Whisky

Por la noche me encontré a hablar del cine, la muerte y de filosofía con dos personas en la librería Dussman. A eso de las 22 hs me quedé leyendo hasta que la librería cerró y entonces me fui a uno de mis bares preferidos que cierra a las 4 am a tomar un Whisky escocés.

 

Pierre Bonnard

Pierre Bonnard (French: [bɔnaʁ]; 3 October 1867 – 23 January 1947) was a French painterillustrator and printmaker, known especially for the stylized decorative qualities of his paintings and his bold use of color.[1] A founding member of the Post-Impressionist group of avant-garde painters Les Nabis,[2] his early work was strongly influenced by the work of Paul Gauguin, as well as the prints of Hokusai and other Japanese artists. Bonnard was a leading figure in the transition from Impressionism to Modernism. He painted landscapes, urban scenes, portraits and intimate domestic scenes, where the backgrounds, colors and painting style usually took precedence over the subject.[3][4]

Nude Against the Light (1908), Royal Museums of Fine Arts of Belgium

 

Early career – the Nabis

[edit]

Bonnard received pressure from a different direction to continue painting. While he had received his license to practice law in 1888, he failed in the examination for entering the official registry of lawyers.[13] Art was his only option. After the summer holidays, he joined with his friends from the Academy Julian to form Les Nabis, an informal group of artists with different styles and philosophies but common artistic ambitions. As he later wrote, Bonnard was entirely unaware of the Impressionist painters, or of Gauguin and other new painters.[13] His friend Paul Sérusier showed him a painting on a wooden cigar box he made after visiting Paul Gauguin at Pont-Aven, using patches of pure color in the style of Gauguin. In 1890, Maurice Denis, at age twenty, formalized the doctrine in which a painting was considered “a surface plane covered with colors assembled in a certain order.”[14]

Some of the Nabis had highly religious, philosophical or mystical approaches to their paintings, but Bonnard remained more cheerful and unaffiliated. The painter-writer Aurelien Lugné-Poe, who shared a studio at 28 rue Pigalle with Bonnard and Vuillard, wrote later, “Pierre Bonnard was the humorist among us; his nonchalant gaiety, and humor expressed in his productions, of which the decorative spirit always preserved a sort of satire, from which he later departed.”[15]

In 1891, he met Toulouse-Lautrec and, in December 1891, showed his work at the annual exhibition of the Société des Artistes Indépendants. In the same year, Bonnard also began an association with La Revue Blanche, for which he and Édouard Vuillard designed a frontispiece.[16] In March 1891, his work was displayed with the work of the other Nabis at the Le Barc de Boutteville.[11]

The style of Japanese graphic arts became an important influence on Bonnard. In 1893, a major exposition of works of Utamaro and Hiroshige was held at the Durand-Ruel Gallery, and the Japanese influence, particularly the use of multiple points of view, and the use of bold geometric patterns in clothing, such as checkered blouses, began to appear in his work. Because of his passion for Japanese art, his nickname among the Nabis became Le Nabi le trés japonard.[11]

He devoted an increasing amount of attention to decorative art, designing furniture, fabrics, fans and other objects. He continued to design posters for France-Champagne, which gained him an audience outside the art world. In 1892, he began creating lithographs, and painted Le Corsage a carreaux and La Partie de croquet. He also made a series of illustrations for the music books of his brother-in-law, Claude Terrasse.

In 1894, he turned in a new direction and made a series of paintings of scenes of the life of Paris. In his urban scenes, the buildings and even animals were the focus of attention; faces were rarely visible. He also made his first portrait of his future wife, Marthe, whom he married in 1925.[11] In 1895, he became an early participant of the movement of Art Nouveau, designing a stained glass window, called Maternity, for Tiffany.[11]

In 1895, he had his first individual exposition of paintings, posters and lithographs at the Durand-Ruel Gallery. He also illustrated a novel, Marie, by Peter Nansen, published in series by in La Revue Blanche. The following year he participated in a group exposition of Nabis at the Amboise Vollard Gallery. In 1899, he took part in another major exposition of works of the Nabis.[11]

Later years (1900–1938)

[edit]

Throughout the early 20th century, as new artistic movements emerged, Bonnard kept refining and revising his personal style, and exploring new subjects and media, but keeping constant the characteristics of his work. Working in his studio at 65 rue de Douai in Paris, he presented paintings at the Salon des Independents in 1900, and also produced 109 lithographs for Parallèment, a book of poems by Paul Verlaine.[17] He also took part in an exhibition with the other Nabis at the Bernheim Jeaune gallery. He presented nine paintings at the Salon des Independents in 1901. In 1905, he produced a series of nudes and of portraits, and in 1906 had a personal exposition at the Bernheim-Jeune Gallery. In 1908, he illustrated a book of poetry by Octave Mirbeau, and made his first long stay in the South of France, at the home of the painter Manguin in Saint-Tropez. in 1909 and, in 1911, began a series of decorative panels, called Méditerranée, for the Russian art patron Ivan Morozov.[18]

During the years of the First World War, Bonnard concentrated on nudes and portraits, and in 1916 completed a series of large compositions, including La PastoraleMéditterranéeLa Paradis Terreste and Paysage de Ville. His reputation in the French art establishment was secure; in 1918 he was selected, along with Renoir, as an honorary President of the Association of Young French Artists.[18]

In the 1920s, he produced illustrations for a book by Andre Gide (1924) and another by Claude Anet (1923). He showed works at the Autumn Salon in 1923, and in 1924 was honored with a retrospective of sixty-eight of his works at the Galerie Druet. In 1925, he purchased a villa in Cannes.[18]

Japanism

[edit]

Nannies’ Promenade, decorative screen showing a procession of carriages with nurses and children (1897), National Gallery of Victoria. As in Japanese screens, the action is read from right to left.

Japanese art played an important part in Bonnard’s work. He was first able to see the works of Japanese artists via the Paris gallery of Siegfried Bing. Bing brought works by Hokusai and other Japanese print makers to France, and from May 1888 through April 1891 published a monthly art journal, Le Japon Artistique, which included color illustrations in 1891. In 1890, Bing organized an important exhibition of seven hundred prints he had brought from Japan, and made a donation of Japanese art to the Louvre.[20]

Bonnard used the model of Japanese kakemono scroll art—long, vertical panels—in his series of paintings Women in the garden (1890–91), now in the Museé d’Orsay. Originally designed to appear together as a single screen, Bonnard decided to display Women in the garden as four separate decorative panels. The female forms are reduced to flat silhouettes, and there is no rendering of depth in the picture. The faces are turned away from the viewer and the pictures are entirely dominated by the colors and bold patterns of the costumes and the backgrounds. The models are his sister Andreé and his cousin Berthe Schaedin.[21] Bonnard often pictured women in checkered blouses, a design he said he had discovered in Japanese prints.[20]

 

 

Pierre Bonnard’s Journey into Light: Landscapes 1894-1946

Pierre Bonnard’s Journey into Light: Landscapes 1894-1946

 Pierre Bonnard (1867-1947), In Summer (1931), further details not known. Wikimedia Commons.

Today, Pierre Bonnard is probably most famous for his paintings of women, particularly those of Marthe in the bath, which I surveyed last week. Throughout his career, even from the years before he met Marthe, he was an avid landscape painter. In researching this series, I have been amazed at the many landscapes which he painted, not just in his later years at Le Cannet, but throughout the period that he worked primarily in the north of France.

Bonnard started painting as a resident in central Paris, and maintained a flat and studio there into his late years. He travelled extensively, though, and in the early twentieth century started to migrate slowly to the south of France, settling in the small town of Le Cannet. In this small selection of some of his finest landscapes, I give simply the title, year, and approximate location of the view.

I hope that you enjoy this unusual overview of more than fifty years of his work, which demonstrates how his style evolved, but confirms how little his paintings really changed, in comparison to the huge changes which took place in art over this period.

bonnardredroof
Pierre Bonnard (1867-1947), A Red Roof (1894), oil on canvas, 30 x 50.5 cm, Private collection. The Athenaeum.

A Red Roof, 1894, near Le Grand-Lemps, Isère, eastern France.

bonnarddauphinelandscape1899
Pierre Bonnard (1867-1947), Dauphiné Landscape (c 1899), oil on canvas, 45.5 x 56 cm, The State Hermitage Museum, St Petersburg, Russia. The Athenaeum.

Dauphiné Landscape, about 1899, near Le Grand-Lemps, Isère, eastern France.

bonnardvetheuil
Pierre Bonnard (1867-1947), Vétheuil (c 1902), oil on canvas, 54 x 80.1 cm, Private collection. The Athenaeum.

Vétheuil, about 1902, to the north-west of Paris.

bonnardinboat1907
Pierre Bonnard (1867-1947), In a Boat (c 1907), oil on canvas, 74 x 85 cm, Private collection. The Athenaeum.

In a Boat, about 1907, possibly in the south of France.

bonnardearlyspring1908
Pierre Bonnard (1867-1947), Early Spring (1908), oil on canvas, 87.6 x 132.1 cm, The Phillips Collection, Washington, DC. The Athenaeum.

Early Spring, 1908, possibly the Terrasse family, probably northern France.

bonnardterracegrasse
Pierre Bonnard (1867-1947), The Terrace at Grasse (1912), oil on cardboard, 125 x 134 cm, Private collection. The Athenaeum.

The Terrace at Grasse, 1912, Grasse, inland of Cannes, south-eastern France.

bonnardblueseinevernon
Pierre Bonnard (1867-1947), Blue Seine at Vernon (1912), oil on canvas, 46.7 x 69.5 cm, Private collection. The Athenaeum.

Blue Seine at Vernon, 1912, Vernon, near Giverny, north-west of Paris.

bonnardgardenvernonnet
Pierre Bonnard (1867-1947), The Garden at Vernonnet (1915), oil on canvas, 61 x 53.8 cm, Private collection. The Athenaeum.

The Garden at Vernonnet, 1915, Vernon, near Giverny, north-west of Paris.

bonnardhousebypath1918
Pierre Bonnard (1867-1947), House by the Path on the Cliff (1918), oil on panel, 36.8 x 45.7 cm, Private collection. The Athenaeum.

House by the Path on the Cliff, 1918, probably northern France.

bonnardpastoralsymphony1920
Pierre Bonnard (1867-1947), Pastoral Symphony (1916-20), oil on canvas, 130 x 160 cm, Private collection. The Athenaeum.

Pastoral Symphony, 1916-20, location not known.

bonnardriviera1923
Pierre Bonnard (1867-1947), The Riviera (c 1923), oil on canvas, 79 x 76.2 cm, The Phillips Collection, Washington, DC. The Athenaeum.

The Riviera, about 1923, southern France.

bonnardlandscapemountains1924
Pierre Bonnard (1867-1947), Landscape with Mountains (1924), oil on canvas, 40 x 59 cm, The Phillips Collection, Washington, DC. The Athenaeum.

Landscape with Mountains, 1924, location not known.

bonnardlecannetviewpinkhouse
Pierre Bonnard (1867-1947), Le Cannet, View from the Pink House (1926), oil on canvas, 40 x 55.3 cm, Private collection. The Athenaeum.

Le Cannet, View from the Pink House, 1926, Le Cannet, south coast of France.

bonnardlecannet1930
Pierre Bonnard (1867-1947), View of Le Cannet (c 1930), oil on board on cradled board, 44.5 x 37.5 cm, Private collection. The Athenaeum.

View of Le Cannet, about 1930, Le Cannet, south coast of France.

bonnardbreakfastroom1931
Pierre Bonnard (1867-1947), The Breakfast Room (Dining Room Overlooking the Garden) (1930-31), oil on canvas, 159.7 x 113.98 cm, Museum of Modern Art, New York, NY. The Athenaeum.

The Breakfast Room (Dining Room Overlooking the Garden), 1930-31, location not known.

bonnardinsummer1931
Pierre Bonnard (1867-1947), In Summer (1931), further details not known. Wikimedia Commons.

In Summer, 1931, probably Le Cannet, south coast of France.

bonnardlandscapelecannet1938
Pierre Bonnard (1867-1947), Landscape at Le Cannet (1938), oil on canvas, 52 x 72 cm, Private collection. The Athenaeum.

Landscape at Le Cannet, 1938, Le Cannet, south coast of France.

bonnardpanoramalebosquet
Pierre Bonnard (1867-1947), Panoramic View of Cannet (The Blue Mountain) (c 1942-44), gouache, watercolour and pencil on paper, 34.3 x 50.2 cm, Private collection. The Athenaeum.

Panoramic View of Le Cannet or The Blue Mountain, 1942-44, Le Cannet, south coast of France.

bonnardstudiomimosa
Pierre Bonnard (1867-1947), The Studio at Le Cannet, with Mimosa (1938-46), oil on canvas, 127.5 x 127.5 cm, Musée National d’Art Moderne de Paris, Paris. The Athenaeum.

The Studio at Le Cannet, with Mimosa, 1938-46, Le Cannet, south coast of France.

