Stories from Stourton: The Black Cat Gallery

Susan Hibberd's books

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Set in the fictional town of Stourton, lying on the east coast of Kent on the River Stour, the series will follow the lives of some of the women and possibly men! She makes friends, finds a cat and falls in love. Set against the background of the Kentish country side, this heartwarming novel is the ideal summer read. Get to know Kent at the same time as Eleanor does and perhaps you too will find that your own dreams come true. Future novels will include the stories of Rosie the potter, who is married to an architect and lives in a house called 'Pots and Plans', and Audrey, an older lady who has buried four husbands and now fallen in love with the local vet.

Lots of cats, lots of drama and a warm feeling in your heart at the end. Posted by Locus Arts at In I wrote a book about Old Leigh on a battered old typewriter. Technology has finally caught up with me, and I have now uploaded it to Kindle Publishing. It should be available from www.

I spent hours resourcing old books, publications and leaflets and searching the libraries for passing references to Leigh. With the coming of the internet, research has become much easier, and a new book would be more detailed in every way. However, for the sake of historical accuracy on the one hand and on the other, an odd feeling that I somehow owe a debt to that year-old me, I have decided to publish this work as it was first created. It is also for this latter reason that I have decided to publish it under my maiden name.

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The photographs from the s are all mine, and the maps were drawn freehand using a little bottle of brown ink I managed to find in a backstreet art shop. You can still see the outlines around some of the map titles which show that they were rubbed down by hand using good old Letraset. In past years, Leigh has been a major port and an important strategic position, but it is now just a small fishing village, struggling to retain its identity.

In this book I hope to trace the path of progress through Leigh. I do not pretend to be a historian, nor do I see this work as a complete history of Leigh, but I do hope that it will provide a starting-point for anybody interested in the local history of this particular area. I should like to thank Canon John Bundock for his permission to use pictures from his book and also Mrs A. Blower and Miss P. Charles for the use of postcards in their possession. It's such a tiny village, and yet has the whole world contained within it.

I hope to continue the research I stared at the end of the s and publish a more up-to-date history of the area very soon. Glue ivy leaves, cloves, lace, sequins, pressed flowers, dried fruit and cinnamon sticks round the candles. Place markers for the dinner table. Cut rectangles from card and decorate the same as for the cards. Wreath for the front door. Wreaths can be as simple or as difficult as you want. Bend an old coathanger into shape and tie on bits of greenery and small tree decorations. Finish with a big red bow or a tartan ribbon. Make a cake from scratch, or decorate a shop-bought one.

Stick on decorations with blobs of icing, or draw a Christmas scene with icing pens. Colour-in a wide paper border and use a pin to secure it round the cake. Dough-craft decorations for the tree. One egg white, g icing sugar and a few drops of peppermint essence — yummy! Mulled wine spices in muslin.

Mix cloves, cinnamon, nutmeg and sugar in a bowl. Tie in pieces of muslin or pour into tiny jars. Paint fir cone tips with white paint and glitter.

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Use red or green fabric to make tiny hearts. Stuff with off-cuts of material or bits of wool. Add a hanging loop and a bow. Use gingham and string for a country look. Melt the bottom of a candle, and stick it onto a plate or bowl, or use plasticine to keep it secure. Pile oranges, lemons, ivy, holly, nuts and fir cones round the edge. Spray some of the nuts or fruit gold for a really special effect, and add some tiny bits of tinsel.

Use salt dough to make candle holders. Candle holders from fir cones or dough. Use the dough recipe and model tiny fir cones and leaves. Or cut a circle of card and glue cones, leaves, tiny presents etc round. Use red and green for a traditional look, or purple and silver for modern madness! A hanging with pockets, a pile of tiny presents, envelopes to open — all make great advent calendars. Melt the butter, and add the other ingredients. Shape into balls, and roll in coconut, cocoa, chocolate vermicelli or nuts.

Tiny fabric stockings for the tree. Use Christmas fabric if you can find it, or bright red material. Cut out stocking shapes, add a white lacy top, and sew on a hanging loop of red ribbon. Marzipan fruits for presents. Shape coloured marzipan into fruit shapes and paint with food colouring. Use cloves for stalks. Decorate gift boxes and give as presents. Advanced cooking for the adventurous! Microwave recipes will get the job done in half the time. Painted glass tea-light holders. Use tiny glass jars and paint with glass paints.

