): 167–82. http://dx.doi.org/10.35560/jcofarts1143.
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The research section tagged (Aesthetics of Abstract Expressionism and its Representations in the Artistic Products of Students of the Department of Art Education) into four chapters and it included in..The first chapter: (the methodological framework) for the research, and the research problem is summarized through the question (what are the aesthetics of abstract expressionism and its representations in the artistic productions of the students of the Department of Art Education). In the products of students of the Department of Art Education).The aim of the research was (discovering the aesthetics of abstract expressionism and its representations in the artistic products of the students of the Department of Art Education). As well as the temporal and spatial boundaries that were confined to the University of Baghdad from the year (2021-2022) and then defining the terms (beauty, abstract expressionism).The second chapter included (theoretical framework) two sections, the first (aesthetics), while the second topic included (abstract expressionism) in addition to the indicators of the framework.In the third chapter (research procedures), the research community included a group of artistic works accomplished by the students of the Department of Art Education within the year (2021-2022), and then chose an intentional sample of (4), and it included the descriptive analytical approach, and the research evidence also included a sample analysis form.
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Uz, Ayfer. "Resimde Duygu ve Gerilimin Çekiciliği Francis Bacon (1909-1992)." Journal of Social Research and Behavioral Sciences 7, no. 13 (November 29, 2021): 703–18. http://dx.doi.org/10.52096/jsrbs.6.1.7.13.36.
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Abstract Francis Bacon was born in Dublin in 1909 to an English family. The artist rejected the literary field and perceived his painting directly as an act of expressionism. The period he lived in and the effect he had on it was reflected in his paintings as horrifying images emerged in them. The figures in his paintings were distorted, trapped in a strong motion, caught in a vortex or storm. The audience subjected to the emotional tension of the figures were subjected to intense emotions. The aim of this study, which was conducted by qualitative research method, is on Francis Bacon who, even though did not receive academic art education, managed to have a strong emotional effect on the audience with his expressionist art. Keywords: Francis Bacon, Figurative Painting, Expression in Painting, Motion and Art.
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Lassner. "The Art of Lamentation: Josef Herman's Humanist Expressionism." Shofar 37, no. 3 (2019): 171. http://dx.doi.org/10.5703/shofar.37.3.0171.
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Galenson, David W. "Pricing revolution: From abstract expressionism to pop art." Research in Economics 72, no. 1 (March 2018): 86–100. http://dx.doi.org/10.1016/j.rie.2017.09.004.
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Lassner, Phyllis. "The Art of Lamentation: Josef Herman's Humanist Expressionism." Shofar: An Interdisciplinary Journal of Jewish Studies 37, no. 3 (2019): 171–202. http://dx.doi.org/10.1353/sho.2019.0034.
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Asmudjo J. Irianto. "Pameran Tunggal Syakieb Sungkar: Retro Expressionism, Painting Reenactment." Dekonstruksi 5, no. 01 (December 26, 2021): 156–70. http://dx.doi.org/10.54154/dekonstruksi.v5i01.83.
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Dalam estetika otonom modernis, seni lukis menduduki peranan utama, apa yang disebut seni rupa modern tak lain adalah seni lukis. Kendati setelah itu, seni lukis berkali-kali dinyatakan “mati”—karena kehadiran fotografi, seni instalasi, heppening art, performance art, dan new media art—namun seni lukis membuktikan dirinya dapat terus hidup dan berkembang. Ketika membahas lukisan-lukisan Syakieb Sungkar, Asmudjo J. Irianto mengatakan, pada dasarnya seni lukis menjadi bagian penting dalam praktik seni rupa kontemporer global, demikian pula yang tampak dalam seni rupa kontemporer Indonesia. Seni lukis tetap menjadi primadona.
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Radaeva, Ella A. "Expressionist Traditions in the Works of Contemporary Artists of Russia and Former Union Republics." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 68 (2023): 284–99. http://dx.doi.org/10.37816/2073-9567-2023-68-284-299.
