#Dutch expressionism

[dashalbrundezimmer]

vijzelstraat // amsterdam gouden bocht

de bazel / amsterdam city archives

architect: karel de bazel

completion: 1926

this monumental example of brick expressionism now houses the amsterdam city archives and is open to the public.

dieses monumentale beispiel des backsteinexpressionismus beherbergt heute das städtische archiv amsterdams und ist auch für besucher zugänglich.

[the-cricket-chirps]

Vincent van Gogh (1853-1890)

Irises

May 1890, Saint-Rémy-de-Provence

[geritsel]

Jaap Min - landscape paintings in oil and gouache

[niebezpieczenstwo]

Vincent van Gogh

Self-portrait, 1887

[thepastisalreadywritten]

Places where Vincent Van Gogh (30 March 1853 – 29 July 1890) was inspired in his drawings. 🎨🖌️

[mxmoth]

BO DALLAS on WWE RAW | 7-15-24

[tmarshconnors]

"I am always doing what I cannot do yet in order to learn how to do it."

Vincent Willem van Gogh was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade, he created approximately 2100 artworks, including around 860 oil paintings, most of them in the last two years of his life.

Born: 30 March 1853, Zundert, Netherlands Died: 29 July 1890 (age 37 years), Auvers-sur-Oise, France

Vincent Willem van Gogh sold only one painting during his lifetime: Despite his immense talent and contribution to art, van Gogh struggled financially throughout his life and only managed to sell one painting, "The Red Vineyard," while he was alive.

He worked as an art dealer before becoming an artist: Prior to pursuing a career in art, van Gogh worked as an art dealer for the firm Goupil & Cie in The Hague, London, and Paris. This experience influenced his understanding of the art market but did not bring him personal success.

Van Gogh's artistic career spanned only about a decade: Despite his relatively short career, van Gogh produced an astonishing number of artworks, estimated at over 2,000 pieces, including paintings, drawings, and sketches.

He struggled with mental illness and spent time in psychiatric hospitals: Van Gogh's mental health issues plagued him throughout his life, and he experienced several breakdowns. In 1889, after a particularly severe episode where he mutilated his own ear, he voluntarily admitted himself to the Saint-Paul-de-Mausole asylum in Saint-Rémy-de-Provence, where he continued to paint some of his most famous works.

The circumstances surrounding his death remain mysterious: Van Gogh's death in 1890 at the age of 37 was officially ruled a suicide, as he died from a gunshot wound to the chest. However, some theories suggest that he may have been accidentally shot by someone else or that he deliberately concealed the identity of his shooter to protect them. The true circumstances of his death continue to be debated among historians and scholars.

[museu-degrandes-novidades]

O “dutch angle”, também conhecido como “ângulo holandês”, “ângulo alemão” ou “ângulo inclinado”, é um tipo de enquadramento no qual a câmera tem seu eixo alterado para que as linhas verticais e horizontais da imagem fiquem em ângulo em relação às bordas do quadro. Dessa forma, as linhas verticais não ficam perpendiculares às bordas laterais do enquadramento e as linhas horizontais não ficam perpendiculares à parte inferior (ou superior) do quadro.

O uso do ângulo holandês tem a finalidade de criar no espectador uma forte sensação de inquietação, tensão psicológica, desorientação, loucura, desconforto ou agitação quanto ao assunto filmado.

O filme alemão O Gabinete do Dr. Caligari (1920) foi o primeiro a utilizar de forma proposital o ângulo inclinado para enfatizar visualmente situações de loucura. Na mesma década, mais precisamente em 1929, o cineasta russo Dziga Vertov utilizou, em seu documentário experimental, O Homem com a Câmera, o ângulo inclinado com a mesma finalidade de demonstrar desequilíbrio emocional na cena. A partir daí, a técnica se difundiu mundo afora e passou a ser largamente utilizada. Às vezes com êxito e em outras, nem tanto.

"O Terceiro Homem", filme de 1949 dirigido pelo britânico Carol Reed, é um ótimo exemplo do uso do plano holandês na narrativa. Clássico do gênero "film noir", com inspiração no expressionismo alemão, "O Terceiro Homem" causa estranheza e a sensação de desorientação e inadequação dos personagens, que reflete na experiência visual do espectador.

[arcadianambivalence]

IWTV S2E2 and History

One thing I really appreciate about this show is how it interacts with its historical setting. I worried that when Louis and Claudia left New Orleans last season, the show would start to shirk the historical details, but the latest episode has given me enough historical tidbits to chew on (pun intended).

Hidden behind the humor of lines like "Paris is shit" and the thrill of meeting other vampires, there's a sense of foreboding lingering beside the recent traumas.

