Expressionism
Not to be confused with Expressivism.
Expressionism was a modernist movement, initially in
The Scream by Edvard Munch (1893), which inspired 20th-
century Expressionists
poetry and painting, originating in Germany at the begin-
ning of the 20th century. Its typical trait is to present
the world solely from a subjective perspective, distorting
it radically for emotional eect in order to evoke moods
or ideas.[1][2] Expressionist artists sought to express the
meaning[3] of emotional experience rather than physical
reality.[3][4]
Expressionism was developed as an avant-garde style be-
fore the First World War. It remained popular during the
Weimar Republic,[1] particularly in Berlin. The style ex-
tended to a wide range of the arts, including expressionist
architecture, painting, literature, theatre, dance, lm and
music.
The term is sometimes suggestive of angst. In a gen-
eral sense, painters such as Matthias Grnewald and El
Greco are sometimes termed expressionist, though in
practice the term is applied mainly to 20th-century works.
The Expressionist emphasis on individual perspective has
been characterized as a reaction to positivism and other Wassily Kandinsky, 1911, Reiter (Lyrishes), oil on canvas, 94 x
artistic styles such as Naturalism and Impressionism.[5]
1 Origin of the term
While the word expressionist was used in the modern
sense as early as 1850, its origin is sometimes traced
to paintings exhibited in 1901 in Paris by an obscure
artist JulienAuguste Herv, which he called Expression-
ismes.[6] Though an alternate view is that the term was
coined by the Czech art historian Antonin Matjek in
1910, as the opposite of impressionism: An Expression-
ist wishes, above all, to express himself... (an Expres-
sionist rejects) immediate perception and builds on more
complex psychic structures... Impressions and mental im-
ages that pass through mental peoples soul as through
a lter which rids them of all substantial accretions to
produce their clear essence [...and] are assimilated and
condense into more general forms, into types, which
he transcribes through simple short-hand formulae and
symbols.[7]
Important precursors of Expressionism were: the Ger-
man philosopher Friedrich Nietzsche (18441900), es-
pecially his philosophical novel Thus Spoke Zarathus-
tra (188392); the later plays of the Swedish dramatist
August Strindberg (18491912), including the trilogy To
Damascus 18981901, A Dream Play (1902), The Ghost
Sonata (1907); Frank Wedekind (18641918), especially
the Lulu plays Erdgeist (Earth Spirit) (1895) and Die
Bchse der Pandora (Pandoras Box) (1904); the Amer-
ican poet Walt Whitman (181992): Leaves of Grass
(185591); the Russian novelist Fyodor Dostoevsky
(182181); Norwegian painter Edvard Munch (1863
1944); Dutch painter Vincent van Gogh (185390);
Belgian painter James Ensor (18601949);[8] Sigmund
Freud (18561939).
130 cm, Museum Boijmans Van Beuningen
1
2 2 EXPRESSIONIST VISUAL ARTISTS

In 1905, a group of four German artists, led by Ernst Lud- ventions of representation.[13] More explicitly: that the
wig Kirchner, formed Die Brcke (the Bridge) in the city expressionists rejected the ideology of realism.[14]
of Dresden. This was arguably the founding organiza-
tion for the German Expressionist movement, though they
did not use the word itself. A few years later, in 1911,
a like-minded group of young artists formed Der Blaue
Reiter (The Blue Rider) in Munich. The name came
from Wassily Kandinsky's Der Blaue Reiter painting of
1903. Among their members were Kandinsky, Franz
Marc, Paul Klee, and Auguste Macke. However, the term
Expressionism did not rmly establish itself until 1913.[9]
Though mainly a German artistic movement initially[10]
and most predominant in painting, poetry and the the-
atre between 191030, most precursors of the movement
were not German. Furthermore, there have been expres-
sionist writers of prose ction, as well as non-German
speaking expressionist writers, and, while the movement
had declined in Germany with the rise of Adolf Hitler in
the 1930s, there were subsequent expressionist works.