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The paper analyzes the influence of the expressionist method on the painting of contemporary artists in Russia, as well as (to a greater or lesser extent) Ukraine, Belarus, Armenia, Kazakhstan. The exhibitions of recent years, thematic publics on art (on social networks) came to be the study`s initial material, then we are talking selectively about the work of individual authors. The research allowed for concluding: in modern fine arts, expressionism is distinguished by its unconditional “vitality” and the ability to assimilate with new trends; the “handwriting” of modern “expressionists” is characterized by the constant absence of chiaroscuro, often — the pretentiousness of the color scale; the theme of the spirit stifling in the gripe of the City, and the spirit of protest, pouring out into feminism or rejection of civilization (bourgeois / market), sometimes — aestheticization of the ugly, motifs of death and decay, sometimes — primitivism, childishness, gravitation towards the poster technique. However, today we are dealing with a “softened” version of expressionism: not always a pessimistic view of the artist's world, not always based on a pronounced rebellious beginning.
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Zlydneva, Nataliya. "The concept of life in Soviet art history and paintings of the 1920s." Zbornik Akademije umetnosti, no. 11 (2023): 19–33. http://dx.doi.org/10.5937/zbaku2311019z.
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The article explores the concept of life in Soviet art history of the 1920s, as well as in the Soviet expressionism in painting. The notion of life was examined both by the art historians of the State Academy of Art Science (GAkHN) who adhered the classical art tradition, and the formalists (literary and art theorists of the left front) focused on the reduction of aesthetic values in line with their utopian social program. The two groups understood life differently: as a motion par excellence, in the first case, and as a simplified form (primitivism), in the second. However, elements of both perspectives were implicitly present in modern artistic practice, which manifested in the phenomena of Soviet expressionism. The painters combined fluid pictorial substance, motion in compositions, and dramatic conflicts in the plot, on the one hand, and simplified ("primitive") forms on the other. Although paintings of Drevin, Gluskin, Golopolosov and other artists associated with this movement did not receive support from either the traditionalist art critics or the formalist group, all of them were immersed in the semiosphere of the time, equally nourished by its creativity. While they rejected modern expressionism, the art theorists paradoxically professed its principles.
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Baigell, Matthew. "The Emersonian Presence in Abstract Expressionism." Prospects 15 (October 1990): 91–108. http://dx.doi.org/10.1017/s036123330000586x.
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In all of the literature on abstract expressionism, very little has been written about what I would call the Emersonian presence. It is a presence rather than a source or influence. And it is not limited to Emerson, since it can be found in such figures as Walt Whitman and William James, among others. But it is easier to say “an Emersonian presence” because precise influences are difficult, probably impossible, to establish. What I am concerned with is an attitude of mind that recurs in American intellectual history and that resonates through much 20th-century American art, ranging from early modernists such as John Marin through artists associated with process art. I do not mean to deny other welldocumented European and American sources, influences, and presences in abstract expressionism and other American movements, but only to call attention at this time to the Emersonian presence.
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Lake, Susan. "The Challenge of Preserving Modern Art: A Technical Investigation of Paints Used in Selected Works by Willem de Kooning and Jackson Pollock." MRS Bulletin 26, no. 1 (January 2001): 56–60. http://dx.doi.org/10.1557/mrs2001.20.
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Willem de Kooning (1904–1997) and Jackson Pollock (1912–1956) are perhaps the best-known members of the abstract expressionist movement, a group of diverse artists from disparate backgrounds who radically transformed American art during the 1940s and into the 1950s. While the development and legacy of abstract expressionism remains a subject of considerable debate, what this diverse group of artists had in common was the belief that the materials, and the ways the artists applied them, are crucial to the expression of their art.
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Wilhelm, Mirjam E. "“A Child in Every Artist?” Vjera Biller and Jewish Primitivism in the Berlin Sturm Avant-garde." Ars Judaica The Bar Ilan Journal of Jewish Art: Volume 17, Issue 1 17, no. 1 (January 1, 2021): 87–107. http://dx.doi.org/10.3828/aj.2021.17.5.
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This article centers on the “forgotten” Jewish avant-garde artist Vjera Biller, among the most active contributors to the Berlin-based 1920s expressionist movement Der Sturm. Through an in-depth analysis of the artist’s fragmented oeuvre, including her Venice series, it examines Biller’s art practice, her leitmotif of children, and its links to the aesthetics of interwar German Expressionism. It contrasts her approach with that of her contemporary Sturm colleague Marc Chagall and shows how both artists drew extensively on children’s art and “the primitive” for inspiration. Biller also pioneered the inclusion of popular culture elements such as cartoons and comics as an avant-garde art form.