Draw your design on paper and hold it behind the glass, and trace over it.

Use the gingerbread recipe to make a house. Decorate with icing snow and lots of sweets! Use plain brown wrapping paper or jewel coloured tissue. Little swirls or stars repeated all over look great — or write your own special Christmas message. Collaged and printed gift tags. Glue on pictures from magazines, bits of holly, ivy leaves, gold foil, pieces from old Christmas cards etc. Add a piece of hairy garden twine or some embroidery thread to attach it to the present. Menu for the dinner table. Use your computer to print out the Christmas Day menu, then decorate with glitter and glue.

No patience for knitting? Painted Christmas plates, bowls and glasses. Use plain white crockery, and paint with ceramic paints from craft shops. Bake in the oven to harden, and use to serve Christmas snacks. Use glass paint outliner tubes to draw onto little bowls for nuts and nibbles. Melt the butter, sugar and honey together. Sift the dry ingredients together. Mix everything together, and leave for 30 minutes. Roll out, and cut into shapes. Memories of Sandwich Secondary School 1 Sep Diary of a thyroid cancer patient 3 Apr A Homemade Christmas easy crafts for you and your family 18 Nov Abigail Flynn 4 May Previous Page 1 2 Next Page.

Provide feedback about this page. Unlimited One-Day Delivery and more. There's a problem loading this menu at the moment. Learn more about Amazon Prime. It is not an amusement, but a passion often so violent that it is no less potent than love or ambition, except for the smallness of its object. However, adhering to this type of psychoanalysis, which limits the practice of collecting to a pathology that is intrinsically neurotic, neglects the important and complex social and historical forces which also serve to develop and determine the formation of collections and collecting practices.

Princeton University Press, Along similar lines, the more recent anthology Interpreting Objects and Collections, edited by Susan M. Pearce, identifies two main concerns: The aforementioned studies build on the efforts of W. An Outline of a History which surveys the history of art collecting in the United States, with a focus on private, rather 28 John Elsner and Roger Cardinal, eds. Harvard University Press, The contributors to this study examined a diverse range of collections, from everyday objects, such as Swatch watches, to fine art.

Pearce, Interpreting Objects and Collections Andover: Overlook, ; Leah Dilworth, Acts of Possession: Collecting in America New Brunswick: Paris and Venice, Cambridge, MA: Museum of Fine Arts, The Anatomy of Artistic Taste from Antiquity to the Present Day is an encyclopedic survey of the history of collecting, museums, and the concepts of connoisseurship, taste, and taste-making.

Thirty-five Centuries of Art Collecting and Collectors. Studies, however, tend to neglect significant discussion of the dealers and other mechanisms of trade that provided objects for the collectors.

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My effort considers not only the collectors and their holdings, but examines relationships between dealers and their clients, particularly in those cases where print patrons were advised by one or more trusted dealers. Dierdre Robson traced the development of the art market in New York, examining how museums, commercial galleries, and auction houses fueled the growing desire for ownership of modern art in the mid-twentieth century.

Her Prestige, Profit, and Pleasure: The Market for Modern Art in New York in the s and s provides illuminating insight into similar issues to those I address concerning the 30 W. An Outline of a History New York: The Rise of the Modern Art Market provides an additionally helpful overview of the development of the market for modern art in both the United States and Europe. Scholars who have addressed issues pertinent to those in my study specific to German Expressionism have typically concentrated on the broader themes of specific artists and subsequent groups of German Expressionists, such as Der Blaue Reiter or Die Blaue Vier the Blue Four.

In addition, a predilection towards painting and sculpture has also been favored over prints in these studies. The group dissolved with the outbreak of war in Galka Emmy Scheyer, a German patron of the arts and former artist 33 A. Deirdre Robson, Prestige, Profit, and Pleasure: A supporter of Jawlensky since first seeing his work in a exhibition, Scheyer suggested the formation of the group for didactic and commercial purposes.

Very little attention has been given to the incongruence of American receptivity in regard to the different forms of German Expressionism; i. The Birth of Expressionism in Dresden and Berlin, These paradigms of modernism, many of which were established in Germany before the First World War, were perpetuated in the critical reception of their artwork in the United States by influential figures such as Alfred H. Prints from the Museum of Modern Art, exh. Museum of Modern Art, Art and Politics in the Weimar Republic Madison: University of Wisconsin Press, Scheyer and The Blue Four: Valentiner, and Carnegie Institute Department of Fine Arts director Homer Saint-Gaudens, have also paved the way for further investigations of a more focused nature.

