5 Haziran 2012 Salı

DER BLAUE REITER

Der blaue reiter was a movement lasting from 1911 to 1914, fundamental to Expressionism, along with Die Brücke which was founded the previous decade in 1905.Painters Kandinsky and Marc worked on an almanac in which they showed their artistic conceptions. The title of the almanac, which then became the name of the group, Der Blaue Reiter (The Blue Rider), came from the painting by Kandinsky. His Blaue Reiter ( Blue Rider ) was an adventure in the simplification and stylization of forms and the connection between music and painting.
The name Der Blaue Reiter was taken from one of Kandinsky’s works, Le Cavalier bleu.
Der Balue Reiter combined two currents: the general European Expressionism and French Fauvism and added to these currents an interest in inner and mystical construction, stemming from Theosophy.
The Blue Riders believed that colors, shapes and forms had equivalence with sounds and music, and sought to create color harmonies which would be purifying to the soul. Although in this very earliest works, the impressionistic influence was recognizable, the artists who took part in The Blue Rider were considered to be the pioneers of abstract art or abstract expressionism. Their work promoted individual expression and broke free from any artistic restraints. These Nietzsche's words sum up the group's motto, "Who wishes to be creative must first blast and destroy accepted values."
Members of der blaue reiter were;

Wassily Kandinsky

Franz Marc

August Macke

Paul Klee

Gabriele Münter

Alexej von Jawlensky

Heinrich Campendonk

Albert Bloch

Natalia Goncharova

Marianne von Werefkin

Lyonel Feininger

Arnold Schoenberg

David Burliuk
References;
http://www.arthistoryguide.com/Der_Blaue_Reiter.aspx
http://www.arthistoryunstuffed.com/der-blaue-reiter-painting-2/
http://en.wikipedia.org/wiki/Der_Blaue_Reiter#Members
http://www.huntfor.com/arthistory/c20th/blauereiter.htm

Die Brücke

An influential mini-movement of German Expressionism, Die Brucke (The Bridge) consisted of a group of Expressionist painters, who came together in Dresden in 1905. Its founders, all architecture students at the Dresden Technical School who shared a studio in the city, included Fritz Bleyl (1880-1966), Karl Schmidt-Rottluff (1884-1976), Ernst Ludwig Kirchner (1880-1938) and Erich Heckel (1883-1970). Determined to act as a bridge between the popular art of the time and the newly developing modern art, Die Brucke artists were inspired mainly by Fauvism, as well as the traditional social concern and angst, characteristic of Nordic culture. Other influences included Paul Gauguin (1848-1903), African and Oceanic art, tribal motifs - all of which were combined with Fauvist colourism, to create an ultimately modern style of expressionism. The centre for much of this avant-garde art was Walden's Sturm Gallery, in Berlin.
Like The Blue Rider, also The Bridge had a short life. In 1913, the group dissolved in controversy. But all artists continued their work after World War I until 1933. When the German Nazis came to power the former artists of The Bridge were declared as "entartet" (degenerated). All works were banned from museums and either sold outside Germany or burned in public.

Fritz Bleyl
Erich Heckel
Ernst Ludwig Dirchner
Otto Mueller
Emil Nold
Max Pechstein
Karl Schnidt-Rottluff



References;
http://www.artelino.com/articles/the_bridge.asp
http://www.huntfor.com/arthistory/c20th/diebrucke.htm
http://www.msxlabs.org/forum/sanat/267042-sanat-akimlari-die-brucke-kopru.html
http://en.wikipedia.org/wiki/Die_Brücke
http://www.the-art-world.com/history/german-expressionism2.htm
http://www.visual-arts-cork.com/history-of-art/die-brucke.htm

Futurism

Futurism was not only an art movement but also a social movement that developed in Italy in the early 20th century. Futurists were well versed and practiced in nearly every field of art including painting, ceramics, sculpture, graphic design, interior design, theater, film, literature, music and architecture. It was a movement that particularly despised not just certain aspects of classical antiquity, but everything that was not totally new.
Futurism came into being with the appearance of a manifesto published by the poet Filippo Marinetti on the front page of the February 20, 1909, issue of Le Figaro. It was the very first manifesto of this kind.
  Futurism was inspired by the development of Cubism and went beyond its techniques. The Futurist painters made the rhythm of their repetitions of lines. Inspired by some photographic experiments, they were breaking motion into small sequences, and using the wide range of angles within a given time-frame all aimed to incorporate the dimension of time within the picture. Brilliant colors and flowing brush strokes also additionally were creating the illusion of movement. Futurism influenced many other 20th century art movements, including Art Deco, Vorticism, Constructivism and Surrealism


Futurist architecture is an early-20th century form of architecture born in Italy, characterized by anti-historicism, strong chromaticism, long dynamic lines, suggesting speed, motion, urgency and lyricism: it was part of the Futurism, an artistic movement founded by the poet Filippo Tommaso Marinetti, who produced its first manifesto, the Manifesto of Futurism in 1909. The movement attracted not only poets, musicians, and artists (such as Umberto Boccioni, Giacomo Balla, Fortunato Depero, and Enrico Prampolini) but also a number of architects. Cult of machine age and even violence were among the themes of the Futurists. The latter group included the architect Antonio Sant'Elia, who, though building little, translated the futurist vision into an urban form.

Common characteristic of futurist architecture are;
1 . Futuristic Architecture is the architecture of calculation, of reckless daring and simplicity, the architecture of reinforced concrete, iron, glass,cardboard, textile fiber and all substitutes for wood, stone and brick, allowing maximum flexibility and lightness.
2 . The oblique lines and elliptic lines are dynamic, which by their very nature have an expressive power a thousand times higher than the horizontal and perpendicular.
3 . The decoration, as something superimposed on architecture is absurd, and only use the original provision and the raw materialor seen or violently colored depends the decorative value of Futurist architecture.
4 . As the ancients drew inspiration for his art, the elements of nature, Futurist architecture must find that inspiration in the elements of brand new mechanical world was created.
5 . The distributed architecture and art forms of the building saccording to criteria is finished.
6 . Architecture must understand the effort to harmonize with freedom and great audacity environment and man, that is, make the world of things in a direct projection of the spirit world.
7 . The fundamental characteristics of Futurist architecture willlapse and transience. The houses will last less than us. Each generation should be made from their city. This constant renewal of the built environment contribute to the victory of Futurism which already imposes the words freedom, plastic dynamism, music without quadrature and the art of noise, and we fought relentlessly against the cowardly extension of the past.
References;
http://www.designishistory.com/1850/futurism/
http://www.visual-arts-cork.com/history-of-art/futurism.htm
http://www.slideshare.net/mfresnillo/futurism-338170
http://www.en.arquigrafico.com/futuristic-architecture-characteristics-you-need-to-know
http://www.unknown.nu/futurism/architecture.html
http://en.wikipedia.org/wiki/Futurist_architecture
http://en.wikipedia.org/wiki/Futurism#Futurist_artists