Journal articles: 'Expressionist art'

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Kramer, Andreas. "Sport in Expressionist Art." International Journal of the History of Sport 35, no. 17-18 (December 12, 2018): 1692–709. http://dx.doi.org/10.1080/09523367.2019.1593144.

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Bridgwater, Patrick. "Friedrichian Images in Expressionist Art." Oxford German Studies 31, no. 1 (January 2002): 103–28. http://dx.doi.org/10.1179/ogs.2002.31.1.103.

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Jenkins, Emily. "A bold expressionist Brand of art therapy." Lancet Oncology 18, no. 8 (August 2017): 1007–8. http://dx.doi.org/10.1016/s1470-2045(17)30525-9.

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Maram, Thirupathi Reddy. "An Abstract Expressionist: A Study of Kurt Vonnegut’s Bluebeard." Shanlax International Journal of English 7, no. 3 (June 1, 2019): 8–15. http://dx.doi.org/10.34293/english.v7i3.448.

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The novel, Bluebeard (1987) presents a dialogue between abstract and representational painting, pointing out both the value and shortcomings of each school. It may end by imagining a type of art in which the usual boundaries separating the real and the artificial fall away; an art that is able to capture the complexity, sorrow, and beauty of life itself. On the other hand, it focuses on human’s cruelty to human. However, the novel also shows that even in the midst of war and death and sorrow the innate human impulse is a creative one. The novel discovers the human desire to create as it investigates the nature of new art itself. Vonnegut was mostly inspired by the grotesque prices paid for works of art during the past century. He thought not only of the mud-pies of art, but of children’s games as well.

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Furness, Raymond, and Neil H. Donahue. "Invisible Cathedrals: The Expressionist Art History of Wilhelm Worringer." Modern Language Review 92, no. 4 (October 1997): 1019. http://dx.doi.org/10.2307/3734287.

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Coleman, Floyd. "A Transformative Vision: The Expressionist Art of Sylvia Snowden." Callaloo 40, no. 5 (2017): 81–84. http://dx.doi.org/10.1353/cal.2017.0158.

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Evans, Tamara S., Wilhelm Worringer, and Neil H. Donahue. "Invisible Cathedrals: The Expressionist Art History of Wilhelm Worringer." German Quarterly 70, no. 4 (1997): 406. http://dx.doi.org/10.2307/408079.

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HUBERT, R. R. "KOKOSCHKA, KANDINSKY AND THE ART OF THE EXPRESSIONIST BOOK." Forum for Modern Language Studies XXXII, no. 2 (April 1, 1996): 165–81. http://dx.doi.org/10.1093/fmls/xxxii.2.165.

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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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Dourley, John. "Jung, a mystical aesthetic, and abstract art." International Journal of Jungian Studies 7, no. 1 (January 2, 2015): 4–18. http://dx.doi.org/10.1080/19409052.2014.924687.

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On the question of aesthetics, Jung makes a clear distinction between aestheticism and aesthetics. He dismissed the former as lacking substance and moral commitment, but allows that his psychology can never usurp but can contribute to a depth aesthetic. On close examination, this aesthetic rests on the manifestation of the archetypal in all forms of creativity. As such, it is closely related to the spiritual and religious. Modern expressionist and abstract art was consciously influenced by the apophatic mystical tradition to which Jung himself was drawn. Kandinsky and Arp are significant representatives of this tradition who were influenced by mystical experience – especially that of Jacob Boehme, one of Jung's key intellectual ancestors. The paper works to identify the rudiments of a Jungian aesthetic and show its compatibility with the work and theory of Kandinsky, Arp and the expressionist/abstract project.

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Γαλανάκης, Αθανάσιος Β. "Yvan Goll – Ε. Χ. Γονατάς: Προς μια συγκριτική ποιητική." Σύγκριση 26 (February 25, 2018): 11. http://dx.doi.org/10.12681/comparison.11120.

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This study aims to explore the relationship between the works of Yvan Goll and E. Ch. Gonatas. More specifically, the main purpose of the study is to highlight the role played by the Expressionist Movement (in which Yvan Goll was an active member) in the literary works of E. Ch. Gonatas. The methodological tools of Comparative Literature and Hermeneutics are used to prove the close relationship between the two authors and the expressionistic texture of their art. In the first part, the study is concerned with the expressionistic imagery, the poetics of landscape, the use of colors and the symbolization of nature (especially through the motif of the humanization of animals). The second part deals with the influence of Expressionism on the mutability of the literary genres, the generic hybridization in the work of E. Ch. Gonatas and the small literary form.The main objectives of the study are: i) A heuristic report of the presence of Expressionism in Modern Greek Literature (especially in the post-surrealistic movement), ii) the clarification of certain aspects in Gonatas' poetics and iii) the acquaintance with the work of the major poet but unknown to the Greek general public, Yvan Goll.

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Parrott, A. C. "Aesthetic Responses to Traditional and Modern Paintings by Art Experts and Nonexperts." Perceptual and Motor Skills 79, no. 1 (August 1994): 297–98. http://dx.doi.org/10.2466/pms.1994.79.1.297.

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16 art experts and 18 nonexperts assessed six paintings of different styles. It was predicted that nonexperts would like traditional paintings, whereas art experts would prefer modern styles, but this was not found. Instead, both groups produced their highest ratings for one of the modern abstracts (Klee), while the nonexperts rated the two modern representational paintings (German Expressionist) more highly than the experts.