Missionary for the Modern New York: Selected Writings of Alfred H. Yale University Press, The Transformation from E. Yale University Press, , ; Sara Campbell, ed. The Life of William R. Wayne State University Press, Chronology and Bibliography Westport, CT: German Expressionism in the Fine Arts: A Bibliography Los Angeles: Hennessey and Ingalls, This bibliography was edited by Bruce Davis in with numerous scholarly contributions by contemporary leading authorities on the subject of German Expressionism.

However, it is also important to note that these studies were compiled nearly twenty years ago, and there has been significant scholarship since that also contributes to my study. The Vagaries of Its Reception in America. Major Promoters and Exhibitions, runs parallel to my own study. Like Barron, however, Bealle focuses on all forms of German Expressionism emphasizing the Blaue Reiter and corresponding mediums here, again, the author leans predominantly towards painting.

Its focus revolves around those supporters and collectors who championed the success of German Expressionism in Europe and Germany. But, as her title suggests, Barnett takes a more attentive approach to the discussion of institutional support of German Expressionism, including analysis of the involvement of a number of New York gallery owners who promoted modern German art. Art and Society, Stephanie Barron, ed.

Abrams, , Her study summarizes the full-spectrum of German Expressionist artists without delving deeply into individual efforts for acceptance of each aesthetic or medium. His summation on the interchanges of these interwar-era relationships is valuable to the historical context of my study. Also of key importance as background to my thesis, John A. Gatzke has provided a well-balanced account of American foreign policy and perceptions of Germany and her culture within the framework of the World Wars, the interwar period, the aftermath of the wars, and during the years of reconstruction following World War II.

These studies provided applicable historical context to address key issues in my dissertation, such as German- American relations and the influence of German culture in America. More specifically related to art, Susan Noyes Platt has written two seminal studies concerning art and politics of the twentieth century: Modernism in the s: Hawgood, The Tragedy of German-America: Gatzke, Germany and the United States: Haravard University Press, Her attention to German Expressionism in the first study is brief because she examines the full range of modernism during the s, but it is succinct.

She notes that, inspired by the political activism by artists in Europe during the war era, many American artists in the s were stirred by the premise that culture was a means for revolutionary change. By identifying with workers, forming unions, marching in demonstrations, and working collaboratively on public art, prints, posters, and satirical cartoons as critical commentary, they, too, became involved in the political discourse of the time. Neumann, and Curt Valentin, were Jews of German descent. UMI Research Press, Platt, Art and Politics in the s: Midmarch Arts Press, University of California Press, , While recent research in the field of immigrant studies has focused on communities in the Midwest where Germans left an enduring political and cultural legacy, German American life on the East Coast has received far less attention.

His book traces the establishment of German American identity in New York. He delves into the subject of German Jewish ethnic relations during this period, which provided a historical foundation onto which twentieth- century German descendents and German Jews in New York subsequently built. Parallel studies on the history of Jewish communities in Chicago and Washington, D.

From Shtetl to Suburb expands on Hyman L. His book is somewhat limited in scholarly analysis, however, as it is directed more toward a popular audience. Stanley Nadel, Little Germany: University of Chicago Press, Irving Cutler, The Jews of Chicago: From Shtetl to Suburb Urbana, Ill.: Laura Cohen Apelbaum and Wendy Turman, eds.

Scrapbook of an American Community, exh. The Marcia and Granvil Specks Collection, exh. Hudson Hills Press, , In a slightly earlier exhibition and accompanying catalogue curated and edited by Andrew Robison, curator of prints and drawings at the National Gallery of Art in Washington, D. National Gallery of Art, , , The history of patronage and the images acquired by LACMA and Milwaukee will be considered in contrast and comparison to similar aspects identified in the three central institutions of this case study.

Understanding how this Germanic art form was assimilated into our own artistic and cultural consciousness allows for greater appreciation of the hybridity of American culture. The thirty-nine previously independent states of the Pan-Germanic region of Europe were united in following a seventy-year span of crises that began with the Napoleonic Wars of the early nineteenth century and ended with the military successes of Otto von Bismarck during the Prussian-dominated wars of the s.

