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City Hall
The term Brick Expressionism (German: Backsteinexpressionismus) describes a specific variant of expressionist architecture that uses bricks, tiles or clinker bricks as the main visible building material. Robert Natus was an Estonian architect. His best known work is the current City Hall of Tallinn, built in 1932
Immagine tratta dal film "Destiny" (1921) di Fritz Lang, primo grande successo internazionale del regista tedesco.
Greece is one of the most beautiful locations I've had the pleasure of visiting. The color of the water is amazing.
Viento ...
Ánima blanca de mis sombras
Director férreo de mis congojas.
A tus manos me confié
Y todo te lo llevaste.
¡Convexo recipiente de mis dichas!
Porque todo a ti te dí
Y con nada yo me quedo
Oscilando trémulo y perdido
En este ocaso carmesí.
¡Nunca más ser un cuervo!
¡Nunca más recibir
De la hoguera que es tu cuerpo
Mi ahora muerta voluntad de vivir !
Viento...
Arrástrame en tu parábola
Hasta extinguir mi silbido.
Desde la niebla me llama, turbio
Un nuevo amanecer prohibido.
Original abstract artwork
36x36 in.
Oil, oil stick, oil pastel, spray enamel on canvas
To purchase original please contact AlanTaylorJeffries@ugallery.com
Thanks for taking the time to look at my work.
The Peggy Guggenheim Collection, Venice.
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Richard Diebenkorn (1922 - 1993)
Richard Diebenkorn (April 22, 1922 – March 30, 1993) was an American painter and printmaker. His early work is associated with abstract expressionism and the Bay Area Figurative Movement of the 1950s and 1960s. In the late 1960s he began his extensive series of geometric, lyrical abstract paintings. Known as the Ocean Park paintings, these paintings were instrumental to his achievement of worldwide acclaim.
Biography
Richard Clifford Diebenkorn Jr. was born on April 22, 1922, in Portland, Oregon. His family moved to San Francisco, California, when he was two years old. From the age of four or five he was continually drawing. In 1940, Diebenkorn entered Stanford University, where he met his first two artistic mentors, professor and muralist Victor Arnautoff, who guided Diebenkorn in classical formal discipline with oil paint, and Daniel Mendelowitz, with whom he shared a passion for the work of Edward Hopper. Hopper's influence can be seen in Diebenkorn's representational work of this time. While attending Stanford, Diebenkorn visited the home of Sarah Stein, the sister-in-law of Gertrude Stein, and first saw the works of European modernist masters Cézanne, Picasso, and Matisse.
Also at Stanford, Diebenkorn met his fellow student and future wife, Phyllis Antoinette Gilman. They married in 1943 and went on to have two children together, a daughter, Gretchen (1945), and a son, Christopher (1947). The beginning of the United States's involvement in World War II interrupted Deibenkorn's education at Stanford, and he was not able complete his degree at that time. Diebenkorn entered the United States Marine Corps in 1943, where he served until 1945.
While enlisted, Diebenkorn continued to study art and expanded his knowledge of European modernism, first while enrolled briefly at the University of California, Berkeley, and later on the East Coast, while stationed at the Marine base in Quantico, Virginia. While enrolled at Berkeley he had three influential teachers: Worth Ryder, Erle Loran, and Eugene Neuhaus. Both Ryder and Erle Loran had studied art in Europe in the 1920s and brought their first-hand knowledge of European modernism to their teaching. Neuhaus emigrated from Germany in 1904 and was a seminal figure in establishing the Bay Area as a center of art appreciation and education on the West Coast. On the East Coast, when he transferred to the base in Quantico, Diebenkorn took advantage of his location to visit art museums in Washington, DC, Philadelphia, and New York City. This allowed him to study in person the paintings of modern masters such as Pierre Bonnard, Georges Braque, Henri Matisse, Joan Miró, and Pablo Picasso. Also at this time, he had his first exposure to the new New York–based artists who were beginning their abstract Surrealism-based paintings. The work of Robert Motherwell, in particular, left an impression. Diebenkorn began his own experiments in abstract painting.
In 1945, Diebenkorn was scheduled to deploy to Japan; however, with the war's end in August 1945, he was discharged and returned to life in the Bay Area.
