Expressionist Style Research Articles

Color Symbolism in Medieval and Safavid Manuscripts and in Islamic Aesthetics: A Historical and Comparative Analysis

The inquisitive nature of mankind is always looking for ways to explore things of its interest. It is interesting to write about art, architecture and artefacts but without consulting about color; the study remains incomplete. Color symbolism in manuscripts has always been a rich source of studying diverse cultural and religious history. In the art of manuscripts, colors were not solely used to create an ideal reality but also gave meaning to the illustrations. Color symbolism is an essential part in every religious as well as secular art but the meaning and symbology may not be similar. The aim of this research paper is to draw attention to the color symbolism of Christian Medieval period and ‘Safavid’ Period manuscripts. The study provides that the metaphorical use of colors, their similarities, comparisons and expressionist style having different impacts in two diverse art works belong to mystical, religious and emerging time periods. Moreover, the paper is based on hermeneutic exploratory and descriptive research using the technique of innate expressionism.

Traveling Concepts

In 2023, Margrit Pernau stepped down as editor of Contributions to the History of Concepts. She first took up the position as editor in 2009, and, with her fifteen years on the editorial team, she has been by far our longest serving editor. Over the years, Margrit Pernau has played an invaluable role for the journal and for international conceptual history. I guess it would be correct to say that she was born international. She followed her family when her father got a job in New Delhi and lived in the city for part of her childhood. Her international journey continued to Paris where she spent almost ten years of her youth. After longer detours around Erfurt and Heidelberg where she did her PhD in 1991, she stayed another six years in New Delhi with her spouse and children. After defending her habilitation in Bielefeld in 2007, she took up the position of Senior Researcher at the Max Planck Institute for Human Development in Berlin in 2008. Many of us who have been involved in her several projects through the years know the renowned expressionist style building at Lentzeallee.

An Overview of Selected Yusof Ghani Abstract Expressionist Painting

This review analyzes Yusof Ghani’s painting, which is recognized with the abstract expressionist character. The selected painting was chosen from the private's collection, then captured into a digital mode which will assist in the analysis of the content and context of the painting. This artwork appears to be very successful in its presentation. This study clearly shows the appropriate features of abstract expressionist style applied by the artist in his painting. The selected painting, through the analysis, depicts the exploration of movement that was attached to the technique, which is associated with the style and contexts.

MELUKIS SEBAGAI TERAPI DIRI MENTAL ILLNESS

Art therapy is one type of the therapy which done through a creative process on the creation of a work of art as an effort to relieve the inner conflicts or repressed emotions in someone who suffers from health problem such as mental illness. The aim of this study project under the title “Painting as Self-Therapy for Mental Illness” is to create an abstract paintings based on inner experience as self-therapy for mental illness. In addition, the act of counseling routinely with a psychiatrist and drug therapy is being undertaken by the author. In this study project, the author creates a painting in an abstract-expressionistic style that is direct and spontaneous, with or without special considerations regarding the application of the visual concept of painting in his work, providing the author's subjectivity in his work can be fulfilled absolutely. The abstract painting itself really emphasizes the expression of emotions through free strokes, line and colors which that is appropriate or suitable for art therapy medium; by using ink and acrylic paint on various types of paper such as; linen paper, recycled paper, and watercolor paper. The author also uses the direct method on painting the creative works or the paintings done by the act of spontaneously, quickly, and full of intuition with either wet or dry techniques. From the process of making this study project, the author was able to produce hundreds of works which later those selected, sorted, and arranged into a panel or an independent painting which concluded into total of 14 works with spontaneous, firm, textural, and magical line expressions. Through art therapy by working on abstract-expressionism style of painting, the author feels the psychological impact which leads into an atmosphere of happy inner-self, a relief, becomes more passionate, and a calmness which drives to organize life more optimistically, and also it is able to relieve the worries and pain that the author feels.

Introspeksi Diri Sebagai Ide Penciptaan Karya Seni Lukis

Self-introspection aims to make peace with oneself and improve oneself to improve the quality of life based on thoughts and feelings. This work is very important for the future so that the same mistakes, which lead to regret, are not repeated. The creation of this painting is an expression of having experienced mistakes made by not thinking about things that harm yourself or others. In the expressionist style, work is a representational form that uses the ideas of deformation and distortion. Method execution consists of two stages: planning and implementation. First, at the planning stage remembering bad events that disturb thoughts and feelings. Then proceed with the embodiment process, namely the work process starting from providing materials, installing canvas cloth, making canvas bases, and making background works, followed by the painting process to finishing. Once the work is framed, it is ready to be presented at the exhibition. This work resulted in five paintings: Regret, Me and My Mind, Endless Illusion, Reflecting, and Past Regrets.