The resulting nation was the German Empire, with Berlin at its epicenter and a renewed sense of nationalism. By the s, the art world in Germany was also in a state of flux. This myriad of endeavors included new private art and technical schools founded by either individuals or groups of independent artists, newly- formed art associations, artist groups, and art unions. The local branches of the Kunstgenossenschaft, in turn, staged exhibitions that were financially backed by government funding. These official exhibitions were frequently stymied by panels of juries that were intolerant of innovative art.

Secessions served as alternative exhibition venues for artists excluded from the juried academy and art union exhibitions, or who those wished to participate in multiple exhibition settings. In these settings, artists could show their art in smaller exhibitions where their work was more likely to gain attention.

As art historian Robert Jensen has noted, the drive for distinction was not only an impulse of changing aesthetic taste, but also represented an economic reality for emerging artists, as well. Among the increasing throng of competing artists, commercial galleries provided an added prospect in the struggle for sales and exhibition space.

From Expressionism to Resistance, exh. Prestel Verlag, , Belknap Press, ; Heller, Art in Germany, Utopia and Despair New Brunswick: Rutgers University Press, As a new decade dawned, secessions quickly fell into similar patterns of exclusivity and intolerance for which the secessionist artists had condemned the official exhibitions and juried academic shows during their own youth.

Such pressures elicited even greater competition among artists for heightened access to commercial art galleries. Paradoxically, while the gallery system gave emerging artists increased audience exposure, it limited the number of artists who would receive serious critical attention from the press and the public. By their very nature, as small exhibition spaces, galleries could show only a small number of artists.

The privileged few were typically selected by the dealer because their work was perceived as substantially different from the mass of contemporary artists. Between the years and , a new generation of artists favored a rapid revolution of radical styles, namely Realism, Impressionism, Symbolism, Jugendstijl, Expressionism, and Abstraction. In , a movement to organize and unify all artists across the German Empire, as opposed to the ephemeral succession of local secessions, exhibition societies, and various artist unions and associations, developed in Weimar.

Although little documentation survives of the financial situations of Heckel and Schmidt-Rottluff or of what type of classes they took at the Technical School, it is apparent their shared early intellectual appreciation of literature was transferred into an appreciation of fine arts, accounting for their desire to pursue careers as artists.

Primitivism and Modernity New Haven: Yale University Press, , And as youth that is carrying the future, we intend to obtain freedom of movement and of life for ourselves in opposition to older, well-established powers. Whoever renders directly and authentically that which impels him to create is one of us. They wanted to preserve the spontaneity of experience, the power and directness of vision. It was their stubborn determination and self knowledge, the clear decisiveness of their extravagant claims and the atmosphere of their lives which enabled them to set their sights so high and to reject tradition in the spiritual as well as in the technical field.

It was issued as a four-page woodcut brochure cut by Kirchner with a separate title page. See Rose-Carol Washton-Long, ed.

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Hatje Cantz Verlag, , Therefore, the later inclusion of older, more mature artists such as Emil Nolde b. His Graphic Art Greenwich: New York Graphic Society, , Diederichs, ; and Museum Bellerive, Hermann Obrist: Sculpture, Space, Abstraction Around , exh. Verlag Scheidegger and Spiess, The 18 Lasko, The room also contained an eclectic assortment of furniture, including carved and painted boxes that served as supports for sculptures and seats for a small, low-standing table. A smaller room adjacent to this workspace provided a sitting area for meals and gatherings around a second table with chairs.

Two curtains lined the entrance to the doorway: The walls of the Ruheraum were covered with painted bed sheets depicting nude yellow figures outlined in red and black, lounging, crouching, dancing, or making love beneath stylized trees. A bed adorned with large cushions, a small table and bench, and various small sculptures, ceramics, and glass containers also crowded the room.

The Ruheraum represented an Expressionist interior environment that synthesized the stimulating, erotic themes of Indian temple sculpture with forms and colors that derived from the carved and painted beams from the islands of Palau that Kirchner had first observed in the Ethnographic Museum. Most noticeable are the stylized figures of nude men with erect and engorged phalluses.

In March , Kirchner wrote excitedly to Heckel of the Samoans who were to be featured in the zoological gardens that summer. Similarly, he described dancers in the African village there. Primitivism and Modernity, Those that are the strongest and best able to adapt will be able to overcome competition for resources necessary for survival.

