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In the early part of the 20th century, western art underwent the shift that the problem of man, which had been the main theme and content of paintings until the 19th century, became treated negligently and the problem of form became laid emphasis on. Expressionism exhibits the characteristics of accepting such general shifts in the form of paintings of the times as reinforcement of expressiveness and transition to abstract painting, and having the expression of man as the main content of paintings.
This article aims at elucidating the characteristics of image of man in expressionist paintings, especially in portraits, through the analysis of the motive and the form of the work between 1905 and 1914. In this period the activity of expressinist paintings was the most active, and the typical characteristics of expressionism was formulated.
Expressionism rendering the expression of human emotion and thought as the primary goal of art is a human basic art-will together with realism grounded in imitation impulse and idealism being a desire manifestation for composition. Before and after the two World Wars in the 20th century, expressionism begins with Europe as the central area and becomes a world-wide trend in paintings. This is intimately connected with the circumstances of the times studded with changes and crises.
The social circumstances of changes and innovations, the spiritual crisis demanding to establish a new order and value due to the demolition of the old value system, and the free and active atmosphere of artistic activities constituted the background of the formation of expressionism in the early part of the 20th century.
The artists of the Brucke in Germany and the Vienna painters deals mainly with the portraits. Human motives of their representative and typical works exemplifies the expression of human emotion and psychology in modern society.
The main characteristics of expression of man displayed in expressionist portraits can be summarized into the following three.
First of all, expressionism expresses human beings on the whole including human living and thought of the times, human outer and innner life. The forms and contents of expressionsim are various, e.g., a portrait requiring to some extent the representation of human appearances, a representational abstract painting drawing external world and interanl features such as human psychology simultaneously, abstract painting drawing human internality and mentality, etc.
Secondly, image of the man drawn in expressionist paintings reflects directly the spirit of the times which is not only personal but also universal portrait of man of the times. That contrasts with the points that paintings from Renaissance to the 19th century express personal and autonomous expression of man and that human motive in Fauvism and Cubism was mainly an object of form creation. Expressionists display universal problems of the times.
Thirdly, expressionism is heir to the spirit of humanism, which has been a central prop of Western thought, and sustains the history of paintings adopting men and human problems as their subjects. The thought of Renaissance humanism respecting for human individuality, dignity and rational aspect changes into a new type of humanism admitting the irrational as well as rational aspect of personality in the 20th century. The spirit of the 20th century humanism, which associates emotion with reason, individuality with universality, and admits both values at the same time, is involved in the root of the expression of man in mature expressionist works.
This article aims at elucidating the characteristics of image of man in expressionist paintings, especially in portraits, through the analysis of the motive and the form of the work between 1905 and 1914. In this period the activity of expressinist paintings was the most active, and the typical characteristics of expressionism was formulated.
Expressionism rendering the expression of human emotion and thought as the primary goal of art is a human basic art-will together with realism grounded in imitation impulse and idealism being a desire manifestation for composition. Before and after the two World Wars in the 20th century, expressionism begins with Europe as the central area and becomes a world-wide trend in paintings. This is intimately connected with the circumstances of the times studded with changes and crises.
The social circumstances of changes and innovations, the spiritual crisis demanding to establish a new order and value due to the demolition of the old value system, and the free and active atmosphere of artistic activities constituted the background of the formation of expressionism in the early part of the 20th century.
The artists of the Brucke in Germany and the Vienna painters deals mainly with the portraits. Human motives of their representative and typical works exemplifies the expression of human emotion and psychology in modern society.
The main characteristics of expression of man displayed in expressionist portraits can be summarized into the following three.
First of all, expressionism expresses human beings on the whole including human living and thought of the times, human outer and innner life. The forms and contents of expressionsim are various, e.g., a portrait requiring to some extent the representation of human appearances, a representational abstract painting drawing external world and interanl features such as human psychology simultaneously, abstract painting drawing human internality and mentality, etc.
Secondly, image of the man drawn in expressionist paintings reflects directly the spirit of the times which is not only personal but also universal portrait of man of the times. That contrasts with the points that paintings from Renaissance to the 19th century express personal and autonomous expression of man and that human motive in Fauvism and Cubism was mainly an object of form creation. Expressionists display universal problems of the times.
Thirdly, expressionism is heir to the spirit of humanism, which has been a central prop of Western thought, and sustains the history of paintings adopting men and human problems as their subjects. The thought of Renaissance humanism respecting for human individuality, dignity and rational aspect changes into a new type of humanism admitting the irrational as well as rational aspect of personality in the 20th century. The spirit of the 20th century humanism, which associates emotion with reason, individuality with universality, and admits both values at the same time, is involved in the root of the expression of man in mature expressionist works.
목차
Ⅰ. 서론
Ⅱ. 표현주의와 인간 표현 : 초상과 인간상
Ⅲ. 표현주의 초상화
Ⅳ. 결론
Abstract
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