During the late 1940s and early 1950s, Diebenkorn lived and worked in various places: San Francisco and Sausalito (1946–47 and 1947–1950), Woodstock, New York (1947), Albuquerque, New Mexico (1950–1952), Urbana, Illinois (1952–53), and Berkeley, California (1953–1966). He developed his own style of abstract expressionist painting. After World War II, the art world's focus shifted from the School of Paris to the United States and, in particular, to the New York School. In 1946, Diebenkorn enrolled as a student in the California School of Fine Arts (CSFA) in San Francisco (now known as the San Francisco Art Institute), which was developing its own vigorous style of abstract expressionism. In 1947, after ten months in Woodstock on an Alfred Bender travel grant, Diebenkorn returned to the CSFA, where he adopted abstract expressionism as his vehicle for self-expression. He was offered a place on the CSFA faculty in 1947 and taught there until 1950. He was influenced at first by Clyfford Still, who also taught at the CSFA from 1946 to 1950, Arshile Gorky, Hassel Smith, and Willem de Kooning. Diebenkorn became a leading abstract expressionist on the West Coast. From 1950 to 1952, Diebenkorn was enrolled under the G.I. Bill in the University of New Mexico’s graduate fine arts department, where he continued to adapt his abstract expressionist style.
For the academic year 1952–53, Richard Diebenkorn took a faculty position at the University of Illinois in Urbana, where he taught painting and drawing. In November and December 1952, he had his first solo exhibit at a commercial art gallery, the Paul Kantor Gallery in Los Angeles.
In September 1953, Diebenkorn moved to back to the San Francisco Bay Area from New York City, where he had spent the summer. He took a position at California College of Arts and Crafts in 1955, teaching until 1958. He established his home in Berkeley and lived there until 1966. During the first few years of this period, Diebenkorn abandoned his strict adherence to abstract expressionism and began to work in a more representational style. By the mid-1950s, Diebenkorn had become an important figurative painter, in a style that bridged Henri Matisse and abstract expressionism. Diebenkorn, Elmer Bischoff, Henry Villierme, David Park, James Weeks, and others participated in a renaissance of figurative painting, dubbed the Bay Area Figurative Movement. His subject matter during this period included interiors, landscapes, still lifes, and the human figure.
Diebenkorn began to have a measure of success with his artwork during this period. He was included in several group shows and had several solo exhibits.[15] In 1960, a mid-career retrospective was presented by the Pasadena Art Museum (now the Norton Simon Museum). That autumn, a variation of the show moved to the California Palace of the Legion of Honor in San Francisco.[16] In the summer of 1961, while a visiting instructor at UCLA, Diebenkorn first became acquainted with printmaking when his graduate assistant introduced him to the printmaking technique of drypoint. Also while in Southern California, Diebenkorn was a guest at the Tamarind Lithography Workshop (now the Tamarind Institute), where he worked on a suite of prints completed in 1962.
Upon his return to Berkeley in the fall of 1961, Diebenkorn began seriously exploring drypoint and printmaking with Kathan Brown at her newly established fine arts printing press, Crown Point Press. In 1965, Crown Point Press printed and published an edition of thirteen bound volumes and twelve unbound folios of Diebenkorn's first suite of prints, 41 Etchings Drypoints. This project was the first publication of Crown Point's catalog). Diebenkorn would not do any more etching again until 1977 when Brown renewed their artistic relationship. From then until 1992, Diebenkorn returned almost yearly to Crown Point Press to produce work.
Also in the fall of 1961, Diebenkorn became a faculty member at the San Francisco Art Institute, where he taught periodically until 1966. He also taught intermittently during these years at a number of other colleges, including the California College of Arts and Crafts and Mills College in Oakland, the University of Southern California (USC), the University of Colorado, Boulder, and the University of California, Los Angeles (UCLA).
In September 1963, Diebenkorn was named the first artist-in-residence at Stanford University in Palo Alto, California, an appointment that lasted until June 1964. His only responsibility in this position was to produce art in a studio provided by the university. Students were allowed to visit him in the studio during scheduled times. Though he created a few paintings during his time at Stanford, he produced many drawings. Stanford presented an extensive show of these drawings at the end of his residency.
From fall 1964 to spring 1965, Diebenkorn traveled through Europe, and he was granted a cultural visa to visit important Soviet museums and view their holdings of Matisse's paintings. When he returned to painting in the Bay Area in mid-1965, his works summed up all he had learned from more than a decade as a leading figurative painter.
The Henri Matisse paintings French Window at Collioure, and View of Notre-Dame, both from 1914, exerted tremendous influence on Richard Diebenkorn's Ocean Park paintings. According to art historian Jane Livingston, Diebenkorn saw both Matisse paintings in an exhibition in Los Angeles in 1966, which enormously affected him and his work. Livingston said about the January 1966 Matisse exhibition that Diebenkorn saw in Los Angeles,
It is difficult not to ascribe enormous weight to this experience for the direction his work took from that time on. Two pictures he saw there reverberate in almost every Ocean Park canvas. View of Notre Dame and the French Window at Collioure, painted in 1914, were on view for the first time in the US.
