Expressionism incomplete

Editor's Notes

• #2: early 20th century, following right after WWI
• #3: early 20th century, following right after WWI
• #4: Realism-NOT: they don’t paint landscapes or everyday or usual events
• #5: The stylistic premise of Expressionism was that the artist's response to the environment was so intense that it affected the form of the art. Surface elements are distorted or exaggerated by subjective pressures. As a reflection of the times, Expressionist painting tended to be vivid and violent, with jarring images.
• #6: To get a better grasp on the idea of Expressionism, Let’s take this as an example. (Portrait of Pope Innocent X by Diego Velasquez)Simply depicting or painting what the artist saw. Compare this to
• #7: Still sitting on the Cathedra, both arms on the chair, garments the sameDisturbingIn Bacon's version of Velasquez's masterpiece, the Pope is shown screaming yet his voice is "silenced" by the enclosing drapes and dark rich colors. The dark colors of the background lend a grotesque and nightmarish tone to the painting.The pleated curtains of the backdrop are rendered transparent and appear to fall through the representation of the Pope's face.NAWALA:yung presence or feel of POWER, AUTHORITY, RESPECTREPLACED: with fear, SCARYSo this is what we said earlier that:Expressionism did not attempt a realistic portrayal of the world, but rather the extreme and distorting emotions that the world causes in the sensitive individual.
• #9: Quote 1: (GENRE SCENES) Bringing out the innermost feelings of humans; To see humans from within and not from their outside or physical appearance; Bring out true emotions.Quote 2: About his gloomy past which appears in most of his paintingsA Norwegian born expressionist painter, Edvard Munch lived a tumultuous life, which was represented in his paintings. As a child, he was often ill in the winter, and kept out of school. To pass the time, he spent his days drawing. He also had a troubled childhood, as his mother died of tuberculosis after the birth of his youngest sister, and his favorite sister died of the same illness nine years later. Their deaths were explained by Munch's father, a Christian fundamentalist, as acts of divine punishment.His father would read Edvard and his sisters ghost stories and the stories of Edgar Allen Poe. The vivid ghastly tales, combined with his poor health, the young Munch was plagued by nightmares and paranoid visions of death, which he would later incorporate into his artwork. His art = preocuppied with themes of anxiety, emotional suffering, and human vulnerability.
• #10: As an artist, he was one of the founders of Expressionism, which can be defined as the distortion of reality for the expression of inner emotion and personal vision. Very Dark, seriousHead popping out of the darknessArms- instead of flesh, BONESSKELETONARM/ Bones- death
• #11: The Sick ChildThis is the 1896- second painting1885- 1st original painting Because there are 6 painted versions (lithographs, drypoints, ecthings)Moment before the death of his older sister Johanne Sophie (1862–1877) from tuberculosis at 15. Throughout his career, Munch often returned to and created several variants of his paintings. The Sick Child became for Munch—who nearly died from tuberculosis himself as a child—a means to record both his feelings of despair and guilt that he had been the one to survive and to confront his feelings of loss for his late sister. In the versions, Sophie is typically shown on her deathbed accompanied by a dark-haired, grieving woman assumed to be her aunt Karen. She is obviously suffering from pain, propped by a large white pillow, looking towards an ominous curtain likely intended as a symbol of death. She is shown with a haunted expression, clutching hands with a grief-stricken older woman who seems to want to comfort her but whose head is bowed as if she cannot bear to look the younger girl in the eye.Look closely:-Brush strokes or patterns are in different directions-Mixture of colors-Blurrish depiction-Flat, no sense of space or dimention
• #12: Another Versionalso done in 1896Paterns of lines that make up the entire image
• #13: The genesis of The Scream (painted in 1893) came about when he was taking a walk by the sea with two friends as the sun was setting and turning the clouds fiery red. In his words:“I stopped and leaned against the fence, feeling unspeakably tired. Tongues of fire and blood stretched over the bluish black fjord. My friends went on walking, while I lagged behind, shivering with fear. Then I heard the enormous, infinite scream of nature.”The Scream is therefore an idealised self-portrait, not of his face and body but of his fear. Walking out of the picture on the left are the two friends, but Munch himself has turned around to stare out of the canvas, head in hands and mouth open- SCREAMING. Behind him the sea swirls, sodoes the sky. The sea is in deep blues and greens, while the sky is vivid red and yellow. Munch painted more than one version of The Scream, and the colours are not the same in every version.What strikes the viewer most forcibly is the agonised face of the figure and the violence of the background. The head is painted very simply, almost as a cartoon shape with very little detail, and the hands are completely unreal in their lack of proportion, but it is the posture that conveys the horror. By being such a generic image, every viewer can relate to it in their own way, so that it speaks to their own inner anguish.Colors, Swirls, Facial Expression, SENSE OF PANIC = very Nightmarish-No proportion-Free brush strokes, no pattern followed-Mix of wide range colors. Mostly dark and hot. Random colors, patongpatonglangyung colors. Mix mix.
• #14: After his father’s death, leaving the Munch family destitute, and Munch, feeling that everyone around him had died, was plagued by suicidal thoughts. His personal tragedies and psychological idiosyncrasies evolved into a symbolic art form that expressed more internal emotion and feeling than projected an image of outside reality. He often refused to sell his paintings, calling them his children, and so would create reproductions of them to sell. =Kaya may 4 Versions ng the screamUpper left- 1910 temperaMiddle- 1895 pastel-was sold for $119,922,600 at Sotheby's Impressionist and Modern art auction on 2 May 2012 to financier Leon Blackthereby making it the most expensive painting sold at auction.Lower right- 1895 lithograph
• #15: Contemporary with The Scream, Munch's Madonna is rendered with softer brushstrokes and comparatively subdued pigments. Munch depicts the Virgin Mary in a manner that defies all preceding "historical" representations - from Renaissance-era Naturalism to 19th-century Realism - of the chaste mother of Jesus Christ. With a sense of modesty conveyed only by her closed eyes, the nude appears to be in the act of lovemaking, her body subtly contorting and bending towards a nondescript light. Indeed, Munch's Madonna may very well be a modernist, if irreverent depiction of the Immaculate Conception. The red halo upon the Madonna's head, as opposed to the customary white or golden ring, indicates a ruling passion befitting Baroque-era renditions of the subject, minus any measure of religious discretion. While the artist himself never fully succumbed to his father's religious fervor and teachings, this work clearly suggests Munch's constant wrangling over the exact nature of his own spirituality.Body- not detailed, no proportion; not curvacious,Arms- fade along with the background Background can’t really tell what it is: DIRTY, Smeared with blackPARA SA ISANG MADONNA- portrayed with very conservatively, grand detailed clothing, angels, tapos HEAVENLY background. Enlightening. Motherly. THIS ONE IS DIRTY and DOESN’T SAY VIRGIN AT ALL.
• #16: Left- Litograph -1895-1902Right- 1894
• #17: Other Works:Heavy, emotional, dark themesTitles pa lang, alamnang may pinagdadaan
• #18: Melancholy- sad, gloomy, dark, black clothes=SorrowAshes- devastated, confused, lost
• #19: 1895- painting colored1896- black and white