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Purchased from a seller who acquired it from the estate of the Denver modernist architect James Sudler
I think it's really sweet....and it's tough to find something like this (at least around here) that doesn't cost a ton.
Sculptures in wood by Albert Müller, Herman Scherer and Ernst Ludwig Kirchner. Interesting to see these and how they related to their paintings and the primitivism that influenced there 2D art.
youtu.be/1qNeGSJaQ9Q It’s Alive !!!
One Sheet (27" X 41").
Originally, the famed Dracula actor Bela Lugosi was cast as the Monster, and French director Robert Florey was assigned to direct. But after various screen tests, Lugosi refused the part, and Universal chose Britisher James Whale to direct. Significantly, this film then launched the career of unknown actor Boris Karloff, who is surprisingly uncredited in the opening credits of the film as the Monster.
Universal's "Frankenstein" is considered the greatest horror film of all time. This 70-year-old gothic horror film was produced for a sum of $291,000 at the height of the depression, made a star of a forty-four-year-old Boris Karloff, and made Universal Studios some twelve million dollars richer. The film became an almost instant classic of a new genre -- the horror movie -- and is viewed today as one of the true classics of world cinema. This poster, only the fifth copy known to have survived, is a gorgeous stone-lithograph image and one of the most sought after movie posters of any era. The image of Karloff, as seen on this poster, with his flat head and bolts coming out of the neck, was the first such image that any audience laid eyes on. And it would become one of the most recognizable and iconographic images of a monster in the twentieth century.
Universal Studios made themselves famous for "horror" films in the 1930s. Following the success of their Dracula, starring Bela Lugosi, Universal put out a variation on Mary Shelley's story that would become hugely influential for decades. Universal's Frankenstein. Much has already been written about this film, so this review will not attempt to cover everything. James Whale's Frankenstein was a hybrid -- partly a horror movie, but also partly a sci-fi movie. The goal of FrankenFEST is to explore the science fiction aspects of the many Frankenstein films. Some have more "science". Some are more "horror". Some are just silly.
Synopsis
Henry Frankenstein and his hunchback assistant Fritz dig up a recently buried body and take down a hanged man. Henry still needs an undamaged brain, so Fritz sneaks into a medical college to steal one. He drops the first brain-in-a-jar, so takes the second, labeled "abnormal brain." Henry has his creature assembled on a table and awaits the storm's peak for the jolt to infuse life. Just then, his fiancee, Elizabeth, friend Victor and former teacher, Professor Waldman, come knocking at the door of Henry's spooky tower. Reluctantly, he lets them in. Baited by Victor's accusation that Henry is crazy, Henry shows them his experiment. The storm peaks and the creature moves. "It's Alive!" Waldman stays to help. Victor and Elizabeth express worry to Henry's dad, Baron Frankenstein. Meanwhile, Henry shows off his creature to Waldman. It needs time to mature. However, Fritz taunts it with fire, sending the creature into a rage. It murders Fritz. It beats up Henry before Waldman injects it with anesthetic. Victor, Elizabeth and the Baron arrive and take the sick and battered Henry back to the village. Waldman stays to get rid of the monster. Before he can, the anesthetic wears off. The monster kills Waldman and escapes. In the village, all is festive, music and dancing for the wedding. Elizabeth is troubled with premonitions of doom. The monster comes across a little girl who wants a playmate. She tosses flowers in the lake to watch them float. When she's out of flowers, the monster tosses her in to float. She doesn't. The monster is upset and flees. He goes into the village and sneaks into Elizabeth's bedroom. Before he can do anything, her screams bring everyone running. He escapes unseen. Maria's father brings her dead body into town. The Burgomeister organizes three search parties to find the killer. Henry leads the mountain group. The monster finds Henry alone, knocks him out and carries him away. The mob see this and purse them to a windmill. The monster throws Henry from the upper railing, but he catches on a windmill blade, so doesn't die. The mob burn down the windmill. Henry recovers with Elizabeth's doting. The baron makes a toast to a future "son of Frankenstein." The End
The "science" in Whale's Frankenstein is mostly medical or biological. Waldman describes Henry's work as being in "chemical galvanism" and "electro-biology." Henry himself describes the key being "rays" beyond violet in the spectrum. This "Life Ray" is apparently available in electricity. Much of Henry's lab is filled with large things that spark or arc. Electricity is, in this pre-atomic world, the magical stuff that can do wonders. Compare Henry's lab and creation with Rotwang's in Metropolis ('27). The motif of the mad scientist's lab being stocked with sparky things dates back to this era.
