Fauvism and German Expressionism

Was Fauvism and German Expressionism a reaction to the upheavals of the world or were they next logical step in the progression of artistic expression?

Fauvism was one of the first avant-garde movements in the early 20^th century that flourished in France. The Fauve artists were the first to break away from Impressionism and other older methods of traditional perception. Their subjective spontaneous response to nature was expressed in the bold, undisguised, and vibrant brushstrokes often taken directly from the tube. The art movement led by Henri Matisse introduced new, vivid, and un-naturalistic colors and in the summer of 1905 while working on the Mediterranean coast in a small fishing port he developed this revolutionary style. Later his pictures were exhibited at the salon and a critic labeled artists like Matisse Fauves which meant “wild beasts “, and this term was later applied to the artists themselves. (Rewald) Fauves believed in their right to personal expression of their vision rather than art that catered to the public or academic tastes. Other important Fauvists were Kees van Dongen, Charles Camoin, Henri-Charles Manguin, Othon Friesz, Jean Puy, Louis Valtat, and Georges Rouault. These were joined in 1906 by Georges Braque and Raoul Dufy. (Rewald) For most of these artists this style was just a transitional phase and learning curve. By 1908 spurred by a renewed interest in Cezanne’s vision, caused many of artists to stray from the emotionalism of Fauvism and favor the logic of Cubism. This left Matisse alone in his course, achieving a brilliant balance between his own emotions and the world he painted. (Rewald)

The term expressionist was used to describe a wide range of 20^th century French and German artists that rebelled against the impressionist tendency to focus on perpetual data. (Schmahmann) The German Expressionist movement tapped into a darker atmosphere as a response of the atrocities of World War I and World War II. The idea that art should be a materialization of subjective feelings, while still being a response to a mood of change seemed to fuel the German Expressionists. This contradiction can be explained by the artist’s belief that universal truths could be exposed through a revelation of creative individuality. The fact that German expressionist art rarely communicated a specific message complicates things, but even when work was completely abstract, the color and composition speak and elicits different reactions from its viewers. There are distinct differences between the term expressionism when it is applied to Fauvist art and the use of that word to describe German Expressionist work. While French art of the period 1905 to 1907 placed an emphasis on self-expression, formal considerations tended to outweigh emotional content. A further difference between Fauves and German Expressionist artists is that the latter were far more politically motivated. They desired to initiate an artistically inspired swing away from 19th century materialism towards a new spiritual era. (Schmahmann)

The German Expressionism and Fauvism movements began in the beginning of the 20^th century. Both may be considered evolutions of the pervious movements and reaction to the world that they lived in. The Fauvist movement has been compared to German Expressionism, both projecting brilliant colors and spontaneous brushwork, and indebted to the same late nineteenth century sources, especially Van Gogh. The French were more concerned with the formal aspects of pictorial organization, while the German Expressionists were more emotionally involved in their subjects. (Rewald) Since both Fauvism and German Expressionism use color to communicate, it seems natural that this progression would occur. Each have their own take on exactly how to place the color and why, Fauvism for emotion not reality and Expressionism the same. Each equally as colorful, Expressionism leads its way into Abstraction and Cubism, which when done artistically seem to tone down the bright colors and visually balance them structurally.

I think the artists themselves considered their work the next step, even if not strictly based on what came before, and they certainly witnessed and knew what to compare themselves with. These short movements stemmed into what we recognize as modernism. Modernism puts forth the ideals of freedom, individual autonomy and an absolute rejection of the traditional past. This is its weakness, as art is not created in a vacuum nor can it be separated from the society and history of its origin. Art is a true reflection of the development of humanity and art work holds up a mirror so that the shape of society can be seen. Individuality and freedom are one of the greatest achievements of our modern culture.

Works Cited

Rewald, Sabine. The Metropolitan Museum of Art:Heilbrunn Timeline of Art History . 2012. 8 May 2012 <http://www.metmuseum.org/toah/hd/fauv/hd_fauv.htm>.

Schmahmann, B. The Art World:Art Movements in Art History - German Expressionism. 2012. 8 May 2012 <http://www.the-art-world.com/history/german-expressionism1.htm>.

The Devil is in the Details: symbolic expression in photography….

