#Carl Schmidt Rottluff

[instalandoelespacio-blog]

Para realizar la instalación, se comenzó por la documentación y búsqueda de referentes.  Durante este proceso se leyeron algunos textos acerca de la instalación, incluidos los apuntes para tratar de definir mejor qué era y en qué parámetros nos podíamos mover. Además se buscaron algunos artistas que trabajaran en términos similares a los que eran de nuestro interés, como por ejemplo el empleo del suelo como espacio donde instalar las piezas, la geometría o la iluminación. De este modo hallé algunos referentes tanto artísticos como teóricos que expongo a continuación. 

XU. Signo viejo y nuevo. REVISTA DE POESIA N° 4 - agosto de 1982. 

Revista ad -arquitetura e decoraçâo-, N° 20, Sâo Paulo, en noviembre/diciembre de 1956.

“Funciones - relaciones gráfico - fonéticas (“factores deproximidad y semejanza”) y el uso substantivo del espacio como elemento de composición mantienen una dialéctica simultánea de mirada y aliento, que, aliada a la síntesis ideogramática del significado, crea una totalidad sensible“verbivocovisual”, a fin de yuxtaponer palabras y experiencias en un estrecho flujo fenomenología), antes imposible”.

Lavra, lavra. Mário Chamie, 1962. Poesía Praxis.

“... esto implica en considerar al poema como una construcción del “espacio en negro”. O sea, no se está preocupado con “versos”, ni con frases líricas, sino con la estructuración de la masa del poema”.

Acerca de la noción de legibilidad en literatura, Denis Ferraris

“La escritura ilegible puede no querer producir sino un resto, o sea un texto con el que no se pueda hacer nada (nada como no sea aceptarlo por lo que ya es, por aquello en lo que se ha convertido). Si queda algo (ganga o escorias, metafóricamente) en todo texto, no hay más que eso en el texto ilegible —y si hubiese que encontrar en él una pureza, sería la de la masa transformable de todas las impurezas de que está hecho. Es en su totalidad un escándalo, una trampa, una emboscada contra el sopor en la profundidad del sentido único”.

CARL ANDRE Carl André se mestra como el referente principal, por ser sus obras en el suelo el punto de partida de nuestra instalación. Además, de él destaca para nuestro trabajo el empleo de la geometría y la repetición así como la distribución de los elementos en el espacio.

DONALD JUDD Donald Judd interesa por la geometría de sus obras que presenta además  los dibujos. Estos últimos también han tenido gran influiencia en este proyecto por ser la base para la realización de la maqueta

CECIL TOUCHON Touchon supuso una referencia a la hora de visualizar el conjunto de una serie de imágenes que pudieran estar trabajadas por separado, como en el caso de las planchas de madera que presentamos en la instalación.

SCHMIDT-ROTTLUFF

Schmidt-Rottluff se convierte aquí en un artista de referencia para las xilografías, puesto a que emplea en su obra xilográfica la tipografía como estructuración de la imagen, como elemento sensorial y compositivo de la misma y no por su significado.

[danielpiktori-blog]

Der Meistermaler - Von Albert Oehlen und dem Nachklingen des Expressionismus

Der Meistermaler – Von Albert Oehlen und dem Nachklingen des Expressionismus

Von Daniel Thalheim

Er studierte bei Sigmar Polke und Claus Böhmler, sorgte 1978 für einen kleinen Skandal und gestaltete für den Kölner Taschen Verlag einen Fliesenboden. Der zu den „neuen Wilden“ zugerechnete Künstler gilt als Protagonist des Neo-Expressionismus. Sein multimediales Werk erhält nun eine umfangreiche Würdigung – vom Taschen Verlag selbst.

Das Spike Art Magazinschreibt zu ihm, er…

[worldfoodbooks]