Mannerist View of Toledo by El Greco, 1595/1610 is a pre-

cursor of 20th-century expressionism.[15]

The term refers to an artistic style in which the artist

Egon Schiele, 1910, Portrait of Eduard Kosmack, oil on canvas, sive aesthetically, but with the capacity to arouse extreme
100 100 cm, sterreichische Galerie Belvedere
Expressionism is notoriously dicult to dene, in
part because it overlapped with other major 'isms
of the modernist period: with Futurism, Vorticism,
Cubism, Surrealism and Dada.[11] Richard Murphy also
comments: the search for an all-inclusive denition
is problematic to the extent that the most challeng-
ing expressionists such as Kafka, Gottfried Benn and
Dblin were simultaneously the most vociferous anti-
expressionists.[12]
What, however, can be said, is that it was a movement
that developed in the early twentieth-century mainly in
Germany in reaction to the dehumanizing eect of indus-
trialization and the growth of cities, and that one of the
central means by which expressionism identies itself as
an avant-garde movement, and by which it marks its dis-
tance to traditions and the cultural institution as a whole is
through its relationship to realism and the dominant con-
seeks to depict not objective reality but rather the sub-
jective emotions and responses that objects and events
arouse within a person.[16] It is arguable that all artists
are expressive but there are many examples of art produc-
tion in Europe from the 15th century onward which em-
phasize extreme emotion. Such art often occurs during
times of social upheaval and war, such as the Protestant
Reformation, German Peasants War, Eighty Years War
between the Spanish and the Netherlands, when the ex-
treme violence, much directed at civilians was repre-
sented in propagandist popular prints, often unimpres-
emotions in the viewer.
Expressionism has been likened to Baroque by crit-
ics such as art historian Michel Ragon[17] and German
philosopher Walter Benjamin.[18] According to Alberto
Arbasino, a dierence between the two is that Expres-
sionism doesn't shun the violently unpleasant eect, while
Baroque does. Expressionism throws some terric 'fuck
yous, Baroque doesn't. Baroque is well-mannered.[19]
2 Expressionist visual artists
Some of the styles main visual artists of the early 20th
century were:
Armenia: Martiros Saryan
Australia: Sidney Nolan, Charles Blackman, John
Perceval, Albert Tucker and Joy Hester

Alvar Cawn, Sokea soittoniekka (Blind Musician), 1922
Elbe Bridge I by Rolf Nesch
Franz Marc, Die groen blauen Pferde (The Large Blue
Horses), (1911)
Austria: Egon Schiele, Oskar Kokoschka, Josef
Gassler and Alfred Kubin
Belgium: Constant Permeke, Gustave De Smet,
Frits Van den Berghe, James Ensor, Albert Servaes,
Floris Jespers and Albert Droesbeke.
Brazil: Anita Malfatti, Cndido Portinari, Di Cav-
alcanti, Iber Camargo and Lasar Segall.
Estonia: Konrad Mgi, Eduard Wiiralt
Finland: Tyko Sallinen,[20] Alvar Cawn, Juho
Mkel and Win Aaltonen.
3
France: Georges Rouault, Georges Gimel, Gen Paul
and Chaim Soutine
Germany: Ernst Barlach, Max Beckmann, Fritz
Bleyl, Heinrich Campendonk, Otto Dix, Conrad
Felixmller, George Grosz, Erich Heckel, Carl
Hofer, Ernst Ludwig Kirchner, Kthe Kollwitz,
Wilhelm Lehmbruck, Elfriede Lohse-Wchtler,
August Macke, Franz Marc, Ludwig Meidner, Paula
Modersohn-Becker, Otto Mueller, Gabriele Mnter,
Rolf Nesch, Emil Nolde, Max Pechstein, and Karl
Schmidt-Rottlu
Greece: George Bouzianis
Hungary: Tivadar Kosztka Csontvry
Iceland: Einar Hkonarson
Ireland: Jack B. Yeats
Indonesia: Aandi
Italy: Emilio Giuseppe Dossena
Mexico: Mathias Goeritz (German migr to Mex-
ico), Runo Tamayo
Netherlands: Charles Eyck, Willem Hofhuizen,
Herman Kruyder, Jaap Min, Jan Sluyters, Vincent
van Gogh, Jan Wiegers and Hendrik Werkman
Norway: Edvard Munch, Kai Fjell
Poland: Henryk Gotlib
Portugal: Mrio Eloy, Amadeo de Souza Cardoso
Russia: Wassily Kandinsky, Marc Chagall, Alexej
von Jawlensky, Natalia Goncharova, Mstislav
Dobuzhinsky, and Marianne von Werefkin
(Russian-born, later active in Germany and
Switzerland).
Romania:Horia Bernea
South Africa: Maggie Laubser, Irma Stern
Sweden: Axel Trneman
Switzerland: Carl Eugen Keel, Cuno Amiet, Paul
Klee
Ukraine: Alexis Gritchenko (Ukraine-born, most
active in France), Vadim Meller
United Kingdom: Francis Bacon, Frank Auerbach,
Leon Kosso, Lucian Freud, Patrick Heron, John
Hoyland, Howard Hodgkin, John Walker, Billy
Childish
4 3 EXPRESSIONIST GROUPS OF PAINTERS

