Franz Marc was a German Expressionist, who created many artworks featuring nature and animals, and was a co-founder and an active member of the German art group, “Der Blaue Reiter”, or “The Blue Rider”.
Franz Marc was born on 8th February. 1880 in Munich, Germany. Dubbed “The Little Philosopher” by his family, Franz was by nature shy and especially sensitive, like many artists.
His younger days were spent within the free spiritedness of a highly creative and liberal-minded family. His father was a landscape painter, and his mother was a homemaker and socially liberal Calvinist.
Despite his father being an artist himself, he didn’t suppose Franz would make a great artist, and so this dismissive air made Franz depressed, and yet he still entered the Munich Academy to learn art.
After a couple of years in the fine arts program, rather dejected by the academy’s limitations on artists like himself, Franz decided to travel to Paris, which was the art center of the world at that time.
He spent his days visiting local art museums, and had absorbed the nuances of classical painting partly by viewing their works, but also by copying the old masters he was surrounded by.
Influence of Paris
The influence of other artists had a very huge impact on Franz Marc. Encountering the artworks of both Gaugin and Van Gogh, Marc took their work to heart and realized that his love of nature might be a way to express himself artistically, as these two artists had done.
For example, speaking of influence, his work called “Cats on a Red Cloth”, which was created around 1909-1910, was strongly influenced by Van Gogh as you might notice. Still, the color scheme adheres to the tones of reality, seeing Marc not yet venturing off into the realms of experimentation he would soon explore.
With this painting in particular, vibrant brush strokes and vivid colors occupy the viewer’s eye and give a feeling of two cats enjoying a typical feline day in the life, very similar to the Van Gogh in its exploration of things you might see around you, but depicted differently than you’ve ever seen them before, with that slight jolt of experimental abstraction.
They say emulation is a form of flattery, but it takes a special artist to move beyond mere stylistic copying, which Franz certainly did before too long. This might be said to have been inevitable, as by now Marc had developed a very personal theory of symbolic color theory, which began to inform his work.
A couple of years later, Franz Marc met another famous painter, a well-known person in the art world – expressionist Wassily Kandinsky.
Their unity and friendship combined into an active working relationship with the artist group called “New Artist’s Association” and the creation of the “Der Blaue Reiter”, or “The Blue Rider”. The name was inspired by both artists’ affinity for blue color, with Kandinsky liking the idea of a horse rider, and Marc being partial to horses.
The Blue Rider was a way for artists to escape what more formal institutions of the time were doing which was to gravitate closer to colors and shapes which matched reality. Too many “should’s” for Marc. With the onset of photography, realism was becoming more and more inescapable in art and the idea of a prismatic love of all colors and shapes seemed to clash with harsh reality of the time, going into the first World War.
It was around this time that Franz Marc created one of his best known paintings, “The Blue Horse”, in 1911, which combined primary colors and a touch of cubism. It also symbolized Marc’s combining his love of nature, animals, personalized color theory, and abstraction into what would become his signature style of painting.
Love of Animals
Franz Marc had a special view on painting animals, mostly home animals as horses or dogs. One of his most known paintings is called “Dog Lying In The Snow”, based on his sheep dog, Russi.
In the painting itself, a light yellow-colored dog is peacefully lying on the ground with his eyes closed – it gives a calm impression to viewers and looks rather unassuming at first glance
But. when you start to look more carefully, the shape of the dog gives a more vibrant image because the painter gave to this dog a few cubistic characteristics, which puts the dog in a timeless setting.
Furthermore, he used two primarily colors blue and yellow and the third – green – which you can get by mixing the two, creating a palette that is unique and unusual. According to Victoria Robson, who is a Curator European Art, both the composition and these colors symbolize the idea of a harmonious unity, whereby the animal, the colors, the lines, and the landscape all become one.
In fact, harmony of colors and a vision of animals being seen as the spiritual creatures they are became fundamental to all his work at this time. Second to his love of horses and his dog Russi, Marc loved to depict deer, which he looked after.
It has been said that Franz Marc considered animals to be more spiritual than humans. An interesting take, and surely many might agree with this, as humans are seen as deceitful and greedy, and animals are seen as innocent. Therefore, to align himself with the innocence of animals, Marc stopped painting anything but animals from 1911 onward.
There is one painting you may know called “Yellow Cow”, created in 1911. The title represents painting fairly accurately, as it it intrigues the viewer with a wide spectrum of vivid colors and bright emotions, portraying a cow as perhaps never before, galloping through a vividly but somewhat fantastically colored landscape.
According to David Wistow, an Exhibition planner at the Art Gallery of Ontario, Franz Marc believed that yellow color represents feminine energy and blue the masculine, in accordance with his personal views on color theory.
It so happened that the artist was newly married around the time he created this painting, therefore art historians are guessing that this painting illustrates an unusual, but exciting perspective on married life, which combines the yellow of the feminine and the blue of the masculine.
Since Marc had decided to live in the Alps, he criticized everything that was related to city lifestyle: corruption, pollution, and materialism, he had chosen to show a side of nature in his work and connect himself to a spirituality which to him had far more meaning.
In 1915, in Marc’s letter to his wife, he wrote that his idea is to paint animals, not the way he sees them, but rather the way they really are and coexist with nature, or even to represent their place in the whole world.
By populating his artwork with various animals, he hoped somehow to connect his spirit to theirs, and theirs to ours. It’s a good theory, and who can say what mysteries lie within the brushstrokes of a painting, particular a Franz Marc painting.
It is also known that when he was growing up, he liked to spend his free time walking with his dog. In his young days, he worked with horses and loved deer and he kept deer himself. Therefore, it’s not exaggerating to say that Franz Marc can be strongly considered as one of the best expressionists dealing with the theme of animals that ever lived, as he did his best to represent their souls in his works so that humanity could always remember that the planet is not solely about them.
Emil Nolde was a German-Danish Expressionist painter, known for his unbridled passion for a rather crude but compelling style of artwork that was labelled as “degenerate” by Hitler and the Nazis, whom Nolde admired and sought acceptance by.
But how could he gain acceptance back then, when the bulk of Nolde’s very expansive body of work seemed to take the sacred and make it profane, or reveal a vulgar side of humanity that was not ready to seen by common folk? Did Nolde himself not see this? Or was he too busy pushing boundaries in a time and place when this was less than appreciated?
For some reason, Nolde believed he would be accepted and embraced by Germany, which he loved, but his reward for his creativity was to become an outcast.
Irony could be applied to Nolde in several ways through his life. For one, he supported the 3rd Reich, but his painting style was seen as abhorrent by the persnickety political party. Unrequited love, it seemed.
Second irony was that, while the Nazi’s hated his art for being primitive and unethical, they ironically somehow managed to give Nolde free promotion, by way of an 1937/38 “degenerate” art show which many German people saw. More on this show in a moment.
As with today’s so called “cancel culture”, which sees people emotionally react with extreme un-acceptance to anything that disagrees with their fickle sensibilities, the Nazi’s too felt it appropriate to suppress creative expression as they rose to power, deeming Nolde’s artwork morally questionable and highly objectionable. In other words, they tried to have him censored, or “cancelled” as we call it in 2020.
What did the Nazi’s object to about Nolde’s work, you ask? Well, for one thing, Nolde’s work displayed some wild tendencies, both in terms of brushstroke and subject matter, depicting provocative nudes moving in savage ways, as well as exploring the culture of other races. This type of curiosity was the opposite of the Nazi’s worldview. Nolde also made some sort of mockery of religion.
So, in their particularly heinous way, the supremely pompous Nazi’s took all of the aforementioned wretched artwork, like that of Nolde’s, which they (the Nazis, with Goebbels being the spearhead of the movement) then placed in one show in Munich to show what unpatriotic, unacceptable art looks like. This is the show I mentioned – the Degenerate Art Show.
Here is a video talking about the event.
By all accounts, Emil took all of this rejection in stride, as it never once prevented him from continuing to create.
Despite all challenges he faced through his life, what with being somewhat of an outcast in his homeland, Emil Nolde never stopped creating, becoming increasingly dynamic and bold with his artistic vision of the world.
Let’s go back to the beginning, when this future rabble rouser was born.
Emil Nolde was born on 7th August 1867 in Nolde, Germany. His real name was Emil Hansen, but he changed it to match the name of his home town at the Danish-German border in later years, when he became a more well-known artist.
He wasn’t interested in painting at first, but the boy’s attraction to art became clear in his teenage years.
At 17 years old, the young man started an apprenticeship as a wood sculptor and draftsman at the Sauermann furniture factory and wood-carving school in Flensburg.
As he got older, Emil worked as a woodcarver in furniture factories in Munich and Karlsruhe, where he also attended the school of applied arts and took figure-drawing classes.
His first experiences with painting led him to the Friedrich Fehr’s (pictured below) painting school and later to the Hölzel school in Dachau.
In 1899, he traveled to Paris, where he attended the Académie Julian and undertook his own studies in the famous center of every young painter – the Louvre.
At the beginning of the 20th century, following his marriage with a Danish actress, Ada Vilstrup, the artist has changed his name officially from Hansen to Nolde.
The couple was travelled together through Denmark and Germany, until their relocation in Berlin, which became their home.
Growing Hunger for Art
At the beginning of the 20th century, Emil Nolde became an active member of a rich cultural and social life in Germany.
For a while, he participated in the art group named “Brücke” (The Bridges), during which he met a famous Expressionist, Norwegian Edward Munch, whose artworks Nolde admired.
Even though they didn’t become close friends, they followed each other careers as long as they lived. Their work, after all, does share some similarities in its brazenness alone, you might say. Both artists certainly knew their way around a tortured face.
Ideas and Themes
Next to his active social life, Nolde was inspired to create artworks, which reflected various themes and ideas.
Since he was an Expressionist and had used many vivid colors in his works, one of the objects he enjoyed painting was flowers.
