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The Chilehaus (Hamburg) building was designed by the architect Fritz Höger and built between 1922 and 1924. It was commissioned by the shipping magnate Henry B. Sloman, who made his fortune trading saltpeter from Chile, hence the name Chile House. The cost of construction is difficult to determine, as the Chile House was built during the period of hyperinflation that struck Germany during the early 1920s, but is estimated to have been more than 10 million reichsmark. It is an exceptional example of the 1920s Brick Expressionism style of architecture.
Emil Nolde - German, 1867 - 1956
Round Dance, 1909
East Building, Mezzanine — Gallery 217-A
Ranked among the top modern artists, the German-Danish painter and print maker, Emil Nolde was one of the most powerful exponents of Expressionism. Although he was a member of the Die Brucke group of expressionist painters, he remained a relatively isolated figure, due to his temperament and circumstances - his wife became a semi-invalid. His unique contribution to 20th century German Expressionism lies in the intense emotion of his radically simplified - sometimes grotesquely distorted - drawings, and vivid colours. At the same time he was one of the greatest watercolourist painters of flowers. An important contributor to modern art, his most famous expressionist paintings include Young Men From Papua (1913-14, Staatliche Museen, Berlin), Red Poppies (1920, Private Collection), The Last Supper (1909, State Museum, Copenhagen), and Sea and Light Clouds (1935, Private Collection).
Born Emil Hansen in 1867 in Nolde, Schleswig-Holstein, Germany, Emil later took the name of his birth town as his family name. He was raised on a farm with peasant parents. Nolde initially trained in wood carving as a cabinet-maker, and worked in a furniture factory. In 1889 he gained entrance to the School of Applied Arts in Karlsruhe, before teaching craft, design and drawing in St Gall, Switzerland. He was then rejected as a student by the Academy of Fine Arts in Munich in 1898, and instead studied painting privately under Adolf Holzel, a German artist and art historian. In 1899-1900 he also studied at the Academie Julian in Paris, where he came across Impressionism, and Post-Impressionism. It was only around 1900, when he was in his early 30s that Nolde decided to become a full time artist, and he would be 40 before he achieved any serious recognition. His first paintings from this period show fantasy elements although they are largely naturalistic landscapes. In 1901-2 he worked in Berlin, and after this divided his time between Berlin and Schleswig. In 1902 he met the collector Gustav Schiefler and the expressionist painter Karl Schmidt-Rottluff, both of whom would become important advocates of his art in later years.
In 1906 Nolde joined the Berlin Sezession, an art association founded in 1898 by Berlin artists in opposition to the conservative state run Association of Berlin Artists. Other notable members of the group included Max Beckmann, Hermann Struck, Max Slevogt, Georg Kolbe, and Lovis Corinth; and sculptors August Gaul and Ernst Barlach. In 1906 Nolde joined the Die Brucke group, an association of German Expressionists formed in Dresden in 1905. Other important members included Ernst Ludwig Kirchner (1880-1938), Fritz Bleyl (1880-1966), Karl Schmidt-Rottluff (1884-1976), Max Pechstein (1881-1955), Erich Heckel (1883-1970) and Otto Mueller (1874-1930). The group, often compared to Fauvism, had a major impact on modern art while both movements shared an interest in Primitivism/Primitive Art and in expressing extreme emotion through the use of pure colour which was often non-naturalistic. But Die Brucke artists often painted city streets and physically charged scenes, which make the Fauves seem quite tame in comparison.
Nolde's etching and drawing revealed his instinct for fantasy and the macabre, and his paintings at this period were almost an emotionally heightened form of Impressionism. His powerful colour and brushstroke influenced his Brucke friends; in return, they interested him in their woodcuts and lithography techniques. In 1906 Nolde had his first one man show. Unfortunately during the next couple of years he fell out with his several of his fellow-artists and left the Die Brucke group. But his reputation within the expressionist movement was growing.
In 1909 Nolde produced the first of a series of religious paintings including The Last Supper (Copenhagen, Statens Museum) and the triptych Life of St. Mary Aegyptiaca (1912). His other painting Pentecost (1909, Bern) was refused exhibition by Max Liebermann, president of the Berlin Sezession in 1910. Nolde published an attack on Liebermann and was made to resign from the organisation. Some felt his remarks were nationalist and anti-semitic in nature. Although Nolde made several attempts to donate his religious paintings to a church, none were ever permanently installed. The event however clarified his aims: he would create a North German Art, void of debilitating influences but close to people and deriving guidance from the Dutch painter Rembrandt. In 1910, he founded the New Secession which became a rallying point for the German avant-garde. In 1912 he was exhibiting with Wassily Kandinsky's Der Blaue Reiter Group, and in 1913, he joined an expedition to New Guinea to study the art and life of the aborigines, an experience which served as a source of primitive and oriental motifs in his paintings, such as South Sea Islander (1914). He wrote 'Everything which is primeval and elemental captures my imagination'.
