Expressionism in Germany and France: From Van Gogh to Kandinsky edited by Timothy Benson.
Expressionism in Germany and France by Timothy Benson
Page 52, "For German artists, "the decorative" was a complex and contradictory term with deep philosophical and historical roots that prevented them from embracing it directly"
Harry Graf Kessler's Path to Expressionism by Laird M. Easton
Page 146, "Kessler elaborated an aesthetic theory that had much in common with the goals of Expressionism. In particular, he stressed the importance of three phenomena - the role of feelings, the religious roots of art, and the uses of ornament"
Page 147, "Expressionism oscillates dramatically between moods of darkest despair and of chiliastic ecstasy"
Page 150, "Expressionist theatre in its effort to go beyond naturalism and uncover a deeper reality"
Page 152, Kessler commissions Herzfelde brothers to make an animated propaganda film in the expressionist style. Mocking the arrival of American troops in France"
Henri Matisse as Herr Professor: the academic Matisse and the Internationalization of the Avant-Garde, 1905-1914 by Claudine Grammont
Page 155, "In 1912, the terms Wilden (wild animal - another term for the Fauves) and Expressionism were essentially interchangeable"
"... before World War I when artistic internationalism could still be conceived not as a utopia but as a collective project"
Page 158, re: internationalism in art in 1908-1910: "The notion of achieving a sort of pictorial Esperanto is perhaps not alien to Matisse's ambition; during those years he simplified his pictorial vocabulary to an extreme, returning to the very roots of the language of forms."
Page 160 "art boche ('Kraut' art)"
Cezanne, Gauguin, Van Gogh, Matisse, and the Fauves: Exhibitions of French Modernism in Berlin, Dresden, and Munich, 1904-1909 by Peter Kropmanns
Page 167, "The art critic was able to support or weaken an artistic impression through his interpretation; his reading, which was also understood as an articulation of the understanding of the general public, was also the basis for the value judgment on which depended the public success and ultimately the existence of the work of art. If the critic believed himself obliged to conclude that a work lacked impact, in other words, lacked points of contact with the interests of the time, then he could in a way 'neutralize' such a work by denying it journalistic support or even not mentioning it at all." (quoting Bringmann)
Page 176, "The long standing dispute important to consider the broader context when taking a closer look at exhibitions of French modernism in Germany between 1904 and 1909. These events were not only part of a moment in European history and art history on the even of World War I but also part of a continuum of German-French relations spanning many centuries and having experienced many fluctuations, characterized by some peaks and many depths -- by exchange, inspirations, and osmosis at some points and by rejection, distancing, and demarcation at others. "
The Brucke and the Fauves by Magdalena M. Moeller
Page 239, "The Fauves painted in order to express something, not to depict something. That was their revolutionary approach"
"Fauves" = wild beasts.
Brucke formed in Dresden in 1905. Both groups highly influenced by early exhibitions of Van Gogh - Fauves, Paris 1901 and Brucke, Dresden, 1905.
Page 247-248, "[The Brucke] wanted to give the impression that their art had evolved autonomously and without the existence of French models. That is why Kirchner predated his drawings and pastels of 1909 in particular, in which his work is closest to that of Matisse"
"We rejected the ingratiating or salon-like taste that still clung to academicism, which was undoubtedly still present tin the work of others'' painting at the time. That was refined painting, but the refined was not our goal" (Heckel in 1958 interview)
"The artist of the Brucke are usually lumped in with Expressionism, without recognizing that there were two stages of Brucke art. ...[Dresden] colorful and cheerful qualities .... [Berlin] distortion and exaggeration bordering on the hysterical, a shattering of traditional forms".
Expanding the Boundaries of Modern Art: the Blaue Reiter, Parisian Modernism, and Henri Rousseau by Katherine Kuenzli
Page 251, "By introducing Impressionistic aesthetic in Germany, both men [critic Julius Meier-Graefe and museum curator Hugo von Tschudi] sought to change the course of German art away from the allegorical and mythological subjects towards a concentration on optical sensation and the material properties of the medium, including line, colour, and surface."
"[later] contributors to the almanac, especially Marc and Kandinsky, focused less on modern art's formal qualities and more on underlying spiritual affinities that they believed united artworks from all cultures and historical ages."
Page 253, "Macke ... insists ... that modern art originated in individual sensation"
Page 257, "The complement of the great realism is the great abstraction, according to Kandinsky"
A Byway for Sure: Cubism's reception and impact on the Brucke, 1910-1914 by Sherwwin Simmons
Page 263, "The Cubists" a poem in magazing Lustige Blatter:
"This is a new direction,
Ideally Partisian
This is an artistic school,
That paints three-dimensionally.
