German art
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| [[Image:Venus by Lucas Cranach the Elder.jpg|thumb|right|''[[Venus]]'' ([[1532]]) by [[Lucas Cranach the Elder]]]] | [[Image:Venus by Lucas Cranach the Elder.jpg|thumb|right|''[[Venus]]'' ([[1532]]) by [[Lucas Cranach the Elder]]]] | ||
| - | {{Template}}'''German art''' describes the history of the [[visual arts]] in [[Germany]] | + | [[Image:The Polar Sea.jpg|thumb|right|200px|''[[The Polar Sea]]'' ''(The [[destroyed]] [[hope]])'' ([[1824]]) by [[Caspar David Friedrich ]]]] |
| + | [[Image:Degenerate art exhibition in Nazi Germany.jpg|thumb|right|200px|[[Nazi Germany]] disapproved of contemporary German art movements such as [[Expressionism]] and [[Dada]] and on [[July 19]], [[1937]] it opened the [[Degenerate art]] travelling [[exhibition]] in the [[Haus der Kunst]] in [[Munich]], consisting of [[modernist]] artworks chaotically hung and accompanied by text labels deriding the art, to inflame public opinion against [[modernity]].]] | ||
| + | {{Template}} | ||
| + | '''German art''' describes the history of the [[visual arts]] in [[Germany]] | ||
| [[Hans Holbein the Elder]] and his brother Sigismund Holbein painted religious works in the late Gothic style. Hans the Elder was a pioneer and leader in the transformation of German art from the Gothic to the Renaissance style. [[Hans Holbein the Younger]] painted in the [[Northern Renaissance]] style. | [[Hans Holbein the Elder]] and his brother Sigismund Holbein painted religious works in the late Gothic style. Hans the Elder was a pioneer and leader in the transformation of German art from the Gothic to the Renaissance style. [[Hans Holbein the Younger]] painted in the [[Northern Renaissance]] style. | ||
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| The [[German Renaissance]] was a result of German artists who had travelled to Italy to learn more and become inspired by the Renaissance movement. [[Albrecht Dürer]] was a well known German artist of this period. During the first few years from 1495 onwards he worked in the established Germanic and northern forms but was open to the influences of the Renaissance. After visiting Italy, Dürer was back in Nuremberg by mid-1507, remaining in Germany until 1520. | The [[German Renaissance]] was a result of German artists who had travelled to Italy to learn more and become inspired by the Renaissance movement. [[Albrecht Dürer]] was a well known German artist of this period. During the first few years from 1495 onwards he worked in the established Germanic and northern forms but was open to the influences of the Renaissance. After visiting Italy, Dürer was back in Nuremberg by mid-1507, remaining in Germany until 1520. | ||
| == 19th century == | == 19th century == | ||
| - | [[Image:The Polar Sea.jpg|thumb|right|200px|''[[The Polar Sea]]'' ''(The [[destroyed]] [[hope]])'' ([[1824]]) by [[Caspar David Friedrich ]]]] | ||
| See [[German Romanticism]] | See [[German Romanticism]] | ||
| == 20th century == | == 20th century == | ||
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| === Art in the third reich === | === Art in the third reich === | ||
| - | [[Image:Degenerate art exhibition in Nazi Germany.jpg|thumb|right|200px|[[Nazi Germany]] disapproved of contemporary German art movements such as [[Expressionism]] and [[Dada]] and on [[July 19]], [[1937]] it opened the [[Degenerate art]] travelling [[exhibition]] in the [[Haus der Kunst]] in [[Munich]], consisting of [[modernist]] artworks chaotically hung and accompanied by text labels deriding the art, to inflame public opinion against [[modernity]].]] | ||
| [[Degenerate art]] (from the German: entartete Kunst) was the official platform adopted by the Nazi regime for banning [[modern art]] in favor of [[Heroic Art]]. According to Nazi thinking, Heroic Art symbolized racially pure art, free from distortion and corruption, while modern styles deviated from the prescribed norm of classical beauty. While the 1920s to 1940s are considered the heyday of modern art movements, there were conflicting nationalistic movements that resented abstract art, and Germany was no exception. Avant-garde German artists, mostly [[Expressionists]], were now branded both enemies of the state and a threat to the German nation. Many went into exile and lost both their reputations and credibility. | [[Degenerate art]] (from the German: entartete Kunst) was the official platform adopted by the Nazi regime for banning [[modern art]] in favor of [[Heroic Art]]. According to Nazi thinking, Heroic Art symbolized racially pure art, free from distortion and corruption, while modern styles deviated from the prescribed norm of classical beauty. While the 1920s to 1940s are considered the heyday of modern art movements, there were conflicting nationalistic movements that resented abstract art, and Germany was no exception. Avant-garde German artists, mostly [[Expressionists]], were now branded both enemies of the state and a threat to the German nation. Many went into exile and lost both their reputations and credibility. | ||
Revision as of 12:45, 16 February 2008
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German art describes the history of the visual arts in Germany
Hans Holbein the Elder and his brother Sigismund Holbein painted religious works in the late Gothic style. Hans the Elder was a pioneer and leader in the transformation of German art from the Gothic to the Renaissance style. Hans Holbein the Younger painted in the Northern Renaissance style.