Art historians have noted that Nolde was inspired by a Dutch master Vincent Van Gogh, who used many bright colors and had created his iconic sunflowers. That said, Nolde was no slouch with flowers himself.
Next to these flowers, Nolde painted poppies and typical field flowers. His vibrant colors and dynamic brushes made them come alive.
In 1909, he started to create religious theme paintings – “Last Supper”, “Pentecost”, “Derision”, etc. He did so in a way that confused some of his countrymen – were religious works supposed to look like this? There was something odd about his depictions of religious scenes that did not sit well with the powers that be of that time.
This idea of religious paintings did not leave him, and he continued along with this theme for a couple of years, and during 1911-1912 he painted one of the most important artworks in his career – the nine-piece “Life of Christ”.
“I followed an irresistible desire to represent profound spirituality, religion, and tenderness without much intention, knowledge, or deliberation.” – Nolde had written in his memoir. While this may have been his view of his own work, there was something unsettling about his work that would go on to rankle people.
That said, another theme that was important in Nolde‘s paintings was dance and dancers. He was amazed by this magnificent type of performing art, and loved to explore it in his work.
For instance, while spending his days in Berlin, Nolde was a frequent visitor at many theaters, circuses, cabarets, and cafes, where he had an opportunity to observe performers’ body movements and make his sketches.
Some of his well-known works of this period are “Wildly Dancing Children” (1909), “Dance Around the Golden Calf” (1910), and “Candle Dancers” (1912).
Living During Difficult Times
Many artists, who had worked during both World Wars, have been surrounded by uncertainty, poverty, and have been affected by different political regimes.
Since Nolde was living and working in Germany, his works were being watched by the Nazi Regime, as mentioned.
And now we come full circle.
As I said, Emil Nolde did not take a neutral position during the Nazi Regime. Art historian Peter Selz in his book, dedicated to German painter, had described Nolde’s personal views as anti-French and anti-Jewish.
According to him, the artist had expected to play an important role in the early 1930s, when Nazis came to power, therefore he found the right environment to fulfill his opportunistic ideas.
Although he did get attention from the Nazi party at the beginning of their ruling period, the attention he wanted was not the attention he got, and Nolde’s works were exhibited at the Degenerate Art Exhibition in Munich, in 1937.
To reiterate, Nolde was a very bold painter who loved color. The Nazi agenda was not inclined to have emotions stirred that they did not fully oversee. This is how Nolde had his falling out with the rising totalitarian force.
After his works were confiscated by the party, Nolde fought to get them back and succeeded.
Even after his own experience showed that he could have not trust the Nazi regime, he still continued support for Germany to win World War II and did not give up his beliefs.
In 2019, Germany‘s Chancellor Angela Merkel removed two Emil Nolde‘s paintings from her office.
Poor Emil, the Nazis didn’t like you because you were too provocative, and today’s politicians don’t like you because you liked the Nazis. Can’t win, can you?
At any rate, this symbolic gesture of having his artwork removed attracted a lot of media attention, and was quickly understood as a non-acceptance of the artist’s pro-Nazi beliefs from the past. As I said at the beginning, Emil Nolde was an enigma – a proud nationalist who was rejected by his own countrymen for being seen as anti nationalist. Oh the humanity!
Still, I hope you have enjoyed this little exploration of his life and work.
Robert Rauschenberg was an influential, non-traditional American artist heavily influenced by the New York School, who were a group of artists, poets, musicians, and dancers who were reaching their peak popularity in the 1950’s and 1960’s.
Robert was a progenitor of the pop art style, often mentioned in the same breath as the likes of Jackson Pollock for his revolutionary approach to modern art, mixing together styles of art such as print-making, collage, photography, and sculpture.
Robert Rauschenberg was born Milton Ernest Rauschenberg on October 22, 1925, in Porth Arthur town in Texas, USA. He was one of two children (he had a sister named Janet) and he was raised in a Fundamentalist Christians household.
Rauschenberg was dyslexic growing up. That said, at the young age of 16, he went on to study Pharmacy at the University of Texas. Soon after, he served in the United States Navy, where he worked briefly as a mental hospital technician until his discharge in 1945.
Following that, in 1947, he enrolled into Kansas City Art Institute. Shortly thereafter, he went to Paris, where he continued his studies at Academie Julian.
Thinking back on this decision, Rauschenberg would joke that it was 40 years too late, as this great city, known for its artistic flair, had changed greatly from the beginning of the 20th century when it was mecca for many famous painters. Still, he made friends there, as well as his future wife and ex-wife, painter Susan Weil.
In 1948, he returned to the USA, where he resumed his artistic studies at Black Mountain College in North Carolina, where he had the opportunity to be taught by the German artist Josef Albers, a founder of the Bauhaus, who tried to rid Rauschenberg of his experimental tendencies. Thus, they clashed, and soon Rauschenberg became the pupil of John Cage, who better suited his experimental nature.
While in New York in 1949-1951, Rauschenberg encountered many contemporary artists who influenced him and vice versa, such as Vaclav Vytlacil, Morris Kantor, Knox Martin, and Cy Twombly. While in New York, Rauschenberg had his first solo exhibition at the Betty Parsons Gallery and his popularity begin to grow exponentially. This exhibition featured his “combines”, which combined painting and sculpture.
Robert Rauschenberg invented a new term in the art world: “combine”. This fusion of sculpture and painting became his signature, as many of his works featured this new style which basically helped invent the term “pop art”, which has been mostly associated with Andy Warhol.
In this vernacular of this type of artwork, different kinds of materials can be used, such as newspaper clippings, paints squeezed directly from the tube or various wooden, metal, or plastic parts put together into one whole artwork.
According to art historians, Rauschenberg wanted to bring simple objects from daily life into the artwork, showing that artists and their works are part of the same world, they are the same regular human beings as non-artists, interacting with the same “stuff”. This may have influenced Warhol to film people eating hamburgers – we don’t know.
Art critics and researchers tend to think that Rauschenberg gave a sort of cultural permission to creators to create whatever and how they want – a dangerous idea to be sure.
Throughout his sixty active working years as an artist, Rauschenberg had created many works from all different kinds of materials, many of which challenged viewers as to what art is and is not, and what it may or may not include.
Once he said that he used to go out in New York streets looking for various objects which can be useful for his artworks. From pins to waterpipes – his work materials included a wide range of objects, newspapers, paint, pictures, and even stuffed animals. Maybe even his own band-aids…one never knows with this fellow which might end up being sucked into the work.
In his paintings or sculptures, Rauschenberg did not avoid using such American symbols as a national flag or public figures such as the former president of the United States, John F. Kennedy. His work was, in its own way, controversial to some, just by including certain symbols and images. Imagine Rauschenberg trying to work in the year 2020…would be tough, with Cancel Culture seemingly on the rise.
However, it should be said that the main objects in his works remained simple, mostly from the home surroundings such as furniture, car wheels, or simple beach umbrellas. Ordinary everyday things.
Rauschenberg and Abstract Expressionism
Ever since Rauschenberg started to develop his artistic ideas and create his works, he was never quite sure of his end point, but he definitely knew who he does not want to be: an Abstract Expressionist.
He decided to be different and expand boundaries of art as it was popular at that time. No doubt it was brave to create works which cannot fit in any concept of art.
In 1953 Rauschenberg had created probably the most controversial of his works. He took one of the most popular artists in New York, a Willem de Kooning painting, and started to erase it.
The process took two months and yet the drawing was not erased fully, Rauschenberg had achieved his goal. Later he described this act not as a negation, but as a celebration.
After long years of creating his artworks, at the age of 72, Rauschenberg shared that working and creating always gave him joy, a celebration of unity with everything, and being the least self-conscious he could be.
Although Rauschenberg’s artworks are controversial, he remained authentic and showed what real freedom in the art world looks like. Today his works are exhibited in the most popular modern art museums all over the world.
Installation art is a type of modern artistic sculpture, that presents the idea of using three-dimensional things in some sort of thought-provoking way.
Art installations are mostly presented in art galleries, museums, but also sometimes in public spaces in cities as well as in nature.
The “cross-over” of installation art from the gallery space into the outside world, or the natural world, could be considered inevitable, although this by no means to say the results have been predictable.
Take for instance The “Spiral Jetty”, a well known installation art piece called an “earthwork”.
Created by Robert Smithson in 1970, Spiral Jetty, at a glance, might be mistaken for a natural phenomenon, if you happened to fly over it in a helicopter.
It was, however, intentionally formed, and is located in an area of Utah, still there to this day.
Unlike Spiral Jetty, which has been there for decades, installation artworks created outside, particularly nature-based installations like this one, are made to last for a temporary period, and disperse at some point either by manmade design to do so, or naturally.
Installation artworks also sometimes can be movable, transferred from one place to another, although generally they are not as easy to move around as regular canvas-based artworks.
Because of their somewhat unlimited potential in terms of scope, the popularity of installation art featured outdoors, has only increased.
As the modern artist has taken to focusing their creative endeavours on the possibilities of what can happen when art goes “outside”, new and intriguing innuendos begin to bubble up from the wellspring of the human mind.
Modern Installation Art Origins – In (Very) Brief
Art installations, in the form that we understand them today, started to become part of modern art between the 1960’s and 1970’s. One of the first installations was created by artist Yves Klein and called “The Void”.
It took place at Iris Clert Gallery in Paris, 1958. This installation was unique at that time because of its minimalistic idiom.
As it happened, the gallery’s outside was painted in the vivid blue color (the specific tone was invented by the author Klein himself, who is often associated with the color blue, oddly enough), an entrance was decorated by fancy same-blue-colored drapes.
Meanwhile, inside of the gallery was empty – Klein removed all things, except one display case and painted it plain white color just before the posh opening.
Here is a video showing the nature of “The Void” by Yves Klein, from 1958.
Klein was known for many unusual installation and even “living” artworks, such as his “living paintbrushes”.