There's No Place Like Home(land) in American and Soviet Fantasy Cinema of 1939: The Wizard of Oz and Vasilisa the Beautiful

There's No Place Like Home(land) in American and Soviet Fantasy Cinema of 1939: <i>The Wizard of Oz</i> and <i>Vasilisa the Beautiful</i>

VASYL STEFANYK IN CZECHIA: LIFETIME PERCEPTION IN REWIEWS AND TRANSLATIONS

The paper traces the perception of Vasyl Stefanyk’s works in Czechia, from the fi rst mention of him by Ivan Franko in the monthly “Slovanský přehled” in 1898 to the obituaries of the writer, who passed away at the end of 1936. Th e research outlines the genre spectrum of Czech publications concerning Stefanyk’s works (translations; reviews in periodicals; scholarly, educational, and reference editions) and the circle of authors that paid attention to Stefanyk’s writings. In particular, it specifi es the authorship of A. Proházka’s and V. Prach’s works assigned by cryptonyms. Stefanyk’s writings aroused the interest of the authors representing various literary directions and groups: Czech Modernism (František Šalda), the decadent periodical “Moderní revue” (Arnošt Proházka), a group of anarchist rebels (Stanislav K. Neumann), and the Masaryk’s movement of ‘realists’. Th e decadents and ‘rebels’ even showed a special aff ection for the Ukrainian author, as they were the fi rst to translate him in their magazines and published the writer’s earliest and most complete lifetime Czech collection “Povídky” (“Stories”) in 1905. Th ere were fi ve Stefanyk’s books published in the writer’s homeland during his lifetime, but the biggest attention of the Czech translators was drawn to the collection “Th e Little Blue Book”, and among the short stories – “Th e News”, “He Committed a Suicide”, “Maple Leaves”, and “My Word”. Among well-known translators were Karel Rypáček, Jaroslav Rozvoda, and Rudolf Hůlka. Alois Koudelka, Jan Máchal, Vincenc Charvát published critical works exploring the expressionist style and existential issues of Stefanyk’s works. Czech critics oft en took guidance from the discourse on Stefanyk represented by I. Franko, B. Lepkyi, and Lesia Ukrainka. Perception of Stefanyk’s writings developed into an engaging study of the writer’s works in the institutionally branched and aesthetically diff erentiated cultural environment of Czechia in the interwar 20th century. Th is interest helped to establish a closer CzechUkrainian literary dialogue.

Melukis sebagai Terapi Diri Mental Illness

Art therapy is one type of the therapy which done through a creative process on the creation of a work of art as an effort to relieve the inner conflicts or repressed emotions in someone who suffers from health problem such as mental illness. The aim of this study project under the title “Painting as Self- Therapy for Mental Illness” is to create an abstract paintings based on inner experience as self-therapy for mental illness. In addition, the act of counseling routinely with a psychiatrist and drug therapy is being undertaken by the author. In this study project, the author creates a painting in an abstract-expressionistic style that is direct and spontaneous, with or without special considerations regarding the application of the visual concept of painting in his work, providing the author’s subjectivity in his work can be fulfilled absolutely. The abstract painting itself really emphasizes the expression of emotions through free strokes, line and colors which that is appropriate or suitable for art therapy medium; by using ink and acrylic paint on various types of paper such as; linen paper, recycled paper, and watercolor paper. The author also uses the direct method on painting the creative works or the paintings done by the act of spontaneously, quickly, and full of intuition with either wet or dry techniques. From the process of making this study project, the author was able to produce hundreds of works which later those selected, sorted, and arranged into a panel or an independent painting which concluded into total of 14 works with spontaneous, firm, textural, and magical line expressions. Through art therapy by working on abstract-expressionism style of painting, the author feels the psychological impact which leads into an atmosphere of happy inner-self, a relief, becomes more passionate, and a calmness which drives to organize life more optimistically, and also it is able to relieve the worries and pain that the author feels.