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Radaeva, E. A. "EXPRESSIONIST DISCOURSE OF WAX FIGURES IN THE HISTORY OF CINEMA." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 83 (2022): 84–92. http://dx.doi.org/10.37313/2413-9645-2022-24-83-84-92.
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In this article, the author examines the influence of expressionism on the film industry in the period 1933-2005. Through the prism of the "donated" expressionist cinema art of the 1920s. stories about wax figures, one can detect the development of the cultural demands of society in the above period. The most significant conclusions of the study: a) after the masterpiece of Paul Leni in 1924, cinema art returns to what it tried to get away from - to “the stories of a mentally ill person, left alone with a hostile world trying to break him”; b) if earlier plots were built around "dolls", the mystery of which is in their visual identity to people, then over time the fantasy of scriptwriters and directors began to demand their more complete identification - this is reflected in the tendency to deepen the demonization of the plot in the "man-doll" paradigm. And if at first a doll was made from a dead person, then in the 2000s it was made from a living person, thereby increasing the tendency towards sadism and cruelty on the screen; c) in almost every film there are codes of expressionism: the antinomy of "us-them", "light-darkness", "chronotope of the loop", a farce (fair, brothel), the motive of all-consuming fire; d) in every decade, the aesthetics, the philosophy of expressionism and the realities contemporary to directors are mutually enriched. The trend towards mutual enrichment also occurs at the level of genres (the sum of expressionist techniques in cinema - and slasher).
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Mikhail, Shishin. "Metahistorical expressionism in art of Аltai artist Larisa Pastushkova." Ideas and Ideals 2, no. 3 (September 30, 2015): 111–19. http://dx.doi.org/10.17212/2075-0862-2015-3.2-111-119.
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Clarke, Jay A. "Neo-Idealism, Expressionism, and the Writing of Art History." Art Institute of Chicago Museum Studies 28, no. 1 (2002): 24. http://dx.doi.org/10.2307/4113049.
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CRAVEN, D. "Abstract Expressionism and Third World Art: A Post-Colonial Approach to 'American' Art." Oxford Art Journal 14, no. 1 (January 1, 1991): 44–66. http://dx.doi.org/10.1093/oxartj/14.1.44.
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Babunych, Yulia. "National identity and regional features of expressionism in the context of artistic and stylistic features of Ukrainian painting of the first third of the twentieth century." Bulletin of Lviv National Academy of Arts 48, no. 48 (September 3, 2022): 4–10. http://dx.doi.org/10.37131/2524-0943-2022-48-1-1.
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The article considers the problem of national specificity of expressionism in Ukrainian painting of the first third of the XX century. In this regard, the works of leading representatives of this trend in Ukrainian avant-garde painting are analyzed. The issue of regional features of expressionism in the context of artistic and stylistic features of Ukrainian painting of the first third of the twentieth century is also raised. Based on the analysis of paintings, it was determined that Western Ukrainian artists often used the synthesis of secession (often borrowed while studying at the Krakiw or Munich academies of arts) and expressionism. At the same time, it was found that Central and Eastern Ukraine develop expressionism in combination with cubism, abstractionism, constructivism. The article also reveals the features of national identity, invariably present in the works of Ukrainian expressionists, extended to the powerful dynamics of lines, color contrasts, tonal vibrations. Thematic diversity of works by O. Novakivsky, S. Hordynsky, V. Lasovsky, V. Khmelyuk, O. Hryshchenko and others covers images of the people, various states of nature, still life, landscape, portrait. It is proved that Ukrainian representatives of expressionism, enriching their own painting culture and basic professional qualities in leading European art schools, developed the problem of color, combined the latest formal experiments on plastic form and the identity of national traditions.
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Hermansson, Gunilla. "Kort, knapp eller kantig?" Tidskrift för litteraturvetenskap 43, no. 2 (January 1, 2013): 39–48. http://dx.doi.org/10.54797/tfl.v43i2.10867.