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Kowsari, Masoud, and Mehrdad Garousi. "Fractal art and multi-blended spaces." Virtual Creativity 9, no. 1 (December 1, 2019): 23–41. http://dx.doi.org/10.1386/vcr_00003_1.

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Abstract Artworks, especially in the last two centuries, have been more created through a process of blending than at any other time. This blendedness is seen not only in many modern and postmodern works of art, from German expressionist woodcuts to Picasso's paintings and spontaneous action paintings of Pollock, but in fractal works of art perhaps more than anywhere else. This study, based on Fauconnier and Turner's blended space and conceptual blending theories, will show how fractal artworks are the result of a multi-blending process. This multi-blending is not only because fractal artworks have roots simultaneously in science, technology and art but also because their creation and understanding is dependent on knowledge of fractal aesthetics. Fractal aesthetics not only makes the artist have a continuous back and forth movement between mathematical, digital and artistic spaces, but simultaneously makes the visitor/audience have such an effort as well.1

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Saul, Gerald, and Chrystene Ells. "Shadows Illuminated. Understanding German Expressionist Cinema through the Lens of Contemporary Filmmaking Practices." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 103–26. http://dx.doi.org/10.2478/ausfm-2019-0006.

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Abstract The article looks at German Expressionist cinema through the eyes of contemporary, non-commercial filmmakers, to attempt to discover what aspects of this 1920s approach may guide filmmakers today. By drawing parallels between the outsider nature of Weimar artist-driven approaches to collaborative filmmaking and twenty-first-century non-mainstream independent filmmaking outside of major motion picture producing centres, the writers have attempted to find ways to strengthen their own filmmaking practices as well as to investigate methods of re-invigorating other independent or national cinemas. Putting their academic observations of the thematic, technical, and aesthetic aspects of Expressionist cinema into practice, Ells and Saul illustrate and discuss the uses, strengths, and pitfalls, within the realm of low-budget art cinema today.

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Stojanova, Christina. "German Cinematic Expressionism in Light of Jungian and Post-Jungian Approaches." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 35–58. http://dx.doi.org/10.2478/ausfm-2019-0003.

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Abstract Prerogative of what Jung calls visionary art, the aesthetics of German Expressionist cinema is “primarily expressive of the collective unconscious,” and – unlike the psychological art, whose goal is “to express the collective consciousness of a society” – they have succeeded not only to “compensate their culture for its biases” by bringing “to the consciousness what is ignored or repressed,” but also to “predict something of the future direction of a culture” (Rowland 2008, italics in the original, 189–90). After a theoretical introduction, the article develops this idea through the example of three visionary works: Arthur Robison’s Warning Shadows (Schatten, 1923), Fritz Lang’s The Weary Death aka Destiny (Der müde Tod, 1921), and Paul Leni’s Waxworks (Wachsfigurenkabinett, 1924).

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Pozdnyakov, Konstantin S. "Elements of expressionism in the story of A. Green «Gray Car»." Semiotic studies 1, no. 1 (April 19, 2021): 26–32. http://dx.doi.org/10.18287/2782-2966-2021-1-1-26-32.

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The topic of the work is relevant, since at present the Russian literary criticism is rediscovering the features of the artistic expression of Soviet literature of the 1920s. The aim of the study was to discover the features of the poetics of Greens text that allow us to identify the novel under consideration as expressionist. Research methods used in the article: comparative-historical and semantic analysis of texts. At the beginning of the article, the research of the novella Gray Car by A.V. Polupanova and L.U. Zvonareva is considered, inaccuracies and obvious factual errors are noted, indicating a lack of understanding of the text, a mixture of such forms of expression of the authors position (according to B.O. Korman) as hero-narrator and author-narrator. As an empirical material, in addition to the novel by A. Green, the works of G. Mayrink, F. Kafka and L. Perutz were used. As a result of consideration of the novels the Golem, Castle, the Cossack and the Nightingale, the Wizard of judgment was allocated with the following features art in the world of the expressionist literary works: a) the problem of identity associated, as a rule, the main character; 2) semema madness, which became a constant for expressionist texts; 3) mysterious (hidden) order of a seemingly chaotic world; 4) the lack of success of speech acts. All these features were found in the story of A. Green, so it seems that the new approach to the work of the writer as a representative of Russian expressionism, demonstrates its consistency and can be contrasted with the more traditional consideration of the authors prose as a super-textual unity.

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Funkenstein, Susan Laikin. "There's Something about Mary Wigman: The Woman Dancer as Subject in German Expressionist Art." Gender History 17, no. 3 (November 2005): 826–59. http://dx.doi.org/10.1111/j.0953-5233.2005.00406.x.

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Barnett, David. "Joseph Goebbels: Expressionist Dramatist as Nazi Minister of Culture." New Theatre Quarterly 17, no. 2 (May 2001): 161–69. http://dx.doi.org/10.1017/s0266464x00014561.

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The young Joseph Goebbels, caught up in the heady mix of ideas and ideals permeating German artistic circles during and after the First World War, expressed both his convictions and his confusions through writing plays. None of these deserve much attention as serious drama: but all shed light on the ideological development of the future Nazi Minister of Culture. While also developing an argument on the wider relationship between Expressionism and modernism, David Barnett here traces that relationship in Goebbels' plays, as also the evolution of an ideology that remained equivocal in its aesthetics – the necessary condemnation of ‘degenerate’ art tinged with a lingering admiration, epitomized in the infamous exhibition of 1937. David Barnett has been Lecturer in Theatre Studies at the University of Huddersfield since 1998, and was previously Lecturer in German Language and Literature at Keble College, Oxford. His Literature versus Theatre: Textual Problems and Theatrical Realization in the Later Plays of Heiner Müller was published by Peter Lang in 1998, and other publications include articles on Heiner Müller, Franz Xaver Kroetz, Rolf Hochhuth, Heinar Kipphardt, Werner Schwab, Rainer Werner Fassbinder, and Peter Handke.

