The origin of the word “Expressionism”..

Expressionism, a modernist movement born in early 20th-century Northern Europe, is known for its subjective portrayal of the world. It seeks to evoke emotion by dramatically distorting reality. Artists within this movement utilize exaggerated shapes, intense colors, and aim to stir moods and ideas.

1. The origin of the word “Expressionism”

2. Personal Information: Presented By : Priyanshiba Gohil Roll No. : 21 Semester : 2 Paper Name : History of Literature Topic : The origin of the word “Expressionism” Submitted To: Smt. S. B. Gardi, Department Of English Email I'd : [email protected]

3. Table of Contents Introduction 01 Historical Context 03 The French Connection 05 Key Figures & Works 02 German Expressionism 04 Expressionism Beyond Art 06 07 08 Conclusion Références

4. "No matter how things turn out, one will have to admit that Expressionism was the last common, general, and conscious attempt of a whole generation to instill new life into art, Music, literature” ( Weisstein )

5. Introduction Expressionism, artistic style in which the artist seeks to depict not objective reality but rather the subjective emotions and responses that objects and events arouse within a person. In a broader sense Expressionism is one of the main currents of art in the late 19th and early 20th centuries, and its qualities of highly subjective, personal, spontaneous self-expression are typical of a wide range of modern artists and art movements. Expressionism can also be seen as a permanent tendency in Germanic and Nordic art from at least the European Middle Ages, particularly in times of social change or spiritual crisis, and in this sense it forms the converse of the rationalist and classicizing tendencies of Italy and later of France. More specifically, Expressionism as a distinct style or movement refers to a number of German artists, as well as Austrian, French, and Russian ones, who became active in the years before World War I and remained so throughout much of the interwar period. (Britannica)

6. Historical context Origins 01 Women in Expressionism 04 02 Literary Analysis Impressionism to Expressionism. 03

7. Origins: Expressionism emerged in Germany around 1905, characterized by its avant-garde approach with exaggerations and distortions to depict subjective perspectives of 20th-century life . Women in Expressionism: Women played a significant but often unacknowledged role in the movement. Their contributions and the portrayal of women in Expressionist works have been subjects of scholarly research . Literary Analysis: The study of German literary Expressionism has attracted interdisciplinary attention but has been less influenced by gender studies, despite calls for reexamination using feminist and gender theory . Modernism and Expressionism: The study of modernism, including Expressionism, has seen significant innovation, helping to place the movement within historical trajectories and social changes

8. Impressionism to Expressionism Impressionism: A Brief Overview Impressionism initially emerged as a literary movement in France during the 19th century. Unlike realism and naturalism, which aimed for exact, impersonal reproductions of material objects, impressionism took a different approach. It sought to create impressions of these objects, capturing the inherent characteristics arising from sensory and emotional experiences. Impressionist writers focused on how things appeared to the observer at a specific moment, akin to photographic snapshots. In essence: Realism : Strived for objective representation of material objects. Impressionism : Captured subjective impressions and sensations. (jean Gibbs)

9. Expressionism: The Shift As we move forward, we encounter Expressionism, which gained prominence between approximately 1905 and 1925. Here are some key points: Roots of Expressionism: Expressionism evolved from earlier literary movements, particularly realism and naturalism. Artists drew inspiration from visual arts and theories like Wilhelm Worringer’s concept of “abstraction” and “empathy.” Expressionists aimed to break away from naturalistic representations and explore new forms. Characteristics of Expressionism: Intellectualism : Expressionist works combined intellectual depth with dramatic gestures, graphic visions, and intense emotions. Artistic Freedom : Expressionists pushed boundaries, experimenting with form and content. Oracular and Artistic : Expressionism embraced the oracle (e.g., Delphi) as a source of wisdom and creativity. Social Turmoil : The period witnessed upheavals, including World War I, revolutions, and economic instabil ity.