USA: Ivan Albright, Milton Avery, George Bid- who came from the German Expressionist school was
dle, Hyman Bloom, Peter Blume, Charles Burch- Bremen-born Wolfgang Degenhardt. After working as a
eld, David Burliuk, Stuart Davis, Lyonel Feininger, commercial artist in Bremen, he migrated to Australia in
Wilhelmina Weber Furlong, Elaine de Kooning, 1954 and became quite well known in the Hunter Valley
Willem de Kooning, Beauford Delaney, Arthur region.
G. Dove, Norris Embry, Philip Evergood, Kahlil American Expressionism[23] and American Figurative
Gibran, William Gropper, Philip Guston, Marsden Expressionism, particularly the Boston gurative expres-
Hartley, Albert Kotin, Yasuo Kuniyoshi, Rico Le- sionism,[24] were an integral part of American modernism
brun, Hyman Bloom, Jack Levine, Alfred Henry
around the Second World War.
Maurer, Robert Motherwell, Alice Neel, Abraham
Rattner, Ben Shahn, Leonard Baskin, Harry Shoul-
berg, Joseph Stella, Harry Sternberg, Henry Os-
sawa Tanner, Dorothea Tanning, Wilhelmina We-
ber, Max Weber, Hale Woodru, David Aronson,
Karl Zerbe, Fritz Scholder

3 Expressionist groups of painters

The style originated principally in Germany and Austria.
There were a number of groups of expressionist painters,
including Der Blaue Reiter and Die Brcke. Der Blaue Re-
iter (The Blue Rider, named for a magazine) was based in
Munich and Die Brcke was based originally in Dresden
(although some members later relocated to Berlin). Die
Brcke was active for a longer period than Der Blaue
Reiter, which was only together for a year (1912). The
Expressionists had many inuences, among them Edvard
Munch, Vincent van Gogh, and African art.[21] They were
also aware of the work being done by the Fauves in Paris, Rehe im Walde (Deer in Woods), 1914, by Franz Marc
who inuenced Expressionisms tendency toward arbi-
trary colours and jarring compositions. In reaction and Major gurative Boston Expressionists included: Karl
opposition to French Impressionism, which emphasized Zerbe, Hyman Bloom, Jack Levine, David Aronson. The
the rendering of the visual appearance of objects, Expres- Boston gurative Expressionists post World War II were
sionist artists sought to portray emotions and subjective increasingly marginalized by the development of abstract
interpretations. It was not important to reproduce an aes- expressionism centered in New York City.
thetically pleasing impression of the artistic subject mat- After World War II, gurative expressionism inuenced
ter, they felt, but rather to represent vivid emotional re- worldwide a large number of artists and styles. Thomas
actions by powerful colours and dynamic compositions. B. Hess wrote that the New gurative painting which
Kandinsky, the main artist of Der Blaue Reiter group, be- some have been expecting as a reaction against Abstract
lieved that with simple colours and shapes the spectator Expressionism was implicit in it at the start, and is one of
could perceive the moods and feelings in the paintings, its most lineal continuities.[25]
a theory that encouraged him towards increased abstrac-
tion. New York Figurative Expressionism[26][27] of the
The ideas of German expressionism inuenced the work 1950s represented New York gurative artists such
of American artist Marsden Hartley, who met Kandinsky as Robert Beauchamp, Elaine de Kooning, Robert
in Germany in 1913.[22] In late 1939, at the beginning of Goodnough, Grace Hartigan, Lester Johnson, Alex
World War II, New York City received a great number Katz, George McNeil (artist), Jan Muller, Faireld
of major European artists. After the war, Expression- Porter, Gregorio Prestopino, Larry Rivers and Bob
ism inuenced many young American artists. Norris Em- Thompson.
bry (19211981) studied with Oskar Kokoschka in 1947
Lyrical Abstraction, Tachisme[28] of the 1940s and
and during the next 43 years produced a large body of
1950s in Europe represented by artists such as
work in the Expressionist tradition. Norris Embry has
Georges Mathieu, Hans Hartung, Nicolas de Stal
been termed the rst American German Expressionist.
and others.
Other American artists of the late 20th and early 21st
century have developed distinct styles that may be con- Bay Area Figurative Movement[29][30] represented
sidered part of Expressionism. Another prominent artist by early gurative expressionists from the San Fran-
 5

