German Expressionism: Georg Tappert

 

Sängerin (ca. 1917)

Georg Tappert (20 October 1880, Berlin – 16 November 1957, Berlin) was a German expressionist painter.

Tappert underwent an apprenticeship as a tailor, before gaining employment at various tailoring businesses for two years. However he attracted the attention of Max Liebermann, who gave him a letter of introduction to Ludwig Schmid-Reutte a professor at the Academy of Fine Arts, Karlsruhe. He studied there from 1901 to 1906, whereupon he joined the Worpswede artists’ colony until 1909.

He was one of the founders of the New Secession which was formed in 1910 following 27 expressionist artworks being excluded from an exhibition organised by the Berlin Secession.

wiki/Georg_Tappert

a German expressionist: Karl Hofer

 

Drei Jünglinge (1951)

Karl Christian Ludwig Hofer or Carl Hofer (11 October 1878, Karlsruhe – 3 April 1955, Berlin) was a German expressionist painter. He was director of the Berlin Academy of Fine Arts.

One of the most prominent painters of expressionism, he never was a member of one of the expressionist painting groups, like "Die Brücke", but was influenced by their painters. His work was among those considered degenerate art by the Nazis, but after World War II he regained recognition as one of the leading German painters.

wiki/Karl_Hofer

Emil Nolde

Emil Nolde (7 August 1867 – 13 April 1956)

An Old Lady

Emil Nolde (7 August 1867 – 13 April 1956) was a German Danish painter and printmaker. 

He was one of the first Expressionists, a member of Die Brücke, and is considered to be one of the great oil painting and watercolor painters of the 20th century. 

He is known for his vigorous brushwork and expressive choice of colors. 

Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise somber tones. His watercolors include vivid, brooding storm-scapes and brilliant florals.

more on wiki/Emil_Nolde

Karl Schmidt-Rottluff (German, 1884 - 1976)

Village Corner (Dorfecke), 1910

Watt bei Ebbe [Mud flat at low tide], 1912

Malven am haus, 1926

Ascona (1927)

oil on canvas. 88,5 × 113 cm

Erzgeburgshäuser (1936)

Herbstlicher Baum [Autumnal tree], 1936
Watercolour, 69 x 50 cm.

Anlegeplatz am Fluss, Maasholm an der Schlei (1956)

Haus an der Strassenkurve (House on the bend of the road)

oil on canvas 90.7 x 125.4 cm

Karl Schmidt-Rottluff (1 December 1884 – 10 August 1976) was a German expressionist painter and printmaker, one of the four founder-members of the artist group Die Brücke.

more on wikipedia

Emil Nolde, part III

Winter Landscape, 1907-1908

Abendlicher Himmel, 1920

Green Sea, 1938-1945

Evening Landscape

much more paintings of Emil Nolde, see this post

German Expressionism: Ernst Ludwig Kirchner

Ernst Ludwig Kirchner (Germany, 1880 – 1938)


Dressage, 1908-1909

Couple (1908)

Love Scene, 1908


Houses in Dresden, 1909-10. Oil on canvas, 56 × 90 cm

Red Nudes  (1913-1925) oil on canvas

Variete at Frankfurt Städel

Königstein Station (1916)

Nues

Varietetänzerin, 1920
at Staatliche Kunsthalle Karlsruhe Germany

Ernst Ludwig Kirchner (6 May 1880 – 15 June 1938) was a German expressionist painter and printmaker and one of the founders of the artists group Die Brücke or "The Bridge", a key group leading to the foundation of Expressionism in 20th-century art. 

In 1933, his work was branded as "degenerate" by the Nazis and in 1937 over 600 of his works were sold or destroyed. In 1938 he committed suicide by gunshot.