References

Guy Cogeval and Isabelle Cahn (2016) Pierre Bonnard, Painting Arcadia, Prestel. ISBN 978 3 791 35524 5.
Gilles Genty and Pierrette Vernon (2006) Bonnard Inédits, Éditions Cercle d’Art (in French). ISBN 978 2 702 20707 9.
Timothy Hyman (1998) Bonnard, World of Art, Thames and Hudson. ISBN 978 0 500 20310 1.

French vs German expressionism

French And German Expressionism Compared!

https://wallector.com/en/blog/post/french-and-german-expressionism-compared#:~:text=Whilst%20French%20Expressionism%20proposed%20a,color%20and%20using%20firm%20outlines.
French And German Expressionism Compared!

The Salon of 1905

In 1905, while entering the eighth room in the Salon d’Automne, the art critic Louis Vauxcelles saw a traditional statue surrounded by violently colored paintings, and uttered: “Here is Donatello among the beasts!”. Since that moment, the artists who had gathered at the Salon were called “Fauves”, i.e. wild beasts. Among others, Henri MatisseAndré Derain, and Maurice de Vaminckgathered to establish the main avant-garde movement developing in France during that same year: Fauvism. The group had a short life – they broke up a few years later, in 1908 – owing to the lack of a specific and defined program, and to the increasing success of Cubism, a movement that aimed at limiting the absolute and dissolute freedom of too expressive colors, and at rather exalting forms and lines inside a definite space. One of the reasons that Fauvism lost its initial energy was the same one for which it developed itself at first, namely the celebration of the painting technique as artistic expression, and of color as explosive and emotional power capable of giving life and form to paintings.

Unlike contemporaneous German artists, who favored gloomy atmospheres and dramatic subject matters, French Expressionists distinguished themselves for the chromatic liveliness and for “the joy of life” that they wished to convey in their artworks. No more verisimilitude with nature, but only personal, intimate, and subjective feelings of reality, which becomes concrete through the propulsive and explosive charge of colors, commonly used for creating large flat fields; color is completely disconnected from perceivable reality, adapting to the subjective sensations that the artist wishes to convey. One of the pioneers of Expressionism was the Belgian artist James Ensor (1860-1949). His production deeply influenced the following art movements; in particular, his brushwork and use of colors could be considered early Expressionist, and his subjects, often characterized by a grotesque vein between irony and gravity, led the way to other avant-garde movements, such as Surrealism and Dadaism.

Henri Matisse 

The most famous exponent of French Expressionism is Henri Matisse (1869-1954); all his artistic production is pervaded by a very expressive use of colors. Vivid, brave, energetic, all his works are two-dimensional. His painterly activity, unfolding decade after decade away from mundane life, did not exclude an abundant graphic production. In the graphic oeuvre of Matisse, the line takes on new vitality, and becomes a means to express impetuous forms, even without the use of color. A distinctive trait, in the work of Matisse, is also the decorative element: surfaces adapt well to stylized vegetal decorations and to Eastern elements, derived from Japanese fashion that had been developing since the mid-19th century.

“Die Brücke”

Whilst French Expressionism proposed a certain use of color to express joy and vitality, German Expressionist painters chose likewise expressive artistic directions, exalting the energy of color and using firm outlines. The German group split in two opposite movements: from one side, the artists of “Die Brücke” (The Bridge), led by Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt-Rottluff, and Max Pechstein; from the other side, the group of “Der Blaue Reiter” (The Blue Rider), founded by Vasilij Kandinsky and Franz Marc in 1911 in Monaco. “The Blue Rider” was a broad long-term phenomenon; the artworks were characterized by an extreme abstraction of forms and by a preference for fantasy, dream, and imagination. The artists of “Die Brücke”, on the other hand, proposed an energetic, firm, and strongly ideological language, characterized by the use of vivid and contrasting colors, and by violent anti-natural figures. The employment of xylography, together with wooden sculptures, spread widely among German Expressionists, appreciating especially their expressive qualities.
They also preferred subjects who expressed the sorrow of the human condition, through the distortion of bodies, the use of high contrasts and of rigid fragmented outlines. Themes such as war and Northern mythology were much explored.

Expressionism in Germany and France: From Van Gogh to Kandinsky

https://unframed.lacma.org/2014/06/05/expressionism-in-germany-and-france-from-van-gogh-to-kandinsky
June 5, 2014

Today the term Expressionism is widely considered to designate a distinctly German movement. In its beginnings in the early 20th century, however, Expressionism was not assigned to a specific nationality. The movement evolved within a lively cosmopolitan atmosphere in Europe, where German and French artists responded to new developments in modern art with brightly colored and spontaneously rendered canvases. Expressionism in Germany and France: From Van Gogh to Kandinsky, which opens this Sunday in the Resnick Pavilion at LACMA, proposes an inquiry not only about artistic influence, but also about culture and geography. Where did Expressionism come from? How did it relate to national boundaries? “Van Gogh struck modern art like lightning,” a German observer once said about the influence of this pioneering modern artist’s work on artists in Germany in the 1910s. The work of Vincent van Gogh—who died in relative obscurity 15 years earlier—was finally becoming widely available due to a network of cultural exchange between Germany and France in the form of exhibitions; burgeoning public and private collections; trade on the art market; and travel by artists, dealers, and museum directors.

Vincent van Gogh, Wheat Field with Reaper (Harvest in Provence) (Champ de blé avec moissonneur), 1889, Museum Folkwang. Photo Credit: bpk, Berlin / Museum Folkwang/ Art Resource, NY Vincent van Gogh, Wheat Field with Reaper (Harvest in Provence) (Champ de blé avec moissonneur), 1889, Museum Folkwang. Photo Credit: bpk, Berlin / Museum Folkwang/ Art Resource, NY

Wheatfield with Reaper (Champ de ble avec moissonneur), 1889, was the first work by Van Gogh to enter a German museum. Purchased in 1902 by collector Karl Ernst Osthaus, it was shown at his private Folkwang Museum in Hagen. The avid collecting and exhibition of works by Van Gogh, Paul Gauguin, Paul Cézanne, and others were complemented by lively critical discussions in illustrated art periodicals and books, notably publications by art critic Julius Meier-Graefe, as well as among artists through correspondence and conversation at such meeting points as the Café des Westens in Berlin and the Café du Dôme in Paris. German art dealers such as Wilhelm Uhde and Daniel-Henry Kahnweiler opened galleries in Paris and were instrumental in introducing Henri Rousseau and Pablo Picasso to the larger public. German artists Emil Nolde and Paula Modersohn-Becker studied at the Académie Julian and the Académie Colarossi in Paris, while the galleries Bernheim-Jeune, Durand-Ruel, and Ambroise Vollard offered Alexei Jawlensky, Wassily Kandinsky, Gabriele Münter, and many others the opportunity to discover not only Van Gogh but works by the Nabis, the Neo-Impressionists, Cézanne, and Gauguin, among others.

Paul Gauguin, Swineherd (detail), 1888, gift of Lucille Ellis Simon and family in honor of the museum's twenty-fifth anniversary Paul Gauguin, Swineherd, 1888, gift of Lucille Ellis Simon and family in honor of the museum’s 25th anniversary

Exhibitions were especially important in exposing German artists to the most recent trends from France. Annual exhibitions such as the Salon d’Automne or the Salon des Indépendants were also an occasion to discover the work of the French avant-garde. For instance, Gauguin’s Swineherd (Le Gardien de porcs), 1888 was presented at the 1906 Salon d’Automne, which also included works by Jawlensky and Kandinsky. Beginning in the late 19th century, exhibitions in Berlin, Dresden, and Munich presented in-depth surveys of Impressionism and Neo-Impressionism.

Paul Gauguin, Haystacks in Brittany (Les Meules / Le champ de pommes de terre), 1890, National Gallery of Art, Washington, D.C., gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.11, image courtesy National Gallery of Art, Washington, D.C. Paul Gauguin, Haystacks in Brittany (Les Meules / Le champ de pommes de terre), 1890, National Gallery of Art, Washington, D.C., gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.11, image courtesy National Gallery of Art, Washington, D.C.

Beginning in 1904–5, around the same time of the birth of Expressionism, exhibitions in Germany also made the works of Cézanne, Van Gogh, Gauguin, and (eventually) Henri Matisse widely available. Gauguin’s Haystacks in Brittany (Les Meules / Le Champ de pommes de terre), 1890, was exhibited in 1905 in the first major exhibition of Gauguin’s work in Germany, which was organized by the progressive museum director Harry Count Kessler in Weimar. In Berlin, the forward-looking director of the National Gallery, Hugo von Tschudi, started buying modern French art, while Paul Cassirer was among the first to exhibit Van Gogh’s works in Germany at his commercial gallery. Cassirer organized numerous exhibitions that also travelled to other German cities such as Dresden. It was there that the exhibition of Van Gogh’s work was shown at Galerie Arnold in 1905, generating great excitement among the artists of the Brücke, the first Expressionist group, founded only a few months before the exhibition opened. Van Gogh’s spontaneous and vivacious brushwork and departure from local color (where leaves are green and skies are blue) in favor of a deep emotional engagement expressed through color (where skies can become green, as in Van Gogh’s Wheatfield with Reaper) offered an entirely new avenue away from what members of the Brücke regarded as a restrictive reliance on perception alone, typical of both Impressionism and Neo-Impressionism. The Brücke artists decried this tendency to be “the accidental, merely frugally natural impression” to which they preferred a more emotionally felt “inner” experience. The work of these artists—Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner, and Karl Schmidt-Rottluff, joined later by Cuno Amiet, Emil Nolde, Max Pechstein, and others—soon exploded in bright colors, the characteristics of which can be seen in representative works in Expressionism in Germany and France. At the same time that this activity was taking place in Berlin, back in Paris, André Derain, Maurice de Vlaminck, and Matisse (the latter two having been introduced to one another at a Van Gogh exhibition) joined Georges Braque, Raoul Dufy, Albert Marquet, and others to seek an alternative to Impressionism that would focus on bold colors and vivacious brushwork. They exhibited their findings at the 1905 Salon d’Automne, in which Jawlensky and Kandinsky were also shown. Confronted on this occasion by such works as Matisse’s Open Window, Collioure (La Fenêtre ouverte, Collioure), 1905 (National Gallery of Art, Washington, D.C.), critic Louis Vauxcelles coined the term Fauves (or “wild beasts”) subsequently used to describe the work of these French artists. The painter Max Pechstein saw the Fauves’ colorful paintings while living in Paris three years later, and their influence may have informed his casual approach in his Young Girl (Junges Mädchen), 1908 (cover of this magazine).

Ernst Ludwig Kirchner, Reclining Nude in Front of Mirror (Liegender Akt vor Spiegel), 1909–10, Brücke-Museum, Berlin (Inv.-Nr. 31/72), © Ernst Ludwig Kirchner, Courtesy Ingeborg & Dr. Wolfgang Henze-Ketterer, Wichtrach/Bern. Photo © Brücke-Museum, Berlin, photographer: Roman März Ernst Ludwig Kirchner, Reclining Nude in Front of Mirror (Liegender Akt vor Spiegel), 1909–10, Brücke-Museum, Berlin (Inv.-Nr. 31/72), © Ernst Ludwig Kirchner, Courtesy Ingeborg & Dr. Wolfgang Henze-Ketterer, Wichtrach/Bern. Photo © Brücke-Museum, Berlin, photographer: Roman März

Soon the Fauves were being exhibited in Germany, including in an exhibition in Dresden, in which the Brücke artists also participated. Kirchner and Pechstein saw the 1909 Berlin exhibition of Matisse’s work (hung by the artist himself) at Paul Cassirer and informed Heckel via a postcard that it was “wild.” Indeed Kirchner must have been overpowered by Matisse’s experimentation with composition and space—it is hard to ignore the Frenchman’s influence on Kirchner’s Reclining Nude in Front of Mirror (Liegender Akt vor Spiegel), 1909–10.

Vincent Van Gogh, Pollard Willows at Sunset, Arles (Saules au coucher du soleil, Arles), 1888, Kröller-Müller Museum, Otterlo, The Netherlands, Photo Credit: Art Resource, NY Vincent van Gogh, Pollard Willows at Sunset, Arles (Saules au coucher du soleil, Arles), 1888, Kröller-Müller Museum, Otterlo, The Netherlands, Photo Credit: Art Resource, NY

In Munich, Van Gogh’s Pollard Willows at Sunset (Saules au coucher du soleil), 1888 was shown at the Moderne Kunsthandlung gallery in 1908. The Blaue Reiter group, established in 1911, was well aware of current artistic trends in Paris. The group’s founding members—Kandinsky, Jawlensky, Münter, and Marianne Werefkin—frequently sojourned in Paris and presented their works at the Salon d’Automne and the Salon des Indépendants. The spectacular colors of Fauvism first found their way into their art beginning in 1908, when the group started to spend their summers in the alpine village of Murnau, where they responded to the subtle atmospheric light of the region. This palette is reflected in Jawlensky, Münter, and Werefkin’s flamboyant landscapes as well as in the already well-established abstraction of Kandinsky’s Sketch I for Painting with White Border (Entwurf zu Bild mit weißem Rand), 1913. Neither of these paintings is imaginable without the experience of Murnau, nor would they be possible without Fauvism. Yet, each original work was created by a mature artist who took a fully independent direction.