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Short, Terse or Angular? Notes on Expressionism and Prose in the Nordic Countries 1910–1930
With Pär Lagerkvist’s earliest collections of short prose, Motiv (1914) and Järn och människor (1915) as a point of reference, the article discusses ”shortness” in relation to the problems of defining expressionist prose. Most researchers agree that expressionist prose is, first and foremost, short, with the argument that the expressionist intensity or tendency towards abstraction works against a narrative pace. However, in examining how authors critically concerned with expressionism in Germany, as well as in the Nordic countries, create and imagine an expressionist or modern prose, it becomes obvious that shortness is not a dominant requirement or idea. It is at least equally important to note that authors often strive to achieve inter-medial effects: aspiring, for instance, to the angularity, hardness and abstraction of cubist art, or to the tempo and technique of modern film. It also becomes evident that the term ”expressionist” needs to be more carefully applied in the Nordic than in the German context, in order to be meaningful. In the end, the concept of ”shortness” per se, does not aid in the definition of expressionist prose. Moreover, it cannot be concluded that Nordic authors utilize short forms in their literary experiments more consistently than they use longer forms. However, it is apparent that Lagerkvist is extremely attentive to the different effects of reducing or expanding his texts, particularly in order to let his readers see and see beyond the ”angularity” of his art.
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Herliansyah, Julietta Siti Refqa, and Maya Purnama Sari. "Implementasi Aliran Seni Rupa Ekspresionisme pada Fotografi Fine Art." INVENSI 7, no. 1 (June 16, 2022): 35–46. http://dx.doi.org/10.24821/invensi.v7i1.5468.
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ABSTRAKEkspresionisme merupakan salah satu bentuk seni rupa yang menganggap bahwa seni yang mengalir secara spontan dari seorang seniman, bukan merupakan jiplakan dari alam. Fotografi fine art atau fotografi seni adalah sebuah kegiatan mengirimkan pesan apa yang dirasakan oleh seniman kepada para penerimanya melalui keindahan yang terdapat dalam suatu foto yang bertujuan untuk mengubah perspektif orang lain. Tujuan dilakukannya penelitian ini untuk menghimpun dan mengkaji data responden dari hasil fotografi ekspresi yang menggunakan ciri dari salah satu aliran seni rupa yaitu ekspresionisme. Metode yang digunakan dalam penelitian ini adalah metode kuantitatif, metode statistika berupa teknik sampling dengan jenis purposive sampling, serta metode pengolahan datanya yaitu angket dan studi pustaka. Hasil penelitian menunjukkan sebanyak 37,5% responden memilih skala 4 dari 5. Penyampaian pesan melalui fotografi fine art pun dapat ditangkap dengan baik oleh para responden yang menunjukkan kesamaan makna yaitu sebuah kegembiraaan. Dengan demikian implementasi aliran seni rupa ekspresionisme pada fotografi fine art sudah diterapkan dengan baik. Implementation of The Flow of Expressionism in Fine Art Photography ABSTRACT Expressionism is a form of art that assumes that art that flows spontaneously from an artist is not a copy of nature. Fine art photography or art photography is an activity to send a message of what the artist feels to the recipient through the beauty contained in a photo that aims to change the perspective of others. The purpose of this research is to create and find out the respondents' views from the results of expression photography that uses the characteristics of one of the art schools, namely expressionism. The method used in this research is a quantitative method, statistical method is in the form of sampling technique with purposive sampling type, and the data processing method is questionnaire and literature study. The results showed that 37.5% of respondents chose a scale of 4 out of 5. The delivery of messages through fine art photography could also be captured well by the respondents who showed the same meaning, namely a joy. Thus, the implementation of the flow of expressionism in fine art photography has been well implemented.
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Sharapenkova, Natalia, and Polina Yakusheva. "LEONID ANDREYEV’S AND PÄR LAGERKVIST’S WORKS IN THE CONTEXT OF EXPRESSIONISM: THE PROBLEM STATEMENT." Studia Humanitatis 21, no. 4 (December 2021): 25–31. http://dx.doi.org/10.15393/j12.art.2021.3785.