In 1931 Nolde was appointed to the Prussian Academy of Art, but in 1937 he was branded a 'degenerate' by the Nazi party and over 1,000 of his works were removed from German art museums and galleries. Other artworks were seized; including those by Marc Chagall, Ernst Barlach, Alexander Archipenko, Erich Heckel, Henri Matisse, James Ensor, Pablo Picasso and Vincent van Gogh. In 1937 some of Nolde's paintings, despite his protestations, were included in the Degenerate Art Exhibition the same year. In 1941 he was formerly forbidden to paint. He created some small watercolours during this time; he called them 'Unpainted Pictures' (Ungemalte Bilder) which have been praised in a number of retrospective exhibitions.
After the war, Nolde was once again returned to favour and was honoured with the German Order of Merit. His main subjects were now landscapes, portraits and flower pieces. He also created figures, heads and masks that seem grotesque, but which he found humorous. In 1947 significant exhibitions of his works were held in Lubeck and Kiel. He continued to work with huge energy, producing oils based on watercolours he had created during the war. Nolde died in 1956, at the age of 88. He established the Ada and Emil Nolde Foundation in Seebüll, before his death, which holds his archives and a large collection of his work.
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
I don't use the word swag a lot , but check me out in Winchester thinking whether or not if should to dive full-time with my clothes on.
SOLD/private collections
Acrylic on Canvas
20x24, unframed with finished edges
Signed prints of all originals available upon request
Artist contact:
sheri.delia@gmail.com
ERICH HECKEL or German Expressionism
A magnificent exhibition in Ghent (Belgium)
At the end of 2024, the Museum of Fine Arts Ghent (MSK) dedicated an exhibition to the German artist Erich Heckel (1883-1970). Heckel was one of the leading figures of German Expressionism and a co-founder of the artists' association Brücke.
From the end of the 19th century, young artists in Germany resisted the fleeting nature of Impressionism. In Dresden, the Brücke artists' association was founded in 1905. The 22-year-old Erich Heckel was one of the co-founders. This association of self-taught artists aimed to express strong joie de vivre in a common style of bright colors and angular forms. This style is called Expressionism: the artist tries to convey inner emotions through form and color rather than objective reality.
At the outbreak of World War I, Heckel was in his early thirties. Nevertheless, he already enjoyed a solid reputation in Germany. During the war, he became acquainted with Flanders. As a nurse for the Red Cross, he traveled to Ghent, Roeselare, and Ostend. On the hospital train, assembled by Walter Kaesbach, a curator of the Berlin National Gallery, were other painters and writers. As a result, the emergency hospital at Ostend station grew into a true artists' colony. Heckel met James Ensor there and developed a special friendship with his fellow nurse, the young poet Ernst Morwitz, whose literary world had a significant influence on his visual work.
During the war, Heckel's artistic activities continued. Between their shifting duties, the members of the artists' colony had enough time to devote to their art. In addition to several paintings, many gouaches, watercolors, drawings, and graphic works have been preserved: views of Roeselare, Ostend, and Ghent, sometimes featuring picturesque figures and bathers, but also still lifes, landscapes, and seascapes.
Despite the historical context, Heckel's stay in Flanders extended beyond World War I. Heckel was not a 'war artist' but a nurse working mainly behind the front lines. As a draftsman, he made numerous sketches of the places he visited and the people he observed. As a painter, he was particularly impressed by the Flemish landscape and the North Sea, with their unique cloud formations where light always tries to break through; motifs that seemed both foreign and familiar to him. The Flemish landscapes reminded him of the early days of the Brücke, when Heckel and his friends Ernst Ludwig Kirchner and Karl Schmidt-Rottluff would go out to paint en plein air.
(Source : MSK GHENT – BELGIUM)
House at Roosikrantsi 23
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
Acryl auf Leinwand / acrylic on canvas. The Butler Institute of American Art, Youngstown, Ohio. Ausstellung / exhibition "Robert Motherwell - Pure Painting". Kunstforum Wien
Medium: Oil & Acrylic
Size: 20" x 24"
2009
This contemporary painting was created last summer. The body of the squid is depicted in the first canvas and the tentacles drift off into the second, third and forth canvas. The combination between the browns, copper, and orange give this piece a contradiction that plays off each-others vivid line structure.
Barbara Fugate taught a class called "Painting the Subjective: German Expression" this fall quarter. As an intern, I was able to drop in and participate in this painting class where we painted from the model in the style of a said expressionist artist each week. This is a look at my beginning "Max Beckmann" portrait.