For my art appreciation class I have to bring in a piece of art from Germany. Where could I find the best work from German artists? Or does anyone know of any cool ones or some of the top German art? I don't want to bring in anything that is just ehhh. Any idea's??
Art from Germany?
expressionism was particularly strong in germany, here a number of all very well known German expressionists:
georg grosz
max beckmann
ernst ludwig kirchner
oskar kokoschka
kaethe kollwitz
august macke
franz marc
emil nolde
Gerhard Richter is another option, he is still alive and one of the most famous painters nowadays.
you can google image all those names yourself to figure out which one you like.
Reply:Cut glass items of Germany are famous world over. The items range from table-ware, wall hangings, flower-pots etc..
Reply:I would say Albrecht Dürer, the painter.
He's quite a famous reference.
Reply:I'm guessing you can probably get Germanic art on e-bay just a guess.
Reply:max ernst
Reply:Try one of the following:
1.Albrecht Dürer is the greatest exponent of Northern European Renaissance art. While an important painter, in his own day Dürer was renowned foremost for his graphic works. Artists across Europe admired and copied Dürer's innovative and powerful prints, ranging from religious and mythological scenes, to maps and exotic animals.Technically, Dürer's prints are exemplary for their detail and precision. The son of a goldsmith, Dürer was trained as a metalworker at a young age. He applied the same meticulous, exacting methods required in this delicate work to his woodcuts and engravings, notably the Four Horsemen of his Apocalypse series (1498), and his Knight, Death and Devil (1513). Dürer's training also involved travel and study abroad. He went to Italy in 1494, and returned again in 1505-6. Contact with Italian painters resonated deeply in his art. Influenced by Venetian artists, who were renowned for the richness of their palette, Dürer placed greater importance on colour in his paintings. His Feast of the Rose Garlands (1506), removed any doubt that, as well as a master of prints, he was an accomplished painter.
2.Anselm Kiefer. Originally a law student, Anselm Kiefer switched to art in 1965 and held his first solo exhibit in 1970. He studied under Joesph Beuys from 1970 to 1971, but did not conform to either the Minimalist or Conceptualist style that was developing at the time. Instead Kiefer created massive and dark paintings that explored German folklore and inspired by Caspar David Friedrich. In addition to paintings, Kiefer also produced drawings, prints, books and engravings. Kiefer's stardom was earned by his dealing with what, in Germany, had been unapproachable before: a looking at the recent past and an accepting of the facts with an attempt to express a response where before there had only been avoidance and denial. With his paintings of the early 1980s of the raped landscape and funerary cellars (in effect, of the brutalized psyche), a dialog was finally opened. Here was the invitation to begin a public discussion, a way to express feelings long suppressed in collective shame and blindness at unknowable solutions.
3.Joseph Beuys
Beuys was rewarded for similar reasons. As clown, shaman, and creative force whose artistry respected no boundary lines, the public welcomed this alert distraction from the immense shadow of the recent past. Beuys answered a need of the population, waking up from the shock of its economic social and cultural lethargy following the war, and showed a way to rise from the ashes that was as fun as it was holistic and spiritually challenging.
Non-Germans seem glad to be able to embrace both these figures, beyond the achievements of their art, as a way of forgiving, for a reconciliation with that part of Germany that is most acceptable, most generative, least harmful or threatening, and certainly, most profitable.
Beuys's work certainly served, in its initial contact with an audience, as a diversion. But to regard his work simply as an entertainment to nullify the realities in which it was created, is to miss the point of its revolutionary nature. For Beuys, a moment of rapture in engagement with an art article, or art as a respite from the daily grind, is a sentimental act that has no purpose in today's world. He calls for nothing less than a complete overhaul of that system in which art is a product of a consumer society who needs paintings to decorate walls, to use as barter, or to receive momentary uplifting. "Art is," he said, "a genuinely human medium for revolutionary change in the sense of completing the transformation from a sick world to a healthy one." (Beuys quoted in Quartetto, exhibition catalog, Arnoldo Mondadori Editore, 1984, Milano, p. 106)
Beuys's project challenges the established assumptions. The subscription audience expects its standards to be played year after year. These rules are put in place by the powers that be to enforce their own perpetuation. Large doses of the repertoire—Mozart, Schubert, Picasso, Hemingway—uphold the values of the ticket buyers. They're made into cultural icons, like flags waving, like a crest for the bourgeois. These are the models, we're told. This canon is defended by the tastemakers to preserve their values and to acclaim them as the standard.
It's not that one must choose sides, that you must either pledge allegiance to easel painting or to Beuys. But Beuys encourages a new attitude at regarding our former preconceptions, our assumptions in looking at art, at the museum and gallery visit. Beuys is not so reactionary as to deny the existence of the entire art history repertoire, or even to extinguish it from present consciousness. He does, however, break with the tradition that would have him making precious objects to be exhibited in a system that needs these accouterments to congratulate itself for its creative achievement or to applaud itself for its taste.