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The article substantiates the classification of the creative methods of Leonid Andreyev (1871-1917) and Pär Lagerkvist (1891-1974) as expressionistic. Expressionism was the leading art and literature direction in the early XX century. The authors trace back the Russian and foreign academic tradition of viewing certain periods of these writers’ creative career as expressionistic. This tradition is based on some of the characteristics present in their works, such as heightened expression, one-dimensional characters, static scenes, grotesque forms, colour contrasts, the depiction of a chaotic world, and a nervous and alienated person within it. The authors come to the conclusion that the expressionist works of Leonid Andreyev and Pär Lagerkvist can be most effectively compared by employing the historical typological method developed by Victor Zhirmunsky.
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Chow, Sow Yeng, and Sarena Abdullah. "The Manifestation of Malaysian Abstract Expressionist Art in the Context of Malaysian Modern Art (The Late 1950s-2010s)." Melayu: Jurnal Antarabangsa Dunia Melayu 17, no. 2 (July 24, 2024): 237–66. http://dx.doi.org/10.37052/jm.17(2)no4.
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Malaysian Abstract Expressionist art has continued to impact and influence the nation’s art scene since the late 1950s. Malaysian artists such as Syed Ahmad Jamal, Yeoh Jin Leng, Latiff Mohidin and Chew Teng Beng have experimented and explored with abstraction in pursuit of their distinctive style, adding to the dynamic and ever-evolving context of Malaysian art. As the earliest proponents of Abstract Expressionist art in Malaysia, their influences are still strong today, as can be observed in the works of the following artists who achieved prominence in the Malaysian abstract art scene in the late 1970s: Sharifah Fatimah Zubir, Yusof Ghani, Rafiee Ghani, Suzlee Ibrahim and Awang Damit Ahmad. Thus, this paper aims to elucidate the connection between abstract art creativity and the aforementioned artists by examining the selected artworks produced by them. In this case, the domesticating strategy facilitated the transformation of Abstract Expressionism into the art creation of nine Malaysian artists, who used diverse abstraction approaches to convey their inner spirit. Based on the authors’ observation, the diverse abstraction trends bridge a connection between these two generations of Malaysian artists. Through the application of Edmund Felman’s visual analysis method, their works are observed to exhibit a variety of abstraction trends that have contributed to the diversification of Malaysian Abstract Expressionist art, which can be seen in gestural, pure, organic and calligraphic abstraction.
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Radaeva, E. A. "Traditions of German Expressionism in the Cinematography of the Second Half of the 20th – Early 21st Centuries." Concept: philosophy, religion, culture 6, no. 3 (September 27, 2022): 156–70. http://dx.doi.org/10.24833/2541-8831-2022-3-23-156-170.
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The subject of this study is the influence of the traditions of German expressionism on modern cinema, primarily the horror genre. The relevance of this work is due to the need to study the genesis of modern trends in one of the most popular types of art and its popular genres in the context of cultural history in terms of allusions and reminiscences, traditions and innovation. In order to prove that the traditions of expressionism are clearly traced to this day and promise to be quite productive in the long run, as well as to trace the nature of their presence in the history of the film industry, in line with the culturological approach, the method of comparative historical and historical situational analysis, as well as content analysis was mainly used regarding cinematography of the period under consideration. The scientific novelty of the work lies in the very prism of the study and its object — the films of 2021–2022 were considered in terms of traditions of expressionist aesthetics; in addition, the article presents a slightly different view on the masterpieces that have become classics of the cinema of the 20th century. As a result, it was revealed that the expressionist concept of man and the world is strong in the artistic world of cinema art of this period. The methods of German filmmakers of the beginning of the previous century were continued in a somewhat modified form at the level of the play of light and shadow, framing, the figurative system itself (vampires, homunculi, ghosts), mechanistic acting, sinister paraphernalia, and deceitful details. The common denominator of foreign and domestic films of all the genres and subgenres considered in the article was the use of a special musical setting — music that originates from the new Viennese school (in other words, musical expressionism), which also confirms the theory put forward.
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Li, Yi, and Ida Puteri Binti Mahsan. "A Visual Analysis of Edvard Munch’s Landscape Paintings Based on Feldman’s Art Criticism Theory." Global Journal of Arts, Humanities and Social Sciences 12, no. 5 (May 15, 2024): 55–81. http://dx.doi.org/10.37745/gjahss.2013/vol12n55581.