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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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Winther, Judith. "Tradition and revolution. In search of roots: Uri Zvi Grinberg's Albatros." Nordisk Judaistik/Scandinavian Jewish Studies 18, no. 1-2 (September 1, 1997): 130–58. http://dx.doi.org/10.30752/nj.69545.

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Although Uri Zvi Grinberg had published poetry in both Hebrew and Yiddish from 1912 onward, it was with the appearance of the Yiddish volume Mefisto in 1921 and his Albatros in 1922–1923 that the new idiom, expressionism was introduced. In seeking to explain the transformation of Uri Zvi Grinberg from a minor romantic lyric poet in Yiddish and Hebrew into an Expressionist bard who emerged in the 1921 Mefisto, critics have advanced a number of elaborate and sometimes contradictory theories. His own special “creative force” in interplay with the highly eclectic dynamic of Yiddish modernism, spurred a turning point, which witnessed the return of his artistic attention, as of his confreres to the realities of the phenomenal world, in confrontation with symbolism (aestetic romanticist) and impressionist art.

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Deb, Dhruba. "Understanding the Unpredictability of Cancer using Chaos Theory and Modern Art Techniques." Leonardo 49, no. 1 (February 2016): 66–67. http://dx.doi.org/10.1162/leon_a_01099.

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The unpredictability of cancer poses a threat to personalized cures. Although cancer is studied as a chaotic system, the shape of its unpredictability, known as the strange attractor, is unclear. In this article, the author discusses a conceptual model, building on the strange attractor in cancer phase space. Using techniques of cubism, the author defines the 10-dimensional phase space and then, using an abstract expressionist approach, represents the strange attractor, which twists and turns in multi dimensions, indicating the unpredictability of cancer. This conceptual model motivates the identification of specific experiments for a system-level understanding of cancer.

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Gilbert, G. "Robert Motherwell's World War Two Collages: Signifying War as Topical Spectacle in Abstract Expressionist Art." Oxford Art Journal 27, no. 3 (March 1, 2004): 311–37. http://dx.doi.org/10.1093/oaj/27.3.311.

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Nissel, Jenny, Angelina Hawley-Dolan, and Ellen Winner. "Can Young Children Distinguish Abstract Expressionist Art From Superficially Similar Works by Preschoolers and Animals?" Journal of Cognition and Development 17, no. 1 (March 31, 2015): 18–29. http://dx.doi.org/10.1080/15248372.2015.1014488.

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Wasilewska, Diana. "Out of the mainstream. Henryk Weber – a Jewish art critic in interwar Cracow." Tekstualia 2, no. 57 (August 16, 2019): 37–54. http://dx.doi.org/10.5604/01.3001.0013.3540.

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Henryk Weber, a painter and art critic of the interwar period, is today a completely, though inequitably, forgotten fi gure. He was mainly associated with the Jewish magazine „Nasz Wyraz” in which he ran a column devoted to the visual arts. He was particularly interested in the history of the artistic milieu of Cracow, including, though not exclusively, Jewish artists. As a painter he was close to the colorists, and in his reviews he turned out to be an insightful observer and interpreter, also open to the latest avant-garde art phenomena. His artistic concept grew out of the expressionist aesthetics, treating art as an expression of the artist’s feelings and emotions, but the act of creation meant for him submitting these impressions to the laws of a strict logical construction. Weber’s statements, especially reviews, are characterized by an extraordinary suggestiveness of the language, which is a specifi c combination of professional terminology and colloquialisms or terms borrowed from other disciplines or areas of life. Aesthetic and linguistic awareness, wide knowledge of the latest artistic phenomena as well as openness to new artistic trends make him one of the most outstanding critics of the interwar period in Poland.

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Seth, Anil K. "From Unconscious Inference to the Beholder’s Share: Predictive Perception and Human Experience." European Review 27, no. 3 (June 14, 2019): 378–410. http://dx.doi.org/10.1017/s1062798719000061.

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Science and art have long recognized that perceptual experience depends on the involvement of the experiencer. In art history, this idea is captured by Ernst Gombrich’s ‘beholder’s share’. In neuroscience, it traces to Helmholtz’s concept of ‘perception as inference’, which is enjoying renewed prominence in the guise of ‘prediction error minimization’ (PEM) or the ‘Bayesian brain’. The shared idea is that our perceptual experience – whether of the world, of ourselves, or of an artwork – depends on the active ‘top-down’ interpretation of sensory input. Perception becomes a generative act, in which perceptual, cognitive, affective, and sociocultural expectations conspire to shape the brain’s ‘best guess’ of the causes of sensory signals. In this article, I explore the parallels between the Bayesian brain and the beholders’ share, illustrated, somewhat informally, with examples from Impressionist, Expressionist, and Cubist art. By connecting phenomenological insights from these traditions with the cognitive neuroscience of predictive perception, I outline a reciprocal relationship in which art reveals phenomenological targets for neurocognitive accounts of subjectivity, while the concepts of predictive perception may in turn help make mechanistic sense of the beholder’s share. This is not standard neuroaesthetics – the attempt to discover the brain basis of aesthetic experience – nor is it any kind of neuro-fangled ‘theory of art’. It is instead an examination of one way in which art and brain science can be equal partners in revealing deep truths about human experience.

