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- Street, Berlin
- Artist: Kirchner
- Era: Die Brucke
- Techniques:
- high social life
- unnatural life
- steep perspective
- angular human figures
- jagged brushstrokes
- suggest the brittleness and fragility of life
- cold harsh personalities
- vertical focus
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- Street, Dresden
- Artist: Kirchner
- Era: Die Brucke
- Techniques:
- frenzied urban society before WWI
- jarring and dissonant
- looming women approach the viewer menacingly
- steep perspective, increasing confrontational nature
- harshly rendered painted with rough brush strokes
- zombie-like faces
- gary clashing colors
- expressive, disquieting impact
- influence of Munch
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- Saint Mary of Egypt among Sinners
- Artist: Nolde
- Era: Die Brucke
- Techniques:
- Mary before her conversion entertaining lechers whose lust intensify their brutal ugliness
- distortion of form and color
- brushstorkes amplify their faces
- why we should avoid temptation and sin
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- Woman with Dead Child
- Artist: Kollwitz
- Era: Die Brucke
- Techniques:
- Christian tradition of grieving Mary with dead Christ
- woman is sitting completely grasping the child in a primitive manner
- universal statement of maternal loss and grief
- animalistic passion
- primal nature of a mother that is part of Expressionism
- etching lines are her hand
- impact of this image is undeniably powerful
- used her own son as model
- her son was killed in the war later
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- The Outbreak
- Artist: Kollwitz
- Era: Die Brucke
- Techniques:
- Black Anna who is inciting other peasants to revolt
- she is facing away from us
- combining etching and aquatint and a soft brown to emphasize the figures
- her body and her gesture are creating motion
- each peasant has slight detail in faces
- primitive rough texture of etching
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- Seated Youth
- Artist: Lehmbruck
- Era: Die Brucke
- Techniques:
- elongating human proportions create a sense of anguish
- elongation goes back to Mannerism
- quiet, contemplative
- personal expression of his depression
- originally titled "The Friend", for his many friends who died in war
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- War Monument
- Artist: Barlach
- Era: Die Brucke
- Techniques:
- created for a Cathedral in Germany
- cast bronze hovering
- hauntingly symbolic figure to speak to the experience to all caught in the conflict of war
- suspended above a tomb labeled with the dates of world wars
- dying soul as it is going to heaven
- theme of death and transfiguration
- economy of surface texture and detail
- simply form brings attention to simple but expressive head
- Nazi's melt down original but they found another one that the artist had hidden
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- Fit for Active Service
- Artist: Grosz
- Era: Die Brucke
- Techniques:
- military officers are heartless and incompetent
- result of personal experience - on the verge of a nervoue breakdown but doctors said her was fit for service
- doctor examining a skeleton and saying that it is fit for service
- none of the other doctors are disputing the evaluation
- spectacles on the skeleton allude to Grosz
- simplicity of the line drawing contributes to the directness and immediacy of the work
- scating portrayal of the german army
- figures have angular outlines
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- Night
- Artist: Beckman
- Era: Die Brucke
- Techniques:
- cramped room with intruders forcefully invading it
- bound woman splayed across the foreground - allusion to rape
- husband appears on left being strangled and other intruder is twisting his arm
- unidentifyied woman in background
- kidnapping a child
- image itself does not depict a war scene but the wrenching violence and brutality of invading a common home - alludes to what war has done to people
- uses himself, his wife, and his son as models
- angularity of figures and roughness of paint surface create savageness of scene
- objects seem dislocated and contourted
- space appears buckled - illogical space
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- Departure
- Artist: Beckman
- Era: Die Brucke
- Techniques:
- triptycht
- figure bound while standing on right
- bound figure sitting on left
- woman splayed like a chicken in foreground on left - chicken ready fo slaughter
- on right one is upside down and tied to other guy
- bottom right band is still playing
- individual in center wears a helmet
- center very calm
- woman and child allude to another generation and Virgin Mary and Christ child
- tension of objects and space
- jump cuts - jumping from one scene to another - helps create tension
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- Der Krieg (The War)
- Artist: Otto Dix
- Era: Die Brucke
- Techniques:
- vividly capturing the devestation of war on people and landscape
- armed uniform soldiers marching off into distance on left
- center and right panels
- graphic results of war