Installation art, overall, is generally thought of as 3-dimensional art, or in other words, art that exists on “interactive” plane of reality we are all familiar with, as 3-d types ourselves.
Other famous installation artists through history have included Joseph Beuys, Michelangelo Pistoletto, Nam June Paik, and Larry Bell. But today as we continue, we will not be focusing on these intrepid individuals.
As it happens, here now we are going to look at some specifically “climate change” related artists and their works, which you might consider an informal branch of installation art.
This type of artwork reflects on what it means for our human race to exist as we plunge deeper into an increasingly complex industrial world, which has been evolving for centuries now and seems to have reached an impasse in some cities of the world, like New Delhi.
Climate Change Installation Artworks
Climate change, as an idea, fear (sometimes referred to as the “climate crisis”), and as much politicized “buzz word” (in some cases as the media likes to hijack these things to their own ends), is essentially, when you strip away the political posturing and mania, a noble and legitimate concern that has arisen in the past 50 years and which has only gotten increasingly more concerning for people that care about our planet, many of them artists who are especially sensitive to such things.
Climate change has inevitably become the topic of many impactful artworks throughout the world, with new movements having been created, and important discussions influenced. All of this artistic ingenuity has brought this topic to new levels of creative output.
Artists all over the globe, who wanted to create artworks, wanted to not only address this issue, but also do their part towards figuring out how to potentially solve this problem, and make others think and act regarding their circumstances.
Sometimes cooperating with designers, architects, and scientists, climate-based creators also wish to how important it is to be open, work together, and find the best solutions possible.
Here are some famous installation artworks focused on climate change you may wish to investigate further.
This installation, called “Lines” was created in 2019, in the small Scottish town surrounded by water – North Uist.
The concept “belongs” (ownership of installed art like this becomes more nebulous) to the Finnish artists Pekka Niittyvirta and Timo Aho, who put white lights in straight lines on two buildings and a fence as a mark, indicating how high the water might rise if sea level will continue to rise in the future, according to the official calculations of scientists.
This project pushes society, and especially, the local community of the North Uist, to discuss what kind of impact does the climate change makes to their town and all other towns, which are in a similar geographical position, surrounded by water.
Danish-Icelandic artist Olafur Eliasson is known for his interest and artworks related to climate change issues. His studio creates exhibitions and art installations for many popular art galleries and museums around the globe.
One of his projects, named “Ice Watch” was presented in London, outside the Tate Modern building at the end of 2018.
Olafur extracted 30 blocks of glacial ice from the waters in Greenland and placed them in public spaces across London, where they had been left for natural melting.
The main idea was to show how the environment influences climate change. According to the author, he wanted to bring pieces of Greenland’s nature to humans, who could have touch and feel those huge pieces of ice, because of the physical contact, the understanding of the issue is “naturally” (pun intended) more effective.
Wayne Binitie, a London based artist, currently a Ph.D. candidate at the Royal College of Art, together with the British Antarctic Survey, created an installation called “Ice Floor”, which took place from 25th November 2019 to 14 February 2020 in Arup, London.
The key to this artwork was in the small pieces of ice, which dated thousands of years old.
The idea here is similar to Eliasson’s, but here the main focus is with the sound, which is released from the pieces of ice cores, during its melting.
This sound is symbolizing the past, or, in other words – what the past can tell about climate change today.
What is unique in this project, that the ice has been extracted from the arctic pole by using a unique scientific method.
British Antarctic Survey scientists collaborated with Wayne Binitie, by providing him main ice materials and were fascinated about the artist’s idea.
Therefore, this is a great example of artists and scientists working hand in hand together for a common purpose.
Dutch artist Daan Roosegaarde had created an art installation named “Waterlicht” at Columbia University in 2019.
The artist used light installation made by LEDs to show viewers how it would feel like to be under the 10 feet of water.
It is clear why Roosegaarde has taken a view of water as a key target of his installation: one-fourth of his home country, the Netherlands, is below sea level, therefore rising sea level can damage a large part of the country in the near future, if it continues unchecked.
According to the artist, the viewer can feel how vulnerable life is while living below sea level. Using his artwork, he wanted to spread a clear message to the world – people should be aware of the rising sea level.
Climate change is a sensitive topic these days, but it should be brought up during the public discussions and art is a great way to create those discussions.
Please comment below and let us know what you think. Have you seen or made any great installation artworks, focused on climate change.
Alexej von Jawlensky is a Russian Expressionist who joined German avant-garde during the early 20th century by mostly creating mesmerizing portraits.
Alexej von Jawlensky was born on 13 March 1864 in Torzhok, Russia. His family moved to Moscow when he was ten years old and after he enlisted in military training, he had visited the Moscow World Exposition and got interested in painting.
That interest quickly began to grow and Alexej started to study painting in St. Petersburg. He had a sociable character, which helped him to get into touch with famous Russian painter Ilja Rapin and later with an older and richer artist Marianne von Werefkin, who made a huge impact in his later life.
Munich – a magnet for artists
Munich was very popular for artists at that time when Alexej moved in in 1896 together with his supporter Marianne von Werefkin, who was his main sponsor to create by providing him financial and emotional support for many years.
He started to study there in the art school by famous Slovene realist painter Anton Ažbe. After much studying, he moved from an academic painter to an innovative colorist.
During his years in Munich, Jawlensky has developed his painting style and created many mesmerizing works. Next to his artistic work, he also participated as a social and active member of the German art community.
Jawlensky together with Wassily Kandinsky and Gabriele Münter created various groups of artists such as the Neue Künstlervereinigung München and the Blaue Reiter who promoted art styles, prevailed in Europe at that time.
Jawlensky‘s private life was complicated (art historians have different opinions about his relationship with Marianne von Werefkin), but in 1922 he married Werefkin‘s maid Helene Nesnakomoff with whom he already had a son Andreas.
While creating his style, Alexej was influenced by Russian religious art especially by Russian icons, which reminded him of his childhood in Russia.
A huge impact for him as an artist had other painters like a Fauve style painters Henri Matisse and Kees van Dongen. Their works gave him an inspiration about expressing emotions by using thick strokes of vivid colors.
Since Jawlensky painted mostly portraits, it was very important for him to analyze and convey his imagination of the human‘s heads shapes and forms.
On one of the most well known Jawlensky‘s works called “Blue cap“, all dominant colors are very vivid: red woman‘s blouse with the yellow dots, unnaturally bright pink skin, green and red background and blue hat – all colors merge altogether which shows a strong mood of the work.
The manner to highlight the edges of the person‘s face and body by using a dark blue or black brush came from another expressionist Kees van Dongen who used it in his works in a more subtle way.
This portrait of a woman was painted around 1912, just before the First World War and was influenced by Fauve art, but also at the same time trying the new style Abstractionism, which started to be more and more popular in Europe.
This portrait by Jawlensky is unique because of its painting style collected and created from all the inspiration he could have got at that time. It was sold for 6 million dollars and now belongs to a private collection.
During his active working years, Alexej was following various art styles, including Cubism.
In his several series of paintings called “Abstract Heads”, which were created between 1918 and 1935, he painted abstract faces that combined horizontal and vertical lines and brightly painted blocks of pigment.
The viewer can see the influence of Cubism in these works. For creating these type of artworks, Jawlensky was highly interested in Indian philosophy, especially Indian yogis, which inspired him to paint by forgetting any kind of individualism and focusing on the basic elements which make these paintings look organic and unique.
Alexej von Jawlensky died in 1941 when he was 77 years old. He is buried in the Russian Orthodox cemetery in Wiesbaden, Germany. Most of his works are kept at the Museum Wiesbaden, others are in other german museums.
In 2019 his works were exhibited in Gemeentemuseum, the Hague in the Netherlands and also the special exhibition, together with works of Marianne von Werefkin, called “Lebensmenschen” was opened on 22nd October 2019 in Lenbachhaus, Munich, Germany where both artists spent years together and will last until 16th of February 2020.
Marianne von Werefkin is a Russian-German-Swiss painter, who started to paint in the Realism style and later developed her style into Expressionism.
Marianne von Werefkin was born on 10 September 1860 in Tula, Russia. She started to paint at the age of fourteen and later became a student of Ilja Rapin, one of the most well known Russian painters. Here she is in old age, pondering imponderables.
Since her early days, Marianne faced many challenges, which contributed to creating her personality. She was seventeen when during cleaning a gun at home she accidentally shot her right hand.
This misfortune had an impact on the rest of her life as a painter because she had to use a special tool helping her to paint. Werefkin also has more issues with health such as neuralgia and hysterical epilepsy.
Marianne von Werefkin was strongly influenced by Russian realism, which reflected in her early works. Because of her talent to create realistic works she even got a nickname – “Russian Rembrandt“.
In 1893 she painted a “Self Portrait in a Sailor‘s Blouse” – a portrait of herself looking into the distance and holding a bunch of paintbrushes in one hand and leaned on her hip with another.
This work was created in her family‘s Blagodat Estate in Lithuania, where she used to come to visit her father and later her brother, who owned the property and where she had her first work studio.
Moving to Munich
In 1896, together with another Russian expressionist Alexej von Jawlensky, whom she met in Russia, she moved to Munich, Germany, where she studied painting.
Munich at that time was a very popular place for artists from Russia and Eastern Europe because of highly-regarded art school founded by Slovenian artist Anton Ažbe.
Unfortunately, instead of creating for herself, she focused on her friend. According to art historians, they were not married, not even a couple, so their relationship could be described only as friends, but at that time, Marianne encouraged Alexej‘s development as an artist and supported him to create. Later he became a father with the other woman whom he married and Marianne never got married or had a child.
Marianne was also known as an active member of a local artists community. She was very social and use to invite various people to her home, her salon, where happened many discussions about art and various ideas. She brought together not only artists but avant-garde writers, dancers even Russian politicians and aristocrats.