10. Apollo Polymorphous: Apollo, the Greek god, serves as an illustrative figure for this evolution. Initially depicted as a strong, healing and pestilence-bringing deity, Apollo’s nature transformed over time. By the fifth century, he became associated with intelligence, oracles, and the arts. In summary, while impressionism focused on capturing fleeting impressions, expressionism delved into intellectual exploration, emotional intensity, and artistic freedom. These shifts reflect the broader historical context of the early 20th century. (Steafan) “The difference between writers and readers is similar to the difference between expressionism and impressionism. Writers want to express themselves and readers want to be impressed.” - Claire Amber

11. The French Connection The French Connection, exploring the artistic influences and contributions of Gustave Moreau, Henri Matisse, and Gustav Geffroy. Gustave Moreau : A prominent French artist, played a pivotal role in shaping the concept of self-expression within art. Between 1891 and 1898, Moreau taught at the Ecole des Beaux-Arts in Paris. Moreau’s teaching focused on allowing artists to express themselves authentically, emphasizing spontaneity and individual temperament. Henri Matisse: a renowned painter, studied under Moreau at the Ecole des Beaux-Arts from 1892 to 1897. Matisse absorbed Moreau’s teachings, particularly the idea of self-expression as the artist’s true mission. Matisse believed that an artist’s expression should naturally flow from their temperament Gustav Geffroy : a French art critic and writer, played a significant role in promoting modern art and artists. in his work on Moreau, also emphasized the centrality of expression in art While not a painter himself, his advocacy and analysis influenced the trajectory of French art during this transformative period. (Donald)

12. German Expressionism The term “Expressionism” initially had French origins, but it found a new home in Germany. Notably, the literary arts borrowed from visual arts, particularly from art historians like Wilhelm Worringer. Worringer’s work, Abstraction and Empathy (1908), provided a theoretical basis for the practice of “abstraction.” It highlighted how artistic purposes varied across epochs, leading to different forms of expression. German Expressionism emerged around 1905 and continued until approximately 1925 . It encompassed a period of immense social and political upheaval, including World War I and subsequent revolutions. Characteristics of German Expressionism: Emotion Simplified Forms : Heightened Use of Color : Spirituality and Mysticism : Philosophical Influence :

13. Key Figures & Works 05

14. A group of expressionist artists founded in Dresden in 1905. Their manifesto emphasized a rejection of academic norms and a desire for artistic freedom. Key members: Kirchner, Karl Schmidt-Rottluff, and Emil Nolde. Die Brücke (The Bridge):

15. A significant artist of modernism, Munch pioneered expressionist painting. His iconic work, “The Scream” (1893) , embodies profound angst and anxiety, capturing the early modernist era’s spirit. The painting is autobiographical, reflecting Munch’s experience of hearing a piercing scream of nature. Versions of “The Scream” are housed at the Munch Museum in Oslo and the Oslo National Gallery Edvard Munch “The Scream” (1893) ,

16. Wassily Kandinsky : A bridge between post-impressionism and expressionism, Kandinsky was a pioneer of abstraction. His painting “The Blue Rider” (1903) exemplifies the shift from impressionist to expressionist styles. The piece’s abstract nature invites interpretation, with some seeing a baby in the rider’s arms. “The Blue Rider” (1903)

17. Emil Nolde : Nolde, part of the German expressionist group Die Brücke (The Bridge) , created intense and raw art. His work “Dance Around the Golden Calf” (1910) reflects the movement’s evocative spirit. The painting captures primal energy and emotion “Dance Around the Golden Calf” (1910)

18. Ernst Ludwig Kirchner : A founding member of Die Brücke, Kirchner played a pivotal role in shaping expressionism. His works explore inner turmoil, societal commentary, and the human experience. Notable paintings include “Self Portrait as a Soldier” and other expressive pièces . “Self Portrait as a Soldier”