Wassily Kandinsky, Sketch I for Painting with White Border, 1913, Phillips Collection, © 2013 Wassily Kandinsky/ Artists Rights Society (ARS), New York/ADAGP, Paris, photo © The Phillips Collection Wassily Kandinsky, Sketch I for Painting with White Border, 1913, Phillips  Collection, © 2014 Wassily Kandinsky/Artists Rights Society (ARS), New York/ADAGP, Paris, photo © The Phillips Collection

Franz Marc and August Macke soon came in contact with the chromatic abstraction of Robert Delaunay, whose colorful “simultaneous” paintings were exhibited in the first Blaue Reiter exhibition of 1911, which was organized by Kandinsky and Marc. This experience caused Franz Marc to repaint his Stony Path (Mountains/Landscape) (Steiniger Weg [Gebirge/ Landschaft]), 1911 (repainted 1912) with wonderful results. Kandinsky and Marc also explored in their paintings folk art and constructions of the “primitive”—inspired by the paintings of Rousseau, which they illustrated in their Blaue Reiter Almanach. (Rousseau’s paintings will be examined in an entirely new light in the scholarly catalogue.)

Franz Marc, Stony Path (Mountains/Landscape) Steiniger Weg (Gebirge/Landschaft), 1911 (repainted 1912), San Francisco Museum of Modern Art, gift of the Women’s Board and Friends of the Museum, photo © San Francisco Museum of Modern Art Franz Marc, Stony Path (Mountains/Landscape) Steiniger Weg (Gebirge/Landschaft), 1911 (repainted 1912), San Francisco Museum of Modern Art, gift of the Women’s Board and Friends of the Museum, photo © San Francisco Museum of Modern Art

The development of Expressionism took place in the cosmopolitan milieu of artists, galleries, and museums in both France and Germany in the early 20th century. The founding of groups nearly synonymous with the term Expressionism—the Brücke and the Blaue Reiter—came at a heightened moment during which artists working in Germany were paying close attention to the styles developing in France. This exhibition seeks to bring together French and German masterpieces accompanied by their essential historical context—when and where they were exhibited, collected, and seen by artists—so that they may be enjoyed again by us while also capturing the moment when the artists that made them were inspired by one another. Timothy O. Benson, Curator, Robert Gore Rifkind Center for German Expressionist Studies Editorial note: A version of this article originally appeared in the spring 2014 (volume 8, issue 2) of LACMA’s InsiderExpressionism in Germany and France: From Van Gogh to Kandinsky opens to the public this Sunday, June 8, but LACMA members can enjoy early access (for free!) during Member Previews beginning today. Simply click through the link and make your reservation in advance.

Expresionismo

https://en.wikipedia.org/wiki/Expressionism

Expressionism

From Wikipedia, the free encyclopedia
Expressionism

Edvard MunchThe Screamc.1893, oil, tempera and pastel on cardboard, 91 × 73 cm, National Gallery of Norway, inspired 20th-century expressionists.
Years active The years before WWI and the interwar years
Location Predominantly Germany
Major figures Artists loosely categorized within such groups as Die BrückeDer Blaue Reiter; the Berlin Secession, the School of Paris and the Dresden Secession
Influenced American Figurative Expressionism, generally, and Boston Expressionism, in particular

Expressionism is a modernist movement, initially in poetry and painting, originating in Northern Europe around the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas.[1][2] Expressionist artists have sought to express the meaning[3] of emotional experience rather than physical reality.[3][4]

Expressionism developed as an avant-garde style before the First World War. It remained popular during the Weimar Republic,[1] particularly in Berlin. The style extended to a wide range of the arts, including expressionist architecture, painting, literature, theatre, dance, film and music.[5] Paris became a gathering place for a group of Expressionist artists, many of Jewish origin, dubbed the School of Paris. After World War II, figurative expressionism influenced artists and styles around the world.

The term is sometimes suggestive of angst. In a historical sense, much older painters such as Matthias Grünewald and El Greco are sometimes termed expressionist, though the term is applied mainly to 20th-century works. The Expressionist emphasis on individual and subjective perspective has been characterized as a reaction to positivism and other artistic styles such as Naturalism and Impressionism.[6]

Etymology and history

[edit]

El GrecoView of Toledoc.1595/1610 is a Mannerist precursor of 20th-century expressionism.
Egon SchielePortrait of Eduard Kosmackc.1910, oil on canvas, 100 × 100 cm, Österreichische Galerie Belvedere

While the word expressionist was used in the modern sense as early as 1850, its origin is sometimes traced to paintings exhibited in 1901 in Paris by obscure artist Julien-Auguste Hervé, which he called Expressionismes.[7] An alternative view is that the term was coined by the Czech art historian Antonin Matějček in 1910 as the opposite of Impressionism: “An Expressionist wishes, above all, to express himself… (an Expressionist rejects) immediate perception and builds on more complex psychic structures… Impressions and mental images that pass through … people’s soul as through a filter which rids them of all substantial accretions to produce their clear essence […and] are assimilated and condensed into more general forms, into types, which he transcribes through simple short-hand formulae and symbols.”[8]

Important precursors of Expressionism were the German philosopher Friedrich Nietzsche (1844–1900), especially his philosophical novel Thus Spoke Zarathustra (1883–1892); the later plays of the Swedish dramatist August Strindberg (1849–1912), including the trilogy To Damascus (1898–1901), A Dream Play (1902), The Ghost Sonata (1907); Frank Wedekind (1864–1918), especially the “Lulu” plays Erdgeist (Earth Spirit) (1895) and Die Büchse der Pandora (Pandora’s Box) (1904); the American poet Walt Whitman‘s (1819–1892) Leaves of Grass (1855–1891); the Russian novelist Fyodor Dostoevsky (1821–1881); Norwegian painter Edvard Munch (1863–1944); Dutch painter Vincent van Gogh (1853–1890); Belgian painter James Ensor (1860–1949);[9] and pioneering Austrian psychoanalyst Sigmund Freud (1856–1939).[5]

In 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke (the Bridge) in the city of Dresden. This was arguably the founding organization for the German Expressionist movement, though they did not use the word itself. A few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter (The Blue Rider) in Munich. The name came from Wassily Kandinsky‘s Der Blaue Reiter painting of 1903. Among their members were Kandinsky, Franz MarcPaul Klee, and August Macke. However, the term Expressionism did not firmly establish itself until 1913.[10] Though mainly a German artistic movement initially[11][5] and most predominant in painting, poetry and the theatre between 1910 and 1930, most precursors of the movement were not German. Furthermore, there have been expressionist writers of prose fiction, as well as non-German-speaking expressionist writers, and, while the movement declined in Germany with the rise of Adolf Hitler in the 1930s, there were subsequent expressionist works.

Expressionism is notoriously difficult to define, in part because it “overlapped with other major ‘isms’ of the modernist period: with FuturismVorticismCubismSurrealism and Dadaism.”[12] Richard Murphy also comments, “the search for an all-inclusive definition is problematic to the extent that the most challenging expressionists such as KafkaGottfried Benn and Döblin were simultaneously the most vociferous ‘anti-expressionists.'”[13]

What can be said, however, is that it was a movement that developed in the early twentieth century, mainly in Germany, in reaction to the dehumanizing effect of industrialization and the growth of cities, and that “one of the central means by which expressionism identifies itself as an avant-garde movement, and by which it marks its distance to traditions and the cultural institution as a whole is through its relationship to realism and the dominant conventions of representation.”[14] More explicitly, that the expressionists rejected the ideology of realism.[15]

The term refers to an “artistic style in which the artist seeks to depict not objective reality but rather the subjective emotions and responses that objects and events arouse within a person”.[16] It is arguable that all artists are expressive but there are many examples of art production in Europe from the 15th century onward which emphasize extreme emotion. Such art often occurs during times of social upheaval and war, such as the Protestant ReformationGerman Peasants’ War, and Eighty Years’ War between the Spanish and the Netherlands, when extreme violence, much directed at civilians, was represented in propagandist popular prints. These were often unimpressive aesthetically but had the capacity to arouse extreme emotions in the viewer.[citation needed]

Expressionism has been likened to Baroque by critics such as art historian Michel Ragon[17] and German philosopher Walter Benjamin.[18] According to Alberto Arbasino, a difference between the two is that “Expressionism doesn’t shun the violently unpleasant effect, while Baroque does. Expressionism throws some terrific ‘fuck yous’, Baroque doesn’t. Baroque is well-mannered.”[19]

Notable Expressionists

[edit]

Alvar CawénSokea soittoniekka (Blind Musician), 1922
Rolf NeschElbe Bridge I
Franz MarcDie großen blauen Pferde (The Large Blue Horses), 1911

Some of the style’s main visual artists of the early 20th century were:

Groups of painters

[edit]

In Germany and Austria

[edit]

Franz MarcRehe im Walde (Deer in Woods), 1914

The style originated principally in Germany and Austria. There were groups of expressionist painters, including Der Blaue Reiter and Die Brücke. Der Blaue Reiter (The Blue Rider, named after a painting) was based in Munich and Die Brücke (The Bridge) was originally based in Dresden (some members moved to Berlin). Die Brücke was active for a longer period than Der Blaue Reiter, which was only together for a year (1912). The Expressionists were influenced by artists and sources including Edvard Munch, Vincent van Gogh and African art.[21] They were also aware of the work being done by the Fauves in Paris, who influenced Expressionism’s tendency toward arbitrary colours and jarring compositions. In reaction and opposition to French Impressionism, which emphasized the rendering of the visual appearance of objects, Expressionist artists sought to portray emotions and subjective interpretations. It was not important to reproduce an aesthetically pleasing impression of the artistic subject matter, they felt, but rather to represent vivid emotional reactions by powerful colours and dynamic compositions. Kandinsky, the main artist of Der Blaue Reiter, believed that with simple colours and shapes the spectator could perceive the moods and feelings in the paintings, a theory that encouraged him towards increased abstraction.[5]

The School of Paris

[edit]

In Paris a group of artists dubbed the École de Paris (School of Paris) by André Warnod were also known for their expressionist art.[22][23] This was especially prevalent amongst the foreign born Jewish painters of the School of Paris such as Chaim SoutineMarc ChagallYitzhak FrenkelAbraham Mintchine and others.[24][25][26] These artists’ expressionism was described as restless and emotional by Frenkel.[27] These artists, centered in the Montparnasse district of Paris tended to portray human subjects and humanity, evoking emotion through facial expression.[28] Others focused on the expression of mood rather than a formal structure.[29] The art of Jewish expressionists was characterized as dramatic and tragic, perhaps in connection to Jewish suffering following persecution and pogroms.[30]

In America

[edit]

The ideas of German expressionism influenced the work of American artist Marsden Hartley, who met Kandinsky in Germany in 1913.[31] In late 1939, at the beginning of World War IINew York City received many European artists. After the war, Expressionism influenced many young American artists. Norris Embry (1921–1981) studied with Oskar Kokoschka in 1947 and during the next 43 years produced a large body of work in the Expressionist tradition. Embry has been termed “the first American German Expressionist”. Other American artists of the late 20th and early 21st century have developed distinct styles that may be considered part of Expressionism. Another prominent artist who came from the German Expressionist “school” was Bremen-born Wolfgang Degenhardt. After working as a commercial artist in Bremen, he migrated to Australia in 1954 and became quite well known in the Hunter Valley region.

After World War II, figurative expressionism influenced artists and styles around the world. In the U.S., American Expressionism and American Figurative Expressionism, particularly Boston Expressionism, were an integral part of American modernism around the Second World War.[32][33] Thomas B. Hess wrote that “the ‘New figurative painting’ which some have been expecting as a reaction against Abstract Expressionism was implicit in it at the start, and is one of its most lineal continuities.”[34]

Representative paintings

[edit]

In other arts

[edit]

The Expressionist movement included other types of culture, including dance, sculpture, cinema and theatre.