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Howorus-Czajka, Magdalena. "Lęk i czerwona kotara. Prestiż a twórczość nie-filmowa Davida Lyncha." Panoptikum, no. 19 (June 30, 2018): 176–84. http://dx.doi.org/10.26881/pan.2018.19.12.

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Inspired by David Lynch’s works of visual art, this paper is an attempt to identify some extra-artistic mechanisms (the art market) relating to artworks. As a result, his non-cinematic works have been analysed here in the context of the mechanisms operating in culture, as indicated by Mieke Bal (“cultural imperialism”) and James F. English (“economy of prestige”). The artistic works of the American film director have been located on the main axes identified in this context. In addition to the expressionist-surrealist origin and commonly acknowledged connotations with the works of Edvard Munch, Oskar Kokoschka and Francis Bacon, the author also shows ideological threads combining Lynch’s works with Tadeusz Kantor’s legacy.

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Huttenlauch, Anna Blume. "Street Scenes and other Scenes from Berlin - Legal Issues in the Restitution of Art after the Third Reich." German Law Journal 7, no. 10 (October 1, 2006): 819–31. http://dx.doi.org/10.1017/s2071832200005137.

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The news that Ernst Ludwig Kirchner's painting “Berliner Strassenszene“ (Berlin Street Scene) will be up for sale in New York on November 8, 2006 has stirred up the international art scene for the past two months. The sale was announced shortly after the Berlin state senate had returned the painting to the heirs of its original owners, Jewish art collectors Alfred and Tekla Hess. For the past 26 years the piece had been hanging in the Brücke Museum in Berlin and formed a cornerstone of the museum's expressionist collection. Bought, from public funds, in 1980, for a little over $ 1 Million US, the painting is expected to sell this fall for $ 18 Million to $ 25 Million US.

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Mureika, J. R., G. C. Cupchik, and C. C. Dyer. "Multifractal Fingerprints in the Visual Arts." Leonardo 37, no. 1 (February 2004): 53–56. http://dx.doi.org/10.1162/002409404772828139.

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The similarity in fractal dimensions of paint “blobs” in samples of gestural expressionist art implies that these pigment structures are statistically indistinguishable from one another. This conclusion suggests that such dimensions cannot be used as a “finger-print” for identifying the work of a single artist. To overcome this limitation, the authors have adopted the multifractal spectrum as an alternative tool for artwork analysis. For the pigment blobs, it is demonstrated that this spectrum can be used to isolate a construction paradigm or art style. Additionally, the fractal dimensions of edge structures created by luminance gradients on the canvas are analyzed, yielding a potential method for visual discrimination of fractally similar paintings

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Rogge, Corina E., and Julie Arslanoglu. "Luminescence of coprecipitated titanium white pigments: Implications for dating modern art." Science Advances 5, no. 5 (May 2019): eaav0679. http://dx.doi.org/10.1126/sciadv.aav0679.

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Material analysis of cultural artifacts can uncover aspects of the creative process and help determine the origin and authenticity of works of art. Technical studies on abstract expressionist paintings revealed a luminescence signature from titanium white paints whose pigments were manufactured by coprecipitation with calcium or barium sulfate. We propose that trace neodymium present in some ilmenite (FeTiO3) ores can be trapped in the alkaline earth sulfate during coprecipitation, generating a luminescent marker characteristic of the ore and process. We show that the luminescence is linked to a specific ilmenite source used in historic TITANOX pigments, is not present in pigments produced by more advanced chemistries, and provides dating information. Facile Raman-based detection of this luminescence, along with characteristic peaks of rutile, anatase, calcium sulfate, or barium sulfate, can identify the type of titanium white pigment and narrow its manufacture date range.

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Goldman, Natasha. "From Ravensbrück to Berlin: Will Lammert’s Monument to the Deported Jews 1957/1985." Images 9, no. 1 (May 22, 2016): 140–63. http://dx.doi.org/10.1163/18718000-12340056.

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In 1985 one of the earliest memorials dedicated to the Jewish victims of the Holocaust was installed in East Berlin. The Monument to the Deported Jews was an arrangement of thirteen bronze figures in expressionist style. Will Lammert, the artist, originally designed the figures for the base of his monument for Ravensbrück in 1957. The artist died in 1957, however, before finalizing his design for the monument. Only two figures on a pylon were installed at the concentration camp in 1959. The figures meant for the base of the Ravensbrück memorial were unfinished, but were nonetheless cast in bronze by the artist’s family. Thirteen of those figures were installed on the Große Hamburger Straße in 1985 by the artist’s grandson, Mark Lammert. This essay analyzes the Große Hamburger Straße monument in three ways: first, it returns to the literature on the Ravensbrück memorial in order to better understand the role that the unfinished figures would have played, had they been installed. I argue that they originally were most likely meant to depict “Strafestehen”—or torture by standing—at Ravensbrück. Secondly, it aims to explain why and how Lammert’s seemingly expressionist memorial would have been acceptable to East Germany in 1959. While Western art historical attitudes toward East Germany up until the 1990s assumed that Soviet socialist realism was the de facto art style of the Deutsche Demokratische Republik (DDR), some elements of expressionism were being theorized in the late 1950s, at precisely the time when Lammert designed the Ravensbrück monument. Finally, I analyze the role that a monument for Ravensbrück plays in this particular neighborhood of Mitte, Berlin: standing silently, they are no longer legible as women being tortured by standing. Instead, the sculptures signify, at the same time, the deported Jews of Berlin and the harrowing aftermath of their deportations, the improbable return of the deported Jews, and the changing attitudes toward the history of the neighborhood in which the sculptural group is located.

