ABSTRACT A Study on the Paintings of Kirchner and Nolde in German Expressionism Sung, Min-sun Majoring in Art Education The Graduate School of Education Kwandong University Supervised by Professor Hwang, Yu-Kyung In discussing the expressionist movement in the 19th century, Fauvism or the avant-gard...
ABSTRACT A Study on the Paintings of Kirchner and Nolde in German Expressionism Sung, Min-sun Majoring in Art Education The Graduate School of Education Kwandong University Supervised by Professor Hwang, Yu-Kyung In discussing the expressionist movement in the 19th century, Fauvism or the avant-garde trend that started from France and became widespread in Europe around the First World War tend to be collectively categorized as Expressionism. But more commonly, it refers to the tendency of expression that was most actively spread and theoretically systematized near the First World War, mostly with Germany at its centre. This study seeks to understand the subjectivity and inner mind of human beings as seen by Kirchner and Nolde of the German . In doing so, it aims to shed light on understanding the diversity of artistic styles-how the theories of non-objectivity and irrationality gained weight since the Renaissance period for the paintings with abstract tendencies to come into surface, there by marking a new exploration in to an 'individual.' For the research methodology, research targets were limited to the humanistic expressionism of the early 20th century; analysis was conducted for the works of Kirchner and Nolde in the , an informal group of artists which represented the German Expressionism. By comparing and reviewing humans expressed through the theories of non-objectivity and irrationality in their works, which were influenced by the surge of materialism and war, common research topics were examined from the following four perspectives. First, an accusation of the duality of civilization by expressing an urbanite from their own perspectives; second, a pursuit of primitivism where the naked human body unites with the nature; third, sending a message for societal revitalization through energy, by applying the concept of Dionysos who sung praise for life in the midst of Nietzsche's suffering; and fourth, symbolizing the confusion and agony within human's inner self, by using colors with unstable rhythm and drawing external appearance of humans in an inhuman way in their paintings. In the last chapter, the author sought to obtain objectivity for the researched content by proving again the individual paintings of Kirchner and Nolde through the analysis of their topics and styles. With the predominance of substantial value, the laws of perspective, precise anatomical structure and natural external appearance or colors were not very important. They sought to find the elements of painting that can penetrate into the core and express them, rather than focusing on the external form. In that aspect, ‘non-objectivity’ appeared as an artistic form to escape from the anxiety felt at the end of the century, through the expression of rough lines that have not been refined and sensible color schemes. As a result, it was possible to express humans through multiple ways in paintings with human expressionism tendencies. In doing so, it effectively delivered the content of the painting with its topic, while also teaching us how to appreciate them from the historical and societal perspectives of aesthetic consciousness, beyond the beauty that was visible to the eyes.
ABSTRACT A Study on the Paintings of Kirchner and Nolde in German Expressionism Sung, Min-sun Majoring in Art Education The Graduate School of Education Kwandong University Supervised by Professor Hwang, Yu-Kyung In discussing the expressionist movement in the 19th century, Fauvism or the avant-garde trend that started from France and became widespread in Europe around the First World War tend to be collectively categorized as Expressionism. But more commonly, it refers to the tendency of expression that was most actively spread and theoretically systematized near the First World War, mostly with Germany at its centre. This study seeks to understand the subjectivity and inner mind of human beings as seen by Kirchner and Nolde of the German . In doing so, it aims to shed light on understanding the diversity of artistic styles-how the theories of non-objectivity and irrationality gained weight since the Renaissance period for the paintings with abstract tendencies to come into surface, there by marking a new exploration in to an 'individual.' For the research methodology, research targets were limited to the humanistic expressionism of the early 20th century; analysis was conducted for the works of Kirchner and Nolde in the , an informal group of artists which represented the German Expressionism. By comparing and reviewing humans expressed through the theories of non-objectivity and irrationality in their works, which were influenced by the surge of materialism and war, common research topics were examined from the following four perspectives. First, an accusation of the duality of civilization by expressing an urbanite from their own perspectives; second, a pursuit of primitivism where the naked human body unites with the nature; third, sending a message for societal revitalization through energy, by applying the concept of Dionysos who sung praise for life in the midst of Nietzsche's suffering; and fourth, symbolizing the confusion and agony within human's inner self, by using colors with unstable rhythm and drawing external appearance of humans in an inhuman way in their paintings. In the last chapter, the author sought to obtain objectivity for the researched content by proving again the individual paintings of Kirchner and Nolde through the analysis of their topics and styles. With the predominance of substantial value, the laws of perspective, precise anatomical structure and natural external appearance or colors were not very important. They sought to find the elements of painting that can penetrate into the core and express them, rather than focusing on the external form. In that aspect, ‘non-objectivity’ appeared as an artistic form to escape from the anxiety felt at the end of the century, through the expression of rough lines that have not been refined and sensible color schemes. As a result, it was possible to express humans through multiple ways in paintings with human expressionism tendencies. In doing so, it effectively delivered the content of the painting with its topic, while also teaching us how to appreciate them from the historical and societal perspectives of aesthetic consciousness, beyond the beauty that was visible to the eyes.
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