Mary Wigman, pioneer of Expressionist dance (left) at her West Berlin studio in 1959

Dance

[edit]

Exponents of expressionist dance included Mary WigmanRudolf von Laban, and Pina Bausch.[45]

Sculpture

[edit]

Some sculptors used the Expressionist style, as for example Ernst Barlach. Other expressionist artists known mainly as painters, such as Erich Heckel, also worked with sculpture.[5]

Cinema

[edit]

There was an Expressionist style in German cinema, important examples of which are Robert Wiene‘s The Cabinet of Dr. Caligari (1920), Paul Wegener‘s The Golem: How He Came into the World (1920), Fritz Lang‘s Metropolis (1927) and F. W. Murnau‘s Nosferatu, a Symphony of Horror (1922) and The Last Laugh (1924). The term “expressionist” is also sometimes used to refer to stylistic devices thought to resemble those of German Expressionism, such as film noir cinematography or the style of several of the films of Ingmar Bergman. More generally, the term expressionism can be used to describe cinematic styles of great artifice, such as the technicolor melodramas of Douglas Sirk or the sound and visual design of David Lynch‘s films.[46]

Literature

[edit]

Journals

[edit]

Two leading Expressionist journals published in Berlin were Der Sturm, published by Herwarth Walden starting in 1910,[47] and Die Aktion, which first appeared in 1911 and was edited by Franz PfemfertDer Sturm published poetry and prose from contributors such as Peter AltenbergMax BrodRichard DehmelAlfred DöblinAnatole FranceKnut Hamsun, Arno Holz, Karl KrausSelma LagerlöfAdolf LoosHeinrich MannPaul Scheerbart, and René Schickele, and writings, drawings, and prints by such artists as Kokoschka, Kandinsky, and members of Der blaue Reiter.[48]

Drama

[edit]

Oskar Kokoschka‘s 1909 playlet, Murderer, The Hope of Women is often termed the first expressionist drama. In it, an unnamed man and woman struggle for dominance. The man brands the woman; she stabs and imprisons him. He frees himself and she falls dead at his touch. As the play ends, he slaughters all around him (in the words of the text) “like mosquitoes.” The extreme simplification of characters to mythic types, choral effects, declamatory dialogue and heightened intensity all would become characteristic of later expressionist plays.[49] The German composer Paul Hindemith created an operatic version of this play, which premiered in 1921.[50]

Expressionism was a dominant influence on early 20th-century German theatre, of which Georg Kaiser and Ernst Toller were the most famous playwrights. Other notable Expressionist dramatists included Reinhard SorgeWalter HasencleverHans Henny Jahnn, and Arnolt Bronnen. Important precursors were the Swedish playwright August Strindberg and German actor and dramatist Frank Wedekind. During the 1920s, Expressionism enjoyed a brief period of influence in American theatre, including the early modernist plays by Eugene O’Neill (The Hairy ApeThe Emperor Jones and The Great God Brown), Sophie Treadwell (Machinal) and Elmer Rice (The Adding Machine).[51]

Expressionist plays often dramatise the spiritual awakening and sufferings of their protagonists. Some utilise an episodic dramatic structure and are known as Stationendramen (station plays), modeled on the presentation of the suffering and death of Jesus in the Stations of the Cross. Strindberg had pioneered this form with his autobiographical trilogy To Damascus. These plays also often dramatise the struggle against bourgeois values and established authority, frequently personified by the Father. In Sorge’s The Beggar, (Der Bettler), for example, the young hero’s mentally ill father raves about the prospect of mining the riches of Mars and is finally poisoned by his son. In Bronnen’s Parricide (Vatermord), the son stabs his tyrannical father to death, only to have to fend off the frenzied sexual overtures of his mother.[52]

In Expressionist drama, the speech may be either expansive and rhapsodic, or clipped and telegraphic. Director Leopold Jessner became famous for his expressionistic productions, often set on stark, steeply raked flights of stairs (having borrowed the idea from the Symbolist director and designer, Edward Gordon Craig). Staging was especially important in Expressionist drama, with directors forgoing the illusion of reality to block actors in as close to two-dimensional movement. Directors also made heavy use of lighting effects to create stark contrast and as another method to heavily emphasize emotion and convey the play or a scene’s message.[53]

German expressionist playwrights:

Playwrights influenced by Expressionism:

Poetry

[edit]

Among the poets associated with German Expressionism were:

Other poets influenced by expressionism:

Prose

[edit]

In prose, the early stories and novels of Alfred Döblin were influenced by Expressionism,[60] and Franz Kafka is sometimes labelled an Expressionist.[61] Some further writers and works that have been called Expressionist include:

Music

[edit]

The term expressionism “was probably first applied to music in 1918, especially to Schoenberg”, because like the painter Kandinsky he avoided “traditional forms of beauty” to convey powerful feelings in his music.[75] Arnold SchoenbergAnton Webern and Alban Berg, the members of the Second Viennese School, are important Expressionists (Schoenberg was also an expressionist painter).[76] Other composers that have been associated with expressionism are Krenek (the Second Symphony), Paul Hindemith (The Young Maiden), Igor Stravinsky (Japanese Songs), Alexander Scriabin (late piano sonatas) (Adorno 2009, 275). Another significant expressionist was Béla Bartók in early works, written in the second decade of the 20th century, such as Bluebeard’s Castle (1911),[77] The Wooden Prince (1917),[78] and The Miraculous Mandarin (1919).[79] Important precursors of expressionism are Richard Wagner (1813–1883), Gustav Mahler (1860–1911), and Richard Strauss (1864–1949).[80]

Theodor Adorno describes expressionism as concerned with the unconscious, and states that “the depiction of fear lies at the centre” of expressionist music, with dissonance predominating, so that the “harmonious, affirmative element of art is banished” (Adorno 2009, 275–76). Erwartung and Die Glückliche Hand, by Schoenberg, and Wozzeck, an opera by Alban Berg (based on the play Woyzeck by Georg Büchner), are examples of Expressionist works.[81] If one were to draw an analogy from paintings, one may describe the expressionist painting technique as the distortion of reality (mostly colors and shapes) to create a nightmarish effect for the particular painting as a whole. Expressionist music roughly does the same thing, where the dramatically increased dissonance creates, aurally, a nightmarish atmosphere.[82]

Architecture

[edit]

Einsteinturm in Potsdam

In architecture, two specific buildings are identified as Expressionist: Bruno Taut‘s Glass Pavilion of the Cologne Werkbund Exhibition (1914), and Erich Mendelsohn‘s Einstein Tower in Potsdam, Germany completed in 1921. The interior of Hans Poelzig‘s Berlin theatre (the Grosse Schauspielhaus), designed for the director Max Reinhardt, is also cited sometimes. The influential architectural critic and historian Sigfried Giedion, in his book Space, Time and Architecture (1941), dismissed Expressionist architecture as a part of the development of functionalism. In Mexico, in 1953, German émigré Mathias Goeritz published the Arquitectura Emocional (“Emotional Architecture”) manifesto with which he declared that “architecture’s principal function is emotion”.[83] Modern Mexican architect Luis Barragán adopted the term that influenced his work. The two of them collaborated in the project Torres de Satélite (1957–58) guided by Goeritz’s principles of Arquitectura Emocional.[84] It was only during the 1970s that Expressionism in architecture came to be re-evaluated more positively.[85][86]

See also

[edit]

References

[edit]