She started to paint again after ten years in 1906 when Alexej was not a part of her life anymore and finished her first works in 1907.
Together with another famous Russian painter Wassily Kandinsky, she created a Neue Künstvereinigung Munchen – an art group, which was dedicated to the Expressionism ideas.
At that time, her inspiration to create came from French post-impressionists Paul Gauguin and Louis Anquentin, also one of the most known expressionists – a Norwegian Edvard Munch.
When Marianne use to visit her family‘s Estate in Lithuania, she got the inspiration for the country‘s landscape and culture which lead her to create paintings like “The Road”, “The Family”, “City in Lithuania” or “Police Sentinel in Vilnius” (shown below).
Werefkin developed her painting style, which mainly consisted of vivid and dark colors. In 1910, she created a new self-portrait, which was different from painting in her early days as an artist.
This one didn‘t reflect Russian realism anymore, Marianne created her painting style influenced at that time prevailing Expressionism.
The portrait is mesmerizing because of the strict look of her vivid red eyes, also red color dress and hat, yellow skin and vivid blue background and has a strong emotion, which is very specific for expressionists.
Next and Last Stop – Switzerland
Because of the First World War, Marianne von Werefkin with her friend Jawlensky moved to the neutral country Switzerland.
At first, they lived in Geneva, later in Zurich, but when Jawlensky decided to marry the mother of his child, Marianne moved to Ascona, where she lived till her death in 1938.
Her life back then was difficult because of her living conditions – she didn‘t get enough money, so she couldn‘t paint and create as much as she wanted.
Despite her financial condition, she kept active in social life and in 1924 created an artist group “Großer Bär” which focused on discussions about art.
Marianne von Werefkin‘s works as an important sign of expressionism were exhibited several times in different locations in Europe.
She together with Alexej von Jawlensky was remembered again in 2019, when the art gallery “Lenbachhaus” in Munich, Germany, where the artist spent one part of her life, created an exhibition called “Lebensmenschen”.
This exhibition started on 22nd October and will last until the 16th of February 2020.
The history of modern art is also the history of the progressive loss of art’s audience. Art has increasingly become the concern of the artist and the bafflement of the public.
When Did Modern Art Begin?
The rise of modern art can be traced to the Industrial Revolution (1760-1860).It was the period of rapid changes in transportation, manufacturing, and technology began around the mid-18th century and lasted through the 19th century.
It was the one of the most crucial turning points in world history. It profoundly affected the economic, social and cultural conditions of life in North America, Western Europe and eventually the world.
Revolutionary forms of transportation, including the stream engine, the large machine-powered factory, the subway, and the railroad profoundly changed the way people lived, traveled and worked, expanding their worldview.
People migrated from the rural areas to the city centers to find work; the center of life from the family and village in the country shifted to the expanding urban metropolises.
In addition, other developments had also influence on arts in this period. In 1841, the American painter John Rand (1801-1873) invented the collapsible paint tube.
The Interpretation of Dreams (1889), a publication of psychologist Sigmund Freud and the idea of a subconscious had a great, epochal influence on arts, literature and philosophy at that time.
The artists began exploring dreams, personal iconography and symbolism as directions for the depiction of their subjective experiences.
The Invention of Photography
“Boulevard du Temple”, a daguerreotype made by Louis Daguerre in 1838, is generally accepted as the earliest photograph to include people.
The invention of photography offered new radical possibilities for interpretation and depiction of the world. Photographic technology advanced, and became increasingly accessible to the public.
Within a few decades, a photograph could reproduce almost any scene with perfect accuracy.
The photography became a serious threat to classical art conventions of representing a subject, as neither painting nor sculpture could capture the same degree of detail as photography.
In regards to photography’s technical precision, artists were obliged to discover new modes of expression, which led to new paradigms in the art world.
The development of photography and its allied photomechanical techniques of reproduction has had an obscure but important influence on the development of modern art, because these techniques deprived manually executed painting and drawing of their main roleso far, as the only means of depicting the visible world accurately.
In earlier periods before 1800, artists were often commissioned to make artworks by institutions or wealthy patrons. The most of the art of those times depicted mythological, religious or historical scenes that told stories intended to instruct the viewer.
From Patronage to Personal
But, during the 19th century, many artists started to create art based in their own personal experience and leaning.
Instead of following the Hierarchy of Genres and being content with academic subject matters, interspersed with ’meaningful’ landscapes and portraits, artists began to create art about everyday things; about the ordinary people,places and ideas.
As a creative response to the rationalist practices and perspectives of the new ideas provided by technological advances of the industrial age, modern art intent to portray a subject as it exists in the world, according to the artist’s unique perspective and is presented by a rejection of traditional values and styles.
In the early 19th century European artists simply began experimenting with the act of observation.
All across the Europe, the artists, such as Henri Fantin-Latour and Gustave Courbet, created works that aimed to depict situations and people objectively, with the all imperfections, rather than creating idealized exposition of the subject.
This new radical approach to art would become known as Realism, a broad school of art and movement.
At the same time, the Romantics started to present landscape as they saw and felt it.
The landscapes painted by J.M.W. Turner are dramatic representations that capture the feeling of the awe-inspiring that hit the artist upon viewing the particular scene in nature.
This representation of a place in conjunction with a particular feeling was a decisive step for creating the modern artist’s unique perspective.
The other artists shifted their focus to emphasize the visual sensation of the observed subject rather than a objective representation and naturalistic depiction.
The Beginning of Abstract Impressionism
It was the beginnings of abstraction in visual art. James McNeil Whistler’s Nocturne in Black and Gold: The Falling Rocket (1874) and Monet’s Boulevard desCapucines (1873) are the key examples.
In the former case, the artists coupled small flacks and large splatters of paint in order to create a depiction of a night sky illuminated by fireworks; it was more atmospheric than representational.
Monet created an aerial view of modern Parisian life. In this scene, he made the pedestrians and cityscape as an ‘impression’, a visual representation of subjective and slightly abstracted perspective.
Some artists connected their work to preceding ideas or movements, but the general goal of each artist in modernism was to advance their practice to a position of a true originality.
Some of them established themselves as independent thinkers risking beyond what constituted acceptable forms of art at the time which were endorsed by traditional academies and the upper-class patrons of the arts. These personas depicted subject matters that many considered controversial or even substantially ugly.
The Rise of the Commoner
In this regard, the first modern artist who stands on his own with his distinctive style was Gustave Courbet.
Courbet scandalized the French art world by his painting Burial at Ornans (1849-50), portraying the funeral of a common man from a peasant village (his father’s uncle).
The French Academy bristled at the depiction of dirty farm workers around open grave; Courbet was ostracized for his work, but he, eventually proved to be tremendously influential to the following generations of modern artists.
The paintings of Gustave Courbet, Edouard Manet and the Impressionists represent a profound rejection of the dominant academic tradition and a quest for a more objective representation of the visual world.
The most commonly cited date that marking the birth of modern art is 1863- the year that Edouard Manet exhibited his painting Le Dejeuner sur l’herbe in the Salon des Refuses/ Salon of the Rejected in Paris.
Despite the fact it was modelled on a Renaissance work by Raphael and Manet’s respect for the French Academy, it was considered to be one of the most scandalous paintings of the period.
Modernism embraces a variety of theories, movements and attitudes whose modernism resides especiallyin a tendencyto reject historical, traditional, or academic conventions and forms in an effort to create an art practice more in keeping with changed economic, social and intellectual conditions.
Art history tends to classify artists into units of historically connected and like-minded individuals. The approach of establishing categories is particularly suitable to well centralized movement with a single objective, such as Impressionism, Cubism, Futurism.
When Claude Monet exhibited his painting Impression, Sunrise at Parisian Salon in 1872, the painting was poorly received. Consequently, Monet and his fellow artists were motivated and united by the criticism; it was a precedent for future independent artists who sought to group together based on the same or similar aesthetic approach.
The practice of grouping artists into schools or movement in not always appropriate. For instance, Paul Gauguin, Vincent Van Gogh and Paul Cézanne are considered the major artists of Post-Impressionism movement.
The movement was named so because the chronological place in history as well as artists’ deviation from Impressionism. However, it did not represent a cohesive group of artists who united under a single ideological frame. In addition, some artists do not fit into any particular category, school or movement.
Despite the inconsistency, the designation of schools and movements allows the broad history of art to be broken down into segments separated by contextual factors.
The Arrival of the Avant-Garde
The progression of Modernism in art led to what is known as the Avant-Garde. The term Avant-Garde derives from the French ‘’vanguard’’, literally means advance guard- the lead division going into battle.
Most of the creative and principal artists were avant-gardes. Their objective was to improve practices and ideas of art and to challenge what constituted acceptable artistic form in order to accurately communicate the artists’ experience of modern era.
From about 1890s and on, a succession of a variety of schools, styles and movements emerged that represent the core of modern art and one of the high points of Western visual culture.
The modern movements includeRealism, Romanticism, Impressionism, Post-Impressionism, Neo-Impressionism, Symbolism, Fauvism, Cubism, Futurism, Expressionism, Suprematism, Constructivism, Metaphysical painting, De Stijl, Dadaism, Surrealism, Social Realism, Abstract Expressionism, Pop art, Op art, Minimalism and Neo-Expressionism.
Despite the enormous variety, most of them are ‘modern’ in their investigation of the potential inherent within the various medium for expressing an inner, spiritual, response to the changed conditions of life in the 20th century.
These conditions include the expansion of scientific knowledge and understanding, accelerated technological change, irrelevance of traditional source of value and belief and an expanding awareness of non-Western cultures.
Anime and Manga are two different storytelling media. They both originate in Japan, and are closely related, but are ultimately two different things.
Definition of Anime, pronounced AH-knee may, and derived from the English word ‘animation’ is the term used for cartoons in Japan.
Although profoundly influenced by Western models, including the work of Walt Disney, Japanese animation has developed a distinctive visual style and a range- artistic, dramatic, and in subject matter-unparalleled globally.
