Expressionists: Kandinsky, Münter, and the Blue Rider, The focus of current exhibitions at Tate Modern, This demonstrates the breadth of the group’s involvement in terms of transnational relationships, experimentation with form, color, sound and performance, and the values of folk art. Impressionism aside, most early modern art movements had important spiritual inspirations and motivations.Expressionism, whether that of Der Blaue Reiter Or perhaps Die Brücke (Die Brücke) was no exception, and was one of the movements most influenced by spirituality.
Blue Rider asserted that art has no borders, and sought to prove the reality of that claim. Dare Blue Lighter YearbookBut as the room dedicated to images with a spiritual focus shows, their aesthetic interests developed in parallel with a belief in the deep spiritual importance of artistic experimentation, which led to their creative It prompted a great quest.
Wassily Kandinsky’s interest in spirituality is clearly expressed in his books About spirituality in art, was published in the same year as almanac. This book (of which an example is on display) argues that the artist’s “inner necessity,” his or her inherent drive and will, is the merging of all art forms into a new “great spiritual” era. conveyed the vision. spiritual expression. Many of Kandinsky’s observations about form, color, and spatial relationships appear to be purely aesthetic, but they derive from things like: form of thought, a Theosophical classic by Annie Besant and C.W. Leadbeater, was translated into German in 1908. His attempts to express the spiritual in painting led him increasingly toward abstraction, drawing on both Theosophical ideas and Russian Orthodox imagery. Images such as “All Saints I” and “Improvisation Deluge” provide examples of this journey seen in his work.
Franz Marc’s background was in Christian theology, but he also became interested in Buddhism. This fostered his involvement in animism, a belief in the latent spirituality of animals, objects, and the natural world. His pantheistic or pantheistic oneness with nature led him to abstraction as he sought to show how animals and humans are interconnected and integrated into the natural world. “In the Rain” and “Doe in the Monastery Garden” are among his images that reveal his semi-abstract immersive style.
Alexei von Jawlensky’s modern spiritualism, which combined the best parts of various religious movements, developed a mystical focus on the depiction of the human face, especially the face of Christ. David Miller said: “Jawlensky’s paintings are not like others. They are at the same time clearly of their time, Kandinsky, Marc, [Emil] Nolde, [Karl] Schmidt-Rottolf and is also an extraordinary ‘other’ in that it influences the radical or authentic recovery of old traditions, Byzantine and Russian iconographic art. ” “Like an icon painter,“ Miller states that “Jourenski is clearly interested in spiritual feelings” and that the effect is “contemplative tranquility.”
Kandinsky and Gabriele Münter both collected religious images to use as motifs in their works. These included votive paintings (commissioned to fulfill spiritual vows) and sculptures of saints and the Virgin Mary. The exhibition features a selection of these, as well as some of the images below. Münter’s “Madonna with Poinsetta” incorporates such items. Münter and Kandinsky also experimented with inverted glass painting, primarily for religious art.Some of their works, such as Natalia’s work Goncharova They also exhibited religious It is a more contemporary expression of the themes and images of folk art, and is a reworking of religious art to suit the times.marianne Wearfukin’s ‘prayer‘ Offers especially strong For example, it depicts not only this style, but also local people praying in their daily lives.
Other examples of such themes in the works of these expressionists include Maria. Frank Marc’s “Three Wise Men” Albert Bloch’s “burial”‘ and Lionel Feininger’s symbolic and geometric church paintings.
The problem with assigning a specific room to spirituality in this case is that it takes you outside of the scope of spirituality. in the same way Method, The name of a seaside town runs through a rock bar, runs through everything these expressionists did individually and the Blue Riders as a group. In addition to this, this catalog strangely completely ignores this aspect of these artists, showing through essays how this theme influenced the movement as a whole, or even showing how independent There’s also the fact that we don’t emphasize its importance by exploring it as a topic.
This exhibition spotlights 17 individuals, including artists, musicians, and performers, demonstrating the unique nature of the transnational community of artists known as the Blue Riders. This exhibition draws on the world’s richest collection of Expressionist masterpieces at the Lenbachhaus in Munich, as well as rare loans from public and private collections, to put together a stunning display. key It works. In this, restoring the status and jobs of the female members of the group becomes a key focus. These expressionist artists brought together a wide range of interconnected experiences, relationships, and artistic practices, a diversity of which is amply demonstrated in this exhibition. Though poorly expressed, it is imbued with signs, images, and artifacts of the spirituality that motivated and united the Blue Riders.
This exhibition features major works and stunning images throughout. Münter’s “Portrait of Marianne Weyrufkin”‘ to Marc’s From “Tiger” Jawlenski’s “Spanish woman”‘ to Wearfukin’s ‘prayer‘ And from Robert Delaunaise ‘Windows open at the same time (Part 1, 3rd motif)‘ to Kandinsky’s “Horseback Couple” But these great works and the underlying elements of Blue Rider’s achievements are presented here not as a key to unlock a treasure chest full of mystery, emotion, poetry and wonder, but as one of his themes among many. being treated.
Expressionists: Kandinsky, Münter and the Blue Riders, 25 April – 20 October 2024, Tate Modern
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