NEW IN THE BOOKSHOP: RELIEFS : FORMPROBLEME ZWISCHEN MALEREI UND SKULPTUR IM 20. JAHRHUNDERT (1981) Large hardcover exhibition catalogue published in conjunction with show held in Switzerland in 1980. Illustrated in colour and black and white throughout, with many examples of artists from the exhibition. Artists included in the exhibition: Josef Albers, Cuno Amiet, Carl Andre, Jurij Annenkow, Alexander Archipeno, Arman, Gerd Arntz, Hans Arp, Richard Artschwager, Giacomo Balla, Ernst Barlach, Willi Baumeister, Bodo Baumgarten, Walter Bodmer, Lee Bontecou, Carl Buchheister, Erich Buchholz, Alexander Calder, Anthony Caro, Carlo Carrà, John Chamberlain, Eduardo Chillida, Christo, Joseph Cornell, Joseph Csaky, Robert Delaunay, Jim Dine, Theo van Doesburg, César Domela, Jean Dubuffet, Marcel Duchamp, Raymond Duchamp-Villon, Max Ernst, Dan Flavin, Adolf Fleischmann, Lucio Fontana, Otto Freundlich, Naum Gabo, Paul Gaugin, Julio Gonzalez, Jean Gorin, Gotthard Graubner, Oto Gutfreund, Nigel Hall, August Herbin, Adolf von Hildebrand, Robert Irwin, Robert Jacobsen, Marcel Janco, Jasper Johns, Paul Joostens, Donald Judd, Zoltan Kemény, Edward Kienholz, Yves Klein, Käthe Kollwitz, Norbert Kricke, Gary Kuehn, Berto Lardera, Henri Laurens, Fernand Léger, Wilhelm Lehmbruck, Sol LeWitt, Jacques Lipchitz, El Lissitzky, Vilhelm Lundstrøm, René Magritte, Aristide Maillol, Manolo, Man Ray, Piero Manzoni, Henri Matisse, Gordon Matta-Clark, Joan Miró, Laszlo Moholy-Nagy, François Morellet, Henry Moore, Robert Morris, Louise Nevelson, Ben Nicholson, Claes Oldenburg, Eduardo Paolozzi, Victor Pasmore, Laszlo Peri, Antoine Pevsner, Jean Peyrissac, Pablo Picasso, Anne und Patrick Poirier, Iwan Puni, David Rabinowitch, Robert Rauschenberg, James Reineking, Erich Reusch, August Renoir, George Rickey, Auguste Rodin, Ulrich Rückriem, Christian Schad, Oskar Schlemmer, Karl Schmidt-Rottluff, Emil Schumacher, Kurt Schwitters, Arthur Segal, George Segal, Richard Serra, Gino Severini, Joel Shapiro, Richard Smith, Giuseppe Spagnulo, Daniel Spoerri, Henryk Stazewski, Frank Stella, Sophie Taeuber-Arp, Antonio Tàpies, Jean Tinguely... One copy in the bookshop and via our website. #worldfoodbooks (at WORLD FOOD BOOKS)

[kiamaartgallery]

Kirchner, Five Women on the Street, 1913

At around the turn of the 20th Century there was a widespread artistic reaction to the almost exclusive attention of the Impressionists to the study of light on objects (form) in the open air. In Paris, this led to Fauvism and Cubism,  with both of these styles  beginning to explore the elements of design for their own sake.

In Germany, the response was more introspective – with many artists valuing subjective inspiration in creating art, which art historian Paul Fetcher referred to as “the emotional experience in its most intense and concentrated formulation“.  These artists used symbolic colour and linear distortion to express the “visual truth” of an inner life.  Their artistic style became known as Expressionism.

Van Gogh was a significant influence on Expressionism with his use of strong colour and brushstrokes.

  In 1905, a group of artists known as Die Brücke (The Bridge)  comprised Ernst Ludwig Kirchner, Erich Heckel and Fritz Bleyl, who were architectural students in Dresden, and Karl Schmidt-Rottluff. They were joined by Emil Nolde, Max Pechstein and the Swiss artist Cuno Amiet in 1906, and by Otto Muller in 1910. By late 1911, the principal artists of Die Brücke had moved from the relatively genteel city of Dresden to the teeming metropolis of Berlin, which by then was the third largest city in Europe, following London and Paris.

  Ernst Ludwig Kirchner  (1880 – 1938) was perhaps the most original and dynamic of the group – certainly the most prolific, creating over 2,400 prints, as well as paintings, water colours, tapestry designs and countless drawings.

More than any other artist in the group, he was aware of the innate capabilities of a particular medium, and worked consistently within its limitations.

As an artist, he was largely self taught. Initially interested in art nouveau, he visited museums where he studied old German masters and discovered the art of the South Seas and Africa.  He was also influenced by van Gogh, Matisse (at that time a leader of Fauvism) and Edvard Munch. He sketched on the streets and evolved a rapid form of drawing –  and by about 1911 he had perfected his own style.  Kirchner was highly productive until the outbreak of the war, and then again between 1917 – 1924.

He was self-centred and completely dedicated to his art. He had little regard for his subject matter as such, it was merely a framework to make visible his inner conception.

In 1937, the year before his death, he wrote ” My goal was always to express emotion and experience with large form and simple colours, and it is my goal today… I wanted to express the richness and joy of living, to paint humanity at work and play in its reactions and inter-reactions, and to express love as well as hatred“.