Darwin also included human beings in his theory regarding natural selection. For this reason, social Darwinism was used to promote racist and nationalist ideas in turn-of-the-century Europe. Cornell University Press, The Metropolitan Museum of Art, , 6. Other contemporary artists, such as Gauguin, who held similar views, also looked to Oceanic and African native life as examples of this so-called carefree and innocent life. However, this ideal was an imagined life that did not accurately reflect reality. In essence, the utopian ideal was a patina placed on the daily life of these native peoples by Western European biases.

Thames and Hudson, Thick, alternating forms of severe black and white nearly hide the remnants of wood grain in the heavy inking of both prints. When the group was founded, the German union was still relatively new approximately thirty-five years old. More and more, artists began feeling alienated from the dynamic fabric of society. They were equally interested in the work of more contemporaneous European artists, particularly in the rousing brushwork of Vincent van Gogh, the emotional symbolism of Edvard Munch, and the expressive color of Kees van Dongen,33 a member of the French Fauves group.

German and Austrian Art, , exh. In addition, the former Kunstkammer provided the newly formed gallery with a rich resource of graphic collections, considered to be one of the best in the world at the time. In , he moved to the Bateau-Lavoir in Paris, where he was included amongst the circle of friends and artists surrounding Picasso and Fernande Olivier. Evoking the influence of French avant-garde artists such as Van Gogh and Gauguin, as well as the liberal use of color by artists such as Henri Toulouse-Lautrec, Munch used color and flowing line to evoke immediacy and emotion, as in his immensely famous painting The Scream of fig.

However, sales of his paintings were slow, inducing him to take up printmaking as a means of commercial venture. Munch was particularly innovative in his use of multiple block printings for his color woodcuts, in which he sawed the block into several pieces for separate inkings, as in his Melancholy fig. This particular version of Melancholy is printed from two blocks: In his early career, the artist would often depict sailors and prostitutes in his portraits; however, after achieving notoriety through his association with the Fauve artists, Van Dongen became a popular portrait painter of high society ladies see fig.

In addition, he was also a prolific graphic artist who mastered the techniques of lithography, etching, aquatint, engraving, pochoir and offset prints, book illustration and poster design. For more on Van Dongen, see Nathalie Bondil, et al. Hazan, ; and Jan Juffermans, Kees van Dongen: The Age of Expressionism, exh. Erinnerungen eines Baumeisters Berlin: Deutsche Verlags-Anstalt, , It was readily accepted. Nolde was also deeply engaged with the work of Van Gogh, as evident in his Portrait of Schmidt-Rottluff, fig.

Red can mean fire, blood or roses; blue can mean silver, the sky or a storm. Each color has a soul of its own. Landscapes, Watercolors and Drawings, trans. Praeger, , 16; as quoted in Ibid. National Gallery of Art, , The members also issued the first of numerous invitations for membership to Munch beginning this same year, though all were declined. Ein Buch der Freundschaft Munich: Bleyl, one of the first founding members of the group, married in and also left citing concerns for supporting his new family.

This portrayal recalls similar self-portraits by the Dutch master, including a etching Self-Portrait Frowning fig. It should also be noted that Kirchner was notorious for exaggerating dates, possibly in order to claim prior artistic achievement, also perhaps due to poor memory. Carl Hagemann, June 30, ; as quoted in Donald E. Gordon, Ernst Ludwig Kirchner Cambridge: Harvard University Press, , Nierderdeutsche was a term used to describe the marsh-dwelling and seafaring peasants of the Baltic lowlands.

This region encompassed the northern- most Baltic and North Seas areas from Denmark down through Holland. This conception of geographical fraternity is espoused in the ideology of the German political theorist Julius Langbehn. He penned the widely read Rembrandt als Erzieher Rembrandt as Educator , written in Dresden and published in without attribution to the author.

Von einem Deutschen Leipzig: Hirschfeld, , ; as quoted in Weikop, The viewing of art in an ethnological manner that extended the notion of Germanness beyond the physical borders of the country became increasingly more mainstream among critics and art historians by the turn of the century. Netherlands Quarterly for the History of Art 19, No.

University of California Press, Rembrandt Verlag, , ; as quoted in Victor H. Prentice Hall, , Valentin Koerner, , Because it is a malleable art form, printmaking allows the artist to manipulate the outcome of the final product through a number of means. These include, for example, varying the techniques and materials used such as the preparation of the ink or the type of support , differing the manner in which a lithographic stone is inked or an etching plate is wiped, or experimenting with color, texture, and tonal effects.