cisco area Elmer Bischo, Richard Diebenkorn, and

David Park. The movement from 1950 to 1965 was
joined by Theophilus Brown, Paul Wonner, James
Weeks, Hassel Smith, Nathan Oliveira, Bruce Mc-
Gaw, Jay DeFeo, Joan Brown, Manuel Neri, Frank
Lobdell, Joan Savo and Roland Peterson. Franz Marc, Fighting
Forms, 1914.
Abstract expressionism of the 1950s represented
American artists such as Louise Bourgeois, Hans
Burkhardt, Mary Callery, Nicolas Carone, Willem
de Kooning, Jackson Pollock, Philip Guston, and
others[31][32] that participated with gurative expres-
sionism.

In the United States and Canada, Lyrical Ab-

straction beginning during the late 1960s and the
1970s. Characterized by the work of Dan Chris-
tensen, Peter Young, Ronnie Landeld, Ronald
Ernst Ludwig Kirchner,
Davis, Larry Poons, Walter Darby Bannard, Charles
Nollendorfplatz, 1912
Arnoldi, Pat Lipsky and many others.[33][34][35]

Neo-expressionism was an international revival style

that began in the late 1970s and included artists from
many nations:

Germany: Anselm Kiefer and Georg Baselitz

and others;
USA: Jean-Michel Basquiat, Eric Fischl,
David Salle and Julian Schnabel;
Ernst Ludwig Kirchner,
Spain: Antonio Peris carbonell
Self-Portrait as a Soldier, 1915
Cuba: Pablo Carreno;
France: Rmi Blanchard, Herv Di Rosa,
Bernard Buet and others;
Italy: Francesco Clemente, Paolo Salvati, 5 In other arts
Sandro Chia and Enzo Cucchi;
England: David Hockney, Frank Auerbach The Expressionist movement included other types of cul-
and Leon Kosso ture, including dance, sculpture, cinema and theatre.

Belarus: Natalia Chernogolova

5.1 Dance
4 Selected expressionist paintings Main article: Expressionist dance

Exponents of expressionist dance included Mary Wig-

man, Rudolf von Laban, and Pina Bausch.

5.2 Sculpture

Some sculptors used the Expressionist style, as for ex-

August Macke, Lady in ample Ernst Barlach. Other expressionist artists known
a Green Jacket, 1913 mainly as painters, such as Erich Heckel, also worked
with sculpture.
6 5 IN OTHER ARTS

Dblin, Anatole France, Knut Hamsun, Arno Holz, Karl

Kraus, Selma Lagerlf, Adolf Loos, Heinrich Mann, Paul
Scheerbart, and Ren Schickele, and writings, drawings,
and prints by such artists as Kokoschka, Kandinsky, and
members of Der blaue Reiter.

