"The artist should not only paint what he sees before him, but also what he sees in himself. If, however, he sees nothing within him, then he should also refrain from painting what he sees before him." A sentiment attributed in various forms to Caspar David Friedrich(1774-1840), the nineteenth century German romantic painter.
Contents
Selected events of1908 AD / ca. ۱۳۲۵ - ۱۳۲۶ ھ.from around the world.
| The Thomas Flyer | 1908 Olympic Games | The first fatal aircrash |
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| Sultan Abd Al Hamid II | The 'LZ 4' airship disaster. | Messina earthquake |
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Other events of 1908
Another early |
Illustrations : Becquerel plate E. Rutherford I. Mechnikov Bipinnaria, larval form of starfish Daphnia, P. Ehrlich R. Eucken Lippmann G. Lippmann |
At the end of the previous century, German artists, like those in France, had openly begun to rebel against, and to criticise the stance adopted by the established academic institutions of art. In France, this movement was early, and flashed brilliantly in the work of impressionists and the artists who succeeded them. Many of their ideas which found ready acceptance amongst younger artists were transmitted to many other countries in Europe. In Germany, conservativism kept a firm hold for much longer, and artists tried to find new means of representation mainly in landscape, which had always had strong roots in the historical development of German art, and in the neo-romantic currents present at the time. The immediate influence on German artists, as also on many English artists in the latter half of the nineteenth century, was of the Barbizon school, founded, amongst others, by Théodore Rousseau, although the artists of that school had always considered the landscapes of Constable to be the most important influence in their own portrayal of landscape. In Germany, even this trend, by no means as radical as what followed in the space of a few years, was frowned upon by the salons, and rejected by authority.
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The effect of such repression was certainly felt by
individuals like Hugo von Tschudi, (1851-1911),
who was appointed Director of the National Gallery in Berlin
in 1896. He brought back many contemorary paintings
from France, and tried to hang them in a favourable
position, while giving less privileged exposure to the
academicians at the gallery. The Kaiser, Wilhelm II, and the
man who taught him painting, Anton von Werner, were not
at all pleased by seeing these academic paintings relegated
to the storerooms, and forced Tschudi to retract. Tschudi
restored some of his favour by purchasing works of the
Barbizon artists. All the same, in 1898, the rejection from
the Great Art Exhibition of the painting,
'Grunewaldsee', by Walter Leistikow,
(1865-1908), depicting a forest landscape near Berlin,
because the scene had irritated the Kaiser, Wilhelm II,* had
led to the formation of the Berlin Secession, a group of
disaffected artists who had been holding their own annual
shows. A similar group was also formed in Munich.
[*'Seine Majestät belehrte ihn sehr ungnädig,
daß in diesem Bilde nicht die geringste Naturwahrheit
wäre: "Er kenne den Grunewald und außerdem
wäre Er Jägerr".' - from Corinth, Lovis; 'Das
Leben Walter Leistikows', Berlin, Bruno Cassirer, 1910]
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The authorities ranged against the newer trends were to prevail, however, and with continuous intrigues, Tschudi was forced away on annual leave in 1908, never to return to the Berlin Gallery. At the same time younger artists, such as those who had formed 'Die Brücke' (The Bridge), inspired by the work of artists like Emil Nolde, and the techniques used by the French Fauvistes, had already crossed over into entirely new territory, and were painting debauched outcasts with a raw, biting edge, full of melancholy, and landscapes executed in brilliant streaks of pure vibrant colours. If this last, and other movements, developed as a reaction against the late romantic paintings of the previous century, the increasing use of photography must also have played a prominent part in this negation of painterly realism, for the photographic image was all too easily reproducible, by now, from the photographic plate, and offered vistas not previously imagined in the fine arts. Examples of both are reproduced below.
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Two memebers of 'Die Brücke'
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Poetry:'The cherry trees'
The cherry trees bend over and are shedding
On the old road where all that passed are dead,
Their petals, strewing the grass as for a wedding
This early May morn when there is none to wed.
Poem by Edward Thomas (1878 - 1917).
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| © M. E. Kudrati, 2009: This document may be reproduced and redistributed, but only in its entirety and with full acknowledgement of its source and authorship. All rights reserved |
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