The first Japanese cartoons were produced in the early twentieth century, but anime only took off as a creative form after World War II, and especially in the 1960s, when animation became a centerpiece in the young medium of television.
Today, anime is widely available in Japan on TV, as feature films, and through OVA (original video animation), productions released directly to DVD and on the Internet.
Although often stereotyped abroad as violent and sexually explicit, anime, like manga, is a diverse genre encompassing humorous children’s fare, sci-fi robot epics, and thoughtful imaginative creations like the Oscar-winning Spirited Away.
Japanese animation has long been exported, with generations of Americans growing up with various series such as Speed Racer, but only over the past twenty years has anime become an international pop culture phenomenon.
Our today’s post is all about Japanese manga and anime. Here is what we are going to cover today:
Plenty of interesting stuff, right!? Stay with us as we plunge into the mysterious world of manga and anime. Let’s start with learning a bit more about manga.
What is Manga?
Definition of Manga, pronounced MAHN-guh, is translated in English as ‘graphic novels’ or ‘comics’, though such words cannot fully capture the richness and diversity of the genre in Japan.
Manga have a long history and their origins stretch back at least to the Tokugawa period (1600-1868) when illustrated books and the sophisticated graphics of Japan’s woodblock prints attracted both elite and mass audiences.
In the twentieth century, mainly after World War II, manga flourished in Japan, drawing inspiration from American comics, like Superman and Blondie, and draining the creative talents of artists like Tezuka Osamu, the famous creator of Astro Boy.
Today, manga are popular among all age groups in Japan, from young schoolgirls to aging corporate executives, and span a remarkable range of subjects, including action, romance, science fiction, sports, erotica, food, and history.
According to some sources, comics make up over forty percent of the books published in Japan and constitute a $4 billion industry, with numerous weekly and monthly magazines catering to the nation’s manga-loving public.
Here is one of the largest manga collections to date…
Next, we discuss the difference between anime and manga in Japan.
What’s the difference between anime and manga?
Manga and anime are at the center of significant innovations and cultural debates in Japan.
Theyare not identical fields—manga can be defined as Japanese comic books, but anime encompasses the breadth of Japanese animation—they have become synonymouswith a distinct Japanese contemporary aesthetic and visual culture in the eyes of many media, culture scholars and commentators around the world.
Many consider manga to be the origin: the creative spirit and energy that spawned anime, and later video games and merchandising spin-offs.
In many cases manga defined the template for the key genres—shōjo, shōnen, gekiga and so on—which have come to dominate the wider popular culture of Japan today.
While manga established the roots of this style during the postwar period, it was through anime that a broader global audience became aware of complexity of Japanese visual culture.
Academics and critics have connected anime and manga to various aspects of Japan including motherhood, architecture, social life and customs, gender, homosexuality, popular culture, history and religion.
As Douglas McGray observed: “Japan is reinventing superpower-again. Instead of collapsing beneath its widely reported political and economic misfortunes, Japan’s global cultural influence has quietly grown. From pop music to consumer electronics, architecture to fashion, and animation to cuisine, Japan looks more like a cultural superpower today than it did back in the 1980s, when it was economic one’’.
Advocates for Japan’s recent cultural resurgence point to the concept of ‘soft power’ in relation to the popularity of Japan’s visual culture.
This refers to the possibility of a new cultural renaissance of increased artistic freedom for Japan, and a level of respect, interest and admiration in the culture and history of Japan’s visual art both domestically and internationally.
Joseph Nye Jr., who coined the term ‘soft power’, sees manga and anime as ideal soft power products, claiming they are immediately recognized and widely admired everywhere. He notes the global success of anime such as Pokemon or Hello Kitty, which projects a soft and friendly image that appeals to children all over the world.
Next, we discuss what makes anime and manga so popular among both kids and adults.
What makes anime and manga so popular?
Anime and manga have long been at the heart of Japanese culture and tradition, with a steady increase of popularity between the generations. Although anime and manga are most popular in Japan, over the last two decades, the popularity for anime and manga has also grown considerably in the USA and all across Europe.
One of the major reasons why anime and manga have stood the test of time and became so popular all over the world is because of their unique ability to grow with their followers.
One of the most famous anime experts, Takamasa Sakurai, claims that Japanese anime has become widely accepted due its unconventional nature. Sakurai claims that „Japanes anime broke the convention that anime is something that only kids would want to watch“.
International fans of anime claim that they love the intensity and complexity of the anime story-lines with the endings being incredibly difficult to predict. They also say that they enjoy the fact that anime is often targeted at adult audiences instead at kids.
In the UK and USA, many kids watched anime TV series as they were growing up, namely: Dragon Ball Z, Pokemon and Yu Gi Oh. These series have created a soft spot in their hearts for anime.
Nowadays, with the growth of the internet and online streaming services such as Netflix and Amazon, anime has become even more accessible and popular. Now, adults all over the world can relieve their childhoods through more age-appropriate anime series such as Spirited Away and A Place Further than the Universe.
Another reason why anime has become more popular overseas in the last two decades is Japanese shrinking population. Anime producers are now making content more suited to Western tastes, as well as producing anime outside Japan as it is much cheaper. Popular anime producers such as Teyuka now produce and push for their anime to be sold abroad.
Why are manga usually black and white?
Have you ever wondered why most of manga are printed in black and white? There can be several different reasons for that, so let’s try to mention some of them:
It costs less
This one is pretty much obvious! The black ink costs much less than the color. Just compare the prices for black ink cartridges and color cartridges for your printer too see the difference in price. The lower cost of production results in lower prices for the end product – meaning the readers will be more eager to buy manga.
The Japanese manga magazines are mostly phone book-sized weekly magazines. The producers do their best to keep production costs at a minimum so even elementary schoolkids can buy them without breaking their weekly allowances.
The producers use very cheap recycled paper and only one color of ink. This results in producing some 300-500 pages of manga in less than $5.
It is also important mentioning that manga are usually done by one person. That means for most manga, the artist has to draw and ink almost 50 pages of manga in a month all by himself.
Unlike comics in the USA, which generally come out on a monthly basis, a lot of manga comes out weekly. Coloring manga magazines would take a lot of tome and would make it almost impossible to release new chapters in time.
It’s a piece of art
Reading through a black and white manga is just as watching a really well done black and white move. It conveys a certain mood, especially in the use of shadows, much better than color could. Over the last few decades manga artists have developed plenty of excellent techniques of using black-and-white art to make their manga unique pieces of art.
Next, we talk about the origins and evolution of manga…
What are the origins of Manga?
The term ‘manga’ can be traced back as far as the 1770’s, and has been used to describe the woodblock prints of Katsushika Hokusai.
While the term ‘manga’ may have been coined in the past it did not gain widespread, favored usage until the 1930’s for two reasons.
First, the popularity and national circulation of newspaper modelled on Western layouts brought serialized yankoma manga into home and workplaces throughout Japan.
Second, the growing job market for manga-ka (manga authors) fostered a sustainable manga industry.
Much of the literature on manga is framed by the question of its origin—is it located within Japan’s past and therefore a distinctive Japanese aesthetic, or is it a contemporary phenomenon influenced by the West?
Those arguing for manga as a continuation of earlier forms of Japanese graphic and visual art point to stylistic similarities betweenpast and present graphic art, quoting the similar ‘dynamic effect’ that manga and anime share with narrative picture scrolls (emaki-mono) from the 9th century.
Critics of this continuity express two main concerns with this focus on the past.
Firstly, they claim that it sidelines or ignores the very contemporary nature of this form and the important influence of Western artistic style.
Secondly, they argue that it has less to do with art history and more to do with responding to current political and popular concerns of manga’s negative effects on youth and culture—that is, linking manga to the past is a self-justifying argument that hopes to show beyond doubt manga is part of traditional Japanese culture and thus circumvent attempts to censor or ban it as trash culture.
Paving the way for the widespread acceptance of manga in the 1930s was the establishment of two types of comic strips in the 1920s: comic strips for children published in newspapers and journals bought by parents, and short political cartoon strips for adult readers.
This division between mainstream children’s manga and political alternative adult manga would remain a lasting feature of the manga industry.
The industry experienced a downturn in the 1930’s partly triggered by the changing political environment as increased media regulation and censorship narrowed content to conform to national political objectives.
In the early postwar period, manga succeeded as a form of cheap entertainment for an impoverished, war-weary Japan.
During this time, the development of manga felt the impact of US comics, as Japanese translations of well-known titles such as Popeye, Blondie, Mickey Mouse, Superman, and Donald Duck appeared.
Along with Disney animations, these comics came to have a significant impact on the style of manga created for children.
An important reason for their success was that the Japanese people yearned for the rich American lifestyle that was blessed with various material goods and electronic appliances.
In the early postwar period, manga appeared in three main forms: kamishibai-picture card shows, kashihonya-rental manga and yokabon-manga booklets.
1946-48 saw a boom in storytelling and picture card shows performed in theatres and outdoors throughout Japan.
The picture card shows would use cheaply produce picture cards that the storyteller would speak to, performing a miniature theatre play.
Here is a video showing how a Japanese picture card show works.
Next, we talk about different styles of manga…
Another factor that supported the growth of the manga industry was the emergence of the book-rental shops. Artists would write manga for magazines or books that could be rented out.
This trend peaked during the mid-1950s as book-rental outlets appeared at train stations and street corners; there were around 30 000 outlets.
The gekiga (dramatic pictures) style was developed firstly in rental manga.
As opposed to the cuter, anthropomorphic characters that filled many children’s manga, the gekiga style contained more mature, serious drama, depicted in a more realistic and graphic style that portrays the tastes of its older readers during the 1950s.
Gekiga’s major impact lay not in its graphic style, but in its popularity amongst poorly educated young urban workers and, during the 1960s, university student activities, where it became part of the anti-establishment politics of the time.
