Ulrich Weisstein’s selection of 21 essays bargains a comparative learn of Expressionism as a Modernist circulation whose dynamic center lay in Germany and Austria-Hungary, yet which remodeled inventive practices in different ecu international locations. the focal point, Weisstein argues, “must be strictly and sharply geared toward a selected physique of works and opinions—a quite dense middle surrounded by means of a much less essentially outlined fringe zone—indigenous to the German conversing countries.” the amount spans an “Expressionist” interval extending from approximately 1910 to 1925. Weisstein himself contributes introductory chapters on difficulties of definition and a considerate research of English Vorticism. An abundant context is decided by means of comparative essays all for foreign events comparable to Futurism that had an impression on German Expressionist drama, prose, and poetry, including essays at the edition of Expressionist varieties in nations comparable to Poland, Russia, Hungary, South Slavic countries and the us. those essays name consciousness to consultant authors and artists, in addition to to periodicals and creative circles. Reviewers have praised not just the presentation of “literary hyperlinks and interaction” between nationwide cultures, yet specifically the “most rewarding” interdisciplinary essays on Dada and on Expressionist portray, song, and picture.
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9-15. Menschheitsdammerung, p . 33. 54 From Kurtz' introduction to Die neue Kunst, a bimonthly publication edited by F. S. Bachmair, I/1 (1913-14), as quoted on p . 67 of Expressionismus: Literatur und Kunst 1910-1923. 43 judged by aesthetic or extra-aesthetic criteria. We pointed out that, luckily, its socio political aspect can be subsumed under the term Activism. If, excluding this aspect, one defines the term broadly enough to include man's attitude toward himself, his fellow-beings and the world at large, one can defend the use of Weltanschauung in the sense of a sharp rejection of previously embraced views on the part of an entire generation.
The answer furnished by the Expressionists is simple: through style; style meaning primarily shapes and colors representing an order of things that is different from the natural one. Seen from the mimetic point of view, however, this signifies abstraction or, at least, some sort of more or less violent distortion. Unlike mere Stilisierung, as we find it, say, in Mannerism or Art Nouveau (Jugendstil), style is not constituted by a gradual, decorative abstraction from organic form, resulting in a kind of arabesque.
Both returned imbued with the "savage" spirit. Pechstein's Credo in the volume Schöpferische Konfession begins with exclamations like "Work! Frenzy! Crush the brain! Chew! Devour! Gulp! Squash! Blissful pains of delivery. The brush cracks and should like to pierce the canvas. Trample on the paint tubes . . Paint! Roll in paints, wallow in chords ! "27 At approximately the same time, Igor Stravinsky reincarnated the savage 25 "Only twice [in the history of Western art] a large-scale attempt was made to broaden the narrow frame of the relationship [between individualism and sensualism] and to reach out for God by creating a supernatural and suprapersonal, spiritualized art.