As with the first episode of season 2, Louis and Claudia are surrounded by reminders of war, even if they do not have the context (or empathy) for the survivors they encounter. Claudia complains that she has to pick twice as many pockets to get by, but the two are still able to afford an apartment. Meanwhile, food staples and clothing are still rationed, but people and pigeons are easy to come by.

"Paris was Nazi scar tissue at the time..."

Louis explains, but the scars historically ran deeper than a tourist (and Louis is The stereotypical tourist in this episode) could understand. Blackouts, food shortages, rations, soldiers, and refugees linger at the corners of the episode.

Even Madeline is introduced to us by a man warning Claudia that she was a collaborator or Nazi sympathizer (he does a subtle salute and points to the shop window), which will certainly influence how the next episodes take her through her narrative beats.

The plays performed by the Théâtre des Vampires cross 1920s to 1940s expressionism with absurdity and horror. Even after all this time, Louis is unenthused about the theatrical performances.

"The plays were weird. They always ended in death or some kind of cruel, barely motivated violence."

Armand's reply is dulled by the onstage spectacle:

"Life is cruel. Life is violent. [...] It was all a seduction to lure the cattle into a willing belief of disbelief."

It's a line that is all the more concerning if you know where the story is going...

Annika, the doomed woman onstage, is from Belgium, yet another country recovering from occupation and war. When she desperately tries to convince the audience to flee (not just for them to help her, but to save themselves), she speaks Dutch, so neither the French nor English-speaking audience members understand her.

Still in character, Santiago pretends to offer her a choice. She could live if she gives up someone to die in her place, if she, as the phrase goes, "turns someone in." First, he offers to take her husband, and she refuses. Then he offers to take her son, and again she refuses. Finally, he points to a man in the audience. She nods vigorously, but it's a cruel joke.

Santiago has already made up his mind about her. He addresses the man, warning him against trusting his neighbors:

"They'll give you up in a wink."

As if someone who spent the last five years in occupied France would need reminding.

The warning is for us, the viewers.

Later, the troupe takes Louis and Claudia to a mansion, ostensibly to eat people who, apparently, hoarded resources from the black market. Another show for Claudia and Louis, tourists who still think of themselves as the "good" vampires. Because why would a troupe of vampires concern themselves with that? They don't need anything from the black market. They don't eat anything from the black market. Where was this sense of justice in recent years?

As with Annika, it's yet another excuse to enact cruel and public violence against people they consider less than them.

So when Santiago's introductory prologue includes lines like:

"Being vampires, and by nature superior to you mortals, we can [...] disrupt your tiny ship called human decency."

"Our jobs, which is at the heart of it, to laugh alongside your misery while you cry and scream for more."

"Everything you're about to see is real. Remember that when you leave here tonight. You are all complicit [...] I love you for it."

You know things are not going to get better for Louis and Claudia.

[iwtvfanevents]

Rewind the Tape —Episode 1

Art of the episode

During our rewatch, we took note of the art shown and mentioned in the pilot, and we wanted to share. Did we miss any? Do you have any thoughts about how these references could be interpreted? How do you think Armand and Louis go about picking the art for their penthouse in Dubai?

The Fall of the Rebel Angels

Peter Bruegel the Elder, 1562

This painting is featured in the Interview with the Vampire book, and it was important enough to be included in the draft pilot script!

Bruegel the Elder was among the most significant Dutch and Flemish Renaissance artists. He was a painter and print-maker, known for his landscapes and peasant scenes.

Three Studies for Figures at the Base of a Crucifixion

Francis Bacon, 1944

Bacon was an Irish figurative painter, known for his raw, unsettling imagery and a number of triptychs and diptychs among his work. At a time when being gay was a criminal offense, Bacon was open about his sexuality, and was cast out by his family at 16 for this reason. He destroyed many of his early works, but about 590 still survive. The Tate, where these paintings are displayed, says this about the work: "Francis Bacon titled this work after the figures often featured in Christian paintings witnessing the death of Jesus. But he said the creatures represented the avenging Furies from Greek mythology. The Furies punish those who go against the natural order. In Aeschylus’s tragedy The Eumenides, for example, they pursue a man who has murdered his mother. Bacon first exhibited this painting in April 1945, towards the end of the Second World War. For some, it reflects the horror of the war and the Holocaust in a world lacking guiding principles."

On the Hunt or Captain Percy Williams On A Favorite Irish Hunter and Calling the Hounds Out of Cover

Samuel Sidney, 1881 [Identified by @vfevermillion.] and Heywood Hardy, 1906 [Identified by @destinationdartboard.]