Compared to the Novel
The main characters are retained, although the names of Henry and Victor are swapped, for some reason. Universal's screenplay was more of an adaptation of a stage play written by Peggy Webling in 1927. Her successful play had to do something similar to Edison's screenplay, in paring the story down to some basic elements. Whale's film focused more on the hubris of unfettered "science" than on the philosophical elements of creator-creature obligations. The hubris of the "mad" scientist, as a plot trope, would endure many decades into future films.
Iconic Monster -- The famous monster was a combination of make-up specialist Jack Pierce (who created the flat-top head and bolts on the neck) and the characterization given by actor Boris Karloff. Their "monster" was too captivating to the public imagination, too iconic to ever really die -- as we shall see -- that he would reappear in many later films. Little children would dress up as the monster for halloween. Parodies and spin-offs would key off the Pierce-Karloff monster.
Much of the look of the film stems from the artistic style of German Expressionism. This style is a whole topic unto itself. The stark light and dark, the use of up-lighting, the asymmetry and odd angles all enhance the feeling of instability. Nothing is soft. Nothing is "quite right." Contrast Henry's tower with the village sets. They're all normal enough, and almost Disney quaint. The normal world vs. HIS world: dark, unstable and "off". The artistic style of German Expressionism would not remain popular beyond WWII, but its visuals in association with the mad scientist's lab would endure far beyond.
Far back into the 1800s, probably not long after Shelley penned her story, people would often confuse the monster and the man. The monster, in both the novel and the 1931 movie, had no name. He was, like the novel, called only, "my creation", "the monster" or "the fiend." It was Henry who carried the family name of Frankenstein. Yet, to the public imagination, such a strong character as the monster simply could not go nameless. He was often referred to as "Frankenstein" as if that were his name. That's not the case, but it has been a common enough mistake that it has stuck. The monster is more famous than the man.The more famous character gets the name. After all, children do not dress up as Henry (or Victor) Frankenstein.
Aside from the many Expressionist visuals, there is one scene which, though brief, is an interesting inclusion of a famous painting. When the monster accosts Elizabeth in her room, just as he sneaks out, and the others burst in, note Elizabeth's position on the bed. This very brief moment is also captured on the poster art.This seems an unmistakeable visual reference to Henry Fuseli's famous 1791 painting: "Nightmare" .Maybe this something that only art history majors might enjoy, but it was an interesting bit for Whale to include.
A curious note, is how much Frankenstein as a story had become intertwined with the classic vampire story: Dracula. For one, Universal released them both in 1931. Beyond proximity, Universal had originally cast Bela Lugosi as the monster, but he declined the part. Lugosi would, however, end up playing the monster in a few later iterations. As well, Webling's play, which served as source material, also followed a successful Dracula production by the same star. The two characters sprang from very different literary roots and told very different cautionary tales, yet, they would become paired in the popular imagination, as if they were somehow brothers.
Universal's 1931 Frankenstein is a movie classic that is not to be missed. It is a well-told and well-paced story, but more importunely, it is foundational to almost all the Frankenstein films to come.
Sometimes there are scenes in movies that stick in my imagination... several films have used a time-lapse or speeded-up film to show the passage of time... I stopped the tape, the clock and time to capture this sunset... and I still feel the fast movement.
Emil Nolde was a German-Danish painter and printmaker. He was one of the first Expressionists, a member of Die Brücke, and was one of the first oil painting and watercolor painters of the early 20th century to explore colour.