Németh Antal Tragédia-rendezésének utópia-képei

Németh Antal as a director reckoned the most exciting to direct dramas which were not written with a special purpose to be presented on stage. He said he had learnt the most during directing The Tragedy of Man about how the “plays of fancy” and the sphere of dreams could be set to the stage. In Németh’s experiments with different stage techniques those cases posed the biggest challenge where he had to exonerate the heavy materiality of the scenery. Such challenges were the staging of dream scenes and transcendent phenomena (e. g. ghosts) as well as the assisting of human internal discourse and struggle with different stage effects. This study attempts to reconstruct first of all the expressionist style of his directing from 1937.

VASYL STEFANYK IN CZECHIA: LIFETIME PERCEPTION IN REVIEWS AND TRANSLATIONS

The paper traces the perception of Vasyl Stefanyk’s works in Czechia, from the first mention of him by Ivan Franko in the monthly “Slovanský přehled” in 1898 to the obituaries of the writer, who passed away at the end of 1936. The research outlines the genre spectrum of Czech publications concerning Stefanyk’s works (translations; reviews in periodicals; scholarly, educational, and reference editions) and the circle of authors that paid attention to Stefanyk’s writings. In particular, it specifies the authorship of A. Proházka’s and V. Prach’s works assigned by cryptonyms.&#x0D; Stefanyk’s writings aroused the interest of the authors representing various literary directions and groups: Czech Modernism (František Šalda), the decadent periodical “Moderní revue” (Arnošt Proházka), a group of anarchist rebels (Stanislav K. Neumann), and the Masaryk’s movement of ‘realists’. The decadents and ‘rebels’ even showed a special affection for the Ukrainian author, as they were the first to translate him in their magazines and published the writer’s earliest and most complete lifetime Czech collection “Povídky” (“Stories”) in 1905. There were five Stefanyk’s books published in the writer’s homeland during his lifetime, but the biggest attention of the Czech translators was drawn to the collection “The Little Blue Book”, and among the short stories — “The News”, “He Committed a Suicide”, “Maple Leaves”, and “My Word”. Among well-known translators were Karel Rypáček, Jaroslav Rozvoda, and Rudolf Hůlka.&#x0D; Alois Koudelka, Jan Máchal, Vincenc Charvát published critical works exploring the expressionist style and existential issues of Stefanyk’s works. Czech critics often took guidance from the discourse on Stefanyk represented by I. Franko, B. Lepkyi, and Lesia Ukrainka. Perception of Stefanyk’s writings developed into an engaging study of the writer’s works in the institutionally branched and aesthetically dierentiated cultural environment of Czechia in the interwar 20th century. This interest helped to establish a closer Czech-Ukrainian literary dialogue.

An Expressionist Painter of the Fourteenth Century

Theophanes the Greek was one of the well-known artists of exceptional personality who lived in the second half of the 14th century. His talent stood out on account of the expressionist manner in which he portrayed his art creations and their impact on the school of Russian religious painting. His artistic talent, “swift brush” painting manner and life adventure can be compared with those of Doménikos Theotokópoulos (El Greco), another famous Greek painter, who brought the Cretan dramatic and expressionistic style to the West, influencing the Spanish Renaissance two hundred years after Theophanes. The artistic heritage of Theophanes stands between the short vibrant period of the Palaeologan Renaissance when the Byzantine Empire went through a terminal crisis, and the European Proto-Italian Renaissance. The artist seized the opportunity to unleash his creative work in the ancient Russian cities, unfolding his talent in the creation of large mural paintings. Characterized by his contemporaries as “Theophanes the Greek, icon painter and philosopher”, he enjoyed a high reputation in medieval Russian society. Present article questions Theophanes’ belonging to the hesychast movement and the attribution of the Muscovite icons and manuscripts to the painter. Considering the impact of Theophanes on Russian visual art, D. Talbot Rice stated: “It was thanks to the teaching of Greek immigrants like Theophanes that a sound foundation was established Russian painting, and it was on this basis that local styles were founded.” And it was in the Russian principalities that Theophanes developed his very distinctive style, enjoying carte blanche from the princes and boyars (aristocracy) to apply his creativity in various domains.