5.4.2 Drama

Main article: Expressionism (theatre)

Oskar Kokoschka's 1909 playlet, Murderer, The Hope of

Women is often termed the rst expressionist drama. In
it, an unnamed man and woman struggle for dominance.
The man brands the woman; she stabs and imprisons him.
He frees himself and she falls dead at his touch. As the
play ends, he slaughters all around him (in the words of
the text) like mosquitoes. The extreme simplication
of characters to mythic types, choral eects, declama-
tory dialogue and heightened intensity all would become
characteristic of later expressionist plays. The German
composer Paul Hindemith created an operatic version of
this play, which premiered in 1921.
Expressionism was a dominant inuence on early 20th-
century German theatre, of which Georg Kaiser and Ernst
Mary Wigman, pioneer of Expressionist dance (left)
Toller were the most famous playwrights. Other no-
table Expressionist dramatists included Reinhard Sorge,
5.3 Cinema Walter Hasenclever, Hans Henny Jahnn, and Arnolt
Bronnen. Important precursors were the Swedish play-
Main article: German Expressionism wright August Strindberg and German actor and drama-
tist Frank Wedekind. During the 1920s, Expressionism
enjoyed a brief period of popularity in American theatre,
There was an Expressionist style in German cinema, im- including plays by Eugene O'Neill (The Hairy Ape, The
portant examples of which are Robert Wiene's The Cab- Emperor Jones and The Great God Brown), Sophie Tread-
inet of Dr. Caligari (1920), The Golem: How He Came well (Machinal) and Elmer Rice (The Adding Machine).
into the World (1920), Fritz Lang's Metropolis (1927) and
F. W. Murnau's Nosferatu, a Symphony of Horror (1922) Expressionist plays often dramatise the spiritual awaken-
and The Last Laugh (1924). The term expressionist is ing and suerings of their protagonists. Some utilise an
also sometimes used to refer to stylistic devices thought to episodic dramatic structure and are known as Stationen-
resemble those of German Expressionism, such as Film dramen (station plays), modeled on the presentation of
Noir cinematography or the style of several of the lms of the suering and death of Jesus in the Stations of the
Ingmar Bergman. More generally, the term expression- Cross. August Strindberg had pioneered this form with
ism can be used to describe cinematic styles of great arti- his autobiographical trilogy To Damascus. Theses plays
ce, such as the technicolor melodramas of Douglas Sirk also often dramatise the struggle against bourgeois values
or the sound and visual design of David Lynch's lms. and established authority, frequently personied by the
Father. In Sorges The Beggar, (Der Bettler), for exam-
ple, the young heros mentally ill father raves about the
5.4 Literature prospect of mining the riches of Mars and is nally poi-
soned by his son. In Bronnens Parricide (Vatermord),
5.4.1 Journals the son stabs his tyrannical father to death, only to have
to fend o the frenzied sexual overtures of his mother.
Two leading Expressionist journals published in Berlin In Expressionist drama, the speech is either expansive and
were Der Sturm, published by Herwarth Walden start- rhapsodic, or clipped and telegraphic. Director Leopold
ing in 1910,[36] and Die Aktion, which rst appeared in Jessner became famous for his expressionistic produc-
1911 and was edited by Franz Pfemfert. Der Sturm tions, often set on stark, steeply raked ights of stairs
published poetry and prose from contributors such as (having borrowed the idea from the Symbolist director
Peter Altenberg, Max Brod, Richard Dehmel, Alfred and designer, Edward Gordon Craig).
5.5 Music 7

German expressionist playwrights: 5.4.4 Prose

In prose, the early stories and novels of Alfred Dblin

Georg Kaiser (1878)
were inuenced by Expressionism,[42] and Franz Kafka
is sometimes labelled an Expressionist.[43] Some further
Ernst Toller (18931939) writers and works that have been called Expressionist in-
clude:
Hans Henny Jahnn (18941959)
Franz Kafka (18831924): "The Metamorphosis"
Reinhard Sorge (18921916)
(1915), The Trial (1925), The Castle (1926)[44]
Bertolt Brecht (18981956) Alfred Dblin (18571957): Berlin Alexanderplatz
(1929)[45]
Playwrights inuenced by Expressionism: Wyndham Lewis (18821957)[46]

Djuna Barnes (18921982): Nightwood (1936)[47]

Sen O'Casey (18801964)[37]
Malcolm Lowry (190957): Under the Volcano
Eugene O'Neill (18851953) (1947)

Elmer Rice (18921967) Ernest Hemingway[48]