  1. Jump up to:a b Bruce Thompson, University of California, Santa Cruz, lecture on Weimar culture/Kafka’a Prague Archived 2010-01-11 at the Wayback Machine
  2. ^ Chris Baldick Concise Oxford Dictionary of Literary Terms, entry for Expressionism
  3. Jump up to:a b Victorino Tejera, 1966, pages 85,140, Art and Human Intelligence, Vision Press Limited, London
  4. ^ The Oxford Illustrated Dictionary, 1976 edition, page 294
  5. Jump up to:a b c d e Gombrich, E.H. (1995). The Story of Art (16. ed. (rev., expanded and redesigned). ed.). London: Phaidon. pp. 563–568ISBN 978-0714832470.
  6. ^ Garzanti, Aldo (1974) [1972]. Enciclopedia Garzanti della letteratura (in Italian). Milan: Guido Villa. p. 963. page 241
  7. ^ John Willett, Expressionism. New York: World University Library, 1970, p.25; Richard Sheppard, “German Expressionism”, in Modernism: 1890–1930, ed. Bradbury & McFarlane, Harmondsworth: Penguin Books, 1976, p.274.
  8. ^ Cited in Donald E. Gordon, Expressionism: Art and Ideas. New Haven: Yale University Press, 1987, p. 175.
  9. ^ R. S. Furness, Expressionism. London: Methuen, pp.2–14; Willett, pp. 20–24.
  10. ^ Richard Sheppard, p.274.
  11. ^ Note the parallel French movement Fauvism and the English Vorticism: “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.” Sabine Rewald, “Fauvism”, In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/fauv/hd_fauv.htm (October 2004); and “Vorticism can be thought of as English Expressionism.” Sherrill E. Grace, Regression and Apocalypse: Studies in North American Literary Expressionism. Toronto: University of Toronto Press, 1989, p. 26.
  12. ^ Sherrill E. Grace, Regression and Apacaypse: Studies in North American Literary Expressionism. Toronto: University of Toronto Press, 1989, p.26).
  13. ^ Richard Murphy, Theorizing the Avant-Garde: Modernism, Expressionism, and the Problem of Postmodernity. Cambridge, Cambridge University Press,1999, p. 43.
  14. ^ Richard Murphy, p. 43.
  15. ^ Murphy, especially pp. 43–48; and Walter H. Sokel, The Writer in Extremis. Stanford, California: Stanford University Press, 1959, especially Chapter One.
  16. ^ Britannica Online Encyclopaedia (February, 2012).
  17. ^ Ragon, Michel (1968). Expressionism. Heron. ISBN 9780900948640There is no doubt that Expressionism is Baroque in essence
  18. ^ Benjamin, Walter (1998). Origin of German Tragic Drama. London: Verso. ISBN 978-1-85984-899-9.
  19. ^ Pedullà, Gabriele; Arbasino, Alberto (2003). “Sull’albero di ciliegie – Conversando di letteratura e di cinema con Alberto Arbasino” [On the cherry tree – Conversations on literature and cinema with Alberto Arbasino]. CONTEMPORANEA Rivista di studi sulla letteratura e sulla comunicazioneL’espressionismo non rifugge dall’effetto violentemente sgradevole, mentre invece il barocco lo fa. L’espressionismo tira dei tremendi «vaffanculo», il barocco no. Il barocco è beneducato (Expressionism doesn’t shun the violently unpleasant effect, while Baroque does. Expressionism throws some terrific “Fuck yous”, Baroque doesn’t. Baroque is well-mannered.)
  20. ^ Ian Chilvers, The Oxford dictionary of art, Volume 2004, Oxford University Press, p. 506. ISBN 0-19-860476-9
  21. ^ Ian Buruma, “Desire in Berlin”, New York Review of Books, December 8, 2008, p. 19.
  22. ^ “The Jewish painters of l’École de Paris-from the Holocaust to today”Jews, Europe, the XXIst century. 2021-11-25. Retrieved 2023-11-19” l’École de Paris is a term coined by the art critic André Warnod in 1925, in the magazine Comœdia, to define the group formed by foreign painters in Paris. The École de Paris does not designate a movement or a school in the academic sense of the term, but a historical fact. In Warnod’s mind, this term was intended to counter a latent xenophobia rather than to establish a theoretical approach.
  23. ^ “Ecole de Paris: French Art School Led by Picasso”www.visual-arts-cork.com. Retrieved 2023-12-02.
  24. ^ Nieszawer, Nadine (2020). Histoire des Artistes Juifs de l’École de Paris: Stories of Jewish Artists of the School of Paris (in French). France. ISBN 979-8633355567.
  25. ^ “Alexandre FRENEL”Bureau d’art Ecole de Paris. 2019-01-02. Retrieved 2023-11-19.
  26. ^ “Marc CHAGALL”Bureau d’art Ecole de Paris. 2019-01-02. Retrieved 2023-11-19.
  27. ^ Barzel, Amnon (1974). Frenel Isaac Alexander. Israel: Masada. p. 14.
  28. ^ Lurie, Aya (2005). Treasured in the Heart: Haim Gliksberg’s Portraits. Tel Aviv. ISBN 978-9657161234.
  29. ^ Roditi, Eduard (1968). “The School of Paris”. European Judaism: A Journal for the New Europe3(2), 13–20.
  30. ^ Ofrat, Gideon (2012). The Birth of Secular Art from the Zionist Spirit (in Hebrew). Jerusalem: Carmel. p. 234.
  31. ^ “Hartley, Marsden”, Oxford Art Online
  32. ^ Bram Dijkstra, American expressionism : art and social change, 1920–1950,(New York : H.N. Abrams, in association with the Columbus Museum of Art, 2003.) ISBN 0-8109-4231-3ISBN 978-0-8109-4231-8
  33. ^ Judith Bookbinder, Boston modern: figurative expressionism as alternative modernism (Durham, N.H. : University of New Hampshire Press; Hanover : University Press of New England, ©2005.) ISBN 1-58465-488-0ISBN 978-1-58465-488-9
  34. ^ Thomas B. Hess, “The Many Deaths of American Art,” Art News 59 (October 1960), p.25
  35. ^ Paul Schimmel and Judith E Stein, The Figurative fifties : New York figurative expressionism (Newport Beach, California : Newport Harbor Art Museum : New York : Rizzoli, 1988.) ISBN 978-0-8478-0942-4
  36. ^ “Editorial,” Reality, A Journal of Artists’ Opinions (Spring 1954), p. 2.
  37. ^ Flight lyric, Paris 1945–1956, texts Patrick-Gilles Persin, Michel and Pierre Descargues Ragon, Musée du Luxembourg, Paris and Skira, Milan, 2006, 280 p. ISBN 88-7624-679-7.
  38. ^ Caroline A. Jones, Bay Area figurative art, 1950–1965, (San Francisco, California : San Francisco Museum of Modern Art; Berkeley : University of California Press, ©1990.) ISBN 978-0-520-06842-1
  39. ^ American Abstract and Figurative Expressionism: Style Is Timely Art Is Timeless (New York School Press, 2009.) ISBN 978-0-9677994-2-1 pp. 44–47; 56–59; 80–83; 112–115; 192–195; 212–215; 240–243; 248–251
  40. ^ Marika Herskovic, American Abstract Expressionism of the 1950s An Illustrated Survey, Archived 2007-09-29 at the Wayback Machine (New York School Press, 2000. ISBN 0-9677994-1-4. pp. 46–49; pp. 62–65; pp. 70–73; pp. 74–77; pp. 94–97; 262–264
  41. ^ American Abstract and Figurative Expressionism: Style Is Timely Art Is Timeless: An Illustrated Survey With Artists’ Statements, Artwork and Biographies(New York School Press, 2009. ISBN 978-0-9677994-2-1. pp.24–27; pp.28–31; pp.32–35; pp. 60–63; pp.64–67; pp.72–75; pp.76–79; pp. 112–115; 128–131; 136–139; 140–143; 144–147; 148–151; 156–159; 160–163;
  42. ^ Ryan, David (2002). Talking painting: dialogues with twelve contemporary abstract painters, p.211, RoutledgeISBN 0-415-27629-2ISBN 978-0-415-27629-0. Available on Google Books.
  43. ^ “Exhibition archive: Expanding Boundaries: Lyrical Abstraction”Boca Raton Museum of Art, 2009. Retrieved 25 September 2009.
  44. ^ “John Seery”National Gallery of Australia. Retrieved 25 September 2009.
  45. ^ Walther, Suzanne (23 December 1997). The Dance Theatre of Kurt Jooss. Routledge. p. 23. ISBN 978-1-135-30564-2. Retrieved 29 May 2018.
  46. ^ Maria Pramaggiore; Tom Wallis (2005). Film: A Critical Introduction. Laurence King Publishing. pp. 88–90. ISBN 978-1-85669-442-1. Retrieved 29 May 2018.
  47. ^ “Der Sturm.”Encyclopædia Britannica Online. Encyclopædia Britannica Inc. 2012. Retrieved 21 January 2012.
  48. ^ Günter Berghaus (25 October 2012). International Futurism in Arts and Literature. Walter de Gruyter. pp. 285–286. ISBN 978-3-11-080422-5. Retrieved 29 May 2018.
  49. ^ David Graver (1995). The Aesthetics of Disturbance: Anti-art in Avant-garde Drama. University of Michigan Press. p. 65. ISBN 0-472-10507-8. Retrieved 29 May 2018.
  50. ^ John Lincoln Stewart (1991). Ernst Krenek: The Man and His Music. University of California Press. p. 82. ISBN 978-0-520-07014-1. Retrieved 29 May 2018.
  51. ^ Jonathan Law (28 October 2013). The Methuen Drama Dictionary of the Theatre. A&C Black. ISBN 978-1-4081-4591-3. Retrieved 29 May 2018.
  52. ^ J. L. Styan (9 June 1983). Modern Drama in Theory and Practice: Volume 3, Expressionism and Epic Theatre. Cambridge University Press. p. 4. ISBN 978-0-521-29630-4. Retrieved 29 May 2018.
  53. ^ Fulton, A. R. (1944). “Expressionism: Twenty Years After”. The Sewanee Review52 (3): 398–399. JSTOR 27537525.
  54. ^ Furness, pp.89–90.
  55. ^ Stokel, p.1.
  56. ^ Stokel, p.1; Lois Oppenheimer, The Painted Word: Samuel Beckett’s Dialogue with Art. Ann Arbor: University of Michigan Press, 2000, pp.74, 126–7, 128; Jessica Prinz, “Resonant Images: Beckett and German Expressionism”, in Samuel Beckett and the Arts: Music, Visual Arts, and Non-Print Media, ed. Lois Oppenheim. New York: Garland Publishing, 1999.
  57. ^ Ulf Zimmermann, “Expressionism and Döblin’s Berlin Alexanderplatz, in Passion and Rebellion
  58. ^ R. S. Furness, Expressionism. London: Methuen, 1973, p.81.
  59. ^ “Lyrisk ekspressionisme | lex.dk”. 29 January 2020.
  60. ^ Cowan, Michael (2007). “Die Tücke Des Körpers: Taming The Nervous Body In Alfred Döblin’s ‘Die Ermordung Einer Butterblume’ And ‘Die Tänzerin Und Der Leib'”. Seminar: A Journal of Germanic Studies43 (4): 482–498. doi:10.3138/seminar.43.4.482S2CID 197837029.
  61. ^ Walter H. Sokel, The Writer in Extremis. Stanford, California: Stanford University Press, 1959, pp 3, 29, 84 especially; Richard Murphy, Theorizing the Avant-Garde. Cambridge, Cambridge University Press,1999, especially pp 41,142.
  62. ^ Silvio Vietta, “Franz Kafka, Expressionism, and Reification” in Passion and Rebellion: The Expressionist Heritage, eds. Stephen Bronner and Douglas Kellner. New York: Universe Books, 1983 pp, pp.201–16.
  63. ^ Richard Murphy, Theorizing the Avant-Garde: Modernism, Expressionism and the Problem of Postmodernity. Cambridge: Cambridge University Press, 1999, pp.74–141; Ulf Zimmermann, “Expressionism and Döblin’s Berlin Alexanderplatz ” in Passion and Rebellion, pp.217–234.
  64. ^ Sheila Watson, Wyndham Lewis Expressionist. Ph.D Thesis, University of Toronto, 1965.
  65. ^ Sherrill E. Grace, Regression and Apocalypse: Studies in North American Literary Expressionism. Toronto: University of Toronto Press, 1989, pp.141–162.
  66. ^ Raymond S. Nelson, Hemingway, Expressionist Artist. Ames, Iowa University Press, 1979; Robert Paul Lamb, Art matters: Hemingway, Craft, and the Creation of the Modern Short Story. Baton Rouge: Louisiana State University Press, c.2010.
  67. ^ Walter H. Sokel, The Writer in Extremis. Stanford, California: Stanford University Press, 1959, p.1; R. S. Furness, Expressionism. London: Methuen, 1973, p. 81.
  68. ^ Sherrill E. Grace, p.7.
  69. ^ Sherrill E. Grace, p.7
  70. ^ Sherrill E. Grace, pp 185–209.
  71. ^ Sherrill E. Grace, p.12.
  72. ^ Sherrill E. Grace, p.7, 241–3.
  73. ^ Jeffrey Stayton, “Southern Expressionism: Apocalyptic Hillscapes, Racial Panoramas, and Lustmord in William Faulkner’s Light in August”. The Southern Literary Journal, Volume 42, Number 1, Fall 2009, pp. 32–56.
  74. ^ Ken Worpole, Dockers and Detectives. London: Verso Editions, 1983, pp. 77–93.
  75. ^ The Norton Grove Concise Encyclopedia of Music, ed Stanley Sadie. New York: Norton1991, p. 244.
  76. ^ Theodor Adorno, Night Music: Essays on Music 1928–1962. (London: Seagull, 2009), p.274-8.
  77. ^ Nicole V. Gagné, Historical Dictionary of Modern and Contemporary Classical Music (Plymouth, England: Scarecrow Press, 2011), p.92.
  78. ^ Andrew Clements, “Classical preview: The Wooden Prince”, The Guardian, 5 May 2007.
  79. ^ The Cambridge Companion to Bartók, ed. Amanda Bayley (Cambridge: Cambridge University Press, 2001), p.152.
  80. ^ “Expressionism,” Microsoft® Encarta® Online Encyclopedia 2000. “MSN Encarta : Online Encyclopedia, Dictionary, Atlas, and Homework”. Archived from the original on 2009-10-30. Retrieved 2012-06-29.; Donald Mitchell, Gustav Mahler: The Wunderhorn Years: Chronicles and Commentaries. Rochester, NY: Boydell Press, 2005
  81. ^ Edward Rothstein New York Times Review/Opera: “Wozzeck; The Lyric Dresses Up Berg’s 1925 Nightmare In a Modern Message”. New York Times February 3, 1994; Theodor Adorno, Night Music (2009), p.276.
  82. ^ Theodor Adorno, Night Music (2009), pp275-6.
  83. ^ Mathias Goeritz, “El manifiesto de arquitectura emocional”, in Lily Kassner, Mathias Goeritz, UNAM, 2007, p. 272-273
  84. ^ George F. Flaherty (16 August 2016). Hotel Mexico: Dwelling on the ’68 Movement. Univ of California Press. p. 93. ISBN 978-0-520-29107-2. Retrieved 29 May 2018.
  85. ^ Ben Farmer; Dr Hentie J Louw; Hentie Louw; Adrian Napper (2 September 2003). Companion to Contemporary Architectural Thought. Routledge. p. 359. ISBN 978-1-134-98381-0. Retrieved 29 May 2018.
  86. ^ Dennis Sharp (2002). Twentieth Century Architecture: A Visual History. Images Publishing. p. 297. ISBN 978-1-86470-085-5. Retrieved 29 May 2018.

Further reading

[edit]

Edouard Vuillard

Edouard Vuillard

Visito a una artista en Berlin que me muestra una de sus maximas referencias en pintura que es el pintor Edouard Vuillard. Me interesa su arte por mis estudios acerca del expresionismo, esta vez el Frances.

https://en.wikipedia.org/wiki/%C3%89douard_Vuillard

Jean-Édouard Vuillard (French: [ʒɑ̃ edwaʁ vɥijaʁ]; 11 November 1868 – 21 June 1940) was a French painter, decorative artist, and printmaker. From 1891 through 1900, Vuillard was a prominent member of the avant garde artistic group Les Nabis, creating paintings that assembled areas of pure color. His interior scenes, influenced by Japanese prints, explored the spatial effects of flattened planes of color, pattern, and form.[1] As a decorative artist, Vuillard painted theater sets, panels for interior decoration, and designed plates and stained glass. After 1900, when the Nabis broke up, Vuillard adopted a more realistic style, approaching landscapes and interiors with greater detail and vivid colors. In the 1920s and 1930s, he painted portraits of prominent figures in French industry and the arts in their familiar settings.

Vuillard was influenced by Paul Gauguin, among other post-impressionist painters.[2]

Nabis (art)

The first Nabis painting, by Paul SérusierLe Bois d’Amour à Pont-Aven or Le Talisman, 1888, oil on wood, 27 x 21.5 cm, Musée d’Orsay, Paris

The Nabis (Frenchles nabisFrench pronunciation: [lenabi]) were a group of young French artists active in Paris from 1888 until 1900, who played a large part in the transition from Impressionism and academic art to abstract artsymbolism and the other early movements of modernism. The members included Pierre BonnardMaurice DenisPaul RansonÉdouard VuillardKer-Xavier RousselFélix VallottonPaul Sérusier and Auguste Cazalis.[1] Most were students at the Académie Julian in Paris in the late 1880s. The artists shared a common admiration for Paul Gauguin and Paul Cézanne and a determination to renew the art of painting, but varied greatly in their individual styles. They believed that a work of art was not a depiction of nature, but a synthesis of metaphors and symbols created by the artist.[2] In 1900, the artists held their final exhibition and went their separate ways.[3]

https://www.nga.gov/collection/art-object-page.61388.html

Vuillard belonged to a quasi-mystical group of young artists that arose in about 1890 and called themselves the Nabi, a Hebrew word for prophet. The Nabi rejected impressionism and considered simple transcription of the appearance of the natural world unthinking and unartistic. Inspired by Gauguin’s work and symbolist poetry, their paintings evoke rather than specify, suggest rather than describe. Recognizing that the physical components of painting — colored pigments arranged on a flat surface — were artificial, they considered as false the traditional convention of regarding paintings as re-creations of the natural world.

Woman in a Striped Dress is one of five decorations Vuillard painted in 1895 for Thadée Natanson, publisher of the avant-garde journal La Revue Blanche, and his wife Misia Godebska, an accomplished pianist. The five, which differ in size and orientation, are intimate, self contained interiors, Vuillard’s principal subject. All display rich harmonies in a restricted range of color and densely arranged in intricate patterns. The introspective woman arranging flowers here perhaps represents the red-haired Misia, whom Vuillard admired greatly. Vuillard adopted the symbolist idea of synesthesia, whereby one sense can evoke another, and in Woman in a Striped Dress the sumptuous visual qualities of Vuillard’s reds may suggest the lush chords of music that Misia performed.

https://artvee.com/artist/edouard-vuillard/

Édouard Vuillard

French, 1868-1940

Jean-Édouard Vuillard was a French painter, decorative artist and printmaker. From 1891 through 1900, he was a prominent member of the Nabis, making paintings which assembled areas of pure color, and interior scenes, influenced by Japanese prints, where the subjects were blended into colors and patterns. He also was a decorative artist, painting theater sets, panels for interior decoration, and designing plates and stained glass. After 1900, when the Nabis broke up, he adopted a more realistic style, painting landscapes and interiors with lavish detail and vivid colors. In the 1920s and 1930s he painted portraits of prominent figures in French industry and the arts in their familiar settings.