In this regard, Sanpei Shirato’s Ninja Bugeichō (Secret Martial Arts of the Ninja 1959-1962) was influential.
For many critics this story of peasant uprisings is reflective of student and worker anger over current issues such as the Japan-America Security Treaty.
The third form of manga that flourished in postwar Japan was published in small books (yokabon) sold directly to the public.
They were sold in discount book shops and children’s toy shops with deluxe higher-quality manga albums.
In the Osaka market, small manga books known as akabon( red books), due to the red ink they were printed in, attained wide popularity through the much successful New Treasure Island/Shin Takarajima which sold 400 000 copies from its launch in 1947.
The author of the New Treasure Island, Tezuka Osamu, became one of the most significant figures in manga.
Through the enormous popularity of his work, serialized in children’s manga magazines such as Astro Boy and Kimba the White Lion, a dominant ‘cute’ manga style was established.
As opposed to the gritty realism and overt politics of gekiga, Tezuka’s manga founded an archetypical manga style featuring cute characters with large saucer eyes.
This style was influenced by Disney animations and comics from United States which had crowded Japan during the Allied Occupation between 1945 and 1951.
Tezuka also incorporated cinematic techniques inspired by German and French movies.
His manga became epic, often spanning thousands of pages, and popularized a longer, serialized form of manga known as ‘story manga’ which would become a standard format evident in today’s manga industry.
Here is a great documentary about Osamu Tezuka we recommend you watch.
Primarily read by children and regarded as cute, these story manga were an innovative break from the rigid layout and brevity ofthe ‘gag manga’ genre and four-panel (yonkoma) comics popular in weekly-magazines and newspapers of thattime.
The development of the manga industry from picture card shows to rental manga and to the manga magazine industry is reflected in the employment history of significant manga artists such as Shirato Sanpei and Mizuki Shigeru.
These artists both worked their way up through picture cards, rental manga and then the manga magazine industry during the 1950s and 1960s.
The 1950s established manga as a popular and lucrative element of Japanese entertainment through the successof children’s title as Tezuka’s Astro Boy and the first weekly comic magazine for boys Kodansha’s Shōnen Mangajin (1959).
Astro Boy became typical of the trend for original manga to lead to various spin-offs in other media, becoming one of the first children’s TV cartoons in 1963, with various remakes since.
At that time, one of the dominant divisions in the manga market is the split between male and female demographics. Critics have suggested that this division may have become entrenched through the segregated school system in Meiji Japan.
During the 1960s manga broadened its content to include popular genre such as sport. Two important early sports stories that helped establish genre is weekly comic magazines for boys and young adults were the boxing story Ashita no Joe (1968) andthe baseball story Kyojinno Hoshi (1966).
Also, the 1960s saw the steady maturing of the manga market and titles which reflected this expansion beyond the children’s audience.
Young adults who had read mangaas children began demanding more adult and sophisticated material; this included not only stories set in the adult workplace andthe world of leisure, but also avant-garde mangasuch as Garo, an alternative manga magazine (1964-2002).
This magazine serialized the popular peasant revolt story The Legend of Kamui and became an important platform for alternative art manga in Japan.
Moving onto Shojo manga style…
The 1970s were marked by a group of female manga artists who pioneered a new approach to shōjo manga.
Shōjo can be defined as manga aimed at girls less than 18 years of age, but is often more broadly applied to manga aimed at a female readership.
While shōjo includes a variety of genres such as horror, sport, science fiction and historical drama, it is commonly associated with slender elegant male characters and romantic, fantasy based plots.
Some scholars and commentators estimate that today more than half of all Japanese women under the age of 40 and more than three-quarters of teenage girls read manga with some regularity.
While initially dominated by male authors, by the 1970s a group of female artists known as Nijūyonen Gumi /Year Twenty-Four Group pioneered a new approach to shōjo manga introducing new themes and approaches such as homosexual love.
These artists depicted themes such as romantic love between beautiful young boys, for instance, Keiko Takemiya’s Kaze to Ki no Uta / The Sound of The Wind and Trees, 1976; while Yumiko Oshima’s short manga Tanjō/Birth, 1970, depicted teen pregnancy and abortion.
During the 1970s, development in manga’s layout and composition, graphic style, and gender- specific formats had become firmly established.
A further significant innovation was to occur in the 1970s with the popularization of the tankōbon (paperback) format for manga.
Popular manga previously serialized in weekly and monthly magazines were compiled in a higher-quality paperback more portable for commuters and more attractive for collectors.
The tankōbon soon replaced manga magazines as the main revenue stream for manga publishers.
Let’s go back to 1980’s and 90’s. This is the period when some of the most popular manga and anime had been produced…
1980’s and 90’s
By the 1980s and 90s manga had become mainstream and were read by nearly everyone of all ages Kyoyo manga (academic or educational manga) is an example of the mainstream appeal of new forms of manga as they were used to inform and educate readers on a range of topics from history and annual festivals to cooking and other DIY (Do It Yourself) areas.
Manga changed again in the 1990s as editors asserted a stronger role in the creative process of manga production.
Some scholars argue that because most editors were more wealthy and educated than artists, adult manga in particular was reformed around their more privileged tastes and interests.
This move away from the working class, artist-created, counter-culture stories of the 1960s and 1970s can be seen in the more factual and niche-interest manga such as the political and economic series Osaka Way of Finance /Niniwa Kin’yudō, and extensively researched nuclear-submarine story Silent Service/Chinmoku no Kantai.
This period also saw the expansion of the global market for manga; manga began to gain a stronger foothold in the United States, long a niche market for Japanese popular culture.
With the release of Akira (1988) and Ghost in the Shell (1995-world-wide release), both based on original manga, Japanese anime and manga began to attract greater international attention than ever before.
These headings were much more ‘mature’ that the standard animation of the time, and their cyberpunk, dystopian themes came at a time of great interest in the approaching millennium.
In 1988, Ghost in the Shell reached number one on Billboard’s video chart in the United States.
By the early 2000s, the manga industry had broadened beyond the familiar Japanese publisher—Kōdansha, Shūeisha, Shōgakukan to include a smaller number of transnational manga distributors and publishers and achieved a globally dispersed audience.
While there are current concerns that the Japanese manga market is becoming stagnant and its fortunesare declining, the circulation of weekly manga magazines have been in steady decline for the last decade-many of the most successfulanime, videogames and merchandising lines began as manga.
The enormously successful DragonBall franchise began as a manga series in 1984.
The 2000s have been dominated by the growth of globally effectual brands that exist across various media platforms.
Power Rangers adapted from the live-action Japanese TV show was broadcast in the United States in 1993, and by 2007 it had expanded to 15 television seasons, 14 series and two films.
Its success was overshadowed by the greater popularity of Pokemon, produced by the video game company Nintendo and created by Satoshi Tajiri, which became a successful anime, video game and character-related business franchise.
Shogakkan’s Pokemon, the animated version of Nintendo’s portable game software was the first huge success by a Japanese anime overseas; its global success has helped establish the abomination of Japan’s character-related industry, and has maintained Japan’s contribution to the children’s entertainment world-wide.
Manga Online and Games
Manga has also moved into online environments offering online manga content and various downloads that extend the audience’s access to manga in a more interactive online environment.
This move away from print media to digital formats is extended even further by hand-held video devices such as Nintendo DS and Sony’s Play Station Portable which offer a number of titles based upon popular manga or drawing upon the manga style.
Manga’s distribution over varied media platforms reveals shifting relationships between the audience and industry in Japan, but also worldwide.
Recently, manga’s development has been impacted by the rice of OEL (original English-language) manga, which straddles the Western/Japanese divide.
OEL manga involves taking the ‘design engine’ of Japanese manga and using it to tell stories created by non-Japanese artists for non-Japanese audiences.
A canonical ‘manga style’ of cute girls, big eyes, beautiful boys and dynamic action that was used as the engine to create the OEL manga stories and art represents a move to standardize the manga product.
Critics of manga include a range of groups such as parents, women’s associations and PTAs concerned over school children reading vulgar and sexually explicit manga and scholars concerned over the sexism and violence directed towards women in manga.
The most extreme critics of manga and anime claim that both mediums can have a negative effect on society, making people more violent and less informed.
There are three broad areas of concern identified. Firstly, too much information, from driving manuals to business information, is being conveyed through manga—a form of caricature that inevitably distorts, simplifies and exaggerates.
These critics note that the depth or complexity or of an issue cannot be conveyed through manga in the same way as prose, poetry or film documentary can facilitate.
Secondly, critics claim that the increasing popularity of manga as an information tool reflects a broader trend in politics, education and religion where the entertainment value of information is highlighted in order to create appeal.
Additionally, furtherexisting concernsthat information that is too complex to be compressed into manga will be ignored.
Finally, let us answer one commonly asked question about manga…
Can anime and manga cause violent behavior?
A final concern is that sexually explicit and violent manga may cause more violent behavior, especially among younger readers.
This pointcame to public attention after several sensational ‘moral panic’ controversial affairs from the late 1980s where manga readers were presented by the media as either threats to socialorder and stability, or at risk of becoming perverted through their manga consumption.
The case with the highest profile in this regard was the trial of Tsutomu Miazaki in 1989 for the murder of four young girls.
He became known as ‘The Otaku Killer’’ due to large collection of porn videos, including anime, which police found in his apartment.
While incidents of moral panic generated of concerns over manga’s effect on society have achieved great notoriety in Japan, it is usually simplistic and unrealistic to isolate one factor, such as manga, as the sole cause of behavioral problems in an individual.
Other factors may include mental illness, family dysfunction, and poverty or drug addiction while an increasing body of research attempts to broaden the debate beyond an exclusively media- effects framework.
Anime and manga should be understood as exemplar products within Japanese visual culture.
One thing that makes manga culture important in Japan is its penetration into nearly every facet of Japanese life and culture today.