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Lotery, Kevin. "Folds in the Fabric: Robert Morris in the 1980s." October 171 (March 2020): 77–114. http://dx.doi.org/10.1162/octo_a_00379.

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At the beginning of the 1980s, Robert Morris took a decisive and shocking turn. Abandoning the strategies of agency reduction, abstraction, and indeterminacy that had guided his practice since the 1960s, he began to make paintings instead. Architectural in scale and gaudy in their depictions of eviscerated human remains and post-apocalyptic landscapes, the new paintings trafficked in those myths of painting that Neo-Expressionism was just then resurrecting as bankable signs for a consumerist decade: expressivity, figuration, and narrative, among them. What, then, could unite the theorist of anti form—maker of the process-based, anti-object folds, tangles, and mounds of felt and thread waste—with the painter of the baroque, Neo-Expressionist daubs? This paper argues that the paintings of the 1980s, despite their seeming reversals, provide a key for understanding Morris's way of working from his earliest lead and felt projects forward. What they reveal, in short, is an oeuvre guided by a baroque logic of “the fold,” an aesthetic of non-invention that aimed, not at creating but at commandeering and multiplying, for better or worse, existing aesthetic and discursive structures, be they those of Conceptual art, post-Minimalism, or Neo-Expressionism.

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Epifanova, Irina Gennadevna. "Implementation of Louis Lankford’s techniques in analysis of the work of Egon Schiele “Levitation” (1915)." Культура и искусство, no. 12 (December 2020): 160–68. http://dx.doi.org/10.7256/2454-0625.2020.12.32072.

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The subject of this research is the work of the Austrian expressionist painter Egon Schiele “Levitation” (1915). Emphasis is placed on the phenomenological dimension of this work, for which was adapted and implemented the methodology of American phenomenologist Louis Lankford. This technique allows analyzing the work of visual art using the art criticism and phenomenological means simultaneously.  It includes five successive stages: receptiveness, vectoring, bracketing (phenomenological analysis), interpretive analysis, and synthesis of acquired information. The research is of interdisciplinary nature, combines the methods of art criticism and methods of philosophical science. The conclusion is made that Lankford’s methodology allows analyzing the works of visual art from phenomenological perspective, being adjusted to the composition under review. This case requires the increased role of audience in post-artistic communication. At the same time, special attention should be given to the body as a medium for the information contained in the painting, and to the information received and interpreted by the audience.

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Siopsi, Anastasia. "Aural and visual manifestations of the Scream in art, beginning with Edvard Munch's 'Der Schrei der Natur'." New Sound, no. 50-2 (2017): 237–57. http://dx.doi.org/10.5937/newso1750237s.

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In Munch's painting entitled Der Schrei der Natur (1893), a figure, while walking on a bridge, feels the cry of nature, a sound that is sensed internally rather than heard with the ears. The Scream is thought to be the ultimate embodiment of fear, angst, and alienation. It is also thought to symbolize humanity's existential panic expressed by ugly, even hideous, sounds of living beings undergoing both physical and emotional suffering in the modern age. As a motive, the so-called Ur-schrei is manifested mainly, but not only, in expressionist literature, painting and music, in order to articulate the most intense human emotions. In this article, I will present and analyze aural and visual manifestations of the Scream in music and painting.

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Ermolaeva, M. V., and D. V. Lubovsky. "The Psychotherapeutic Value of Tragic Catharsis." Консультативная психология и психотерапия 26, no. 1 (2018): 29–44. http://dx.doi.org/10.17759/cpp.2018260103.

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The article analyzes the phenomenon of catharsis that occurs from the perception of the tragic in art. Based on the eudemonistic understanding of catharsis we trace the cultural and historical aspects of the problem and show that catharsis as an aesthetic and psychological phenomenon that emerged in antiquity in order to facilitate acceptance of the necessity of dying of Self for rebirth into a new life. Using the examples of expressionist paintings and their early origins (M. Grünewald, E. Munch, P. Picasso) we analyze catharsis that occurs in the process of the tragic artworks perception, showing its therapeutic value for the audience (accepting the inevitable and searching for meaning, struggling with despair, resisting chaos, evil, and destruction). We show that the tragic in art, including painting, creates an aesthetic space that penetrates the living space of the subject of artistic perception and creates the possibility of expanding the conceptual horizon and spiritual renewal.

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Rutkoff, Peter M., and William B. Scott. "Appalachian Spring: A Collaboration and a Transition." Prospects 20 (October 1995): 209–25. http://dx.doi.org/10.1017/s0361233300006062.

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In late October, 1944, the Martha Graham Dance Company performed Appalachian Spring at the Library of Congress, establishing Graham as the master of modern dance. The significance of Appalachian Spring, however, went well beyond Graham's artistic development. Notwithstanding its traditional theme, Appalachian Spring heralded an important shift in American art. Following the Second World War a large segment of New York City artists abandoned the effort, so dominant in the interwar years, to create an explicitly “American” art in favor of a “modernist” aesthetic, best exemplified in abstract expressionist painting. Choreographed by Graham, composed by Aaron Copland, and designed by Isamu Noguchi, the “Ballet for Martha” marked an early expression of the shift from American realism to modernism. But unlike much of the radically nonrepresentational work of the late 1940s and early 1950s Appalachian Spring continued to embody the concerns of American realism, even unabashedly displaying its creators' continued embrace of the folk vernacular, while moving toward its modern aesthetic.