Brutal Aesthetics: Dubuffet, Bataille, Jorn, Paolozzi, Oldenburg

Brutal Aesthetics: Dubuffet, Bataille, Jorn, Paolozzi, Oldenburg

The Impact of Historic Events on the Formation of the Creative Method of Ernest Kontratovych in the Early Period (1930s-1940s)

The article focuses on the early works of Ernest Kontratovych (1912-2009), one of the founders of the cultural and artistic centre in Subcarpathian Ruthenia. His period of creative formation occurred between the 1930s and the 1940s. At that time, Subcarpathian Ruthenia, as part of the Czechoslovak Republic, suffered from the effects of irregular agrarian reform and the Global economic crisis that has affected all of Europe. The mountainous areas of Verkhovyna, where government action and the crisis have led to poverty and famine, have suffered the most. After graduating from the Uzhhorod Singing and Teaching Seminary (1932), Kontratovych was sent to remote villages in mountainous areas for pedagogical work. There he witnessed the events that led to the choice of themes for his early works. Tragedies, such as the depopulation of villages, famine, and impoverishment of the people of Verkhovyna, and resulted in a picturesque series with images of the disadvantaged people, the cripples, the beggars. These experiences made a lasting effect on Kontratovych’s work. He peculiarly interpreted the theme of war. The lack of images of military activity is compensated by images of war victims – the orphaned children, crippled people, beggars. The study examines Kontratovych’s expressionist style in the context of the tasks perceived by the artist as his responsibilities to recreate and convey to the audience the tragedy of the contemporary situation. Exaggeration and deformation of form, as well as displacement of objects, emphasized the emotional intensity of the works. At the same time, he frequently turned to the daily life of the people of Verkhovyna, which created a counterbalance to these dramatic works. Traditional events such as wedding processions, preparations of the bride, and dances are shown in an optimistic, joyful palette in a similarly expressionist style.

대중 광고 속에 등장한 일러스트레이션의 인지 및 경험디자인을 통한 수사학적 표현에 관한 연구

Illustration is a neutral area of art and design, equipped with a cognitive function that visually and clearly conveys the message it wants to convey while stimulating consumers' feelings through its sculptural beauty. Past illustrations have been applied as the concept of illustrations to decorate writing, but due to the development of mass media, current illustrations have diversified the types of expressions along with the expansion of the scope to which they are applied. The illustration's expression style has expanded from a reproducible style that reproduces the message as it is, to an expressionist style that implies the author's subjectivity. This conveys the message through various rhetorical expressions depending on the purpose, and if reasonable communication with consumers is achieved through the rhetorical expressions of the work, it will be able to convey the meaning of the work more abundantly and to represent the artistry and functionality of the illustration at the same time. Therefore, this study limited advertisement illustration with clear message to scope and interpreted the work by applying rhetorical. In addition, consumer surveys were conducted to analyze consumer responses and evaluations of illustrations according to the classification of each investigative technique. if each investigative technique is applied differently depending on the content and purpose of the advertisement applied by illustration through the analyzed result value, more effective communication will be achieved, and we will further help develop the genre of illustration.

Експресіоністський стиль роману Жана Жіоно «Велика отара»

The paper is devoted to the analysis of the stylistic peculiarities of the novel of the French writer Jean Giono «Big Flock» (1931) dedicated to the events of World War I. The article proposes to use the Gaston Bashlar’s conception «The Poetics of Fire» as a methodology for the research of the expressive style. In the French criticism there is an idea about stylistic sophistication of this work, which is defined as a model of the tragic naturalism. It is suggested to look at the style of this work from the point of view of the poetics of expressionism. It is shown that the work of J. Giono is an example of «the ardent language», which contains the bright «The Poetics of Fire» and many other means of expressionist style. The novel «Big Flock» is called an amazing work of world literature on the endlessly elaborated theme of the war 1914. According to the French criticism, the novel is written in the spirit of the tragic naturalism. In a novel hatred for a civilization that has shed so much blood is expressed with utmost power. We intend to prove the consistently expressionistic nature of this work. If we use Gaston Bashlar's concept of «Poetics of Fire» as a methodology to identify the expressionist style, it is precisely the dominant archetype of fire that will enable to move the novel by J. Giono on a style scale from tragic naturalism to expressionism. G. Bashlar is a distinguished French philosopher, cultural scientist, literary scholar of the 20th century who explores dreams, in particular the creative dream described in his work «Psychoanalysis of Fire», which examines the images inspired by the contemplation of the fire. Also in this work, the philosopher identifies specific psychological complexes that allow deeper understanding of poetic works. All the manifestations of the fire G. Bashlar connects with the creative process. The main features of the poetics of expressionism in the novel of J. Giono «Big Flock» are as follows: the active use of the fire image that makes the work an example of «The Poetics of Fire» written by Gaston Bashlyar; the fragmentation of the plot; the inciting of the naturalistic pictures of mutilation and the death; the schematized character-images, the descriptions of human appearance compared to animals; the hyperbolization of every language means; the richness of the multiple tropes, the pervasive allegory of the «great flock», which enables to bring the generalizations to the scale of all humanity, to equalize the human and the animal world as an object of destruction, etc. Apparently, there is no expressionist means that wouldn’t manifest itself in this novel.