Kirchner was enthralled by what he called “the symphony of the great city,” and responded to the intensity of the street life he found in Berlin by recording the urban spectacle around him.

His renowned Street Scenes series, created between 1913 and 1915 in Berlin, is considered by many to be the highpoint of Kirchner’s career.

Kirchner, Nollendorfplatz, 1912

Kirchner, Street Scene, 1914

Kirchner, Five Women on the Street, 1913

  These scenes of city streets and nightlife, in particular the familiar presence of prostitutes, convey a characteristic feeling of Berlin prior to the war, which no other artist achieved.

Kirchner’s scenarios are theatrical – but they reflect the character of city. Women  dressed in elaborate fur coats and hats with plumage are transformed by the green glow of a streetlamp. Black outlines, unusual colour palates, distorted figures, strong vertical lines and acute angles create atmosphere, energy and tension.

  Unlike the other Street Scene paintings, where usual signs of city life are kept at the periphery, the monumental Potsdamer Platz (1914) is set in a recognisable spot in early twentieth-century Berlin—specifically Potsdamer Platz, as identified by the red train station and rounded building housing a café seen in the background. The primary figures of Potsdamer Platz, standing on a traffic island, are reminiscent of mannequins in store windows.

Considering the large number of works on paper related to the Street Scene paintings, it is clear that Kirchner held high ambitions for this series.  As well, the series includes drawings in ink, pastel, and charcoal, along with prints and sketchbook studies.

As he later said: “It seems as though the goal of my work has always been to dissolve myself completely into the sensations of the surroundings in order to then integrate this into a coherent painterly form.”

As part of his working process, Kirchner experimented with patterns of light and dark, combinations of colours, and various surface rhythms achieved through hatching pen strokes, gouges in woodblock, and scratches on etching plates.

In  woodcuts, Five Cocottes (1914) and Women on Potsdamer Platz (1914), Kirchner seems to have closely followed the compositions of the related paintings. But there are significant differences, indicating that printmaking played an important role in Kirchner’s evolving imagery.

Overall, it is Kirchner’s strong sense of the here and now, and his reflection of Berlin at that particular moment in history,  that makes his work for this series so invaluable.

 Later, when speaking of the Street Scenes, Kirchner said: “They originated…in one of the loneliest times of my life, during which an agonizing restlessness drove me out onto the streets day and night, which were filled with people and cars.”

Unfortunately Kirchner committed suicide in 1938, when he became increasingly upset with the situation in Germany and the rise of the Nazis. Like many of his contemporaries, his work was denigrated as being degenerate,  and much of his artwork was confiscated.

Sources Include: MoMA, Zigrosser, Carl; The Expressionists, A Survey of their Graphic Art, George Braziller, New York, 1957.

German Expressionism – Ernst Ludwig Kirchner’s Berlin Street Scenes At around the turn of the 20th Century there was a widespread artistic reaction to the almost exclusive attention of the Impressionists to the study of light on objects (form) in the open air.

[arthisour-blog]

The Galerie Neue Meister in Dresden, Germany, displays around 300 paintings from the 19th century until today, including works from Otto Dix, Edgar Degas, Vincent van Gogh and Claude Monet. The gallery also exhibits a number of sculptures from the Dresden Sculpture Collection from the same period. The museum’s collection grew out of the Old Masters Gallery, for which contemporary works were increasingly purchased after 1843.

The New Masters Gallery is part of the Staatliche Kunstsammlungen (State Art Collections) of Dresden. It is located in the Albertinum.