Sidney was an English writer, and his prints usually accompanied his publications about hunting, agriculture, and about settling Australia during the colonial period. Hardy, also British, was a painter, in particular an animal painter. There's also a taxidermy deer, ram, and piebald deer on the wall.

Iolanta

Pyotr Tchaikovsky, 1892

The opera Louis and Lestat go to was composed by Tchaikovsky, another gay artist. The play tells a story "in which love prevails, light shines for all, lies are no longer necessary and no one must fear punishment," as put by Susanne Stähr for the Berliner Philharmoniker.

Strawberries and Cream

Raphaelle Peale, 1816 [Identified by @diasdelfuego.]

Peale is considered to have been the first professional American painter of still-life.

Outfits inspired by J.C. Leyendecker

Leyendecker was one of the most prominent and commercially successful freelance artists in the U.S. He studied in France, and was a pioneer of the Art Deco illustration. Leyendecker's model, Charles Beach, was also his lover of five decades. You can read costume designer Carol Cutshall's thoughts on these outfits on her Instagram.

The Artist's Sister, Melanie

Egon Schiele, 1908 [Identified by @dwreader.]

Schiele was an Austrian expressionist painter and protege of Gustav Klimt. Many of his portraits (self portraits and of others) were described as grotesque and disturbing.

A Stag at Sharkey's

George Wesley Bellows, 1909 [Identified by @vfevermillion.]

Bellows was an American realist painter, known for his bold depictions of urban life in New York City.

Mildred-O Hat

Robert Henri, undated (likely 1890s) [Identified by @nicodelenfent, here.]

Henri was an American painter who studied in Paris, where he learned from the Impressionists and determined to lead an even more dramatic revolt against American academic art.

Starry night

Edvard Munch, 1893 [Identified by @vfevermillion.]

Munch was a Norwegian painter, one of the best known figures of late 19th-century Symbolism and a great influence in German Expressionism in the early 20th century. His work dealt with psychological themes, and he personally struggled with mental illness.

If you spot or put a name to any other references, let us know if you'd like us to add them with credit to the post!

Starting tonight, we will be rewatching and discussing Episode 2, ...After the Phantoms of Your Former Self. We hope to see you there!

And, if you're just getting caught up, learn all about our group rewatch here ►

[romanceyourdemons]

i’m interested in the choices of artistic inspiration the call of cthulhu (2005) made, and, to be clear, i don’t agree with them. the conceit of the film is that it presents itself as a film adaptation of hp lovecraft’s the call of cthulhu may have looked at the time of its 1926 publishing.

first and most obviously, to my eye the cinematography itself was very obviously late 30s-early 40s classic noir style, rather than anything from the 20s. the fine greyscale of high quality 1940s filmstock, the constant dutch angles and shots that are extreme close-ups if they’re not 3/4 shots, the frequent fades and overlays, and the majority of the rest of its “old-fashioned” looking techniques date it very firmly after the 1927 cinematography crisis. this broke my immersion, but that just shows a dearth of research or creativity on the cinematographer’s part, falling back on more intuitive relatively modern techniques rather than painstakingly recreating the style of a relatively unfamiliar era.

but my second question, and my second issue, has to do with the research they clearly did do. much of the inspiration for the props and sets very obviously comes from the german expressionists (especially the cabinet of dr caligari (1920)), the surrealists, the futurists, and the modernists. however, i cannot help but feel that this is appropriate within the context of the adaptation. lovecraft was not a german expressionist, nor was he a surrealist, nor a futurist, nor a modernist. in fact, although i cannot say with certainty, i strongly suspect that he would have felt a great disgust for the works of these artists; if his style and worldview were to be translated into film format, the grand and baroque filmmaking of dw griffith would be a more appropriate reference point.

german expressionism, surrealism, futurism, and modernism are all conceptually firmly rooted in the real world, translating concrete concepts through the artist’s emotion—often rather agonized and alienated from the real world by the traumas of their contemporary world—back into concrete objects. the asylum in the cabinet of dr caligari (1920) is a real asylum, and everything else is the real world through the eyes of one of its occupants; the moon in un chien andalou (1929) is the real moon, and everything else is the emotions and associations it stirs in the eyes of the director. by contrast, the unreal of lovecraft’s works are intended to be utterly divorced from reality and human experience—a layman’s reading of expressionist work that denies or does not care for the interiority of the artist. there is a reason why lovecraft was a contemporary of but, to the absolute best of my knowledge, never a part of the surrealist movement, despite modern readers loving to describe his stories as “surreal.”