James Joyce (18821941): The Nighttown section

Tennessee Williams (191183)[38] of Ulysses (1922)[49]

Arthur Miller (19152005) Patrick White (191290)[50]

Samuel Beckett (190689)[39] D. H. Lawrence[51]

Sheila Watson: Double Hook[52]

5.4.3 Poetry Elias Canetti: Auto de Fe[53]

Thomas Pynchon[54]
Among the poets associated with German Expressionism
were: William Faulkner[55]

James Hanley (18971985)[56]

Jakob van Hoddis

Georg Trakl 5.5 Music

Gottfried Benn Main article: Expressionist music

Georg Heym
The term expressionism was probably rst applied to
music in 1918, especially to Schoenberg, because like
Else Lasker-Schler the painter Kandinsky he avoided traditional forms of
beauty to convey powerful feelings in his music.[57]
Ernst Stadler Arnold Schoenberg, Anton Webern and Alban Berg, the
members of the Second Viennese School, are impor-
August Stramm tant Expressionists (Schoenberg was also an expressionist
painter).[58] Other composers that have been associated
Rainer Maria Rilke (18751926): The Notebooks of with expressionism are Krenek (the Second Symphony),
Malte Laurids Brigge (1910)[40] Paul Hindemith (The Young Maiden), Igor Stravinsky
(Japanese Songs), Alexander Scriabin (late piano sonatas)
Geo Milev (Adorno 2009, 275). Another signicant expression-
ist was Bla Bartk in early works, written in the sec-
ond decade of the 20th-century, such as Bluebeards
Other poets inuenced by expressionism:
Castle (1911),[59] The Wooden Prince (1917),[60] and
The Miraculous Mandarin (1919).[61] Important precur-
T. S. Eliot[41]
sors of expressionism are Richard Wagner (181383),
8 6
Gustav Mahler (18601911), and Richard Strauss (1864
1949).[62]
Theodor Adorno describes expressionism as concerned
with the unconscious, and states that the depiction of
fear lies at the centre of expressionist music, with dis-
sonance predominating, so that the harmonious, ar-
mative element of art is banished (Adorno 2009, 275
76). Erwartung and Die Glckliche Hand, by Schoen-
berg, and Wozzeck, an opera by Alban Berg (based on
the play Woyzeck by Georg Bchner), are examples of
Expressionist works.[63] If one were to draw an analogy
from paintings, one may describe the expressionist paint-
ing technique as the distortion of reality (mostly colors
and shapes) to create a nightmarish eect for the particu-
lar painting as a whole. Expressionist music roughly does
the same thing, where the dramatically increased disso-
nance creates, aurally, a nightmarish atmosphere.[64]
5.6 Architecture
Main article: Expressionist architecture
In architecture, two specic buildings are identi-
Einsteinturm in Potsdam
ed as Expressionist: Bruno Taut's Glass Pavilion of
the Cologne Werkbund Exhibition (1914), and Erich
Mendelsohn's Einstein Tower in Potsdam, Germany com- [11] Sherrill E. Grace, Regression and Apacaypse: Studies in
pleted in 1921. The interior of Hans Poelzig's Berlin the-
atre (the Grosse Schauspielhaus), designed for the direc-
tor Max Reinhardt, is also cited sometimes. The inu- [12] Richard Murphy, Theorizing the Avant-Garde: Mod-
ential architectural critic and historian Sigfried Giedion, ernism, Expressionism, and the Problem of Postmodernity.
in his book Space, Time and Architecture (1941), dis-
REFERENCES
missed Expressionist architecture as a part of the de-
velopment of functionalism. In Mexico, in 1953, Ger-
man migr Mathias Goeritz, published the Arquitectura
Emocional (Emotional Architecture) manifesto with
which he declared that architectures principal function
is emotion.[65] Modern Mexican architect Luis Barragn
adopted the term that inuenced his work. The two of
them collaborated in the project Torres de Satlite (1957
58) guided by Goeritzs principles of Arquitectura Emo-
cional. It was only during the 1970s that Expressionism
in architecture came to be re-evaluated more positively.
6 References
[1] Bruce Thompson, University of California, Santa Cruz,
lecture on Weimar culture/Kafka'a Prague
[2] Chris Baldick Concise Oxford Dictionary of Literary
Terms, entry for Expressionism
[3] Victorino Tejera, 1966, pages 85,140, Art and Human In-
telligence, Vision Press Limited, London
[4] The Oxford Illustrated Dictionary, 1976 edition, page 294
[5] Garzanti, Aldo (1974) [1972]. Enciclopedia Garzanti
della letteratura (in Italian). Milan: Guido Villa. p. 963.
page 241
[6] John Willett, Expressionism. New York: World University
Library, 1970, p.25; Richard Sheppard, German Expres-
sionism, in Modernism:18901930, ed. Bradbury & Mc-
Farlane, Harmondsworth: Penguin Books, 1976, p.274.
[7] Cited in Donald E. Gordon, Expressionism: Art and Ideas.
New Haven: Yale University Press, 1987, p. 175.
[8] R. S. Furness, Expressionism. London: Methuen, pp.2
14; Willett, pp. 2024.
[9] Richard Sheppard, p.274.
[10] Note the parallel French movement Fauvism and the En-
glish Vorticism: The Fauvist movement has been com-
pared to German Expressionism, both projecting bril-
liant colors and spontaneous brushwork, and indebted
to the same late nineteenth-century sources, especially
Van Gogh. Sabine Rewald, Fauvism. In Heilbrunn
Timeline of Art History. New York: The Metropolitan
Museum of Art, 2000. http://www.metmuseum.org/
toah/hd/fauv/hd_fauv.htm (October 2004); and Vorti-
cism can be thought of as English Expressionism. Sher-
rill E. Grace, Regression and Apocalypse: Studies in North
American Literary Expressionism. Toronto: University of
Toronto Press, 1989, p.26.
North American Literary Expressionism. Toronto: Uni-
versity of Toronto Press, 1989, p.26).
Cambridge, Cambridge University Press,1999, p.43.