For instance, they printed their lithographs on pieces of paper that were larger than the lithographic stone in order to incorporate the edges of the stone in the print. Correspondingly, they allowed the characteristics of a particular matrix—the grain and splinters of a block of wood or the cracks and breaks in the edges of a lithographic stone—to print, and left drips and splatters of ink to be flattened and smeared by the printing press. The technical requirements also liberate forces in the artists which are never called upon in the much freer techniques of drawing and painting.

The mechanical process of printing draws all the different phases of the work into a whole. The preparation can be infinitely expanded, and there is great attraction in working on a subject for months to achieve perfection of form and expression without losing the initial clarity of the block.

Graphic works is always the best key to the understanding of an artist. In June Kirchner recalled: Somewhat diffidently I went again, visited the Germanisches Museum, and here saw for the first time the many extremely early woodcuts and incunabula with their 59 Wolfgang Henze, ed. Belser, , Woodcuts were also enjoying a revival in popularity in France due to the influx of Japenese woodblock prints, or ukiyo-e. The impressions became a particular source of inspiration for Impressionist artists in the s, and later influenced Art Nouveau and Cubist artists.

For more on this see Jacquelyn Baas and Richard S. University of Michigan Museum of Art, This interested me very much, and I returned to my own woodblocks with new motivation. I had already learned the technique from my father. Kirchner was born in Aschaffenburg in southern Germany, but at the age of seven, his family moved to Perlen, where his father, Ernst Kirchner, had accepted a position in a paper factory. During this time, Ernst began taking private drawing lessons. He adopted this ruse as a means of flattering his own work in the art journal Genius: While Kirchner was still a grammar-school boy, his father gave him some old blocks of wood with the seals of old paper factories on them and he made several impressions from them.

The old wooden blocks with the primitive, bold drawings fascinated Kirchner, who set about cutting designs on cigar-box lids, thus learning the methods of wood cutting. Fifteenth-Century Woodcuts and Their Public, exh. Yale University Press, , 7. His printmaking style became an extension of his drawing style, with an adherence to the kind of flattened perspective observed in fifteenth-century woodcuts. As seen in his print Sailboats near Fehmarn fig. The demands of the woodblock gouge also seemingly influenced his style of painting; here they were resurrected as quick nervous strokes of paint on the canvas.

Meanwhile, his experimental bent with woodcutting and tonality led to distinctive prints that can only be identified as by Kirchner. For example, use of a v-shaped gouge in the manner of a burin in wood engraving on hard, dense planks of wood allowed him to produce woodcuts with white lines. In these, the white lines of the unprinted paper only serve to model forms that seemingly arise from the inked background, such as in the head of The Wife of Professor Goldstein, created in fig. Again, the artist was not content merely to print these in the traditional manner, but rather he carefully considered individual printmaking techniques as a means to reinforce the subject matter of this type 64 Dube-Heynig, Kirchner willfully marked his lithographs with the uneven edges of the stone in order to give each print a handmade appeal.

In an attempt to exploit the possibilities of the lithographic process, the artist would sometimes draw on the stone, add water and turpentine to the image, and fan the combination dry. This process would cause the lines and colors to mottle and bleed, on top of which Kirchner would etch the image. When rolled with ink, the lines produced would be reminiscent of the hastily-drawn, rudimentary style Kirchner seemed to favor, as seen in the color lithograph Russian Dancers fig.

He specialized in portraiture, landscapes, seascapes, the nude form, and in closely observed scenes of urban life, maintaining a strong interest in the changing urban scene, as well as the challenge of arresting motion. In a letter to Curt Valentin, recalling a exhibition of Munich Secessionists images and the appeal of ethnographic art for its naturalism and directness, Kirchner passionately criticized the older artists then on view for their lack of interest in the day-to-day routines of life. He took the opportunity to purport his own artistic importance, stating: Did you know that as far back as I had the audacious idea of renewing German art?

Indeed I did, and the impulse came to me while looking at an exhibition of the 66 Ibid. Their pictures were dull both in design and execution, the subjects uninteresting, and it was quite obvious that the public was bored. Indoors hung these anaemic, bloodless, lifeless studio daubs and outside life, noisy and colorful, pulsated in the sun. The answer is that they could not because they did not see it.