- bodies scattered throughout an eeriely lit apocalyptic landscape
- ghostly determined soldier dragging a commrade to safety on right represents Otto Dix
- bunker looks like people are dead not asleep - allusion to death
- doesn't open like Isenheim Altarpiece
- mangled bodies convered with bullet holes
- man he is carrying to safety is already dead
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- Improvisation 28
- Artist: Kandinsky
- Era: Der Blaue Reiter
- Techniques:
- playful and loose images
- fluidity and lyricism like music
- prompted by subconcious feelings
- images emerge from colors and quickly drawn lines
- not meant to see anything
- colors help to emphasize an emotion
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- Improvisation 31
- Artist: Kandinsky
- Era: Der Blaue Reiter
- Techniques:
- loosely creates the image of ships on the water at sunset
- swirl in the ocean
- ships both have canons
- sky reflected in the water
- playful and loose images
- fluidity and lyricism like music
- prompted by subconcious feelings
- images emerge from colors and quickly drawn lines
- not meant to see anything
- colors help to emphasize an emotion
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- Fate of the Animals
- Artist: Franz Marc
- Era: Der Blaue Reiter
- Techniques:
- animals are trapped in the forest by an apocalyptic event
- image is shattered like war
- severe and brutal colors
- "like a premonition of war, horrible and shattering"
- inhumanity expressed through art
- crisscrossing diagonals of trees
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- Gertrude Stein
- Artist: Picasso
- Era: Cubism
- Techniques:
- friend and patron of Picasso
- left unfinished after 80 sittings
- reduced to African masks and sculptures
- head simplified in shape
- eyes have oval shapes- mouth chin and nose are triangles
- insightful portrait of a forceful and vivacious woman
- her face is more Cubist than the rest of her body
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- Les Desmoiselles d'Avignon
- Artist: Picasso
- Era: Cubism
- Techniques:
- supposed to have men with prostitutes
- reduced women to African indigenous sculptures
- fractures shapes and interweaves them with jagged planes that represent drapery and empty space
- sometimes the space is illegible
- believe that white is drapery with blue highlights
- brown is empty space
- three figures on left are inspired by Iberian sculptures from his visits to Spain
- erotic imagery
- women are not gentle creatures but are angular and primitive
- faces are both revealed and shadowed
- seeing faces at multiple angles
- turning heads in awkward positions
- imply negativeness of prostitution
- women become a still life because of still life in foreground
- line is important
- different positions of body seen at same time
- women get more abstract from left to right
- muscles are geometric shapes
- facial features and torsos are triangles
- face look like incised lines
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- The Portuguese
- Artist: Braque
- Era: Cubism
- Techniques:
- a man with a guitar
- subject from his memory-
- dynamic interaction with space around it
- space and form are one
- colors reduced to monochrome of brown
- focuses viewer's attention on form by not using color
- letters and numbers add to flatness of piece
- light and dark suggest chiaroscuro modelling
- transparent planes
- head in profile with frontal body
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- Ma Jolie
- Artist: Picasso
- Era: Cubism
- Techniques:
- dynamic interaction with space around it
- space and form are one
- colors reduced to monochrome of brown
- focuses viewer's attention on form by not using color
- letters and numbers add to flatness of piece
- light and dark suggest chiaroscuro modelling
- transparent planes
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- Champs de Mars
- Artist: Delaunay
- Era: Cubism
- Techniques:
- Eiffel Tower considered a marvel of modern technology
- Parisian field
- named after field of mars
- breaks monument's unity into a colidascope array of color shards some that leap forward or pull back according to relative hues and values
- structure ambiguously and simultaneously rises and collapses
- political view on the societal collapse in the years leading to WWI
- Delaunay said " the synthesis of a period of destruction"
- alludes to war occurring and then the foundation of society falling apart
- avant garde prophetic nature
- skewed perspective
- new technology caused destruction
- emphasis on meaning not techniques
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- Still Life with Chair Caning
- Artist: Picasso
- Era: Cubism
- Techniques:
- lithograph pattern of chair caning pasted on the image on top of oil cloth painted on canvas
- framed by a piece of real rope that defines its limit
- allusion of a chair with real rope mixed with charcoal drawing and oil paints
- shifting perspectives
- jou are first letters of journals and jouer
- text is an art form not just manuscript illumination
- draws over chair caning with charcoal to make is seem like its on top
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