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From Caspar David Friedrich to Gerhard Richter. The broad spectrum of works extending from the Romantic period to the present day and the exceptional quality of the paintings in the collection are the defining features of the Galerie Neue Meister (New Masters Gallery) and makes it one of the most important museums of its kind in Germany. The exhibition in the Albertinum contains masterpieces by the Romantic painters as well as 20th-century art and contemporary works. Contemporary art enters into an exciting dialogue with the older holdings of the collection. The 21st-century visitor encounters a broad intellectual universe in which the various stylistic periods are presented in unusual proximity, so that they are experienced in a new and different way. The tour through the exhibition begins with several masterpieces by Caspar David Friedrich, the most important German Romantic artist. It then proceeds in chronological order, featuring further representatives of the Romantic movement (Carl Gustav Carus, Johan Christian Dahl, Ludwig Richter), French and German Impressionists (Claude Monet, Edgar Degas, Max Liebermann, Max Slevogt), Expressionists such as Otto Dix and the Brücke artists (Ernst Ludwig Kirchner, Karl Schmidt-Rottluff) as well as representatives of the Dresden Secession (Bernhard Kretzschmar, Carl Lohse). For the first time a full room are dedicated to each of the artists Sigmar Polke and Georg Baselitz. The tour ends with two halls containing works by Gerhard Richter, which the artist himself designed and for which he has created new works. New media are represented in the form of (sound and video) installations and video films. Occasionally there are surprising encounters with works from the Skulpturensammlung (Sculpture Collection), which is also housed in the Albertinum. The Galerie Neue Meister (New Masters Gallery) is part of the Staatliche Kunstsammlungen Dresden (Dresden State Art Collections) that are among the most prominent museums in the world. The combined holdings of the twelve museums offer the visitor a remarkable thematic diversity. These museums originated from the collections of the Saxon electors and Polish kings. They systematically developed cabinets of curiosities, which were accessible to select circles in their day and still form the core of the wonderful art treasures of the Staatliche Kunstsammlungen Dresden today. The collections are situated in world famous buildings such as the Residenzschloss (Royal Palace), the Zwinger, and the Semperbau (Semper Building), which are among the most important sights in Dresden.

New Masters Gallery, Dresden State Art Collections Dresden, Germany was originally published on HiSoUR Art Collection

[deanmackaywedding]

art on Flickr.

Via Flickr: Couch #11 - Miracle Mile, Los Angeles, California - June 10th, 2010 http://50couchesin50nights.com/2010/06/27/couch-11-louis-and-kene-june-10th-2010/

[worldfoodbooks]

NEW IN THE BOOKSHOP: RELIEFS : FORMPROBLEME ZWISCHEN MALEREI UND SKULPTUR IM 20. JAHRHUNDERT (1981) Large hardcover exhibition catalogue published in conjunction with show held in Switzerland in 1980. Illustrated in colour and black and white throughout, with many examples of artists from the exhibition. Artists included in the exhibition: Josef Albers, Cuno Amiet, Carl Andre, Jurij Annenkow, Alexander Archipeno, Arman, Gerd Arntz, Hans Arp, Richard Artschwager, Giacomo Balla, Ernst Barlach, Willi Baumeister, Bodo Baumgarten, Walter Bodmer, Lee Bontecou, Carl Buchheister, Erich Buchholz, Alexander Calder, Anthony Caro, Carlo Carrà, John Chamberlain, Eduardo Chillida, Christo, Joseph Cornell, Joseph Csaky, Robert Delaunay, Jim Dine, Theo van Doesburg, César Domela, Jean Dubuffet, Marcel Duchamp, Raymond Duchamp-Villon, Max Ernst, Dan Flavin, Adolf Fleischmann, Lucio Fontana, Otto Freundlich, Naum Gabo, Paul Gaugin, Julio Gonzalez, Jean Gorin, Gotthard Graubner, Oto Gutfreund, Nigel Hall, August Herbin, Adolf von Hildebrand, Robert Irwin, Robert Jacobsen, Marcel Janco, Jasper Johns, Paul Joostens, Donald Judd, Zoltan Kemény, Edward Kienholz, Yves Klein, Käthe Kollwitz, Norbert Kricke, Gary Kuehn, Berto Lardera, Henri Laurens, Fernand Léger, Wilhelm Lehmbruck, Sol LeWitt, Jacques Lipchitz, El Lissitzky, Vilhelm Lundstrøm, René Magritte, Aristide Maillol, Manolo, Man Ray, Piero Manzoni, Henri Matisse, Gordon Matta-Clark, Joan Miró, Laszlo Moholy-Nagy, François Morellet, Henry Moore, Robert Morris, Louise Nevelson, Ben Nicholson, Claes Oldenburg, Eduardo Paolozzi, Victor Pasmore, Laszlo Peri, Antoine Pevsner, Jean Peyrissac, Pablo Picasso, Anne und Patrick Poirier, Iwan Puni, David Rabinowitch, Robert Rauschenberg, James Reineking, Erich Reusch, August Renoir, George Rickey, Auguste Rodin, Ulrich Rückriem, Christian Schad, Oskar Schlemmer, Karl Schmidt-Rottluff, Emil Schumacher, Kurt Schwitters, Arthur Segal, George Segal, Richard Serra, Gino Severini, Joel Shapiro, Richard Smith, Giuseppe Spagnulo, Daniel Spoerri, Henryk Stazewski, Frank Stella, Sophie Taeuber-Arp, Antonio Tàpies, Jean Tinguely... One copy in the bookshop and via our website. #worldfoodbooks (at WORLD FOOD BOOKS)