It was outside and it changed incessantly, and when they dragged it into their studios it ceased to be life and was merely a pose. He attended grammar school in Rottluff from While attending gymnasium in Chemnitz from , he met and befriended Erich Heckel in This method, combined with a flattening of images, striated hatchings, and strong contours appears to have had its origins in the earlier woodblock 67 Letter from Kirchner to Curt Valentin April 17th , Curt Valentin Gallery, New York, , n.

Writing on the artistic aims of the group and their common ground amid variety, Schmidt-Rottluff best defined his own artistic principles. In , he befriended Schmidt-Rottluff while 70 Ibid. The friends were active in the school debate club, Vulcan, where they were introduced to the writings of Friedrich Nietzsche and Fyodor Dostoyevsky. As a young man, Heckel was interested in drawing, painting, and poetry. This angularity was akin to the types of effects easily achievable with woodcutting, and, therefore, it seems natural that Heckel was particularly proficient at woodcuts.

Heckel also experimented with various graphic effects, initially adopting similar uses of shadow and pattern in his woodcuts as Kirchner did, but also applying irregularly-shaped blocks to emphasize his subjects, as in his arcadian landscape, Two Seated Women fig. In this example, the shape of the block in the upper right-hand corner echoes the shape of the distant mountains framing the scene of the women seated in the foreground. Again, in a woodcut entitled Standing Woman fig.

The scratchy sharpened lines of drypoint served to create more light and space with lots of white area left unprinted, while capturing a sense of movement in the reaching, pointed forms. She was the daughter of a machinist and a milliner, one of fifteen children. They appear most frequently in works by Kirchner, Pechstein, and Heckel, dating from to These artists often depicted the girls with shy, skeptical expressions, and in unposed nude scenes. They were presented at once as childlike and vulnerable as well as exotic Lolitas.

The sisters are difficult to tell apart in many works, as they were both slender with long dark hair. Her youthful memories, of Moritzburg, etc. They divorced in Routledge, , For many months they settled with numerous models at one of the ponds in the environs of Dresden and spent days there, as much as the climate permitted, naked in the open air. What Gauguin had sought in the South Seas they produced for themselves in immediate proximity to the metropolis. Hermann Max Pechstein Max Pechstein also reveled in the qualities of the graphic arts, evident in the stray lines that crisscross his drypoints and etchings, the apparent deliberate pitting of the plates, and the outline of the lithographic stone as seen in works such as Portrait of Erich Heckel of fig.

Pechstein received a formal academic education, including drawing lessons as a child, an apprenticeship with a local painter, and further artistic training in Dresden. Although he was familiar with early German art and the French Post-Impressionists, by the time he befriended Heckel in , his work had become more expressive and spontaneous in nature. In Paris, he became personally acquainted with Kees van Dongen, the colorful expressionism of Henri Matisse and the Fauves, and tribal art, while in Italy he indulged his interest in early Renaissance painting and Etruscan art.

Much like the Fauve artists, Pechstein made liberal use of a rich palette, solid masses of vivid color, and more naturalistic figures emphasized with heavy black outlines, as in his c. In addition, the spontaneity of movement and freedom evoked by sexual liberation in his lithographic composition of bathers dancing in a landscape, The Dance—Dancers and Bathers in a Forest Pond fig.

This declaration led him to denounce Impressionism, for its direct translation of color from nature or, lack of imaginative color , and Cubism, for its cursory use of color. The latter accepted, but only retained his membership for a brief one-year period. They were equally unsuccessful in their attempt to engage Matisse in their efforts that year. A trip to the Palau Islands in the South Seas also spurred a series of works capturing the tribal life and peoples of the Pacific Islands. Eager to pursue a career as an artist, he secured a position teaching drawing classes at the Museum of Art and Industry in St.

Gallen, Switzerland, in The financial earnings from a successful venture creating novelty postcards illustrating personified Alpine peaks, like The Matterhorn Smiles of fig. Attracted by the various effects achievable in printmaking, and, unlike Kirchner who would unabashedly combine etching techniques on a lithographic stone or introduce acid to colored ink, Nolde appreciated the unique possibilities inherent to each medium. In the tradition of Francisco Goya, Nolde developed the habit of conceiving and executing his images with the tip of a broad point brush, his customary drawing tool.