Manga are read in many different private and public settings and consumed by a broad segment of the community. In addition, manga and anime have become increasingly popular around the world.
Networks of Japanese and overseas fans are translating and distributing manga, both commercial and original works.
The manga style provides an engine for various fans to depict their own stories and link to each other through this strange world.
That’s all folks! We hope you’ve enjoyed our post! At the end, we would like to recommend you watching some of the best anime videos we have prepared for you:
In front of the model, I work with the same desire to copy the truth as if I were making a portrait; I do not correct nature, I incorporate myself into her; she leads me.
I can work only from a model. The sign of the human form fortifies and nourishes me.
François-Auguste-René Rodin’s story recalls the archetypical struggle of the modern artist.
He was born on November 12, 1840 in a poor area of Paris’s fifth arrondissement to Jean-Baptiste Rodin, an office clerk in the local police station and his second wife, Marie Cheffer.
In 1854, he decided to pursue a career in the arts, attending the Ecole Speciale de Dessin et de Mathematiques which trained boys in the decorative arts.
Due to poor vision, Rodin was greatly distressed at a young age. Unaware of his imperfect eyesight, (he was nearsighted) a dejected Rodin found comfort in drawing, which allowed him to clearly see his progress as he practiced on drawing paper.
By age 14, Rodin had developed obvious skills as artist, and soon began taking formal art courses. While completing his studies, the aspiring young artist began to doubt himself, receiving little validation or encouragement from his instructors and fellow students.
After three years of studying sculpture and drawing, he applied to attend the prestigious Ecole des Beaux-Arts. He was gravely disappointed when the school denied him admission.
While he passed the drawing competition, he failed three times in the sculpture competition; his pursuit of naturalism did not suit the school’s academic style.
After the third rejection, Rodin resigned himself, at the age of 19, to take job in plaster workshops to create architectural ornaments.
His career in the decorative arts working on public monuments provided him with a meager living for the next 20 years.
He continued to make sculptures, and by the mid-1860s he had completed what he would later describe as his first major work ‘’Mask of the Man With the Broken Nose’’ (1863-64).
The piece was rejected twice by the Paris Salon due to the realism of the portrait, which departed from classic notions of beauty and featured the face of a local handyman.
In 1866, Rodin met Rose Beuret, and she remained his lifetime companion despite his numerous affairs.
Around this time, Rodin found better fortune-filling commissions in the workshop of Albert-Ernest Carrier-Belleuse, a commercial sculptor, but the steady work and increased income was disrupted by the Franco-Prussian War in 1870.
A fateful trip to Italy in 1875, with an eye on Michelangelo’s work further stirred Rodin’s inner artist, enlightening him to new kinds of possibilities, he returned to Paris inspired to create and design.
The Age of Bronze
In 1876, Rodin completed his piece ‘’The Vanquished’’, which he called ‘’The Age of Bronze’’, a life-size sculpture of a nude man clenching both of his fists, with his right hand hanging over his head.
A young officer was the model for this sculpture, which provided the first great ‘success de scandale’ of Rodin’s career. The composition and rough surface of the figure were unconventional by academic standards.
The subject also remained obscure- the title only vaguely suggesting classical art- and prompted confusion among critics; rather than clothe his image of man in respected symbolism, Rodin had presented a common man, naked.
The Salon accepted the work, but doubts were raised about its authenticity and many accused him of casting directly from the model’s body; the sculpture appeared so realistic that it was directly modeled from the body of the model.
The allegations were a testament to Rodin’s technical skills, though the suggestion that he had somehow cheated heartily offended the sculptor, who was able to disprove the claim with photographs of his model.
However, the work was validated when it was purchased by Under-Secretary of the Ministry of Fine Arts, Edmond Turquet. Turquet would then commission Rodin to create a monumental bronze doorway for a planned museum of the decorative arts.
The Gates of Hell
As Rodin entered his 40s in the fallowing decade, he was able to further establish his distinct artistic style with an acclaimed, but sometimes controversial list of works, eschewing academic formality for a vital suppleness of form.
In 1880, Rodin began working on ‘’The Gates of Hell’’ an intricate monument partly inspired by Dante’s Divine Comedy and Charles Boudelaire’d Les Fleurs du Mal.
Rodin laboured on this project for over twenty years.
It is believed that Rodin chose to draw on Dante’s Inferno for the subject matter. The monument consisted of various sculpted figures, including the iconic ‘Thinker’(1880), ‘The Three Shades’(1886), ‘The Old Courtesan’(1887), and the posthumously discovered ‘Man with Serpent’(1887).
The Thinker is the most famous example.
Deriving from a figure at the top of the sculpture who gazes with melancholy over the hellish scenes bellow him, he represents Dante the author of the Divine Comedy; the figure also represents modern, secular man, strong in mind and body, but lonelyand doubtful in the position he has created for himself as master of his own universe.
The Gates of Hell was a deliberate attempt to rival Lorenzo Ghiberti’s famous bronze doors for the Baptistery of Florence Cathedral, the Gates of Paradise (1425-52), the competition for which is often said to have initiated the Renaissance.
Rodin initially planned to split the composition into a series of panels, just as Ghiberti had done, but after looking at images of Michelangelo’s Last Judgment (1534-41), he opted for a more fluid arrangement of figures.
Although Rodin wished to exhibit the completed ‘Gates’ by the end of the decade, the project proved to be more time-consuming than originally anticipated and remained uncompleted.
The years during which Rodin worked on The Gates of Hell coincided with his relationship with Camille Claudel, a young sculptor who joined his studio as an assistant in 1884.
It proved a stormy romance beset by numerous quarrels, but it persisted until Camille’s madness brought it to a finish in 1898. During the years of passion, Rodin made several erotic sculptures of loving couples.
The most sensuous of these groups was the Kiss (1884).
The critics gave the sculpture the title, but Rodin originally called it Paolo and Francesca, after the story in Dante’s Divine Comedy about a young noblewoman who falls in love with her husband’s brother.
In the story, the couple is killed by the jealous husband, but Rodin focused instead in their loving embrace.
This erotic sculpture was made during the early years of Rodin’s relationship with Madame Claudel.
The Burghers of Calais
By 1899 Rodin had a large studio with several assistants. His work continued to elicit scandal and trouble. ‘The Burghers of Calais’’ a piece from 1889, is a public monument made of bronze portraying a moment during the Hundred Years’ War between France and England in 1347.
The piece includes six human statues, and depicts a war account during which six French citizens from Calais were ordered by monarch Edward III of England to abandon their home and surrender themselves—barefoot and bareheaded, wearing ropes around their necks and holding the keys to the town and the caste in their hands— to the king who was to order their execution thereafter.
‘The Burgers of Calais’ is a portrayal of the moment that the citizens exited the town; the group was later spared death due to the request of Queen Philippa.
The piece was nearly refused for its depiction of the city’s heroes as dejected victims. The figures are arranged all on one level, rejecting the pyramid composition typical of figure groups at the time.
The men look downtrodden, but determined. They are dressed in rags, and their hands and feet are expressively enlarged.
However, their awkward appearance did not suggest the heroic dimension that the town had envisioned, and the sculpture was accepted with some hesitation and compromise.
Monument to Balzac
Similarly, in 1881, Rodin was commissioned by the Society of Man of Letters to create a memorial for the poet Honore Balzac. Instead of taking 18 months to complete the work, Rodin became infatuated with the topic, and completed the commission in 7 years.
Rodin spent years reading Balzac’s poems, finding pictures of him and models who bore a resemblance to the heavy-set man.
Finally, he placed the proud head on top of a body swathed in a huge, shapeless robe and made a mound-like protrusion at his crotch as a reference to his virility.
The commission was ultimately rejected, and after much controversy Rodin decided to keep the sculpture for himself.
After the sculpture of Balzac, Rodin’s pace slowed down, but he had achieved financial success.
Several exhibitions around the turn of the century brought him worldwide renown; exhibitions in Belgium and Holland in 1899, his first retrospective in Paris in 1990, subsequent shows in Prague, Germany and New York.
Unbridled Sentimental Inventiveness
Around 1900, there was a pressing desire to find a new formal approach in sculpture.
The theories of the German sculptor Lehmbruck were symptomatic from this point of view. In his writings, he particularly condemned ‘unbridled sentimental inventiveness’, making explicit references to Rodin’s art.
In 1908, Rodin moved to the now-famous Hotel Biron, the most beautiful 18th– century Parisian mansions, which became his new studio and home of his affair with the Marquise and later Duchess, Claire de Choiseul.
She exercised great control over his life and the sale of his work for seven years, until she was accused of stealing a box of drawings.
Because of her scheming and that of other women around Rodin, friends encouraged him to marry Rose Beuret in January 1917. Rose died two weeks after the wedding, and Rodin passed away on November, 17 of that same year in Meudon, France.
Hotel Biron at Meudon
Before his death he bequeathed all of his sculptures, drawings and archives to the state of France to create a museum in the Hotel Biron at Meudon.
The Museum was opened in 1919; after several years of reconstruction, the museum was reopened in 2015 on November, 12, Rodin’s birthday.
By the time of his death, Rodin was linked to Michelangelo. His reputation as the father of modern sculpture remains unchanged; his many intimate drawings of his models have altered the nature of the traditional respect paid to this eminent artist.
Henri Matisse was influenced by the spontaneity of his drawings, while Cubists and Futurists were fascinated by his sense of motion and the fragmentation of his human forms.
While Rodin’s reputation declined in the decades following his death, his rebellion against academic standards and his vivid expression of the human form planted the seed for a new French sculpture.
To the generation of sculptors coming forward in the 1890s, faced with the conventions of Academic art and the death throes of Realism, Rodin seemed to be the one who had breathed new life into their art form.
The early works of Joseph Bernard, Brancusi, Picasso, Gaudier-Brzeska and Zadkine, all reflect Rodin’s undeniable influence.