For Beuys, the art piece no longer has to be an object to worship for its beauty, for its achievement at duplicating or interpreting in some way our own nostalgia for the unspoiled wilderness (in landscape), or human desirability (nudes, pretty people), portraits (persistence of the regal, historical perpetuation of the conqueror and vanquished), or religious fervor (biblical reenactments, testaments to observance [getting with the program] or its corollary: physical or spiritual pain for straying).
His is an art that rejects that academic perseverance and dedication to craft, the years of figure drawing, of working from models, from casts. His agenda turns away from the need to duplicate, to accurately render. He abandons that skill which we all so admire in artists of the past who are so able to fool us, with their craft of illusion making, by creating those scenes we long to see.
In recognizing the responsibility of the post-World War II artist to offer new possibilities, Lyotard says: "Those who refuse to reexamine the rules of art pursue successful careers in mass conformism by communicating, by means of the 'correct rules,' the endemic desire for reality with objects and situations capable of gratifying it." (Lyotard, Jean-Francois, "Answering the Question: What Is Postmodernism," in The Postmodern Condition: A Report on Knowledge, University of Minnesota Press, Minneapolis, 1984, p. 75) The experimental nature of Beuys's work and its insistence on process is a response to the "rules of the beautiful" (Lyotard) that a complacent public desires from its artists; a public that would have simple, easily pleasing, pretty pictures to gaze at and admire, to deal with as commodity, accept as necessary embellishments to its comfort, with perhaps a hint at transformation or enlightenment. Beuys moves past the conservative crowd's intent on perpetuating itself with images of beauty, images that can only remind one of the familiar and which fail to initiate any thought but that of pleasure in the comfortable and accepted. He won't accept the narrow confines of a beauty that is a "form of defense from the inertia of the everyday." (Leon Battista Alberti quoted by Achille Bonito Olivia, Quartetto, p. 102)
Beuys's art objects and performances weren't/aren't about entertaining an audience, though in their confluence of wacky happenings with strange substances, in their novelty, they must have at least entertained the most unwilling observer. Beuys wanted to awaken the populace, shake one out of the routines, the acceptable rigors one can pass through life with unobservant of the disparities and conflicts all around. "...I not only want to stimulate people, I want to provoke them." (Bastian, Heines and Jeannot Simmen, "Interview with Joseph Beuys," in the catalog exhibition, Joseph Beuys, Drawings, Victoria and Albert Museum, Westerham Press, 1983, no folio)
Beuys insisted on a recognition of the whole, not just those aspects of the whole which were capable of giving pleasure and instant gratification. Beuys opened up a route to the possible, a kinetic realm where beauty was as available as anything else. All that was forbidden was apathy.
Beauty, however, becomes an archaic concept in Beuys's sphere. Not that what we recognize as beautiful is banished. Rather, that limitation of regarding beauty as an object of veneration or a holding a mirror up to the ideal is extended. Beuys creates a new idea of beauty. One that would regard as silly the traditional conception of that being beautiful which satisfies a sentiment within us that reflects to us some scene of recreation or sereneness or leisure (I'm thinking of Impressionism); the art object existing to soothe us.
While Impressionist paintings are undeniably beautiful, it is also undeniable that they helped to create and to preserve—in their depiction of the pleasures of cafe life, the comfortable drawing room interiors, the attended ladies at bath—a class divided from the world in its comforts and signs of sophistication. Beauty is attendant as the price paid for financial superiority.
Beauty, here, is a means of escaping from the issues and obligations of the day. It is a way to avoid engagement with the mundane reality surrounding one; a way to lift oneself out of the ditch of the ordinary; to ascend to a plane where comfort is allowable to those who can afford it. Beauty separates those who appreciate it and wish to reside within its frontiers, from the peasant and working class who can only dream. Lotto is a current beauty.
Recently, Arthur Danto, in his Nation column, made the distinction between art that retained "a continuity with classical antiquity, with marble forms and cadenced architectures, with clarity, certainty, exactitude and the kind of universability Kant believed integral to our concept of beauty..." (Danto, Arthur, "What Happened to Beauty," The Nation, Vol. 254, No. 12, March 30, 1992, p. 419) and that contemporary work which he saw as discontinuous with that tradition.
I'd contend that beauty is found in the unfamiliarity of Beuys's work. To the person who comes to a Beuys's piece of action, who is open to the encounter, a whole new realm, unconceived before, is made available. Beauty comes in the steering of us into new places where we transcend the familiar relation we had with objects. In his ritualizations, those objects or materials—like fat, felt—are transformed into instruments of a secular upheaval. It is that moving away from the traditional models, Beuys's insistence on rejecting just those standards the usually less conservative Danto defines as necessary for the beauty experience, that openness to a multicultural model, a willingness to include all models not just the white bourgeois crowd pleaser standard, that shapes what Beuys has called his "social sculpture."
4. Georg Baselitz was a leading figure in the Neo-Expressionist movement. His work is often controversial. In 1969, he began painting his subjects upside down. Beginning in 1980, Baselitz began producing sculptures.
P.S. I highly recommend you choose Beuys. He is widely considered the greatest german artist of the 20th century!!!!!!!!!!!!
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