This practice unites all three of his mediums, in that he used a brush to draw his images directly onto the lithographic stone, the etching plate, and even the woodblock, while rarely using the aid of preparatory drawings.

Museum of Fine Arts, , Similarly, intaglio prints such as his Diagonal Nude fig. The animated broken darker tones surrounding the nude form of the model— perhaps manipulated while the ground was still tacky—give an impression that the woman is lying in a patch of lush grass or in the shallow rush of the surf. The printing of the organic patterns of woodgrain or the knots in a plank of wood provided creative inspiration for his woodcuts, while improvisational and experimental color combinations became a hallmark of his lithographs.

The art of an artist must be his own art. What he himself discovers has a real worth for him, and gives him the necessary incitement to work. However, no more than eight impressions were printed of a single version. In this way, the artist and his audience could share in the fulfillment of his expressionistic vision. Harcourt, Brace, and Company, , Das graphische Werk, 2 vols. Early on, Mueller had trained as a lithographer to , before spending two years studying at the Kunstakademie in Dresden from to Love of the female figure 93 Ibid.

One example of this is the c. This association proved to be pivotal to their early artistic development in a way that could not be similarly shared by the older, more established artistic personalities of Nolde and Mueller, for example. Thus, the creative zest that the younger members experienced along with the introduction 96 Wolf Dieter Dube, Expressionism London: Oxford University Press, , As a communal effort, the group members decided to distribute their graphic output in the form of portfolios, a marketing technique often employed by art dealers, as well.

Serials for a Private Sphere, exh. The number of passive members increased incrementally over the next few years: In this context, Kirchner and Schmidt-Rottluff stayed as guests in his home in An ardent advocate of Expressionism, Schiefler subsequently wrote catalogues on the graphic works of Munch, Nolde, and Kirchner. Arnold, ; Ibid. She was a life-long friend of the artist and one of his closest confidantes. Kirchner and Heckel acquired further acknowledgement by being chosen to design the interior decoration for a chapel on display at the Sonderbund exhibition.

The Birth of Expressionism in Dresden and Berlin, , The opening of numerous art galleries in the capital fueled the German art market and young, emerging artists flocked there in order to take advantage of these intimate exhibition spaces. Fechter designated two separate poles within the movement: At this point, a direct comparison of these two styles of Expressionism is beneficial.

A color woodcut by Kandinsky entitled Sounds: Boat Trip of fig.

The forms of boats and the Washton-Long, German Expressionism, On the Edge of the Abyss of Time Cologne: Taschen, , 7. In this image, the juxtaposition of black and white tones, reds and blues, and contrasts of shapes are intended to produce such a response in the viewer.

These experiences were intended to be similar to the way music inspires an emotional response from the ear to the subconscious. The lack of a shoreline does nothing to take away from the scene as the artist has managed to capture the frenetic churning of the waves surrounding the boat as it progresses through the water with a sense of movement inherent in both the sailboat itself and the angular clouds depicted above.

The grainy texture of the wood itself and incidental ink smudges and spots are stubbornly left to be printed. For this reason, he was invited to exhibit in group shows and solo exhibitions more frequently than they. Pechstein did little to correct these implications, inevitably contributing to the growing disunity between the friends. Schmidt-Rottluff aided in designing public housing projects, and encouraged the new government to avoid censorship practices. By , Expressionism was being condemned by even its most eager former supporters. Worringer, who had once exalted Expressionism as key to a new social movement, attacked Expressionism during public lectures in the s for becoming too mainstream.

He accused the movement of having collapsed into mere decoration. Other critics, such as Wilhelm Hausenstein, drew blatant and angry parallels between Expressionism and the failures of the new republic. To emphasize their denunciation of the movement, many of these same left-leaning artists threw their support behind a new budding movement, Dada. Art and the November Revolution in Germany, Chicago: Without distinction between either figurative or abstract Expressionism, the movement as a whole was lambasted as ineffective and superficial.

Dada activities included cabaret performances, anti-war demonstrations, and the publication of art and literary manifestoes. For more on Dada, see Leah Dickerman, ed. National Gallery of Art, The Aesthetics of Fascism April Kirchner, in despair at the confiscation of his works from various museums by the Nazi authorities, sank further into a depression that had already been aggravated by his military service in the First World War.

Nicholas, The Rape of Europa: Abrams, ; and Stephanie Barron, et al.

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