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Edvard Munch was a key figure in modern Expressionism, and his emotionally charged works had a profound impact on art. This study is based on Feldman's theory of art criticism and analyzes Munch's landscape paintings from 1893 to 1933 from the four stages of description, analysis, interpretation and judgment, focusing on the use of color, emotional expression and artistic expression through qualitative research methods. style, and finally construct an analytical framework about the characteristics of Munch's landscape paintings. The study found two stages of development of Munch's landscape paintings: the early stage (1890-1908) highlighted expressionist features and inner sad emotions, with sharp color contrasts; the later stage (after 1909) featured more vivid and diverse colors and peaceful emotions. Reflecting his love for nature, the brushwork has a stronger sense of texture. This analysis provides insight into Munch's unique expressionist style, which emphasized emotional depth and visual impact, providing a new perspective on art education and modern creation.
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Varetska, Sofiya. "Picturesque of Literature and Literature of Fine Arts in Works of Twice Exceptional Expressionists." Pitannâ lìteraturoznavstva, no. 102 (December 28, 2020): 134–47. http://dx.doi.org/10.31861/pytlit2020.102.134.
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The article considers a problem of the arts interaction, which is a characteristic feature of German expressionism. It analyzes works of gifted expressionists, which are fulfilling themselves not only as writers, but as painters too and vice versa. All attention is paid to such figures of expressionism as Oscar Kokoschka, Franz Kafka, Alfred Kubin. The article argues that the power of talent of such artists is so great that self-realization in one of the arts is not enough for them, and therefore they actively use the opportunity to reveal the facets of their giftedness not only verbally, but also visually, alternately changing brushes to pen. Such a synthesis is quite productive because these works are enriched by narrative thematic motifs, genre varieties, a figurative vision of reality, compositional figures of the material organization, etc. It is proved that the expressionists did not follow the modernist concept “Art for the sake of art”, yet for them a human is with his fears, complexes and visions in the center. Thus, the main aim of an artist is using various artistic means to show a sacred inner world where in contrast to the real philistine life a spiritual unity and harmony do exist. In a combination of text, drawing or music, or, like Kokoschka’s light and paint, expressionists try to convey through multimedia the sensual and sacred that arises for them as the purpose of existence.
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Dzhakupova, Iana. "Greenberg, The Cold War, and French Existentialism." Groundings Undergraduate 15 (May 15, 2024): 175–91. http://dx.doi.org/10.36399/groundingsug.15.139.
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This paper investigates the development of Abstract Expressionism in 1940-1950s America, focusing on ways it has been constructed as a masculine form of expression. Emerging after the end of WW2 when the American national identity was being re-defined, the art movement became a site for the interplay of multiple socio-political and cultural tensions. The imposition of qualities traditionally associated with masculinity became a key aspect in the reception of the movement, reflecting the interests of multiple institutions. This paper deconstructs the amalgamation of factors that formed the masculine image of Abstract Expressionism. These factors range from the masculinising language of art critics such as Clement Greenberg to America’s Cold War agenda to male artists’ own internalisation of philosophical ideas that projected the movement’s masculine aura. In the last section of my investigation, I will expose the gendered imbalance within Abstract Expressionism by analysing the contrast in the occupation of space by male and female artists in period photographs.
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Golikova, Irina Sergeevna. "International aspect in the history of Russian contemporary graphics: problems of interpretation and identity." Культура и искусство, no. 11 (November 2020): 93–102. http://dx.doi.org/10.7256/2454-0625.2020.11.34375.
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This article analyzes the examples of formal compliance with global trends in Russian print design of the XX – early XXI centuries. The subject of this research is the comparative characteristics of Russian and world practice in the area of contemporary graphic art. In this context, the author highlights the stylistic characteristics of expressionism (1910 – 1920) and neo-expressionism (1960s – 1980s). Comparative analysis allows determining the points of intersection of Russian examples to Western analogues, as well as their originalities outlying the formal criteria. Emphasis is placed on the sources of determination of the uniqueness of graphics as a form of art within the history of Russian art studies. In the course of this research, the author brings the examples of “expressive” graphics in the works of N. N. Kupreyanov and A. I. Kravchenko in relation to printmaking of German expressionism, and some recent examples of Russian graphics (Saint Petersburg artists P. S. Bely, P. M. Shvetsov) in comparison to the graphic experiments of A. Kiefer. The conclusions lie in determination of the unique tradition of Russian realism (V. A. Vetrogonsky and V. I. Shistko), which in the author’s opinion, should be considered the crucial actor in the identity of Russian graphics against the trends leveling national cultural differences of international contemporary art.