Vuillard was influenced by Paul Gauguin, among other post-impressionist painters.

Jean-Édouard Vuillard was born on 11 November 1868 in Cuiseaux (Saône-et-Loire), where he spent his youth. Vuillard’s father was a retired captain of the naval infantry, who after leaving the military became a tax collector. His father was 27 years older than his mother, Marie Vuillard (née Michaud), who was a seamstress.

In 1877, after his father’s retirement, the family settled in Paris at 18 rue de Chabrol, then moved to Rue Daunou, in a building where his mother had a sewing workshop. Vuillard entered a school run by the Marist Brothers. He was awarded a scholarship to attend the prestigious Lycée Fontaine, which in 1883 became the Lycée Condorcet. Vuillard studied rhetoric and art, making drawings of works by Michelangelo and classical sculptures. At the Lycée he met several of the future Nabis, including Ker-Xavier Roussel (Vuillard’s future brother in law), Maurice Denis, writer Pierre Véber, and the future actor and theater director Aurélien Lugné-Poe.

In November 1885, when he left the Lycée, he gave up his original idea of following his father in a military career, and set out to become an artist. He joined Roussel at the studio of painter Diogène Maillart, in the former studio of Eugène Delacroix on Place Fürstenberg. There, Roussel and Vuillard learned the rudiments of painting. In 1885 he took courses at the Académie Julian, and frequented the studios of the prominent and fashionable painters William-Adolphe Bouguereau and Robert-Fleury. However, he failed in the competitions to enter the École des Beaux-Arts in February and July 1886 and again in February 1887. In July 1887, the persistent Vuillard was accepted, and was placed in the course of Robert-Fleury, then in 1888 with the academic history painter Jean-Léon Gérôme. In 1888 and 1889, he pursued his studies in academic art. He painted a self-portrait with his friend Waroquoy, and had a crayon portrait of his grandmother accepted for the Salon of 1889. At the end of that academic year, and after a brief period of military service, he set out to become an artist.

Late in 1889 he began to frequent the meetings the informal group of artists known as Les Nabis, or The prophets, a semi-secret, semi-mystical club which included Maurice Denis and some of his other friends from the Lycée. In 1888 the young painter Paul Sérusier had traveled to Brittany, where, under the direction of Paul Gauguin, he had made a nearly abstract painting of the seaport, composed of areas of color. This became The talisman, the first Nabi painting. Serusier and his friend Pierre Bonnard, Maurice Denis and Paul Ranson, were among the first Nabis of nabiim, dedicated to transforming art down to its foundations. In 1890, through Denis, Vuillard became a member of the group, which met in Ransom’s studio or in the cafes of the Passage Brady. The existence of the organization was in theory secret, and members used coded nicknames; Vuillard became the Nabi Zouave, because of his military service.

He first began working on theater decoration. He shared a studio at 28 Rue Pigalle with Bonnard with the theater impresario Lugné-Poe, and the theater critic Georges Rousel. He designed sets for several works by Maeterlinck and other symbolist writers. In 1891 he took part in his first exposition with the Nabis at the Chateau of Saint-Germain-en-Laye. He showed two paintings, including The Woman in a Striped Dress (see gallery below). The reviews were largely good, but the critic of Le Chat Noir wrote of “Works still indecisive, where one finds the features in style, literary shadows, sometimes a tender harmony.” (September 19, 1891).

Vuillard began keeping a journal during this time, which records the formation of his artistic philosophy. “We perceive nature through the senses which give us images of forms, sounds, colors, etc.” he wrote on 22 November 1888, shortly before he became a Nabi. “A form or a color exists only in relation to another. Form does not exist on its own. We can only conceive of the relations.” In 1890 he returned to the same idea: “Let’s look at a painting as a set of relations that are definitely detached from any idea of naturalism.”

The works of Vuillard and the Nabis were strongly influenced by Japanese woodblock prints, which were shown in Paris at the gallery of art dealer Siegfried Bing, and at a large show at the École des Beaux Arts in 1890. Vuillard himself acquired a personal collection of one hundred eighty prints, some of which are visible in the backgrounds of his paintings. The Japanese influence appeared particularly in his work in the negation of depth, the simplicity of forms, and strongly contrasting colors. The faces were often turned away, and drawn with just a few lines. There was no attempt to create perspective. Vegetal, floral and geometric designs in the wallpaper or clothing were more important than the faces. In some of Vuillard’s works, the persons in the paintings almost entirely disappeared into the designs of the wallpaper. The Japanese influence continued in his later, post-Nabi works, particularly in the painted screens depicting Place Vintimille he made for Marguerite Chaplin.

Another aspect of the Nabi philosophy shared by Vuillard was the idea that decorative art had equal value with traditional easel painting. Vuillard created theatrical sets and programs, decorative murals and painted screens, prints, designs for stained glass windows, and ceramic plates. In the early 1890s, he worked especially for the Théâtre de l’Œuvre of Lugné-Poe designing backdrops and programs.

From theater decoration, Vuillard soon moved into interior decoration. In the course of his theater work, met brothers Alexandre and Thadée Natanson, the founders of La Revue Blanche, a cultural review. Vuillardʹs graphics appeared in the journal, together with Pierre Bonnard, Henri de Toulouse-Lautrec, Félix Vallotton and others. In 1892, on a commission Natanson brothers, Vuillard painted his first decorations (“apartment frescoes”) for the house of Mme Desmarais. He made others in 1894 for Alexandre Natanson, and in 1898 for Claude Anet.

He used some of the same techniques he had used in the theater for making scenery, such as peinture à la colle, or distemper, which allowed him to make large panels more quickly. This method, originally used in Renaissance frescos, involved using rabbit-skin glue as a binder mixed with chalk and white pigment to make gesso, a smooth coating applied to wood panels or canvas, on which the painting was made. This allowed the painter to achieve finer detail and color than on canvas, and was waterproof. In 1892 he received his first decorative commission to make six paintings to be placed above the doorways of the salon of the family of Paul Desmarais. He designed his panels and murals to fit into the architectural setting and the interests of the client.

In 1894, he and the other Nabis received a commission from art gallery owner Siegfried Bing, who had given Art Nouveau its name, to design stained glass windows to be made by the American firm of Louis Tiffany. Their designs were displayed in 1895 at the Société Nationale des Beaux-Arts, but the actual windows were never made. In 1895 he designed a series of decorative porcelain plates, decorated with faces and figures of women in modern dress, immersed in floral designs. The plates, along with his design for the Tiffany window and the decorative panels made for the Natansons, were displayed at the opening of Bing’s gallery Maison de l’Art Nouveau in December 1895.

Some of his best-known works, including the Les Jardins Publiques (The Public Gardens) and Figures dans un Interieur (Figures in an Interior) were made for the Natanson brothers, whom he had known at the Lycée Condorcet, and for their friends. They gave Vuillard freedom to choose the subjects and style. Between 1892 and 1899, Vuillard made eight cycles of decorative paintings, with altogether some thirty panels. The murals, though rarely displayed during his lifetime, later became among his most famous works.

Public Gardens is a series of six panels illustrating children in the parks of Paris. The patrons, Alexander Natanson and his wife Olga, had three young daughters. The paintings show a variety of different inspirations, including the medieval tapestries at the Hotel de Cluny in Paris that Vuillard greatly appreciated. For this series Vuillard did not use oil paint, but peinture a la colle, a method he had used in painting theater sets, which required him to work very quickly, but allowed him to make modifications and to achieve the appearance of frescoes. He received the commission on 24 August 1894, and completed the series at the end of the same year. They were installed in the dining room/salon of the Natansons.

Vuillard frequently painted interior scenes, usually of women in a workplace, at home, or in a garden. The women’s faces and features are rarely the center of attention; the painting were dominated by the bold patterns of the costumes, the wallpaper, carpets, and furnishings.

He painted a series of paintings of seamstresses in the workshop of a dressmaker, based on the workshop of his mother. In La Robe à Ramages (The flowered dress; 1891), the women in the workshop are assembled out of areas of color. The faces, seen from the side, have no details. The patterns of their costumes and the decor dominate the pictures. The figures include his grandmother, to the left, and his sister Marie, in the bold patterned dress which is the central feature of the painting. He also placed a mirror on the wall to the left, scene, a device which allowed him to two points of view simultaneously and to reflect and distort the scene. The result is a work that is deliberately flattened and decorative.

The Seamstress with Chiffons (1893) also presents a seamstress at work, seated in front of a window. Her face is obscure and the image appears almost flat, dominated by the floral patterns of the wall.

In 1895 Vuillard received a commission from the cardiologist Henri Vaquez for four panels to decorate the library of his Paris house at 27 rue du Général Foy. The primary subjects were women engaged in playing the piano, sewing, and other solitary occupations in a highly decorated bourgeois apartment. The one man in the series, presumably Vaquez himself, is shown in his library reading, paying little attention to the woman sewing next to him. The tones are somber ochres and purples. The figures in the panels are almost entirely integrated the elaborate wallpaper, carpet, and patterns of the dresses of the women. Art critics immediately compared the works to medieval tapestries. The paintings, completed in 1896, were originally titled simply People in Interiors but later critics added subtitles: Music, Work, The Choice of Books, and Intimacy. They are now in the Museum of the Petit Palais in Paris.

In 1897 his interiors showed a noticeable change, with Large Interior with Six Persons. The picture was much more complex in its perspective, depth and color, with carpets arranged in different angles, and the figures scattered around the room more recognizable. It was also complex in its subject matter. The setting appears to be the apartment of the Nabi painter Paul Ranson, reading a book; Madame Vuillard seated in an armchair, Ida Rousseau coming in the door, and her daughter Germaine Rousseau, standing at the left. The unstated subject was the romantic affair between Ker-Xavier Roussel and Germaine Rousseau, his sister-in-law, which shocked the Nabis.

The Nabis went their separate ways after their exposition in 1900. They had always had different styles, though they shared common ideas and ideals about art. The separation was made deeper by the Dreyfus Affair (1894–1908), which split French society. Dreyfus was a Jewish French army officer accused falsely of treason, and sentenced to a penal colony, before finally being exonerated. Among the Nabis, Vuillard and Bonnard supported Dreyfus, while Maurice Denis and Sérusier supported the side of the French army.

After the separation of the Nabis in 1900, the style and subjects of Vuillard changed. He had formerly been, with the Nabis, in the vanguard of the avant-garde. Now he gradually abandoned the close, crowded and dark interiors he had painted before 1900, and began to paint more outdoors, with natural light. He continued to paint interiors, but the interiors had more light and color, more depth, and the faces and features were clearer. The effects of the light became primary components of his paintings, whether they were interior scenes or the parks and streets of Paris. He gradually returned to naturalism. He held his second large personal exhibition at the Gallerie Bernheim-Jeune in November 1908, where he presented many of his new landscapes. He was praised by one anti-modernist critic for “his delicious protest against systematic deformations.”

In 1912, Vuillard, Bonnard and Roussel were nominated for the Légion d’honneur, but all three refused the honor. “I do not seek any other compensation for my efforts than the esteem of people with taste,” he told a journalist.

In 1912, Vuillard painted Théodore Duret in his Study, a commissioned portrait that signaled a new phase in Vuillard’s work, which was dominated by portraiture from 1920 onwards.

Vuillard served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, a grant given between 1919–1954 to young French painters, sculptors, decorators, engravers, writers, and musicians.

After 1900 Vuillard continued to paint numerous domestic interiors and gardens, but in a more naturalistic, colorful style than he had used as a Nabi. Though the faces of the persons were still often looking away, the interiors had depth, a richness of detail, and warmer colors. He particularly captured the play of the sunlight on the gardens and his subjects. He did not want to return to the past, but wanted to move into the future with a vision that was more decorative, naturalistic and familiar than that of the modernists.

He made new series of decorative panels, depicting urban scenes and parks in Paris, as well as many interior scenes of Paris shops and homes. He depicted the galleries of the Louvre Museum and the Museum of Decorative Arts, the chapel of the Palace of Versailles.

The theater was an important part of Vuillard’s life. He had begun as a Nabi by making sets and designing programs for an avant-garde theater, and throughout his life had close contacts with theater people. He was a friend of, and painted the actor and director Sacha Guitry. In May 1912, he received an important commission for seven panels, and three paintings above the doorways, for the new Théâtre des Champs-Élysées in Paris, including one of Guitry in his loge at the theater, and another of the comic playwright Georges Feydeau. He attended the performances of the Ballets Russes between 1911 and 1914, and dined with the Russian director of the Ballet, Sergei Diaghilev, and with the American dancer Isadora Duncan. and frequented the Follies Bergere and the Moulin Rouge in their heyday. In 1937 he and Bonnard received combined his impressions of the history of Paris theater world in a large mural, La Comédie, for the foyer of the new Théâtre national de Chaillot, built for the 1937 Paris International Exposition.

