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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)
My words are carried away...
I talk to the wind,
and the wind does not hear,
and the wind cannot hear...
Sometimes making art is like taking a leap of faith... in this case it's having faith in my materials: a largish canvas, a limited pallet of acrylic paints, some well loved brushes, water and varnish... throw them altogether with time and patience... the technique on this and most of my newer work is a longer process of building-up very thin and often watery layers... allowing the paint to flow as it wants and then loving the natural movements in the work. I really enjoyed making this one!
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)
I was living in Australia when Brett Whiteley died and was thinking of him when I tried to come up with a name for this yarn.
223 yds aran weight merino wool
4 skeins available
Mountain Rhythm (2000)
Watercolor on paper
13 by 18 in.
Courtesy Woodward Gallery, NYC
Copyright Artist Natalie Edgar
In my current A2 work, for my coursework I am exploring the question "how do artists use colour expressively in portraits?" This piece has been inspired by the German expressionist artist Kathe Kollwitz, who did artwork based on the holocaust, therefore her work reflects emotion through colour. So I photographed my friend, using black and white filters to reflect sorrow. I then used charcoal and chalk to draw her. Whereas the bright, messy colours in the background are inspired by modern artists Lionel Smit and Andrew Salgado.
A truly tail-ented artist, Beaufere works in acrylics and draws his inspiration from dog food. When a favorite brand puts him in a good mood, his waggish sense of fun creates these marvelous canvases.
The Kontorhaus District is the southeastern part of Altstadt, Hamburg, between Steinstraße, Meßberg, Klosterwall and Brandstwiete. The streetscape is characterized by large office buildings in the style of Brick Expressionism of the early 20th century.
Since July 5, 2015, parts of the Kontorhaus district and the adjacent Speicherstadt district have been UNESCO World Heritage Sites.
Since the 17th century, the area has been densely built-up; the result was a so-called Gängeviertel ("corridor quarter") with many narrow alleys. The density of the buildings increased even more when there was a housing shortage after the Hamburg fire in 1842. In 1892, a cholera epidemic broke out and the poor hygienic conditions in the neighborhood caused the disease to spread dramatically – it was then decided to redevelop the area. As a result, many inhabitants were resettled.
Fritz Schumacher, who had been Director of Construction and Head of Building Construction since 1909 prevailed in the re-planning of the site; the increasing space requirements of the up-and-coming Hamburg merchants were to be met with the construction of large Kontorhouses, although a partial use as living space was also initially envisaged. The Burchardplatz forms the center of the complex planned by Schumacher.
The buildings were mainly made of reinforced concrete skeleton construction. The new buildings were to be individually designed. Characteristic features are clinker brick façades and copper roofs. In order to make the street canyons more open at the top, the upper floors are often set back from the main front of the house. Decorative elements on the façade are also made of clinker brick; in addition, elements (often sculptures) of ceramics were used for the design, most of which have a connection to Hamburg trade and crafts.
Information from: en.wikipedia.org/wiki/Kontorhaus_District
Hamburg (Hamborg in Low Saxon or the Hamburger dialect of German), officially the Free and Hanseatic City of Hamburg, is the second-largest city in Germany. It is also the 8th-largest city in the European Union, with a population of over 1.9 million. The Hamburg Metropolitan Region has a population of over 5.1 million and is the ninth-largest metropolitan region by GDP in the EU.
At the southern tip of the Jutland Peninsula, Hamburg is situated on the distributaries of the River Elbe at the head of a 68 mile (110 kilometer) estuary to the North Sea, on the mouth of the Alster and Bille. Hamburg is one of Germany's three city-states alongside Berlin and Bremen, and is surrounded by Schleswig-Holstein to the north and Lower Saxony to the south. The Port of Hamburg is Germany's largest and Europe's third-largest, after Rotterdam and Antwerp. The local dialect is a variant of Low Saxon.
The official name reflects Hamburg's history as a member of the medieval Hanseatic League and a free imperial city of the Holy Roman Empire. Before the 1871 unification of Germany, it was a fully sovereign city state, and before 1919 formed a civic republic headed constitutionally by a class of hereditary Grand Burghers or Hanseaten. Beset by disasters such as the Great Fire of Hamburg, North Sea flood of 1962, and military conflicts including World War II bombing raids, the city has managed to recover and emerge wealthier after each catastrophe.
Information from: en.wikipedia.org/wiki/Hamburg