My advice for using photography for symbolic expression is looking through the view finder as your new pair of eyes. In expressive photography, we rely on visual symbols to represent abstract ideas. A symbol stands for something with a larger meaning. And some of the most famous photographs endure because of their symbolism. In expressive photography, we rely on visual symbols to represent abstract ideas. Images like Dorothea Lange’s “Migrant Mother,” and Joe Rosenthal’s “Iwo Jima”, symbolic photographs can trigger multiple meanings, depending upon who may be looking at it, because symbols can often mean different things to different people. Images that offer multiple meanings will often challenge the imagination of viewers in unexpected and provocative ways. Any image that encourages thought, moves the emotions, or stimulates the imagination can be a valuable experience. It all depends on how the photographer has used symbolization and how the viewer understands those symbols. Sometimes it is difficult to accurately present our feelings, ideas and thoughts, or even our mood, in a pure visual form. When photographing we want to exemplify key details and make sure the onlooker can really experience the emotions that accompany it. No naturalistic version of the scene could convey as much as expression, because viewer will notice the important details that constitute the atmosphere of the moment. I think when images strike that metaphysical cord within us that a lot of the time the image will strike others as well.

Analysis: Caspar David Friedrich And Jean Auguste Dominique Ingres

Caspar David Friedrich

In Wanderer above the Sea of Fog, the subject is the artist himself. Friedrich turned from the viewer with one foot forward bold and apprehensive, as he gazes out at a mysterious landscape, wide and threatening. A tumultuous sea and fog seems to give us a sense of a reflection of inner emotion. This painting evokes a mystical and somewhat melancholy feeling and is quietly profound in nature. Friedrich’s painting has symbolism even in the landscape and this reminds me of the symbolic importance of the moors described in Wuthering Heights. Emily Bronte’s constant emphasis on landscape shows that the moors as symbols of the wild threat posed by nature and describes Catherine and Heathcliff’s bond and turbulent love affair. The wanderers gazing into the sea of fog can leave us to conclude that Friedrich was asserting that he was presented with an unknown future. This apprehension, fear, or hope is something all of us can relate to at one point or another in our lives and his meticulous style leaves us to meditate on our own feelings.

Jean Auguste Dominique Ingres

Ingres rendition of Antiochus and Stratonice shows his love for ancient objects of classical antiquity. His interest in the story inspired him to make several paintings in that theme. (Gonzalez-Crussi) This 1860 neo classical painting depicts a pivotal scene from the story of Antiochus and Stratonice, as related by the ancient Greek historian Plutarch.  Antiochus was a Syrian prince who fell in love with his father’s new young bride, Stratonice. In the scene Antiochus is dying because of this love for Queen Stratonice and Erasistratus tells King Seleucus of his son’s mortal affliction. The King, for love of his son, gives Stratonice to Antiochus in marriage, and saves Antiochus' life. (CHIU) Ingres painting expresses two themes of that period the glorification of dying for a cause and love of the far off and exotic. The dying Antiochus is shrouded in shadow, while the queen who is the object of both men's attention, is spotlighted in bright light. Ingres uses chiaroscuro and tenebrism beautifully to convey a dimensional look to the image and to focus specifically on Stratonice. (CHIU) We often feel that love can be a light in a dark place and this is shown beautifully. King Seleucus grieving and covered by a red cloak completes the scene. The themes of love, passion and death are further emphasized by the redness of the grieving man's cloak while obscuring the rest of the picture in dark shadowy colors. In short, Ingres' painting is a romantically themed but neoclassically rendered depiction a Plutarch tale from Classical Greek and Roman art. (CHIU) Ingres was a devout student of cultural conservatism, never straying completely from neoclassical traditional beliefs.

In contrast both paintings evoke feelings in our minds and hearts, but are completely different. I found the painting Antiochus and Stratonice even in its restraint and formal technique to be quite moving. The colors and use of light and reflect the emotion of the scene and is wonderfully detailed. The Neoclassicism inspiration comes from classical Rome and uses rationality and values of order. The wanderer above the Sea of Fog is unrestrained and more crowded in composition. The brush strokes of deep color give dimension and unbridled sense of mystery. Romanticism inspiration stems from medieval eras with values of emotion, imagination, and spontaneity. A common thread that links theses two paintings is the use of color and variances of light and shadow.

Works Cited

CHIU, WEI-WEI. CRITICAL ANALYSIS #3. 2003. 20 April 2012 <http://www.wchiu.com/ingres_antiochus.pdf>.

Gonzalez-Crussi, Hektoen International Journal: Frank. Lovesickness in art and medicine. 2009. 20 April 2012 <http://www.hektoeninternational.org/Lovesickness.html>.