[13] Richard Murphy, p.43.
[14] Murphy, especially pp. 4348; and Walter H. Sokel, The
Writer in Extremis. Stanford, California: Stanford Univer-
sity Press, 1959, especially Chapter One.
[15] El Greco. Artble. 2016. Retrieved 7 February 2016.
[16] Brittanica online Encyclopaedia(February, 2012).
[17] Ragon, Michel (1968). Expressionism. There is no doubt
that Expressionism is Baroque in essence
[18] Benjamin, Walter (1998). Origin of German Tragic
Drama. London: Verso. ISBN 978-1-85984-899-9.
[19] Pedull, Gabriele; Arbasino, Alberto (2003). Sull'albero
di ciliegie Conversando di letteratura e di cinema con
Alberto Arbasino [On the cherry tree Conversations
on literature and cinema with Alberto Arbasino]. CON-
TEMPORANEA Rivista di studi sulla letteratura e sulla
comunicazione. Lespressionismo non rifugge dalleetto
violentemente sgradevole, mentre invece il barocco lo
fa. Lespressionismo tira dei tremendi vaanculo,
il barocco no. Il barocco beneducato (Expression-
ism doesn't shun the violently unpleasant eect, while
Baroque does. Expressionism throws some terric Fuck
yous, Baroque doesn't. Baroque is well-mannered.)
[20] Ian Chilvers, The Oxford dictionary of art, Volume 2004,
Oxford University Press, p. 506. ISBN 0-19-860476-9
[21] Ian Buruma, Desire in Berlin, New York Review of
Books, December 8, 2008, p. 19.
[22] Hartley, Marsden, Oxford Art Online
[23] Bram Dijkstra, American expressionism : art and social
change, 19201950,(New York : H.N. Abrams, in asso-
ciation with the Columbus Museum of Art, 2003.) ISBN
0-8109-4231-3, ISBN 978-0-8109-4231-8
[24] Judith Bookbinder, Boston modern: gurative expression-
ism as alternative modernism (Durham, N.H. : University
of New Hampshire Press ; Hanover : University Press of
New England, 2005.) ISBN 1-58465-488-0, ISBN 978-
1-58465-488-9
[25] Thomas B. Hess, The Many Deaths of American Art,
Art News 59 (October 1960), p.25
[26] Paul Schimmel and Judith E Stein, The Figurative fties :
New York gurative expressionism (Newport Beach, Cali-
fornia : Newport Harbor Art Museum : New York : Riz-
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Press, c.2010.
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ifornia: Stanford University Press, 1959, p.1; R. S. Fur-
ness, Expressionism. London: Methuen, 1973, p. 81.
[50] Sherrill E. Grace, p.7.
[51] Sherrill E. Grace, p.7
[52] Sherrill E. Grace, pp 185209.
[53] Sherrill E. Grace, p.12.
[54] Sherrill E. Grace, p.7, 2413.
[55] Jerey Stayton, Southern Expressionism: Apocalyptic
Hillscapes, Racial Panoramas,and Lustmord in William
Faulkners Light in August. The Southern Literary Jour-
nal, Volume 42, Number 1, Fall 2009, pp. 3256.
[56] Ken Worpole, Dockers and Detectives. London: Verso
Editions, 1983, pp. 7793.
[57] The Norton Grove Concise Encyclopedia of Music, ed Stan-