although this film is certainly able to create a feeling of the uncanny by applying the veneer of 1920s “weird art,” its utter non- or even anti-engagement with the context and intentions of the two styles it fuses renders its own artistic argument nothing but a fairly interesting game piece. this is not to say that the call of cthulhu (2005) is not a fun movie, but due to the choices it makes, it ultimately comes off as fairly shallow

[the-cricket-chirps]

Vincent van Gogh

Skull, May, 1887 (profile)

Skull, May, 1887

Sunflowers, 4th version, 1888

[germanpostwarmodern]

In 1916 the Dutch architect Jan Gratama for a group of young architects coined the label „Amsterdamse school“ (Amsterdam School) which subsumed architects working in a Brick Expressionist idiom and mainly realizing housing blocks in the Dutch metropolis. Among them were Michel de Klerk, Piet Kramer or Joan van der Mey, all of them former employees of the architect Eduard Cuypers and involved in the design of the Scheepvaarthuis (1913-16), widely recognized as the school’s first work. For the next 15 years these architects and others designed a large number of buildings, primarily in the context of the western and southern expansion plan of Amsterdam.

Through their primary organ, the journal „Wendingen“, the buildings of the Amsterdam architects were received all over the Netherlands and consecutively inspired architects in different regions to adapt the Expressionist style. One of these regions was Groningen with its eponymous capital where a large number of Brick Expressionist buildings sprung up in a locally adjusted, somewhat less dramatic interpretation of the Amsterdam School style.

In 2017 photographer Norma van der Horst published her documentation „Pronkjuwelen van Baksteen: Amsterdamse School in Groningen“ with Boekwerk & Partners, a beautiful collection of Brick Expressionist buildings in the Groningen region. Van der Horst’s photographs are prefaced by Eric Bos’s brief history of the Amsterdam School and how it was introduced in Groningen by architects who had either worked in Amsterdam or simply stimulated by the Amsterdam examples. Among these architects were Siebe Jan Bouma, Henri Rots or Egbert Reitsma who designed single-family homes, schools, housing blocks and public buildings. Although the introduction doesn’t feature much additional information about the architects and contains some mistakes it will nonetheless provide sufficient information for readers new to the subject. And in view of the excellent photographs and the stunning amount of buildings covered the book first and foremost is an intriguing tribute to Brick Expressionism in Groningen.

[niebezpieczenstwo]

Jan Sluyters (b. 1881 - 1957)

Self-portrait

[byemambo]

Famous Historic Painting References in Xdinary Heroes - iNSTEAD! (Feat. YB Yoon Do Hyun) MV

While I was making my GIF sets for the new MV release everyone say thank you for metalcore XDH, I geeked tf out with the animation and visuals from this video. As someone who took some animated illustration courses during university, I could only imagine the planning and storyboarding that took place with creating such a visually impactful animation to enhance the just as impactful song!

Johannes Vermeer, Girl with the Pearl Earring, 1665, Tronie–Dutch Golden Age, oil on canvas, Mauritshuis, The Hague.

Leonardo da Vinci, Mona Lisa, 1503-1504, Italian Renaissance, oil on polar panel, Lourve, Paris.

Jan van Eyck, Arnolfini Portrait, 1434, Northern Renaissance, oil on oak panel, National Gallery, London.

Gustave Courbet, Le Désespéré, 1843-1845, Romanticism, oil on canvas, Private Collection.

Edgar Degas, L'Absinthe, 1875-76, Impressionism, oil on canvas, Musée d'Orsay, Paris.

Edvard Munch, The Scream, 1893, Proto-Expressionism, oil, tempera, pastel and crayon on cardboard, National Museum and Munch Museum, Oslo.

Bonus: I literally couldn't find the reference to the original work for the life of me, someone PLEASE enlighten me if they know which work this is!

[greensoulsims]

FAMOUS PAINTINGS 1 [GREENSOUL]

10 FAMOUS PAINTINGS

DESCRIPTION:

1. Gioconda by Leonardo DaVinci, 1503, Renaissance.

2. The Scream by Edvard Munch, 1893, Proto-Expressionism.

3. Girl with a Pearl Earring by Johannes Vermeer, 1665, Dutch Golden Age painting.

4. Self-Portrait with a Straw Hat by Van Gogh, 1887.

5. The Kiss by Gustav Klimt, 1907-1908, Symbolism.

6. The Death of Marat, Jacques-Louis David, 1793, Neoclassicism.

7. The Son of Man by René Magritte, 1964.

8. Portrait of Dora Maar by Pablo Picasso, 1937.

9. Self-Portrait with Thorn Necklace and Hummingbird by Frida Kahlo, 1940.

10. Portrait of Lunia Czechowska by Amedeo Modigliani, 1919.

I hope you can enjoy it. with love [GREENSOUL]

@ts4cc-finds