{"id":13267,"date":"2016-09-15T13:46:27","date_gmt":"2016-09-15T13:46:27","guid":{"rendered":"http:\/\/blogs.vsb.bc.ca\/dkeller\/?page_id=13267"},"modified":"2016-09-24T02:10:40","modified_gmt":"2016-09-24T02:10:40","slug":"expressionism-in-our-classrooms","status":"publish","type":"page","link":"https:\/\/blogs.vsb.bc.ca\/dkeller\/expressionism-in-our-classrooms\/","title":{"rendered":"Expressionism in our Classrooms"},"content":{"rendered":"

This should be a very individualised project. \u00a0A project you can sink your teeth, brains and brush into.<\/span><\/h2>\n
\n

 <\/p>\n

\"kirchner750-300x50\"

kirchner<\/p><\/div>\n

We all have walked into a classroom and been aware of the overwhelming sense of boredom, or lethargy or on those rare days even excitement. \u00a0We walk through the halls seeing faces a blank, with long faces and far away eyes.<\/p>\n

\"schmidt

Image source thatsinkedup.blogspot.com by Schmidt Rott<\/p><\/div>\n

 <\/p>\n

\"nolde\"

Image source www.moma.org By Nolde<\/p><\/div>\n

\u00a0<\/a><\/p>\n

\"Pechstein\"

Image source thatsinkedup.blogspot.com By Pechstein<\/p><\/div>\n

\u00a0<\/a><\/p>\n

This passage by J.P. Hodin is a helpful description of expressionist art:<\/p>\n

\u201cExpressionism\u201d is in fact a universal style which appears in times of great spiritual tension. Michelangelo\u2019s Rondanini Pi\u00e8ta and the Descent from the Cross in Florence Cathedral both belong to this type of expression, as do the works of El Greco, the aged Rembrandt, the late Goya, Mathias Gr\u00fcnewald, the master of the Isenheim Altar in Colmar, or the artists of the Baroque\u2026.<\/p>\n

\"Munch\"

Image source commons.wikimedia.org By E. Munch<\/p><\/div>\n

[O]ne of the characteristics is a profound religious emotion. It is a somber, passionate art\u2014the art of Van Gogh, Lovis Corinth, Edvard Munch, Ernst Josephson, the late Turner, James Ensor, Oskar Kokoschka, the painters of Die Br\u00fccke, Rouault, the early Chagall, Jack B. Yeats, Soutine, Max Weber, Francis Bacon\u2014in which spiritual experience asserts itself against the tyranny of mathematical thought and technical progress, in fact against the dehumanization and mechanization of culture (Edvard Munch).<\/p>\n

Ya get it?<\/p>\n

No, well try this:<\/p>\n

\"Image

Image sourcewww.spaightwoodgalleries.com By Karl schmidt rottluff<\/p><\/div>\n

The stylistic premise of Expressionism was that the artist\u2019s 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 time, Expressionist painting tended to be vivid and violent, with jarring images. In expressionism, it is considered more important that the work depicts the subjective, personal emotions accurately, than that the subjects drawn are an accurate, external presentation of reality. Despite this one, unifying motivation behind expressionism, there is no single, particular style associated with the movement. In a general sense, painters such as Matthias and\u00a0El Greco<\/a> can be called expressionist, though in practice, the term is applied mainly to 20th century works.
\n<\/ins><\/ins>
\nThe goal of Expressionism was to evoke the subjective responses that the artist has to objects or events. It contrasted with\u00a0impressionism,<\/a> which sought to capture the outward impression of an object or scene. And of course Expressionism did not attempt a realistic portrayal of the world.
\n<\/ins><\/ins>
\nExpressionism was an art movement associated mainly with German painting and film of the early 20th century, particularly following World War I. Hitchcock, a lifelong art collector, was familiar with German expressionist filmmaking from his work in Germany during the mid-1920s.<\/p>\n

\"felix

Image source www.moma.org By felix muller<\/p><\/div>\n

Expressionism found its roots in two groups of German painters, Die Bruecke and Der Blaue Reiter. Die Bruecke, meaning \u201cthe Bridge\u201d was centered in Dresden and included artists Ernst Ludwig Kirchner, Erich Heckel, Emil Nolde, Max Pechstein, Otto Mueller, and Karl Schmidt-Rottluff. The group held formation from 1905 to 19<\/p>\n

13.The group set up their studios in a working-class neighborhood on the edge of Dresden\u2019s boundaries. Their isolation led to their shared stylistic and thematic development. Die Brucke\u2019s art was typically<\/p>\n

violent and emotional in its imagery. They favored themes that explored the relationship difference between city and country. Finding some of their inspiration from the art of tribal cultures in Africa and the South Seas, Die Bruecke favored distorted lines and enhanced forms, vibrant color, and flattened perspective. They rejected conventional gallery procedures and organized a series of traveling exhibitions in order to present their work to the public. The group fell apart due to artistic differences and the onset of World War I.<\/p><\/blockquote>\n

German Expressionist\u00a0Prints,\u00a0June 17th \u2013 July 12th, 2008,. exhibited at the Rex Irwin gallery.<\/a><\/p>\n

A nice read<\/a><\/p>\n

<\/h2>\n

[nggallery id=12]<\/p>\n

Project Criteria:<\/h2>\n

Over the next 10 classes you need to produce a series of 5 works. \u00a0I care not to limit you on the material aspects of your work but I remind you that we have been playing with Ink, washes and line for the last two weeks.<\/p>\n