19. Expressionism Beyond Art Expressionism, extends beyond the realm of visual art to influence literature and culture at large. Freedman suggests that artists and writers reflect and express the impasse of their culture through distortion—altering the world around them and the classical forms accepted as standards. This distortion can be a symptom of cultural decline or a subversive act against contemporary values, offering a glimpse into the conditions of our awareness and our relationship with our modes of thinking and feeling. In literature, this expressionistic distortion manifests as a means to communicate “higher” truths or portray incoherence, reflecting either a vision derived from private insights or a despair over a loss of coherence. Kafka and Broch’s works exemplify two modes of distortion that have shaped modern sensibility: Kafka’s “realistic” sense of distortion examines the relationship between consciousness and objects, while Broch’s internal exploration of consciousness expands perception into vision . (Ralph Freedman)

20. Conclusion Expressionism began as an avant-garde movement around 1905, characterized by a desire to express subjective emotions rather than objective reality. Artists like Vincent van Gogh and Edvard Munch influenced its development, using vivid colors and distorted forms to convey inner turmoil and emotional intensity. The movement gained momentum with German groups like Die Brücke, emphasizing personal expression and spontaneity.The impact of Expressionism extends into contemporary art, inspiring artists to explore human emotion, challenge norms, and innovate artistically. It paved the way for movements like Abstract Expressionism and Neo-Expressionism, which further explored the expressive potential of art. Expressionism legacy is evident in the continued emphasis on individual perspective and emotional depth in art. "Expressionism is not to be learned, it is to be confessed." - Emil Nolde (German Expressionist painter)

21. References Britannica, The Editors of Encyclopaedia. "Expressionism". Encyclopedia Britannica, 14 Feb. 2024, https://www.britannica.com/art/Expressionism . Accessed 10 April 2024. Gibbs, Beverly Jean. “Impressionism as a Literary Movement.” The Modern Language Journal , vol. 36, no. 4, 1952, pp. 175–83. JSTOR , https://www.jstor.org/stable/318123 . Accessed 10 Apr. 2024. Freedman, Ralph. “Refractory Visions: The Contours of Literary Expressionism.” Contemporary Literature , vol. 10, no. 1, 1969, pp. 54–74. JSTOR , https://www.jstor.org/stable/1207582 . Accessed 10 Apr. 2024. Gordon, Donald E. “On the Origin of the Word ‘Expressionism.’” Journal of the Warburg and Courtauld Institutes , vol. 29, 1966, pp. 368–85. JSTOR , https://www.jstor.org/stable/750724 . Accessed 10 Apr. 2024. Daniel A. Siedell. “The Quest for the Historical Abstract Expressionism.” The Journal of Aesthetic Education , vol. 44, no. 1, 2010, pp. 107–21. JSTOR , https://www.jstor.org/stable/10.5406/jaesteduc .44.1.0107 .44.1.0107. Accessed 10 Apr. 2024.

22. WEISSTEIN, ULRICH. “Expressionism: Style or ‘Weltanschauung’?” Criticism , vol. 9, no. 1, 1967, pp. 42–62. JSTOR , https://www.jstor.org/stable/23094253 . Accessed 10 Apr. 2024. Levine, Edward M. “Abstract Expressionism: The Mystical Experience.” Art Journal , vol. 31, no. 1, 1971, pp. 22–25. JSTOR , https://www.jstor.org/stable/775629 . Accessed 10 Apr. 2024. Schultz, H. Stefan. “German Expressionism: 1905-1925.” Chicago Review , vol. 13, no. 1, 1959, pp. 8–24. JSTOR , https://www.jstor.org/stable/25293491 . Accessed 10 Apr. 2024. Kokoschka, Oskar. “Edvard Munch’s Expressionism.” College Art Journal , vol. 12, no. 4, 1953, pp. 312–20. JSTOR , https://www.jstor.org/stable/773631 . Accessed 10 Apr. 2024. Wright, Barbara D. “Intimate Strangers: Women in German Expressionism.” Women in German Expressionism: Gender, Sexuality, Activism , edited by ANKE FINGER and JULIE SHOULTS, University of Michigan Press, 2023, pp. 25–58. JSTOR , https://www.jstor.org/stable/10.3998/mpub.12298135. 5 Accessed 10 Apr. 2024.

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