Following the outbreak of the First World War in August 1914, Vuillard was briefly mobilized for military duty as a highway guard. He was soon released from this duty, and returned to painting. He visited the armaments factory of his patron, Thadée Natanson, near Lyon, and later made a series of three paintings of the factories at work. He served briefly, from 2 February to 22 February, as an official artist to the French armies in the region of the Vosges, making a series of pastels. These included a sympathetic sketch of a captured German prisoner being interrogated. In August 1917, back in Paris, he received a commission from the architect Francis Jourdain for a mural for a fashionable Paris café, Le Grand Teddy.

In 1921 he received an important commission for decorative panels for the art patron Camille Bauer, for his residence in Basel, Switzerland. Vuillard completed a series of four panels, plus two over-the-door paintings, which were finished by 1922. He passed his summers each year from 1917 to 1924 at Vaucresson, at a house he rented with his mother. He also made a series of landscape paintings of the area.

After 1920 he was increasingly occupied painting portraits for wealthy and distinguished Parisians. He preferred to use the a la collie sur toiel, or distemper technique, which allowed him to create more precise details and richer color effects. His subjects ranged from the actor and director Sacha Guitry to the fashion designer Jeanne Lanvin, Lanvin’s daughter, the Contesse Marie-Blanche de Polignac, the inventor and aviation pioneer Marcel Kapferer, and the actress Jane Renouardt. He usually presented his subjects in their studios or homes or backstage, with lavishly detailed backgrounds, wallpaper, furnishings and carpets. The backgrounds both created a mood, told a story, and served as a contrast to bring out the main figure.

Between 1930 and 1935 he divided his time between Paris and the Chateau de Clayes, owned by his friend Hessel. He did not receive any official recognition from the French state until July 1936, when he was commissioned to make a mural, La Comédie, depicting his impressions of the history of Paris theater world for the foyer of the new Théâtre national de Chaillot, built for the 1937 Paris International Exposition. In August of the same year, the City of Paris bought four of paintings, Anabatistes, and a collection of sketches. In 1937 he received another major commission, along with Maurice Denis and Roussel, for a monumental mural at the Palace of the League of Nations in Geneva.

In 1938, he received more official recognition. He was elected in February 1938 to the Académie des Beaux Arts, and in July 1938 the Musée des Arts Decoratifs presented a major retrospective of his paintings. Later in the year he traveled to Geneva to oversee the installation of his mural Peace, Protector of the Arts at the League of Nations Building.

In 1940, he completed his last two portraits. He suffered from pulmonary difficulties, and traveled to La Baule in Loire-Atlantique to restore his health. He died there on 21 June 1940, the same month that the French army was defeated by the Germans in the Battle of France.

Expresionismo Abstracto y Música de películas

Expresionismo Abstracto y Música de películas

El otro día, cuando escribía mi pequeña persepción acerca de la visita a la Bauhaus me encontré con una reseña que me gusto mucho acerca de Vasili Kandinski quien siempre fue mi preferido de los artistas modernos

Expresionismo Abstracto

1943–1965

El artista moderno trabaja con el espacio y el tiempo, y expresa sus sentimientos en lugar de ilustrar.

Jackson Pollock

El expresionismo abstracto fue ese movimiento pictórico dentro de la abstracción posterior a la Segunda Guerra Mundial y el Holocausto. Tras estos terribles acontecimientos siguió un periodo de lógica incertidumbre y de cuestionamiento de la moral humana.

Esto da como resultado la proliferación de obras de arte que incluían formas de creación desgarradas en las que quedaba a un lado el goce estético tal y como se entendía hasta entonces. Un desencanto por lo colectivo dio como resultado obras muy personales.

Se considera el primer movimiento genuinamente estadounidense y se dice por ello que incluso fue directamente financiado por la CIA en el contexto de la Guerra Fría. Estados Unidos (Nueva York en realidad) había sustituido a París como capital artística y los expresionistas abstractos cogieron el testigo de la vanguardia. El país, líder ahora del mundo libre, necesitaba un arte propio que liderara el arte occidental. Y qué mejor que un arte individual cuya principal característica es la libertad.

Los expresionistas abstractos fueron unos tipos (y tipas) fascinados por la soledad y el proceso. Individualistas, decidieron mostrar el carácter expresivo del arte investigando en búsquedas personales, más que colectivas. El artista desalentado por su contexto político y social se refugia ahora en su interior y abandona toda referencia externa. Se valora por tanto el gesto, una especie de huella dactilar del artista, porque es algo único de cada uno.

Se potencia también la materialidad del cuadro y convierten el proceso artístico casi en un rito religioso, siendo la pintura la prueba documental del mismo. La improvisación formaba parte de este trance casi místico, en el que el artista entraba en contacto directo con sí mismo. Este automatismo podría derivar del surrealismo, que aún estaba vivo en esos años.

Si este artista dice frases celebres como: “Todos los procedimientos son sagrados si son interiormente necesarios. Todos los procedimientos son pecados si no se justifican por la necesidad interior.” o “La armonía de los colores debe fundarse únicamente en el principio del contacto adecuado con el alma humana, es decir, en lo que llamaremos el principio de la necesidad interior”, claramente nos dice que para él el arte es algo muy diferente a lo que continuó el pensamiento científico de la Bauhaus y que, pienso que cree como yo, que el excesivo auto-analisis aniquila la ensencia.

Es la musicalidad en la obra de Kandinski lo que me dejó en absoluto estado meditativo (y danzante) al contemplarla por primera vez. Que una imágen por sí misma me transmita sonidos, sensaciones, emociones, recuerdos, despertando así los procesos creativos de mi propia alma y dándoles piedras y hormigon para contruir lo que ésta necesitase expresar en ese momento, me demuestra que inclusive en esa época habían discuciones acerca de este tema que derivan en diferentes corrientes, como lo hace la influencia de Kandinski al decantar en la “Abstracción lírica” y “Expresionismo abstracto”.

La música es para mí el más elevado de todos los artes. Cuando la veo caminando por la calle, a la salida del teatro, agarrada del brazo a su hermana “la película” sencillamente necesito tomarme un avión y escapar a otro país. Ver a la imágen, esa gran esfinge que no comprendo, en companía de la música es para mí el más alto de todos los artes. Siempre recuerdo esos tiempos de pintura solitaria en mi taller, en expresionismo abstracto, en companía de la música clásica contemporánea, en servicio al cine. Durante muchos años, en especial cuando aparecio winamp, despues los portatiles como el ipod y cada uno podia descargarse y guardar su propia música, solamente escuché música de películas que bajaba de internet o me pasaban algunos amigos en Cds. Escuchaba mientras pintaba a Hans Zimmer y vi aparecer a Max Richter (a quien por fin pude ver en vivo en el año 2023), a Max Steiner, a Howard Shore y John Williams. Por las noches, con mi hermano más chico, escuchabamos el disco del Fantasma de la opera a todo volúmen, él se volvería un fanático de Howard Shore por El Señor de los anillos y aprendería a tocar el violín mientras yo pintaba en el patio trasero los primeros cuadros de Ciudad Automática de Buenos Aires.

En los tiempos adolescentes escuchaba tb Limp Bizkit, Pink Floyd, Babasonicos, Abba, Christina Aguilera (Uf, disco para la película de Mulan), y bueno, bailaba cuarteto con mis amigas y familia. Acababan de pasar los tiempos de Gilda y se escuchaba Damas Gratis, pero prefería a Rodrigo, aunque eso ocurría en las abundantes salidas sociales a las que me sentía siempre un poco en obligación de asistir. El asunto es que al tener 3 hermanas mayores involucradas con la música escuché tambien mucho de los 80 como música cotidiana, Depeche Mode, In Excess, Tears for fears, Soda Estereo, Los abuelos de la nada, los Autotentico decadentes, Vilma Palma y alguno más. Al grueso del Rock nacional no lo conocí por mi familia, que era muy purista, sino por mis amigos del barrio. Me confirmaba, la desazón de mi madre de que siempre me encontraba nuevas amistades de las menos esperadas, que algo iba por buen camino. Esas amistades me llevaron entre miles de cosas a Santana, a Steven Wilson, mi hermoso Maxi me llevo hasta Dream Theater (¡Esos discos!) y por mi cuenta fui buscando a Mercedes Sosa, Espineta, Sandro, y, por el barrio de Balvanera llegué al Tango argentino. Después elegí cosas preferidas como Lisandro Aristimuño, Natalia Lafourcade y Cerati. Gracias Argentina por esos 10 años (2008-2018).

Y volviendo al Expresionisma Abstracto, recuerdo que así como la primera vez que escuché un disco entero de Max Richter mirando, tan simplemente, por la ventana los movimientos del arbol y escuchando con total entrega, de la misma manera me impactó cuando estudiando en el profesorado de artes visuales vi pasar, meramente pasar, una obra del expresionista Kirchner. Lo que sea que vio mi mirada en ese grabado blanco y negro, xilografía, quemó como ácido mi retirna para siempre. Fue por ésto que al llegar a Berlín en el año 2020 y ver a mi pintura naturalmente virar hacia ese recuerdo, decidí quedarme. Quizás podría con el tiempo conocer más de cerca a este grupo de artistas.

Franz MarcRehe im Walde (Deer in Woods), 1914

The style originated principally in Germany and Austria. There were groups of expressionist painters, including Der Blaue Reiter and Die Brücke. Der Blaue Reiter (The Blue Rider, named after a painting) was based in Munich and Die Brücke (The Bridge) was originally based in Dresden (some members moved to Berlin). Die Brücke was active for a longer period than Der Blaue Reiter, which was only together for a year (1912). The Expressionists were influenced by artists and sources including Edvard Munch, Vincent van Gogh and African art.[21] They were also aware of the work being done by the Fauves in Paris, who influenced Expressionism’s tendency toward arbitrary colours and jarring compositions. In reaction and opposition to French Impressionism, which emphasized the rendering of the visual appearance of objects, Expressionist artists sought to portray emotions and subjective interpretations. It was not important to reproduce an aesthetically pleasing impression of the artistic subject matter, they felt, but rather to represent vivid emotional reactions by powerful colours and dynamic compositions. Kandinsky, the main artist of Der Blaue Reiter, believed that with simple colours and shapes the spectator could perceive the moods and feelings in the paintings, a theory that encouraged him towards increased abstraction.[5]

Nací en el Expresionismo Abstracto, soy un ser humane milennial del 88. Los artistas argentinos viajaban a NY o a París o a Madrid a vender sus obras expresionistas. Caminos individuales, búsquedas profundas. Visité muchos talleres y entablé amistades desde pequeña edad. En la medida en la que fui creciendo también encontré a los muralistas socialistas de américa latina, como así también a los autores de fantasías de mural post 2010. Conocí muchos mundos que trabajaban la imágen. A mí me atrae el expresionismo y mi museo preferido es Der Brucke, en Berlin, no solo por la colección que pueda tener, sino porque sigue vigente en sus exhibiciones la relectura de la realidad contemporánea, la crítica social, la ficción de los sentidos, la musicalidad y lo rudimentario del quehacer artístico.

Reset y pregunta nueva

En Berlín hay un Cineforum en Café Madame todos los martes a las 19 hs. Me había enterado de su existencia en el año 2023, no recuerdo cómo, recuerdo que miré la selección de películas en su instagram y me gustó, pensé en que algún día me gustaría ir. Pero eso fue en Septiembre de 2023, cuando volví de Australia, y el comienzo del invierno implica para mí también la temporada alta del Tango y el tiempo en el que trabajo más y duermo menos, el sol se va progresivamente de Berlin, me transformo en un ser de las profundidades del océano, la piel absorve la oscuridad del frío, las capas supérfluas se ablandan, se encienden los sentidos telepáticos, a veces paso insomnio por la falta de vitamina D y entro en los ciclos semanales 8-4 o 4-4 (horas despiertx-horas de entresueño) de los cuales hasta ahora han brotado las cosas creativas más profundas, pero también es este el tiempo del consistente dolor físico producto del trabajo y de todo lo descripto anteriormente. Por lo que si me enteré de que existía un club de cine para Hispanohablante no tuve tiempo de retener en la consciencia el fertil deseo de presentarme.