The German Renaissance was a result of German artists who had travelled to Italy to learn more and become inspired by the Renaissance movement. Albrecht Dürer was a well known German artist of this period. During the first few years from 1495 onwards he worked in the established Germanic and northern forms but was open to the influences of the Renaissance. After visiting Italy, Dürer was back in Nuremberg by mid-1507, remaining in Germany until 1520.
Contents |
19th century
20th century
Plakatstil, was an early poster style of art that began in the early 1900s and originated out of Germany. "Plakatstil" means "poster style" in German. The traits of this style of art are usually bold, straight font with very simple design.
Der Blaue Reiter established in Munich, Germany in 1911. Wassily Kandinsky, Franz Marc, August Macke, Alexej von Jawlensky, Marianne von Werefkin and others founded the group in response to the rejection of Kandinsky's painting Last Judgement from an exhibition by Neue Künstlervereinigung—another artists' group of which Kandinsky had been a member. The name Der Blaue Reiter derived from Marc's enthusiasm for horses, and from Kandinsky's love of the colour blue. For Kandinsky, blue is the colour of spirituality—the darker the blue, the more it awakens human desire for the eternal (see his 1911 book On the Spiritual in Art). Kandinsky had also titled a painting Der Blaue Reiter in 1903.
- Die Brücke was a group of German expressionist artists formed in Dresden in 1905.
- Jugendstil
The New Objectivity, or neue Sachlichkeit (new matter-of-factness), was an art movement which arose in Germany during the 1920s as an outgrowth of, and in opposition to, expressionism. It is thus post-expressionist. The term is applied to works of pictorial art, literature, music, and architecture. It describes the stripped-down, simplified building style of the Bauhaus and the Weissenhof Settlement, the urban planning and public housing projects of Bruno Taut and Ernst May, and the industrialization of the household typified by the Frankfurt kitchen.
Art in the third reich
Degenerate art (from the German: entartete Kunst) was the official platform adopted by the Nazi regime for banning modern art in favor of Heroic Art. According to Nazi thinking, Heroic Art symbolized racially pure art, free from distortion and corruption, while modern styles deviated from the prescribed norm of classical beauty. While the 1920s to 1940s are considered the heyday of modern art movements, there were conflicting nationalistic movements that resented abstract art, and Germany was no exception. Avant-garde German artists, mostly Expressionists, were now branded both enemies of the state and a threat to the German nation. Many went into exile and lost both their reputations and credibility.
The entartete Kunst exhibit premiered in Munich in March, 1937, and travelled to eleven other cities in Germany and Austria. The show was intended as an official condemnation of modern art, and included over 650 paintings, sculptures, prints, and books from the collections of thirty two German museums. Expressionism, which had its origins in Germany, contained the largest proportion of paintings represented. It was considered the first blockbuster art exhibit of the twentieth century, with an estimated attendance of three million visitors. The exhibition was far more popular than the nearby exhibition of officially sponsored so called heroic art.
Modern art
contemporary artists
Martin Kippenberger, Gerhard Richter, Sigmar Polke, Jonathan Meese, Daniel Richter, Albert Oehlen, Markus Oehlen, Georg Baselitz, Jörg Immendorf, Rosemarie Trockel, Thomas Ruff, Bernd und Hilla Becher, Anselm Kiefer, Neo Rauch, Martin Eder, Günther Uecker, Markus Lüpertz