ley Sadie. New York: Norton1991, p. 244.
[58] Theodor Adorno, Night Music: Essays on Music 1928
1962. (London: Seagull, 2009), p.274-8.
[59] Nicole V. Gagn, Historical Dictionary of Modern
and Contemporary Classical Music (Plymouth, England:
Scarecrow Press, 2011), p.92.
[60] Andrew Clements, Classical preview: The Wooden
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[61] The Cambridge Companion to Bartk, ed. Amanda Bayley
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Commentaries. Rochester, NY: Boydell Press, 2005
[63] Edward Rothstein New York Times Review/Opera:
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In a Modern Message. New York Times February 3,
1994; Theodor Adorno, Night Music (2009), p.276.
7 FURTHER READING
[64] Theodor Adorno, Night Music (2009), pp275-6.
[65] Mathias Goeritz, El maniesto de arquitectura emo-
cional, in Lily Kassner, Mathias Goeritz, UNAM, 2007,
p. 272-273
7 Further reading
Alrevic Djordje (2012), Expressionism as The Rad-
ical Creative Tendency in Architecture, Arhitektura i
urbanizam, No.34, pp. 1427.
Antonn Matjek cited in Gordon, Donald E.
(1987). Expressionism: Art and Idea, p. 175.
New Haven: Yale University Press. ISBN
9780300033106
Jonah F. Mitchell (Berlin, 2003). Doctoral thesis
Expressionism between Western modernism and Teu-
tonic Sonderweg. Courtesy of the author.
Friedrich Nietzsche (1872). The Birth of Tragedy
Out of The Spirit of Music. Trans. Clifton P. Fadi-
man. New York: Dover, 1995. ISBN 0-486-28515-
4.
Judith Bookbinder, Boston modern: gurative
expressionism as alternative modernism, (Durham,
N.H.: University of New Hampshire Press;
Hanover: University Press of New England,
2005.) ISBN 1-58465-488-0, ISBN 978-1-
58465-488-9
Bram Dijkstra, American expressionism: art and so-
cial change, 19201950, (New York: H.N. Abrams,
in association with the Columbus Museum of Art,
2003.) ISBN 0-8109-4231-3, ISBN 978-0-8109-
4231-8
Ditmar Elger Expressionism-A Revolution in Ger-
man Art ISBN 978-3-8228-3194-6
Paul Schimmel and Judith E Stein, The Figurative
fties: New York gurative expressionism, The Other
Tradition (Newport Beach, California: Newport
Harbor Art Museum: New York: Rizzoli, 1988.)
ISBN 978-0-8478-0942-4 ISBN 978-0-91749312-
6
Marika Herskovic, American Abstract and Figura-
tive Expressionism: Style Is Timely Art Is Timeless
(New York School Press, 2009.) ISBN 978-0-
9677994-2-1.
Lakatos Gabriela Luciana, Expressionism Today,
University of Art and Design Cluj Napoca, 2011
 11

8 External links
Hottentots in tails A turbulent history of the group by
Christian Saehrendt at signandsight.com
German Expressionism A free resource with paint-
ings from German expressionists (high-quality).
12 9 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

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