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Radaeva, E. A. "TRADITIONS OF EXPRESSIONISM IN MODERN WORLD FINE ARTS." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 82 (2022): 79–86. http://dx.doi.org/10.37313/2413-9645-2022-24-82-79-86.
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This article discusses the traditions of expressionism in contemporary fine arts by artists from different parts of the world. The material was the work of authors who were either in the top ten and highly paid (British artists Jenny Saville and Howard Hodgkin, Germans Georg Baselitz and Albert Ohelen, Swiss artist Louise Bonnet, Chinese Jia Aili), or in the top ten "rising stars of painting XXI century” (Kristina Alisauskaite, Carla Busuttil, Pavel Slivinsky, Andre Hemer, Lukas Stoklose), as well as Cecily Brown. The author comes to the conclusion that if the paintings of the authors cited in this article are successful at exhibitions and auctions, and if expressionistic motifs are clearly manifested in their canvases, then the art of expressionism itself, which originated at the beginning of the last century and whose influence can be considered undeniable to this day, despite the variety of new schools and trends. Moreover, the modern era has given this art a new sound and left its mark on the subject, technique, and material.
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Radaeva, E. A. "TRADITIONS OF EXPRESSIONISM IN MODERN WORLD FINE ARTS." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 82 (2022): 79–86. http://dx.doi.org/10.37313/2413-9645-2022-24-82-79-86.
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This article discusses the traditions of expressionism in contemporary fine arts by artists from different parts of the world. The material was the work of authors who were either in the top ten and highly paid (British artists Jenny Saville and Howard Hodgkin, Germans Georg Baselitz and Albert Ohelen, Swiss artist Louise Bonnet, Chinese Jia Aili), or in the top ten "rising stars of painting XXI century” (Kristina Alisauskaite, Carla Busuttil, Pavel Slivinsky, Andre Hemer, Lukas Stoklose), as well as Cecily Brown. The author comes to the conclusion that if the paintings of the authors cited in this article are successful at exhibitions and auctions, and if expressionistic motifs are clearly manifested in their canvases, then the art of expressionism itself, which originated at the beginning of the last century and whose influence can be considered undeniable to this day, despite the variety of new schools and trends. Moreover, the modern era has given this art a new sound and left its mark on the subject, technique, and material.
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Ch. Alaskari, Hussein K. "The Technique of Poetic Collage in the Selected Poems of New York school poets." JOURNAL OF LANGUAGE STUDIES 4, no. 4 (October 12, 2023): 607–18. http://dx.doi.org/10.25130/jls.4.4.29.
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The word 'collage' simply means pasting unrelated things together to form artistic objects of sorts. It began first to be used by the painters and artists in general to produce a kind of art suitable to the prevalent avant-garde movement in art and literature. T.S. Eliot's The Wasteland and Ezra Pound's The Cantos are two master examples of the use of collage in the early modernist poetry. The purpose of this paper is to examine the use of collage by the poets New York School in selected poems as exemplified in the major poets of the school, namely John Ashbery, Frank O'Hara and Kenneth Koch. The paper argues that the poets of the New York school have been influenced heavily by the prevalent art movements specially the Abstract Expressionism. They imitated the Abstract Expressionists in their rejection of figurative subject matter and their working completely in the abstract. Their resort to such art as collage is to challenge the conventional ideas about art.
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Sansom, Matthew. "Imaging Music: Abstract Expressionism and Free Improvisation." Leonardo Music Journal 11 (December 2001): 29–34. http://dx.doi.org/10.1162/09611210152780647.
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The author defines free improvisation, a form of music-making that first emerged in the 1960s with U.K. composers and groups such as Cardew, Bailey, AMM and the Spontaneous Music Ensemble. The approach here considers free improvisation as creative activity, encompassing its artistic agenda on the one hand and the process-based dynamic of its production on the other. After considering the historical location of free improvisation within Western music history, the article explores free improvisation as analogous with Abstract Expressionist art. This comparison enables a fuller understanding of the activity's conceptual basis and the creative process it engenders.