The crude poem ended by ridicculing the "Kubik" idiot who would buy such art."
Expressionism in Germany and France by Timothy Benson
Page 52, "For German artists, "the decorative" was a complex and contradictory term with deep philosophical and historical roots that prevented them from embracing it directly"
Harry Graf Kessler's Path to Expressionism by Laird M. Easton
Page 146, "Kessler elaborated an aesthetic theory that had much in common with the goals of Expressionism. In particular, he stressed the importance of three phenomena - the role of feelings, the religious roots of art, and the uses of ornament"
Page 147, "Expressionism oscillates dramatically between moods of darkest despair and of chiliastic ecstasy"
Page 150, "Expressionist theatre in its effort to go beyond naturalism and uncover a deeper reality"
Page 152, Kessler commissions Herzfelde brothers to make an animated propaganda film in the expressionist style. Mocking the arrival of American troops in France"
Henri Matisse as Herr Professor: the academic Matisse and the Internationalization of the Avant-Garde, 1905-1914 by Claudine Grammont
Page 155, "In 1912, the terms Wilden (wild animal - another term for the Fauves) and Expressionism were essentially interchangeable"
"... before World War I when artistic internationalism could still be conceived not as a utopia but as a collective project"
Page 158, re: internationalism in art in 1908-1910: "The notion of achieving a sort of pictorial Esperanto is perhaps not alien to Matisse's ambition; during those years he simplified his pictorial vocabulary to an extreme, returning to the very roots of the language of forms."
Page 160 "art boche ('Kraut' art)"
Cezanne, Gauguin, Van Gogh, Matisse, and the Fauves: Exhibitions of French Modernism in Berlin, Dresden, and Munich, 1904-1909 by Peter Kropmanns
Page 167, "The art critic was able to support or weaken an artistic impression through his interpretation; his reading, which was also understood as an articulation of the understanding of the general public, was also the basis for the value judgment on which depended the public success and ultimately the existence of the work of art. If the critic believed himself obliged to conclude that a work lacked impact, in other words, lacked points of contact with the interests of the time, then he could in a way 'neutralize' such a work by denying it journalistic support or even not mentioning it at all." (quoting Bringmann)
Page 176, "The long standing dispute important to consider the broader context when taking a closer look at exhibitions of French modernism in Germany between 1904 and 1909. These events were not only part of a moment in European history and art history on the even of World War I but also part of a continuum of German-French relations spanning many centuries and having experienced many fluctuations, characterized by some peaks and many depths -- by exchange, inspirations, and osmosis at some points and by rejection, distancing, and demarcation at others. "
The Brucke and the Fauves by Magdalena M. Moeller
Page 239, "The Fauves painted in order to express something, not to depict something. That was their revolutionary approach"
"Fauves" = wild beasts.
Brucke formed in Dresden in 1905. Both groups highly influenced by early exhibitions of Van Gogh - Fauves, Paris 1901 and Brucke, Dresden, 1905.
Page 247-248, "[The Brucke] wanted to give the impression that their art had evolved autonomously and without the existence of French models. That is why Kirchner predated his drawings and pastels of 1909 in particular, in which his work is closest to that of Matisse"
"We rejected the ingratiating or salon-like taste that still clung to academicism, which was undoubtedly still present tin the work of others'' painting at the time. That was refined painting, but the refined was not our goal" (Heckel in 1958 interview)
"The artist of the Brucke are usually lumped in with Expressionism, without recognizing that there were two stages of Brucke art. ...[Dresden] colorful and cheerful qualities .... [Berlin] distortion and exaggeration bordering on the hysterical, a shattering of traditional forms".
Expanding the Boundaries of Modern Art: the Blaue Reiter, Parisian Modernism, and Henri Rousseau by Katherine Kuenzli
Page 251, "By introducing Impressionistic aesthetic in Germany, both men [critic Julius Meier-Graefe and museum curator Hugo von Tschudi] sought to change the course of German art away from the allegorical and mythological subjects towards a concentration on optical sensation and the material properties of the medium, including line, colour, and surface."
"[later] contributors to the almanac, especially Marc and Kandinsky, focused less on modern art's formal qualities and more on underlying spiritual affinities that they believed united artworks from all cultures and historical ages."
Page 253, "Macke ... insists ... that modern art originated in individual sensation"
Page 257, "The complement of the great realism is the great abstraction, according to Kandinsky"
A Byway for Sure: Cubism's reception and impact on the Brucke, 1910-1914 by Sherwwin Simmons
Page 263, "The Cubists" a poem in magazing Lustige Blatter:
"This is a new direction,
Ideally Partisian
This is an artistic school,
That paints three-dimensionally.
The crude poem ended by ridicculing the "Kubik" idiot who would buy such art."
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