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Snapper, Leslie, Cansu Oranç, Angelina Hawley-Dolan, Jenny Nissel, and Ellen Winner. "Your kid could not have done that: Even untutored observers can discern intentionality and structure in abstract expressionist art." Cognition 137 (April 2015): 154–65. http://dx.doi.org/10.1016/j.cognition.2014.12.009.

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MOCTEZUMA, R. E., and JORGE GONZÁLEZ-GUTIÉRREZ. "MULTIFRACTAL STRUCTURE IN SAND DRAWINGS." Fractals 28, no. 01 (January 30, 2020): 2050004. http://dx.doi.org/10.1142/s0218348x20500048.

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The construction of an abstract expressionist artwork is driven by chaotic mechanisms that sculpt multifractal characteristics. Jackson Pollock’s paintings, for example, arise due to the random process of depositing drops and jets of paint on a canvas. However, most of the paintings and drawings try to recreate with fidelity common forms, natural landscapes, and the human figure. Accordingly, in the context of the formation of statistically self-similar objects, a question persists: will it be possible to find some vestige of multifractal structure in drawings or paintings whose elaboration process tries to avoid chaos? In this work, we scrutinize into several artistic drawings in sand to answer this intriguing question. These pieces of art are elaborated using craters, furrows, and sand piles; and some of them are inscribed on the Representative List of the Intangible Cultural Heritage of Humanity. We prove that the sand drawings analyzed here are multifractal objects. This finding suggests that a piece of visual art, which may initially appear ordered, contains many components distributed at different degrees of self-similarity that substantially increase the structural complexity.

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Bratiuk, Nadiia. "Expressive and Pictorial Language and the National Orientation of Creative Experiements of the Lviv Artists in the 1980s: L. Medvid, M. Yagoda, M. Bezpalkiv." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 30–37. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235122.

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The article addresses expressive and pictorial means in the works of Lviv artists of the 1980s L. Medvid, M. Yagoda, M. Bezpalkiv, who were iconic and famous figures of the second half of the twentieth century in the artistic life of Lviv, Ukraine, and abroad. Their works differ significantly against the background of the artistic context, the paintings operate deep spiritual and moral and aesthetic values, images from Ukrainian mythology, and are marked by professionalism and unique style. The aim of the research isto view the 1980s paintings by L. Medvid, M. Yagoda, M. Bezpalkiv in the context of the expressionist vector of development. Research methodology includes art analysis, comparative method, method of analysis and synthesis, formal analysis ofstylistic features of the authors’ styles. In the process of complex research, the socio-cultural, artistic and political preconditions that led to the emergence and formation of expressive features in the works of L. Medvid, M. Yagoda, M. Bezpalkiv were clarified. It was discovered that the painting of Lviv-based artists in the 1980s significantly influenced the present-day art of Lviv

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Hilsabeck, Burke. "Frank Tashlin's Jackson Pollock." Modernist Cultures 11, no. 2 (July 2016): 243–67. http://dx.doi.org/10.3366/mod.2016.0137.

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This paper situates Frank Tashlin's Paramount-produced Artists and Models (1955) alongside a genealogy of modernist painting. Beginning with the observation that the opening sequence of Tashlin's film burlesques Abstract Expressionist painting and Jackson Pollock in particular, it puts Artists and Models in conversation with Clement Greenberg's paint-on-a-flat-canvas modernism (and Greenberg's interest in articulating this modernism through the figure of Pollock) with a distinct account of cinematic specificity. The essay then places Tashlin's film and the figure of Jerry-Lewis-as-Jackson-Pollock in relation to Pop Art of the late 1950s and early 1960s. It concludes by suggesting that Tashlin's Pollock can help us to better think about the relationship between high modernism and mass culture.

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Stern, Guy. "Neil H. Donahue, ed.Invisible Cathedrals: The Expressionist Art History of Wilhelm Worringer. University Park, PA: Pennsylvania UP 1995. Pp. viii + 217." Germanic Review: Literature, Culture, Theory 71, no. 1 (January 1996): 78–80. http://dx.doi.org/10.1080/00168890.1996.9938087.

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Sheppard, Richard. "Reviews : Expressionist Utopias: Paradise, Metropolis, Architectural Fantasy. Edited by Timothy O. Benson. Los Angeles: Los Angeles County Museum of Art, 1993. Pp.323." Journal of European Studies 24, no. 95 (September 1994): 320–21. http://dx.doi.org/10.1177/004724419402409522.

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Pelikan, Egon. "Uncovering Mussolini and Hitler in Churches: The Painter's Ideological Subversion and the Marking of Space along the Slovene-Italian Border." Austrian History Yearbook 49 (April 2018): 207–37. http://dx.doi.org/10.1017/s0067237818000164.

