Seems on the improvement of the Expressionist move, profiles best artists, and indicates examples of work, prints, and sculpture.
Extensively illustrated in colour and b/w. comprises numerous essays (discussing, between different issues, Artists' teams, Expressionism in Berlin, Dresden, and Dusseldorf, and Expressionism as a global movement), artist biographies and catalogue of the exhibition.
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Additional resources for German Expressionism 1915-1925: The Second Generation
Example text
Much of the sculpture of the second generation shares this attraction to abstract or emotive subject matter which evinces connections between Expressionism and other international styles. In his 19 19 sculpture Dreiklang (Triad; Fig. 41), for instance, Rudolf Belling relies on Cubist principles of the breakup of space and the importance of voids. In 1919 Herbert Garbe created change in society. They found that the working than supporting their efforts and joining with them, had in fact nothing but scorn for them.
170. 24 Eberhard Roters, Berlin 1910-193} (New York: Rizzoli, 1982], p. 109. , German Expressionist Sculpture (Los Angeles County Museum of Art, Los Angeles, 1983), p. 100. 26 Conrad Felixmiiller, as cited in Whitford, Expressionist Portraits, p. 138. Fig. I Ludwig Meidner, Apokalypiischc Landschaft (Apocalyptic Landscape), 1913 (Cat. 140 Ebeihard Roters Prewar, Wartime, and Postwar: Expressionism in Berlin from 19 12 to the Early 1920s The history of art constantly turns out to be a much more comphcated matter than the written accounts of it would have us believe, however intelligent and thorough those accounts may be.
But that was also the year in which Karl Schmidt-Rottluff, one of the founders of Die Biiicke (The Bridge), was bom; and Ernst Ludwig Kirchner was only four years older. All these artists came from central and eastern idly built, "German-looking," melancholic? that links their modes distinguishes this, in of artistic expression, its turn, Der Blaue Reitei (The Blue from that Rider) first is their some recognition strips of lead in stained glass. In a fore rightly regard them work. Art historians there- as the inventors of the expres- which are picked out in blue, red, purple, yellow, ing stylistic priorities.