In 1905, Kirchner, along with Bleyl and two other architecture students, Karl Schmidt-Rottluff and Erich Heckel, founded the artists group Die Brücke ("The Bridge"). From then on, he committed himself to art. The group aimed to eschew the prevalent traditional academic style and find a new mode of artistic expression, which would form a bridge (hence the name) between the past and the present. They responded both to past artists such as Albrecht Dürer, Matthias Grünewald and Lucas Cranach the Elder, as well as contemporary international avant-garde movements. As part of the affirmation of their national heritage, they revived older media, particularly woodcut prints.

from wikipedia



Otto Mueller (German 1874 – 1930)
Couple at the table, (Double portrait with Masha Mueller), c.1924

Emil Nolde, part II

If you, like me, appreciate Emil Nolde, check also part I on this blog

Seacoast (Red Sky, Two White Sails)

Irises, 1907

Village, Cospeda, 1908

Autumn Glow, 1925

Frisian Farm Houses, 1936

Red Sea with Setting Sun and Steamship, 1946

Poppies and Red Evening Clouds, 1949

Marshy Landscape under the Evening Sky

Mountain Landscape

Red and yellow sunflowers (Rote und gelbe Sonnenblumen)

Red, yellow and blue blossoms

Evening Landscape North Frisia

German Expressionism: Walter Ophey

 Walter Ophey (1882-1930)

Pollarded willows at the lower Rhine

Düsseldorf Dorf mit Bäumen (1920) oil on canvas  65.3 x 70.7 cm

Beim Brandts Jupp, 1894

Walter Ophey - Heidelandschaft (c1905)

Der blaue Eimer

Flusslandschaft mit Schiffen und roter Sonne

Walter Ophey, born at Eupen on 25 March 1882, was, with August Macke, Heinrich Nauen et al, a herald and leading exponent of "Rhineland Expressionism". In 1900 Walter Ophey began studying at the Düsseldorfer Art Academy and, from November 1904, he was in the landscape class taught by Eugen Dücker. 
In 1908 the Düsseldorf painters Julius Bretz, Max Clarenbach, August Deusser, Wilhelm Schmurr and Walter Ophey formed a group called "Sonderbund", which would evolve into the most important German organisation mounting exhibitions of contemporary art. 
In parallel with the growing recognition accorded both Neo-Impressionist and Fauvist work, Ophey developed his own variant of "Rhineland Expressionism". A journey to Italy in early spring 1910 and a stay in Paris in autumn 1911 provided Walter Ophey with essential stimuli. Paris had such an impact on Ophey that it plunged him into a crisis and, forced him to deal with Cubism. The upshot was a redirection of Walter Ophey's work towards a more vibrant palette. Ophey began to develop a distinctively personal form of expression focused on linear drawings in coloured chalks.
After the first world war ended, Walter Ophey discernibly ordered his compositions more stringently and reverted to a more reticent palette, both departures that represented developments. In 1919 Walter Ophey was a driving force behind the foundation of the "Das Junge Rheinland" group, where he was on the jury judging the merits of works.
That same year Ophey was designated a member extraordinary of the Düsseldorf Art Academy. In 1922 Ophey played a paramount role in organising the "First International Art Exhibition" in Düsseldorf, at which he showed seven works. During the later half of the 1920s, Walter Ophey worked on the fresco "Der Sämann" ["The Sower"] for the Düsseldorf Planetarium, which was removed and destroyed by the National Socialists in 1937.
Walter Ophey died in Düsseldorf on 11 January 1930.

from http://www.walter-ophey.com/

German Expressionism: Erich Heckel

Erich Heckel (1883, Döbeln – 1970, Radolfzell) was a German painter and printmaker.

Wiesen und Bäume, 1905

Mittag in der Marsch (Dangast), 1907

Erich Heckel - Ziegelei am Wasser 1913

Yellow Sail, 1913

Path in the Forest (1914)

Gent - 1916

Wolkenschatten, 1918

Landschaft in Schleswig (1930)

Erich Heckel (31 July 1883, Döbeln – 27 January 1970, Radolfzell) was a German painter and printmaker, and a founding member of the Die Brücke group ("The Bridge") which existed 1905-1913.  Heckel and other members of Die Brücke greatly admired the work of Edvard Munch, and aimed to make a "bridge" between traditional neo-romantic German painting and modern expressionist painting. The four founding members made much use of the print as a cheap and quick medium with which to produce affordable art. Primitive art was also an inspiration to the members of the Die Brücke. It was Heckel's brother who introduced the group to African sculpture, and it is noted that their acceptance of primitive art, which was to fortify decisively the expressive yearnings of European artists- Was unequivocal. It is through this style that they found a source of strength in the barbaric figures. 

source: wikipedia