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This study analyzes the phenomenon of church paintings as subversive visual representations of Fascism and as an act of systematic rebellion against Fascist “ideological marking of space.” Slovene Expressionist painter and sculptor Tone Kralj's (1900−75) paintings functioned as ideological markers of national territory. He painted churches along the ethnic border as it was imagined by the Slovene community, delineating it with visual symbols of anti-Fascism and anti-Nazism. Kralj's undertaking can thus be interpreted as an instance of systematic “subversive coverage” of an ethnically exposed borderland with church paintings. Even today, his artistic “delineation” of the then-disputed ethnic border is a marking phenomenon that cannot be found anywhere else in Europe. If one of the most important authorities on Fascist ideology in Italy, Emilio Gentile, considers Fascist ideology to be a form of political religion and a modern manifestation of the sacralization of politics, then Tone Kralj's church paintings could be regarded as an instance of systematic introduction of the political and ideological into the religious context. Perhaps the most ingenious feature of Kralj's ecclesiastical art is his fusion of Catholicism with the Slovene national idea for the purpose of ideologically marking and promoting anti-Fascism and anti-Nazism as well as Slovene nationalism and Slovene irredentism in the Julian March.

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Isman, Sibel Almelek. "Eiffel Tower Through The Eyes of Painters." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 27, 2017): 01. http://dx.doi.org/10.18844/prosoc.v4i11.2845.

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The Eiffel Tower, the global icon of France, was erected as the entrance to the Paris International Exposition in 1889. It was a suitable centrepiece for the World Fair, which celebrated the centennial of the French Revolution. Although the tower was a subject of controversy at the time of its construction, many European painters have been inspired by the majestic figure of the Eiffel Tower. They picturised the tower in their portraits and cityscapes. Paul Louis Delance, Georges Seurat, Paul Signac and Henri Rousseau were the first artists to depict this symbol of modernity. Robert Delaunay and Marc Chagall used the image of the tower most frequently. Maurice Utrillo, Raoul Dufy, Fernand Léger, Diego Rivera, Max Beckmann and Christian Schad can also be counted among the artists who picturised the tower. The Eiffel Tower appears differently in the eyes of pointillist, expressionist, orfist, cubist and abstract painters. Keywords: Eiffel Tower, European art, painting.

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Fox, Christopher. "British Music at Darmstadt 1982–92." Tempo, no. 186 (September 1993): 21–25. http://dx.doi.org/10.1017/s0040298200003065.

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The new music summer school in Darmstadt is perhaps the most important gathering of and performers of contemporary music in Europe. Launched in 1946 in the then American Zone of occupied Germany, as part of the postwar process of internationalization (and, therefore, de-Nazification) of German culture, the Darmstadt Ferienkurse quickly gained a reputation as a forum for the promulgation of a radically abstract musical aesthetic, based on reductive analyses of the serial works of Webern in particular. While some composers saw this new aesthetic as a ‘mechanistic heresy’, the music of what came to be known as the Darmstadt School – Boulez, Maderna, Nono, Stockhausen – soon attracted official support since, like Abstract Expressionist painting, ‘a seemingly abstract art could readily be elevated as an emblem of “terrible freedom”’. This ‘terrible freedom’, the freedom to be unpopular, was a potent symbol of Western individualism in the symbolic battle that characterized the European theatre of the Cold War during the 1950s.

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Horrocks, Roger. "The dance of the hand: Len Lye’s direct films." Animation Practice, Process & Production 8, no. 1 (December 1, 2019): 33–45. http://dx.doi.org/10.1386/ap3_00003_1.

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Len Lye’s animation has a special relationship with physical materials and the body because of the ways he drew and scratched his images directly onto film. This article considers what is unusual about his aesthetic, with its emphasis on kinaesthetic styles of viewing and on ‘physical empathy’. Tracking Lye’s film work from the 1930s through the 1950s, it draws connections with the body-oriented aspects of abstract expressionist art. It also relates the films to Maurice Merleau-Ponty’s ‘embodied’ approach to phenomenology. Today Lye’s films need to be digitized, and that transfer raises interesting questions about the differences between analogue and digital aesthetics. What happens when his films move from the ‘black box’ of the cinema to the ‘white cube’ of the gallery or museum where they are digitally presented? The article also considers Lye’s kinetic sculpture as another body-oriented form of animation, in which the motor replaces the projector. His sculpture again raises questions about mixing the analogue with the digital.

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Bahari, Nooryan, Dyah Yuni Kurniawati, and Sigit Purnomo Adi. "PLEXIGLAS AS PAINTING MEDIA." VISUALITA 8, no. 1 (August 10, 2019): 15–23. http://dx.doi.org/10.33375/vslt.v8i1.1235.

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The research aim of art creation and presentation is to revitalize traditional glass painting in Indonesia by utilizing plexiglas flexibility as a medium in fine artwork. This is due to the use of glass as a medium is very heavy and easily broken when moved or taken for display. The research method used in the creation of art uses experimental method with the order of exploration stage, design stage, and realization stage. Exploration stage is an exploration activity that explores the source of ideas, including exploring plexiglass materials using various types of water-based and oil-based paints, as well as gravur and grinder techniques to erode the surface. Next is collecting data and references, as well as processing and analyzing data which results are used as the basic for making designs. Design Stage visualizes exploration results into various design alternatives which then the best is chosen and used as references in making works. Realization Stage is the process of manifesting the chosen design into the real work. Research showed that the use of plexiglass material as a medium of traditional glass painting has a very good results, and plexiglas can fully replace glass in terms of aplicable to various paint types, even plexiglas has excellence over ordinary glass that is water-based acrylic paint can be applied better in plexiglas and can fused (compound). Exploration of works visualization using plexiglas as medium has a very good result, as applied to ordinary glass. Exploration of works visualization has a very good result, some works still use traditional motifs and symbols combined with modern motifs and symbols with illustrative, expressionist and pop art style.