En Enero de 2024 tomé un fin de semana libre de tanto trabajo post Empresas, cumpleaños, casamientos, Navidad, Silvester, Reyes y tantos tangos… y para mi sorpresa en mi primer domingo libre me autoinvité a una caminata de 5-6 hs bajo la nieve con un grupo que encontré en Facebook. Si lo que pensaba era descansar…

Las personas de la caminata me agregaron al grupo de whatsapp de Hispanohablantes en Berlín. Inclusive después de que les dije que no, que por favor otro grupo más no. Un hombre llamado Rafa me preguntó sensiblemente porqué y le pude explicar que la gente no se me pasa desapercibida, y un grupo, inclusive de whatsapp, es para mí es demasiada gente. Recuerdo cómo se miró con el guía de la caminata, éste otro con un amable gesto insistió “No te pierdas Jo, es importante que estés conectadx”. A ésto no le pude decir que no… me tocó en el talón de aquiles y la verdad es que no era un paso de baile, venía rengeando hace meses. Algo en su preocupación tan afable como temporal, porque recién les conocía, me hizo sentir cuidadx. “Bueno, está bien”.

Entonces empecé a ver las publicaciones y avisos al Cineforum en dicho grupo. Lo intenté en Marzo, sin previo aviso, pero dos veces no pude ir. Luego lo intenté en Abril pero en primavera le tengo alergia a los árboles de europa, tengo que aceptar a cada día es una lotería. Al menos me contacté. Me respondió un tipo llamado Carlos. Sentí su atención y una amabilidad sencilla pero distintivamente despierta. Primer contacto, percibí a alguien por sobre la media. Ok, “me lo apunto”. Era Abril.

De Abril a Junio… ¡Qué meses! Lo ocurrido en esos meses se relacionó muy de cerca con el hecho de que mi primer película haya sido Tár, con Cate Blanchett. Creo en las afirmaciones y las que empiezan con la palabra “no” reconstruyen al sistema del que necesitamos salir, por eso lo diré así: Todo lo que vivo forma parte de una sinfonía que me antecede, a la que escucho y como artista, por ejemplo de cuerdas, sigo la pista de la dirección y respondo en sinfonía junto con miles de otros intrumentos que colaborando con la realidad reproducimos la vibración de lo que ella misma en sí misma expresaría automáticamente, pero que frenamos por estar tan obstinados con este sistema. Berlín es una ciudad llena de gente que entiende ésto. Llena de artistas o de personas que valoran el Arte, o quizás de adictos, nihilistas, narcisistas, PeterPans, es decir, de quienes pulsan en favor del Arte pero aún no logran ver el relieve de la realidad si no es desde la cara externa del sistema y sus necesidades. El Arte es de todos, todos podemos cambiar de lado, pero el sistema, a todos, nos obliga a diario a leer desde el lado obtuso, su lado.

Salí de Café Madam casi como un rayo apenas terminó la película. No entendía nada, no sabía qué pensar, qué concluir, qué nada. Me sentí nada. Menos mal que este tipo Carlos tiró las primeras preguntas. Me gustaron sus preguntas, por un tiempo me quedé mirándolas. Luego reparé en alguna respuesta, había un músico de cámara que podía comentar desde su experiencia, habían varios aficionados del arte, inclusive alguien a quien le di tabaco me comentó de unos estudios en la lejanía de Berlin para los que buscan artistas. Interesante grupo de gente. Me hizo sentir bien el notar que se conocen desde hace… hace 20 años que existe este Cineforum.

Esa noche estaba presente alguien a quien yo había invitado. La había conocido en Enero o Febrero bailando en Kitkat, nos encontramos la misma fiebre por bailar a todo motor hasta las 10 de la mañana y nos habíamos reído profundamente. Le había comentado de que deseaba asistir a unos martes de cine, pero que nunca encontraba el tiempo. Me pidió la información y siguió al Cineforum por su cuenta. Sin saberlo ningunx de lxs dos, nos encontramos esa noche. “Jo!”, al principio no la reconocí, “Irene!”. Y vi en su mirada la sorpresa, pero tambien la sorpresa de verme en el mundo “real” (aunque a esta altura no incluiría al Cineforum en el mundo “real”). Lo sé, es como me veo. Se lo intenté explicar a su amigo con el que me fui del club y con el que pasamos dos días más encontrandonos para seguir bailando. Ser no-binarie es bastante complicado de expresar en el Kitkat. Pero esa noche vi que Irene me miró a mí y entendió. Sentí desilución, perdió a una amiga, me abrazó profundo, se fue temprano. Suele suceder.

Pero aún no sentía nada. Me levanté de la silla, pensando en ir a buscar mi bicicleta, y recuerdo muy bien desde qué ángulo giré de vuelta hacia la zona exterior del bar donde estaban todos sentados sobre las sillas y mesas de madera. Lo miré a este tipo Carlos y luego miré a cada uno y vino a mi la imágen del pedazo de pollo que saqué de la heladera y que, haciendo caso omiso al olor que salía de la misma, lo metí en la ensalada y lo comí a las corridas antes de salir de casa. No tenía tiempo y mi gen latinoamericano-italiano-escocés no tira comida. Entonces pude dar mi primera apreciación de la película. Había sido un autoboicot profundamente planificado. A Carlos no le pareció que hubiera sido planificado, pero insistí en que una mente tan manipuladora, brillante, sensible, no es capaz de hacer nada fuera del plano de la elección y que vió, quizás mucho años antes, que su única escapatoria sería algún día lo que parecería la destrucción de su carrera, pero en realidad sería la única posibilidad de en vida poder, finalmente, componer algo que fuese propio luego de las primeras cinco notas, y no un robo educado segun un sistema.

Mi mano izquierda entra en la heladera y toma el tupper que contiene el pollo. Algo en mi mente comenzó a sentir las profundidades de los significantes que me estaba auto dando… y entonces lo entendí. Regla básica: Lo que sea que piensas es lo que creas. Abrí los ojos como mirando al tupper en la heladera trasladarse por el aire sobre mis dedos.

Había sido autoboicot.

“La puta madre…” una sensación de preocupación me recorrió el cuerpo. “¿Y ahora qué…?”

Eso había sido el sábado al medio día, estábamos a martes… eso explicaba porqué el sábado a la noche mientras mirabamos Odisea al Espacio con Lutz me agarró un dolor de cabeza tan extraño y tan profundo que se me apagó la cabeza justo 3 mins antes del final. El domingo me retorcí de un dolor tan agudo de cabeza que solo me dejaba tomar agua insaciablemente, hacer pis y seguir tomando agua. No podía mantenerme despiertx, dormité todo el domingo continuando los ciclos de agua. El lunes fui a trabajar, algo me dijo que tenía que aguantar una semana. El dolor de cabeza había bajado a un estado constante, podía mantenerlo, pero no la descompostura general del sistema digestivo. Inclusive fui a las clases de alemán y seguí con mi dieta pre diabética diaria.

Entonces era martes, acababa de ver Tar y la vida, la dirección general, me estaba mirando a los ojos cual director de orquesta que antecede con la mirada la entrada de un nuevo instrumento. Yo estaba viendo en vivo y en directo lo que me iba a pasar. Me pregunté si valía la pena asustarme. La protagonista de la película nunca demuestra miedo, si dolor, pero en el punto de no tener miedo empaticé con ella. Lo evidente evidente está.

Aguanté 3 días más el trabajo y las clases de alemán con el dolor de cabeza creciente cada día, hasta que el sábado Lutz me llevó a un hospital porque ya no podía pararme y los ciclos del agua eran demasiado constantes. Principio de meningitis (solo en las membranas del cerebro y no en la espina dorsal, demostrado por la falta de fiebre). Lutz me llevó a su casa, donde dormí 4 días de corrido, levantandome solo para tomar agua y las dosis de 6-8 remedios.

Entre medio fui al Cineforum. Tuve que explicarle a Lutz que era importante en mi vida, en especial en este estado, volver a ver Tarkovsky porque necesitaba poesía. Refunfuó y fui solx. Vimos “La infancia de Ivan”. Algo estaba cambiando en mi cabeza. A lo largo de la película el dolor de cabeza se había detenido. Recuerdo que la silla no me resultaba cómoda, pero que prefería no absorver queja que me trajera de vuelta el dolor de cabeza. Qué belleza de película, las gotas y el correr del agua en todos sus ciclos. Me volvía a mirar a los ojos la dirección. No es una lectura tan egocéntrica, estamos en una orquesta. Escuchar la visión de cada persona me mostró la película desde otras vidas y pude sentir así que la imágen ya no era un plano, sino un paisaje con relieves formado por el tiempo de las percepciones de cada uno de los humanos que nos estabamos compartiendo en ese lugar. Había algo en ese grupo humano que me hacía muchísimo bien, pero por cuidado a que volviera el dolor de cabeza me fui temprano.

Esa noche empezaría a tomar los probióticos más caros y fuertes disponibles en Alemania. No era moco de pavo lo que me iba a pasar si no hacía algo a tiempo, al final y  al cabo de eso se trata ser artista, de leer las señales anteriores al tiempo y componer con él. En la medida en la que la meningitis, causada por la intoxicación del hígado y altos niveles de amoníaco en sangre, bajó entonces empezó una vergonzosa gastroenteritis (¡Cómo me salvaron esos probioticos!), que luego mejoró hacia una dolorosa gastritis, que luego pasó a una duodenitis, que finalmente luego de cuatro semanas pasó a un pancreas que no funcionaba más. Había visto a mi médicx el día anterior y luego de ver los resultados de tantos análisis se había quedado pensando si el problema no estaría en el Pancreas.

Esa noche vino a casa Lutz. A la mañana siguiente me señaló una pintura y me dijo que la quería para su novia. Miré la pintura, mire a la dirección a los ojos. La pintura era un mandala que había hecho durante el Covid con mi amiga Raisa y Agus y Guggi Venzano. Le escribí por whatsapp “Te necesito hoy”, no hablaba con ella desde ese Marzo de 2020 y tampoco sabía en qué páramo del mundo estaba. En ese momento me contactó, de la nada, Mónika, una especialista en electromagnetismo y sanación por medio de imanes que me había recordado al mirar a una pintura que le dí en el año 2022. Le conté de mi estado, me hizo una lectura a distancia y me indicó que tenía el páncreas inflamado. Hablé con amiga del mandala esa noche y me acercó “El camino del artista”. A la mañana siguiente comencé con las hojas matutinas.

A los dos días los análisis mostrarían que mi pancreas no funcionaba más, sencillamente había, quizás decidido, dejar este plano. Algo en mí había decidido dejar de ser. La puta madre ¿Cómo salgo de ésta? Siempre supe que no me iba a matar algo tan corriente como un pedazo de pollo. Después de sobrevivir 7 días en coma a un accidente a los dos años, de sobrevivir a un golpe en la cabeza a toda velocidad a los 10 años y de vivir las cosas que viví en Berlín, no, yo no iba a morir de algo tan común ni menos ahora. Apliqué a la biodecodificación y encontré: Miedo a vivir. Ok, si ya lo tenía decidido… ¿Cómo frenar la metástasis? Hace ya 4 días habia empezado un tratamiento con MMS con una dosis especialmente fuerte inicial que me había asustado. Si había seguido con vida después de esa dosis, podía sobrevivir. El análisis de sangre estaría 4 días atrasado, con el MMS , una terapia de jugo de zanahoria para recomponer los tejidos del Pancreas y las hojas matutinas de “El camino del artista”, podría dar vuelta al tiempo. Nunca fui tan estoerista, pero la realidad es que ni los 2 hospitales por los que pasé, ni los 3 médicos que vi sabían cómo resolver mi estado que solo iba a toda velocidad hacia un cancer de páncreas. Seguía mi intuición y escuchar a la dirección de la orquesta, yo creo en el Arte y creo en esta vida.

Es que de hecho eso fue lo interesante de todo este estado. A medida en que la inflamación iba reacomodándose y afectando a diferentes órganos, lo que en verdad estaba haciendo era receteando a fondo diferentes lugares de mi cuerpo. Fui sintiendo su presencia muy fuertemente en cada lugar, pero también su otro trabajo, el espiritual. Pude percibir de manera extremadamente clara que mi mente ya no estaba en mi cerebro, sino en mi intestino y que el cambio absoluto de flora intestinal estaba cambiando mi piel mental e intuitiva. Desde que el dolor de cabeza se habia pasado ahora veía con mucha más claridad. Estaba sucediendo un reset interno, desde la flora intestinal.

Para mi sorpresa en la visita de dos amigas expresé mi deseo de volver a pintar con colores mi antigua Ciudad Automática de Buenos Aires, pero ahora de Berlin ¡¿Qué?! Yo decía eso y con semejante sonrisa de oreja a oreja. La dirección de la orquesta era tan pero tan buena que lograba hacerme leer el pentagrama antes del cambio de página e introducirme tanto con humana presencia como con altísimo entendimiento, todo en vivo ¡Cuántos lugares se me habían receteado! Paulatinamente a cada semana fui escuchando a mi intuición más y más de cerca. Renuncié a un trabajo, decidí no tomar horas extras, me dediqué a percibirme, conecté con un ciclo de cine que me interesaba, empecé a seguir los ciclos en el Babylon y a ver algunos clásicos en el Zoo Palast, empecé a recordar libros que quería leer y seguir mi intuición hasta que… Entonces una pregunta se me empezó a hacer clara: ¿Porqué la imágen? Oh, esta bendita paradoja del artista visual.

 

 

 

error: This content is protected - Protección de datos