Here, are my project criteria: \u00a0[but remember you are welcome to think through what I am asking you to do, rework it so it suits you and then come see me, show me your sketches and tell me about your idea. ]<\/p>\n

Project criteria:
\nsize\u00a0at least 18\u2033 x 24\u2033 \u2026
\nMaterial up to you, canvas, wood, paper\u2026
\nInk, Paint, Dyes or a combination.<\/p>\n

Project Process:<\/p>\n

You have already listen to me talk about Expressionism, the European social strata turn upside down and how the artist tried to capture the hollowness, and the many faceted primitive emotions of the people around them. \u00a0We talked a bit about African masks and the visual vocabulary the artist drew inspirations from.<\/p>\n

Now Please read the secions below on African masks
\nWatch the videos
\nTake a look at the galleries of images I have included<\/p>\n

After getting a feel for the where and what Expressionist art is all about I want you to start looking at the people in your classes, in the halls, and in the cafeteria. \u00a0What emotions are they exhibiting? \u00a0What can you draw out from their faces? their body language, the vibe in the halls.<\/p>\n

Now open your sketchbooks and start to sketch, to write, and to conceptualize your project.<\/p>\n

In a whole class conversation:
\nPresent your ideas\/sketches and listen to the feedback.<\/p>\n

Go away and write and draw.
\nBring your 5 drafts [4\u00d76]<\/p>\n

Once approved get to work!!!<\/p>\n

9 classes = work periods<\/p>\n

Last class we have a whole class crit.
\n______________________________<\/p>\n

German Expressionist Art and its roots in Africa<\/strong><\/p>\n

\"Unkowen

Image source www.kinyago.com Unkowen Artist<\/p><\/div>\n


\n<\/strong><\/p>\n

The seemingly straightforward nature of African masks disguises their wide variety, ability to transform the wearer, and system of shapes to convey specific traits.<\/p>\n

    \n
  1. Versatile:<\/strong> Each mask is sort of a \u201cmix and match\u201d of different elements \u2013 location, tribe, occasion, shape, and which entity the mask represents.\u00a0Location: <\/em>masks were\u00a0made in many parts of Africa, especially in western and central parts.\u00a0Occasions:<\/em> they were used for all sorts of events, from celebrations to rituals to rites of passage. Shape:<\/em>masks\u00a0could cover just the face, be a full helmet, or be in between. \u00a0Representation:<\/em>they could represent a variety of entities, such as ancestors, deities, animals, or women. \u00a0Closer look:<\/strong> To get a sense of how varied African masks are, see below for a sampling of different types of masks or click\u00a0here<\/a>.<\/li>\n
  2. Metamorphosis: <\/strong>The mask enables the wearer to take on the persona of the entity the mask represents, the wearer \u201cbecomes\u201d that ancestor, animal, or deity. The mask is just one of many components of the transformation \u2013 full-body costumes, live music, dance, community members, etc. What we now consider African art includes objects that were not made to be displayed in a museum isolated behind glass, but rather to be used in a specific social context.\u00a0Closer look: <\/strong>The short video below shows how the mask is part of a\u00a0larger, dynamic performance<\/a>. This would be interesting to bring to a quiet museum gallery!<\/li>\n
  3. Windows into the soul:<\/strong> The shape of the eyes are often used to convey a certain quality or emotion. The shapes often reflect how our faces actually show those emotions!\u00a0Each group has their own \u201ccode\u201d for a shape and its corresponding meaning. \u00a0Closer look:<\/strong> In some Punu communities,\u00a0slitted or half-open eyes indicate tranquility<\/a> (see below) while in Grebo communities,\u00a0small, round eyes indicate anger<\/a>. \u00a0 \u00a0 [taken from\u00a0art snap<\/a><\/strong>]<\/li>\n<\/ol>\n
    \"Image

    Image source www.keyword-suggestions.com Unkowen Artist. Kenya Tribal Masks<\/p><\/div>\n

    Image Gallery<\/a><\/p>\n

    Great Site for information on African Masks<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    This should be a very individualised project. \u00a0A project you can sink your teeth, brains and brush into.   We all have walked into a classroom and been aware of the overwhelming sense of boredom, or lethargy or on those…<\/p>\n

    Read more →<\/a><\/p>\n","protected":false},"author":20,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-13267","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.vsb.bc.ca\/dkeller\/wp-json\/wp\/v2\/pages\/13267","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.vsb.bc.ca\/dkeller\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.vsb.bc.ca\/dkeller\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.vsb.bc.ca\/dkeller\/wp-json\/wp\/v2\/users\/20"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.vsb.bc.ca\/dkeller\/wp-json\/wp\/v2\/comments?post=13267"}],"version-history":[{"count":7,"href":"https:\/\/blogs.vsb.bc.ca\/dkeller\/wp-json\/wp\/v2\/pages\/13267\/revisions"}],"predecessor-version":[{"id":13918,"href":"https:\/\/blogs.vsb.bc.ca\/dkeller\/wp-json\/wp\/v2\/pages\/13267\/revisions\/13918"}],"wp:attachment":[{"href":"https:\/\/blogs.vsb.bc.ca\/dkeller\/wp-json\/wp\/v2\/media?parent=13267"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}