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Arefieva, Anna. "Dialogue of cultures as a synthesis of arts: experience of formation of integrative poetics in Diaghilev's seasons." Filosofiya osvity. Philosophy of Education 26, no. 2 (June 25, 2021): 100–108. http://dx.doi.org/10.31874/2309-1606-2020-26-2-7.

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The article is devoted to the definition of the synthesis of arts in Serge Diaghilev's seasons as a dialogue of cultures. In contrast to the interpretation of the dialogue of cultures as a sociological phenomenon, which has become a truism, when the dialogue of cultures in the Diaghilev's seasons is seen as a dialogue of French and Russian cultures, it is provided the interpretation of the dialogue of cultures in a work of art. In particular, in Ihor Stravinsky's "Sacred Spring" staged by Waclaw Nizynski, scenography by Nikolay Rerich, there is a dialogue between pagan and Christian cultures as a synthetic choreographic and musical image. Rerich's scenery introduces another cultural allusion - images of the East. The philosophical meaning of interpretation is the ideological definition of synthetic artistic image as a cultural dialogue. Theoretical works and memoirs of I. Stravinsky and S. Lifar testify that there was a certain school of growth in the stage space of the Seasons. Young people quickly became leading dancers, and then created their own choreographic school – "cubist" in Bronislawa and Waclaw Nizynski, "media" – in Lifar. I. Stravinsky became the founder of a new type of synthetic-type scenicism, where the musicality and picturesqueness of plastic exercises turned into large canvases of various genres – folklore, impressionist, expressionist counterpoint. The philosophy of modern art education in the field of music, choreography and vocal creativity encourages the cultural and historical reconstruction of the experience of leading artists who created unsurpassed masterpieces of European culture in the early twentieth century.

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Zimmermann, Tanja. "Objects of Embodiment: A “Post-Material Turn” in Exhibiting Lost Material Culture." Ikonotheka, no. 29 (September 16, 2020): 249–74. http://dx.doi.org/10.31338/2657-6015ik.29.1.

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Exhibiting lost material culture goes beyond documenting, preserving, reconstructing, and staging material traces of the past. Museums, possessing modest collections of original historical objects, have to search for new ways of exhibiting material culture thereby replacing facts (original objects, documents, documentary media) by bodily experience similar to that evoked by mystical religious art addressing different human senses beyond the vision. Bodily sensations can be evoked by ambiences, following expressionist or constructivist architecture, by sculptural displays in tradition of the avant-garde, by soundscapes and large scale image projections evoking illusion and immersion. The “post-material turn” comprises thus not only virtual culture, but also new material approaches to the memory of the past, shifting from original historical artifacts to reproductions and substitutes, evoking an intense bodily experience. Although history gets space for embodiment, such ambiences evoke a strong sense of loss, because they avoid immediate contact with traces of the past by virtual and material “doubles”. The “post-material turn” will be discussed with the example of The Jewish Museum and Tolerance Center in Moscow, relating it to other contemporary “postdocumentary” and “post-factual” phenomena in memorial culture.

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Verma, Neena. "Insecurity in architecture." Architectural Research Quarterly 18, no. 2 (June 2014): 106–9. http://dx.doi.org/10.1017/s1359135514000414.

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‘I myself do not believe in explaining anything’, wrote Shel Silverstein. It seems that architecture is always looking to explain itself. Definitions of architecture seem almost common knowledge; ask a bartender, biologist, computer scientist, economist, legislator, birdwatcher, quilter or scientist, each of whom analogises their field with respect to architecture. And several within the profession can themselves define architecture's limits quite elegantly. Most recently Steven Holl defined architecture as consisting simply of abstract, use, space and idea. However, seeking a rationale or explanation for architecture – its role in society, its impact, its value – remains an open debate. This debate has consumed the field, in academia and practice, for centuries. It suggests a dire insecurity.Shifts in architecture's self-perception and self-explanation often relate to formal styles. Any text on architectural history covers these styles, from Neolithic to contemporary, including accompanying sub-movements such as, for the early modern category, Expressionist architecture, Art Deco, and the so-called ‘International Style’. Each style is often imagined a product of, or reaction to, a preceding style, and much the same can be said of accompanying trends in the explanation of architecture. This essay, and its underlying argument, is itself a reaction to the current state of affairs.

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Bulavina, Maria O. "Nikolai Gogol in silent films." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 179–84. http://dx.doi.org/10.34216/1998-0817-2021-27-1-179-184.

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The article is devoted to the problem of Nikolai Gogol's interpretation on Russian screen. The problem of interaction between literature and cinematography is considered in a concrete historical plan, that is connected with the features of the time in which Gogol`s film adaptations were created. At the same time, the level of technical equipment of cinematography and other inherent qualities of it, that are largely determined the approach of the first directors to specific Gogol material, were taken into account. Cinema interpretations like «Dead Souls» by Pyotr Chardynin, «Taras Bulba» by Alexander Drankov, «Christmas Eve» and «The Portrait» by Ladislas Starevich, «The Overcoat» by Georgi Kozintsev and Leonid Trauberg are in the centre of the article. Each of the listed film adaptations has its own specifics determined by close connection with other types of art, fragmentariness, melodramatic, an abundance of phantasmagorias, etc. «The Overcoat» stands out in the list of silent interpretations, since presents a new look at the process of Gogol's translation from the language of literature into the cinema language. Compared to previous films, the creators of the 1926 cinematic version of «The Overcoat» took into account Gogol's style, the mood of his work, recreated through the picture of the ghostly expressionist Petersburg.

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Journal articles on the topic 'Expressionist art'

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