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Critical movements of the former East Germany artists against Soviet statism and cultural policy had been slowly but aggressively developed. The centre of the protests was the city Leipzig. The movement had been led by Wolfgang Mattheuer, Bernhard Heisig(1925-) and Werner Tubke (1929-2004), and consequently called as the Leipziger School. Their works had been for the first time introduced to the West in Documenta VI, which Manfred Schneckenburger organized. This article was concentrated on how Mattheuer expressed his consciousness of reality and his political thoughts through visible way of arts, which had not been studied until now in Korea.
Like most East German artists, Mattheuer did not choose East Germany as a living place, but he was forced to live in East Germany, because he was born there. What he thought and cherished depends on where he lived. The socialist state East Germany had influenced him during his artist activities. From 1952 to 1974 he teached at the HGB(Hochschule fur Graphik und Buchkunst) in Leipzig. In 1958 he joined the East Germany state party, Sozialistische Einheitspartei Deutschland. In the 1950s he witnessed that the pure socialist idealism was misused in the socialist society like East Germany. He also found that in the history of 20th century Germany was enduring the second catastrophical period of living condition of human beings after the fall of Nazism. His critical consciousness was originated by his experience of Stalinism in East Germany, especially the inhumane, cruel, and dictatorial Soviet system. But probably his discard of Communist party membership(1988) and anti-regime activities did not necessarily mean that he distanced himself from socialism. He incessantly questioned himself what socialist realism was and what’s the meaning of the artists in the socialist society and made a severe critic on the miserable social conditions in East Germany. He did know well that an artist could not change the situation, but he desired a change and a better society. He also insisted that it was a duty of artist to comfort the members of the society who endured pains and conflicts, and to inspire hopes and freedom. Actually he was a social-critical intellect who did not differ politics from culture and an artist who sensitively reacted against domestic and international politics.
Moreover Mattheuer was an realist. He was one of socialist artists who had successfully overcome falseness and inconsistencies of the soviet socialist realism. According to themes he handled divided as follows: first, political belief and consciousness of reality, second, false idealism, third, existential unconsciousness and depressed desire. Common subjects which may appear in his masterpieces such like, 〈Erschrecken(1977)〉, 〈Na, und?(1980)〉, 〈Verlust der Mitte(1981-1987)〉, 〈Die Ausgezeichnete(1984)〉, 〈Uber den sieben Bergen (1973/1993)〉, and Sisyphos series are isolations and cover-ups, hopes and frustrations which the common people under the systematic control of East German state had to endure in their daily life. He portrayed the oppressed desires of isolated individuals and the hollow lives of modern citizens searching for unpractical idealism as surreal symbols. His view of realistic value and his critical consciousness of socialist system had been expressed as constrained and full of tension between conflicted things in his surrealistic paintings.
Mattheuer’s social belief and socialistic idealism came from humanistic socialism based on German Christian tradition and romantic idealism. He was an artist who had no confidence in any idealism and system that could bring happiness and who realized exactly what’s the meaning of hopelessness and frustration as Sisyphos in the Greek mythology.
Like most East German artists, Mattheuer did not choose East Germany as a living place, but he was forced to live in East Germany, because he was born there. What he thought and cherished depends on where he lived. The socialist state East Germany had influenced him during his artist activities. From 1952 to 1974 he teached at the HGB(Hochschule fur Graphik und Buchkunst) in Leipzig. In 1958 he joined the East Germany state party, Sozialistische Einheitspartei Deutschland. In the 1950s he witnessed that the pure socialist idealism was misused in the socialist society like East Germany. He also found that in the history of 20th century Germany was enduring the second catastrophical period of living condition of human beings after the fall of Nazism. His critical consciousness was originated by his experience of Stalinism in East Germany, especially the inhumane, cruel, and dictatorial Soviet system. But probably his discard of Communist party membership(1988) and anti-regime activities did not necessarily mean that he distanced himself from socialism. He incessantly questioned himself what socialist realism was and what’s the meaning of the artists in the socialist society and made a severe critic on the miserable social conditions in East Germany. He did know well that an artist could not change the situation, but he desired a change and a better society. He also insisted that it was a duty of artist to comfort the members of the society who endured pains and conflicts, and to inspire hopes and freedom. Actually he was a social-critical intellect who did not differ politics from culture and an artist who sensitively reacted against domestic and international politics.
Moreover Mattheuer was an realist. He was one of socialist artists who had successfully overcome falseness and inconsistencies of the soviet socialist realism. According to themes he handled divided as follows: first, political belief and consciousness of reality, second, false idealism, third, existential unconsciousness and depressed desire. Common subjects which may appear in his masterpieces such like, 〈Erschrecken(1977)〉, 〈Na, und?(1980)〉, 〈Verlust der Mitte(1981-1987)〉, 〈Die Ausgezeichnete(1984)〉, 〈Uber den sieben Bergen (1973/1993)〉, and Sisyphos series are isolations and cover-ups, hopes and frustrations which the common people under the systematic control of East German state had to endure in their daily life. He portrayed the oppressed desires of isolated individuals and the hollow lives of modern citizens searching for unpractical idealism as surreal symbols. His view of realistic value and his critical consciousness of socialist system had been expressed as constrained and full of tension between conflicted things in his surrealistic paintings.
Mattheuer’s social belief and socialistic idealism came from humanistic socialism based on German Christian tradition and romantic idealism. He was an artist who had no confidence in any idealism and system that could bring happiness and who realized exactly what’s the meaning of hopelessness and frustration as Sisyphos in the Greek mythology.
목차
Ⅰ. 서론
Ⅱ. 동독의 사회정치적 여건과 마토이어
Ⅲ. 마토이어의 조형세계: 이상과 현실의 초현실적 간극
Ⅳ. 결론
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