DOES AGE AFFECT CREATIVE PROCESS AND STYLE? A COMPARISON OF OLDER AND YOUNGER VISUAL ARTISTS

This study investigated differences in the creative process and style between 85 older (age 60-89 years, M=72.39) and 63 younger (age 27-58 years, M=41.95) visual artists who were nominated as artistically creative exemplars. Answers to open-ended survey questions were coded and compared by age group. Results of t-tests showed that the described creative process and style were similar for older and younger artists, with many being inspired by their environment or ideas and engaging in an intuitive and visual style. However, younger artists were more likely than older artists to be inspired by ideas, words, life, and the work process and to use an intuitive, expressionistic, eclectic, spiritual, and textured style. Interestingly, younger artists were more likely to believe that older artists have greater artistic experience, maturity, willingness to take risks, and understanding of the art world, whereas older artists tended to think that young artists are more original.

The Image of a Woman in Everyday Works of E. Kontratovych

In the works of E. Kontratovych in the early period and the period of heyday, there are the everyday works, the main character of which is a woman. In the early period (1930–1943), the image of woman plays in the main theme of begging – disadvantaged women, suffered beggars. This is connected with the showing the fate of the Verkhovyna population, which suffered because of the World Economic Crisis of the 1930s. At that time, the artist was also interested in the folklore and mysterious world of the legends and myths of the Carpathians, embodied in the original female types. The works of the early period are executed mainly in the expressionist style, which are characterized by roughness and deformation of the form, dramatic, contrasting colors. A special role was assigned to the landscape, which the artist used as a means of enhancing of the emotional color. In some of the works, the main characters are depicted against the background of ruined houses, bare trees, which increases the sense of tragedy, drama. In others, the landscape is neutral or conditional, which suggests the indifference to the fate of the depicted women. With the beginning of the period of heyday (1944–1990), the range of topics devoted to the life of the Transcarpathian peasantry is expanding considerably. In works, the woman acts in the characted of a mother ("Transcarpathian Madonna"), a reaper, a laundress, a harvester. Launched in the 1930s, a series devoted to the fate of women, became more significant in the 1960s–1970s. The works of the period of heyday are mainly executed in the style of "Carpathian" expressionism. Forms of objects are molded with a soft brush stroke, the rhythm of the composition is built on the motion of brushwork, rounded lines. The artist prefers rich, vivid color that enhances the life-affirming emotions. The landscape also takes on an uplifting mood. Regardless of color, stylistic preferences and compositional changes, E. Kontratovych's works, devoted to the image of women are designed to glorify a woman as a mother and a worker, to create her idealized image for inspiration and admiration.

Cadaverised girls: the writing of Anna Kavan

ABSTRACTBeginning her career as Helen Ferguson, Anna Kavan published six realist novels before changing her name in 1939–1940 after which she began to write in a more experimental, expressionistic style. Providing an introduction to her work as well as a more detailed consideration of selected fiction, this article reads Kavan’s work through Julia Kristeva’s idea of melancholia in Black Sun (1989), and suggests that the drive to lifelessness apparent in her writing is an internalisation of what André Green calls the ‘dead’ mother. For the deadened ‘girls’ in Kavan’s fiction, the damaged relationship to the maternal chora is carried around as the unnamed ‘Thing’ rendering the child guilty, disconsolate and in constant retreat from the symbolic order.

JEAN MICHEL BASQUIET AS POPULAR CULTURAL POSITION

Jean Michel Basquiet has created an artistic adventure by developing his own discourse during his short artistic career. He described the practicality of art with the questioning attitude and the plastic expression of new expressionist art. Variations in materials and subjects turn into a rebellion of the struggle. The anti-political, ethnically bold new expressionist artist becomes a pop icon, playing a cultural role on the platform where social extremism is intense. His art works, gra ti and rebellious attitude take a di erent role in the new expressionist style. Cultural experience, media and changing events create profound e ects on the formation of art. It is revealed through an upper narrative in the works that the artist accumulates. In this work, the position of Jean Michel Basquiet in the eld of art and the contents of his works, the concepts of popular culture, primitivism and new expressionism are taken into consideration. Keywords: New Expressionism, Primitivism, Popular Culture, Jean Michel Basquiet

The Emperor Jones

The Emperor Jones