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Tak, Hee Yeon. "A Comparative Study on Sense Utilization of Cathedral and Escorted by Light: Focused on the New Function of Expressionism." Hankuk University of Foreign Studies Literature Studies 90 (May 31, 2023): 63–84. http://dx.doi.org/10.22344/fls.2023.90.63.
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This thesis analyzes how ‘expressionism’ is used in contemporary literature through reading Cathedral by Raymond Carver and Escorted by Lighted by hae-jin Cho. ‘Expressionism’ is an art period that appeared in the 20th century and has the aim to express a subjective psychological condition of a character. This thesis limits ‘expressionism’ to the ‘senses’ of humans. The first person and the main character of each two short-story portrays vividly the inner world of themselves through the ‘five senses’, especially the ‘sense of touch’ and the ‘sense of sight’. Furthermore, the utilization of ‘sense of touch’ and ‘sense of sight’ have the feature of the medium of the narrator to understand other people. Eventually, the ‘expressionism’ in contemporary literary works has the hopeful function of suggesting ‘the possibility of solidarity’ and beyond ‘the connection to the community’.
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Bigman, Alexander. "Acts of Feeling." Representations 164, no. 1 (2023): 137–68. http://dx.doi.org/10.1525/rep.2023.164.6.137.
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In this essay I address the emotive charge of James Welling’s photographic abstractions from the early 1980s, described by the artist as “images about the act of feeling.” Welling’s endeavor to stage this “act,” I argue, places his work within a wider effort by peers like Sherrie Levine, Cindy Sherman, and David Salle to reassess what it meant for art to be “expressive.” At a moment when modernist models of this concept had lost their credibility and “expressionism” as a genre had come to appear politically toxic, such an inquiry took on new urgency, raising questions that remain central to ongoing debates about the relationship between art, affect, and the social.
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Adi, S.Sn, M.Sn, Sigit Purnomo, Mohammad Khizal Mohamed Saat, and I. Gusti Ngurah Tri Marutama. "MINIPRINT ARTWORK CREATION WITH SATO KEWAN OBJECT." ARTISTIC : International Journal of Creation and Innovation 2, no. 2 (March 14, 2022): 82–91. http://dx.doi.org/10.33153/artistic.v2i1.3989.
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Animals have provided humans with everything from meat to eggs to pleasure. Thus, animals, including chameleons, must be rescued from extinction. The chameleon's uniqueness makes it an intriguing subject for artistic creation. The purpose of this artwork is to visualize the concept of personal expression through miniprint works using Sato Kewan (variety of animals) object, specifically the chameleon. The creation of this printmaking work is part of artistic research, more specifically research into art practice, which is conducted using plywood as a medium, an abstract expressionism style, and the concept of art as personal expression. The stages of creation include experimentation, contemplation, and formation. A chameleon miniprint reflecting personal expression is created as a result of the creation process. Hence, visualization of chameleon miniprints using advanced printing techniques can result in abstract expressionism-inspired printmaking works. The creation, which incorporates traditional and contemporary art elements, is expected to be competitive nationally and internationally.
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Dempsey, Anna, and Dennis Crockett. "German Post-Expressionism: The Art of the Great Disorder 1918-1924." German Studies Review 23, no. 2 (May 2000): 356. http://dx.doi.org/10.2307/1432697.
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Young, Patience. "Instructional Resources: The Abstract Landscape of Expressionism: Detroit Institute of Art." Art Education 48, no. 1 (January 1995): 25. http://dx.doi.org/10.2307/3193558.
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Sperber, Jonathan, and Helena Waddy Lepovitz. "Images of Faith: Expressionism, Catholic Folk Art, and the Industrial Revolution." American Historical Review 97, no. 3 (June 1992): 841. http://dx.doi.org/10.2307/2164813.
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Taylor, Lawrence J., and Helena Waddy Lepovitz. "Images of Faith: Expressionism, Catholic Folk Art, and the Industrial Revolution." Journal of Interdisciplinary History 23, no. 1 (1992): 177. http://dx.doi.org/10.2307/205511.
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