Abstract Expressionism in photography, inspired by well-known abstract artists of the mid-20th Century such as Mark Rothko, Jackson Pollock, Frank Bowling, Gerhardt Richter and orthers.
Original abstract artwork
24x18 in.
Oil, oil stick, oil pastel, oil-based paint marker, charcoal on Canson paper
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Alexej Georgewitsch von Jawlensky was a Russian expressionist painter active in Germany. He was a key member of the New Munich Artist's Association, Der Blaue Reiter group and later the Die Blaue Vier.
"Backstage" -- An artwork by David Paul Mesler. Pianist, Vocalist, Composer, Songwriter. Seattle, Washington USA. 2013.
SITES: www.davidpaulmesler.com, www.ihearamericasing.com
ALBUMS: www.cdbaby.com/artist/davidpaulmesler
ARTWORKS: www.flickr.com/photos/davidpaulmesler
VIDEOS: www.youtube.com/doublepianomaniac
FOR GOD'S GLORY.
modern art contemporary postmodern moody surreal abstract expressionism impressionism colorful picture photo graphic photographer animation cell image fantasy film cinematic artwork painting photoshop manipulation illustration male portrait man masculine face “close up” close-up detailed interesting dutch scandinavian christian spiritual representational american “united states” holland netherlands norwegian swedish “modern art” “expressionist portrait” drawing watercolor “abstract painting” “abstract art” “on black” digital texture color colors “photo art” photoart landscape arte “vivid colors” photomanipulation “digital art” light dark moment lumiere couleurs day night surrealism saturation photomorphing best artistic tone colorgrading fullcolor techniques multicolor technicolor “generative art” contrast sketch artista artiste portraiture illusion effect virtual fun abstrait cg figurative self me “david paul mesler” “david paul” “david mesler” david paul mesler jazz classical music “singer songwriter” instrument musical musician composer artist singer pianist songwriter vocalist bluecentaur “blue centaur” doublepianomaniac “double piano maniac”
"Untitled Dream." Self-Portrait, Octavia Dingss
© Self Portrait Artist and Visionary : Octavia Dingss
Edvard Munch is best known as being a Norwegian born, expressionist painter, and printer. In the late 20th century, he played a great role in German expressionism, and the art form that later followed; namely because of the strong mental anguish that was displayed in many of the pieces that he created.
Edvard Munch was born in Norway in 1863, and was raised in Christiania (known as Oslo today). He was related to famous painters and artists in their own right, Jacob Munch (painter), and Peter Munch (historian). Only a few years after he was born, Edvard Munch's mother died of tuberculosis in 1868, and he was raised by his father. Edvard's father suffered of mental illness, and this played a role in the way he and his siblings were raised. Their father raised them with the fears of deep seated issues, which is part of the reason why the work of Edvard Munch took a deeper tone, and why the artist was known to have so many repressed emotions as he grew up.
In 1885, Edvard Munch traveled to Paris, and was extremely influenced by Impressionists such as Claude Monet, Edouard Manet, and followed by the post-impressionism artists Vincent van Gogh, Paul Cezanne, and Paul Gauguin. In fact, the main style of Munch's work is post-impressionism, and focused on this style.
From about 1892, to 1908, Munch split most of his time between Paris and Berlin; it was in 1909 that he decided to return to his hometown, and go back to Norway. During this period, much of the work that was created by Edvard Munch depicted his interest in nature, and it was also noted that the tones and colors that he used in these pieces, did add more color, and seemed a bit more cheerful, than most of the previous works he had created in years past. The pessimistic under toning which was quite prominent in much of his earlier works, had faded quite a bit, and it seems he took more of a colorful, playful, and fun tone with the pieces that he was creating, as opposed to the dark and somber style which he tended to work with earlier on during the course of his career. From this period, up to his death, Edvard Munch remained in Norway, and much of his work that was created from this period on, seemed to take on the similar, colorful approach which he had adopted, since returning home in 1909.