Livingston said, "Diebenkorn must have experienced French Window at Collioure as an epiphany."
In September 1966, Diebenkorn moved to Santa Monica, California, and took up a professorship at UCLA. He moved into a small studio space in the same building as his old friend from the Bay Area, Sam Francis. During this time, he lived in a house on Amalfi Drive in Santa Monica Canyon, where he would host an artist collective. In the winter of 1966–67, he returned to abstraction, this time in a distinctly personal, geometric style that departed from his early abstract expressionist period. The Ocean Park series, begun in 1967 and developed for the next 18 years, became his most famous work and resulted in approximately 135 paintings. Based on the aerial landscape and perhaps the view from his studio window, these large-scale abstract compositions were named after a community in Santa Monica, where he had his studio. Diebenkorn retired from UCLA in 1973. The Ocean Park series bridged his earlier abstract expressionist works with color field painting and lyrical abstraction.
In 1986, Diebenkorn decided to leave Santa Monica and Southern California. After traveling and looking around several different areas in the western United States, in 1988, Diebenkorn and his wife settled in Healdsburg, California, where he built a new studio. In 1989 he began suffering serious health issues related to heart disease. Though still producing prints, drawings, and smaller paintings, his poor health prevented him from completing larger paintings. In 1990, Diebenkorn produced a series of six etchings for the Arion Press edition of Poems of W. B. Yeats, with poems selected and introduced by Helen Vendler.
Diebenkorn died due to complications from emphysema in Berkeley on March 30, 1993.
Expressionism: Max Pechstein’s 1910 oil painting “Seated Girl" – inspired by Matisse
Installation view of “Modern Art and Politics in Germany 1910-1945: Masterworks from the Neue Nationalgalerie”
Albuquerque Museum
Albuquerque, New Mexico
August 23, 2025 – January 4, 2026
Title: Pocket Library of Great Art: Expressionists
Author: Will Grohmann
Publication: Harry N. Abrams, Inc. New York
Publication Date: 1957
Book Description: White paperback with cover image, Self Portrait by Lovis Corinth. 31 color plate images with text.
Call Number: ND 1265 .G74
I was trying to take a photograph with some technical manipulation but am lacking the skill set required , thus decided to check which image I can use from my library , The image appears to depict myself sitting in a room designed to mimic Vincent van Gogh's famous painting, "Bedroom in Arles."
Here's how this image demonstrates expressionism:
1. Evoking Emotion Through Context
The room's design and decor are immediately recognizable to those familiar with Van Gogh's work, evoking a sense of nostalgia and a connection to the artist's emotional state.
2. Color and Composition
The colors in the room are vivid and slightly exaggerated, similar to Van Gogh's style. The bold use of colors can evoke a range of emotions, from tranquility to melancholy.
3. Symbolism and Metaphor
The setting itself is symbolic. By placing a modern individual in this historical, artistic context, the photograph creates a bridge between the past and present, highlighting the timeless nature of human experiences and emotions.
4. Abstract Elements
The slightly surreal quality of the room – with its painted walls and floor designed to look like a 2D artwork – adds an abstract, dreamlike element to the photograph. This blurring of reality and art is a hallmark of expressionism.
5. Interaction with the Environment
My presence in the room, wearing modern clothing and a face mask, adds a layer of contemporary relevance. This contrast provoke thoughts about isolation, the passage of time, and the continuing impact of historical art on modern life.
Bonn Museum of Modern Art, Germany, was founded in 1947. The Kunstmuseum exhibits both temporary exhibitions and its collection. Its collection is focused on Rheinish Expressionism and post-war German art. It is part of Bonn's "Museum Mile". The present building, which opened in 1992, was created by the BJSS firm (Axel Schultes) and Jürgen Pleuser. It has three entrances, symbolizing openness. The design of the staircase has been described as a "precise geometry, cut like jewellery. The conception of light brings the collection to life." The total exhibition area is around 4,000 m2.
Both the architecture and the collections it houses convey their pleasure in mutual existence. Neither are in competition with the other; both find their expression in coalition with the building. The Kunstmuseum Bonn is the most important postwar museum construction, making it the culmination of the museum boom in Germany. The building is an architectural end-in-itself as well as a conservational shell. It makes high claims for itself, but also for the collections. Schultes operates openly. His concept of light brings the collection to life. Light streams through the rooms as though poured from a watering can. It was the architecture that made the museum internationally known. In interplay with Gustav Peichl's building, the Art and Exhibition Hall of the German Republic that faces it, it enhances its own specific valence as architecture. Two of the major collections of the Bonn Art Museum are "August Macke and the Rheinish Expressionists" and works of internationally recognized representatives of German art since 1945.