We’ll leave you with this video documentary about Rodin.
As a first distinctly modern movement in painting, Impressionism emerged in Paris in 1860s, and the end developed chiefly in France during the late nineteenth and early twentieth centuries.
Gustave Courbet and the Realist movement first confronted the official Parisian art establishment in the middle of the nineteenth century. The French were ruled by oppressive regime and much of the people were in the throes of poverty.
The art of that time concentrated on idealized nudes and glorious depiction of the nature, and other works of realism. Courbet though that art closed its eyes on realities of life.
In his protest, he financed a bold act, an exhibition of his work, right opposite the Universal Exposition in Paris of 1855, which led to the emergence of future artists.
Salon de Refusés
The same year, 1855, Salon de Refusés / Salon of the Refused was formed in order to allow the exhibition of works by artists who had previously been refused entrance to the officialParisian Salon, the annual, state-sponsored exhibition juried bymembers ofthe Académie des Beaux-Arts.
The 1863 Salon de Refusés exhibition caused a scandal, due to the unconventional styles and themes of works such as Manet’s Le déjouner sur l’herbe (1863).
The painting depicts the picnic of two fully clothed men and two nude women, defies the tradition of the idealized female subject of Neoclassicism in the positioning of the woman on the left who gazes frankly out at the viewer.
Édouard Manet was one of the first and most important innovators who emerged in the art scene in Paris.
By the late 1860s, Manet’s art reflected a new aesthetic – which was to be a guiding force in Impressionist work- in which the importance of the traditional subject matters was downgraded and attention was shifted to the artist’s manipulation of color, tone and texture as ends in themselves.
He incorporated an innovative, looser painting style and brighter palette focusing on images of everyday life, such as scenes in cafés, boudoirs and out in the street.
His anti-academic style and modern subject matters attracted the attention of the artists on the fringes and influenced a new type of painting that would diverge from the standards of the official salon.
Societé Anonyme des Artistes, Peintres, Sculpteures, Graveursetc.
In 1874, a group of artistsknown as the “Societé Anonyme des Artistes, Peintres, Sculpteures, Graveursetc.”/ the AnonymousSociety of Painters, Sculptors, Engravers etc., mounted an alternative exhibition in Paris that would bring about radical break from artistic conventions and launch one of the most popular movement in the history of art.
All the artists had very limited success financially and had few works accepted in the salon exhibitions in Parisian art scene.
Displaying their works in a vacant former artist’s studio, outside the confines of the famous Salon, the Impressionists presented canvases depicting quiet landscapes,scenes of everyday life, full of loose, expressive brushwork to representfleeting effects of atmosphere and light.
In that time, these paintings represented something akin to a revolution in the art world.
Eschewing both the subject matters and technique of their predecessors, the Impressionists demonstrated that contemporary life required a new language to represent the radical shifts taking place in Parisian society.
The critics responded with both awe and horror; conservative critics denounced the unfinished, sketch-like quality of their paintings, while more progressive ones welcomed their innovative depictions of modern life.
The movement gained its name after the hostile French critic Louise Leroy reviewing the first major exhibition of 1874, seized on the title of Monet’s painting Impression, Sunrise (1873), and accused the group of painting nothing but impressions.
The moniker was embraced by the group, but they also referred to themselves as the ‘’Independents’’, referring to the submissive principles of the Société des Artistes Indépendents’’ and the group’s efforts to detach itself from academic artistic conventions.
Age of the Impressionists
At that time, there were many ideas of what constituted modernity. Scientific thought was beginning to recognize that what the eye perceived and what the brain understood were two different things.
The Impressionists sought to capture the optical effects of light to convey the passage of time, changes in weather and shifts in atmosphere; a split second of life, a sensory effect of a scene – the impression, an ephemeral moment in time on canvas.
Their art did not necessarily rely on realistic depictions.
Probably the most celebrated of the Impressionists, Claude Monet, was renowned for his mastery of natural light, painted at different times of day in order to capture changing conditions.
He tended to paint simple impressions or subtle hints of his subjects using very soft brushstrokes and pure, unmixed colors to create a natural vibrating effect.
His ‘’wet on wet’ technique produced softer edges and blurred boundaries that merely suggested a three-dimensional plain, rather than depicting it realistically.
His Vetheuil in the Fog from 1879 is among his finest works, offering a subtle and distinct impression of a figural form. He applied his brush rather quickly to the canvas in order to capture the exact image he wanted before the sunlight shifted or faded away altogether.
This emphasis on the fleeting changes in the natural world was a central aspect of his oeuvre that captures the ephemerality of nature and preserves it within the picture plane.
Monet’s technique of painting outdoors, known as plein air painting, inherited from the landscape painters of the Barbizon School, was practiced widely among impressionists, leading to innovations in the representation of sunlight and the passage of time, which were two central motifs of Impressionism.
As a highly skilled draftsman and portraitist, Edgar Degas preferred indoor scenes of modern life such as musicians in an orchestra pit, people sitting in cafés, ballet dancers, delineating his forms with greater clarity using harder lines and thicker brush strokes.
L’Absinthe from 1876, by Degas represents a dour scene of two lonely individuals sitting in a cafécommunicates a sense of isolation, even degradation, as they have nothing better to do in the middle of the day.
Degas heavily handled paint further communicates the emotional burden or intense boredom of his subjects. This painting, as well as his other works, alludes to the oppressive atmosphere of the city and the psychological ennui of its inhabitants.
Other artists focused on the figure and the internal psychology of the individual.
Pierre-Auguste Renoir depicted the daily activities of individuals from his neighborhood of Montmartre and portrayed the social pastimes of Parisian life, emphasizing the emotional attributes of his subjects, using vibrant, saturated colors, light and loose brushwork to highlight the human form.
In Girl with a Hoop from 1885, Renoir developed a new style he dubbed ‘’aigre’’ (sour), in which he applied thick, elongated brushstrokes complemented by hard lines to portray the young girl in the foreground.
This painting evokes the distinctly carefree mood of much of his work; he focused on representation of leisure activities and female beauty, asserting his disregard for subjects of an overtly critical nature.
Berthe Morisot was the first woman to exhibit with the Impressionists. She made rich compositions that highlighted the internal, personal sphere of feminine society, emphasizing the maternal bond between mother and child in her paintings.
Her work, “In a Park”, from 1874, Morisot combines the elements of figurations with representation of nature in this serene family portrait set in a bucolic garden.
In this quiet image of family life, she centered on the maternal bond between child and mother; her loose handling of pastels, a medium embraced by the Impressionists, and visible application of color and form were central characteristic of her oeuvre.
Together with Marie Bracquemond, Mary Cassatt, and Eva Gonzales, she was considered one of the four central female figures of the movement.
Mary Cassatt depicted a private sphere of the home, but also represented the woman in the public spaces of the newly modernized city.
Her workfeatures a number of innovations, including reduction of three-dimensional space and the application of bright, even garish colors in her painting both of which heralded later developments in modern art.
In her work, “At the Opera” from 1880, she depicts the Palais Garnier of the Paris Opera, which was opened in 1875, and served as a focal point for the city’s social life.
The opera, as the painting demonstrates, was not only a site for culture and entertainment, but also for seeing and being seen. The woman’s binoculars are echoed in the man’s binoculars, across the concert hall, directed at her.
The themes of urbanity are depicted in the work of Gustave Caillebotte, a later proponent of the movement, who focused on panoramic views of the city and the psychology of its citizens.
More realistic in style than other impressionists, Caillebotte’s images depict the artist’s reaction to the changing nature of modern society, showing a flaneur – an idler or lounger who roamed the public spaces of the city in order observe, yet remaining detached from the crowd, in his characteristic black coat and top hat, strolling through the open space of the boulevard while gazing at passersby.
“Paris Street, Rainy Day” from 1877, shows this tendency within his work, through the depiction of the typical urban scene; the panoramic view of the rain-drizzled boulevard presents the newly renovated metropolis, while the anonymous figures in the background emphasize the alienation of the individual within the city.
The painting centers on the apathetic gaze of the male figure, who epitomizes the cool detachment of the flaneur.
Also, his work, as well as the works by Pissaro, emphasized the geometrical arrangement of public space through the careful delineation of trees, buildings, and streets.
By applying crude brushstrokes and impressionistic streaks of color, they evoke the rapid tempo of modern life as a central facet of the late-nineteenth- century urban society.
The Impressionists proved to be a diverse group, but they came together regularly to discuss their work and exhibit. Between 1874 and 1886 the group collaborated on eight exhibitions while slowly beginning to unravel.
Many of the artists felt they had mastered the early, experimental styles that had won them attention and wanted to move on to explore other avenues.Others, anxious about the commercial failure of their works, changed course.
Although the last Impressionist exhibition was held in 1886, the movement remains one of the most popular in the history of Western art.
Considered by many to be the first avant-garde movement of the Modernism, Impressionism served as a springboard for many artistic movements of the twenty century.
If Manet bridged the gap between Realism and Impressionism, then Paul Cézanne was the first artist who bridged the gap between Impressionism and Post-Impressionism.
Cézanne learned much from Impressionist technique, but he evolved a more deliberate style of paint handling and a closer attention to the structure of the forms that his broad, repetitive brushstrokes depicted.
He wished to break down objects into their basic geometric constituents and depict their essential building blocks, and this experiment would prove to be highly influential for the development of Cubism and Fauvism.
As Philip Guston once described Abstract Expressionism as a latter-day ‘American Impressionism’; the surface quality, suggestion of light and ‘’all-over’’ treatment of form in Jackson Pollock’s work, all point to thework of Claude Monet.
Although there are many avant-garde movements that did not take stylistic inspiration from the Impressionists, the group’s rejection of an established, state-sponsored style served as a model for similarly independent exhibition groups throughout Europe during the late nineteenth and early twentieth centuries, such as Wienna Secession or Die Brücke in Germany.