A majority of the works which Edvard Munch created, were referred to as the style known as symbolism. This is mainly because of the fact that the the paintings he made focused on the internal view of the objects, as opposed to the exterior, and what the eye could see. Symbolist painters believed that art should reflect an emotion or idea rather than represent the natural world in the objective, quasi-scientific manner embodied by Realism and Impressionism. In painting, Symbolism represents a synthesis of form and feeling, of reality and the artist's inner subjectivity.
Many of Munch's works depict life and death scenes, love and terror, and the feeling of loneliness was often a feeling which viewers would note that his work patterns focused on. These emotions were depicted by the contrasting lines, the darker colors, blocks of color, somber tones, and a concise and exaggerated form, which depicted the darker side of the art which he was designing. Munch is often and rightly compared with Van Gogh, who was one of the first artists to paint what the French artist called "the mysterious centers of the mind." But perhaps a more overreaching influence was Sigmund Freud, a very close contemporary. Freud explained much human behavior by relating it to childhood experiences. Munch saw his mother die of tuberculosis when he was 5, and his sister Sophie die of the same disease when he was 14. Munch gives the By the Death Bed and Death in the Sickroom a universal cast by not specifically depicting what he had witnessed. Several versions of The Sick Child are surely his sister.
Nature is not only all that is visible to the eye... it also includes the inner pictures of the soul.”- Edvard Munch
Edvard Munch passed away in 1944, in a small town which was just outside of his home town in Oslo. Upon his death, the works which he had created, were not given to family, but they were instead donated to the Norwegian government, and were placed in museums, in shows, and in various local public buildings in Norway. In fact, after his death, more than 1000 paintings which Edvard Munch had created were donated to the government. In addition to the paintings that he had created during the course of his career, all other art forms he created were also donated to the government. A total of 15,400 prints were donated, 4500 drawings and water color art was donated, and six sculptures which Edvard Munch had created, were all turned over to the Oslo government, and were used as display pieces in many locations.
Due to the fact that all of this work which Edvard Munch had created, was donated to the Norwegian government, the country decided to build the Munch Museum of Art. This was done to commemorate his work, his life, and the generosity which he showed, in passing his art work over to the government, so that it could be enjoyed by the general public, rather than be kept locked up by the family. Although the art which he did donate, was spread throughout a number of museums and art exhibits, a majority of them were kept in Oslo. And, most of the works which were donated by Munch, were placed in the Munch Museum of Art, to commemorate the work he did, as well as the unique style, and the distinct movements which he introduced to the world, through the creations which he had crafted.
The Musée de l'Orangerie is an important art gallery of impressionist and post-impressionist paintings located in the Tuileries Gardens, Paris. Though most famous for being the permanent home for eight Water Lilies murals by Claude Monet, the museum also contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Alfred Sisley, Chaim Soutine, and Maurice Utrillo, a.o.
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There is a big amount of organic debris on the ground in this creek. Bacteria form in an anaerobic process gas (methane) and release it into the atmosphere. The greenjouse effect of methane is about 300 times more than the same quantity of carbondioxide! The bubbles are causing rings of wavelets on the surface of the water.
Brick Expressionism (en.wikipedia.org/wiki/Brick_Expressionism) is a kind of architectural style which is rarely found and almost exclusive to northern Germany, esp. those rich commercial towns which belonged to the Hanse.
This building is located in the Böttcherstraße (en.wikipedia.org/wiki/Böttcherstraße), which was built as "Gesamtkunstwerk" (individual pieces of art belonging to each other). It houses a glass art shop.
Nikon D800 + AF 28-105mm/3.5-4.5D
Abstract Expressiohism n : art tthat expresses the artist's attitudes and emotions through abstract forms.
Merriam Webster Dictionary
28x22 in.
Oil & oilstick on posterboard
To purchase original please contact ajeffries101958@yahoo.com
Prints, etc. are available at atj1958.deviantart.com/
Thanks for taking the time to look at my work.