German Expressionism

German Expressionism

Introduction
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welcome back everyone it's over this session we're going to talk about German
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Expressionism and then after the break we're gonna go to futurism so we start in Germany and then we go to Italy and
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the way this progress the class is structured is that German Expressionism in in large part looks to the Past and
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futurism looks as you can imagine encode it in the in the term itself looks to
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the future and that's not the only way that they're opposed that they're dimensionally a in opposition with each
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other ideologically there are all sorts of ways in which they they diverge and so
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we'll talk about that a little bit today but let's start with German Expressionism and there are there two
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groups that we talk about when we talk about German Expressionism der blaue reiter the blue rider oh and we're going
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to talk me about Kandinsky and Franz Marc though there were other artists associated with the blood writer
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Kandinsky begins in unit of Steel begins in the carnival style that we talked
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about with Vienna secession for our first class then we'll move on to deep Ruka which means the bridge and that's
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headed mainly by not mainly but by four artists the kurt nur was probably the most famous so we'll talk about those
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four for the first half of class before we get to those groups though I do want
Abstraction and Empathy
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to address Willem Warriner who's a pretty important I mean historical figure in art history
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he writes a book called abstraction and empathy in 1907 obstruction and Eiffel
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monk and your your text makes quite a bit of this this book especially since
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people like Kandinsky and Franz Marc were reading him and were influenced by him but I think you'll notice from the
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text that the the influence is somewhat I mean in some places it direct its
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direct but it also doesn't quite fit all that well in other instances so I don't think we're going to talk too much about
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it because I found in class when we talk about these works when we talk about these two movements of German
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Expressionism but it doesn't really have that many legs like it doesn't really go that far and maybe it's just a little
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too academic a little a little too arcane so it might
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come up over the course of of the works that we talk about here but honestly I
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don't think it's all that fruitful at least judging from the way I've taught this and had reactions from students in
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class but that being said it is important to know what Warriner was saying so the the thesis of his of his
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book and in some ways it is quite quite new is that there's basically almost a
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universal condition of art that would go back for him I mean - like Paleolithic
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prehistoric art and it falls under two different camps so one is the impulse to
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abstract the impulse to have works the works of art or at least visual culture
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that looks abstract like it doesn't look like the natural world it's the opposite of never naturalism so it's more
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stylized than abstract that's on one end and on the other hand would be empathy
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and we'll talk about empathy in a slightly different context with especially friends mark in this class
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but what what Warren meant by empathy was that artists sort of had a natural engagement with a natural world like
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they empathize with it in such a way that then the works of art were
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naturalistic they looked like the the natural world and so on the one hand we
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come back to her the famous Gribble mask that we talked about with cubism on the left there this we would describe it
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somewhat more stylized and abstract whereas a work that here that comes from
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the Venetian Renaissance this would definitely be more definitely more
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naturalistic and so Warner reads almost like a psycho as like a psycho biography
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or a psycho analysis of style here so he says that cultures art forms that are
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abstract they have a difficult and uneasy relationship with the world so
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there's an abstraction for him represents a type of disorder chaos
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and above all like uneasiness like things are not right with the world whereas if you have a style that's
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empathic that's naturalistic like the example on the right then he says that's that's a condition of the culture being
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at peace being at ease with the the natural world and so for this this is in
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flux because we're gonna see in this class that 20th century modern art it's
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definitely moving and gravitating towards the abstract and so for many art
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historians this is an interesting thing it's a it's actually a form of development but if you follow Warner's
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thesis closely you realize that oh well he's saying that modern art the will to
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abstraction that we see in Kandinsky or in Kirk nerd and we talk about today that actually reflects an uneasiness
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with the world around them and so this is where Warner might make a bit of
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sense with theories of the city and of modernity and technology as something that's alienating something that creates
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uneasiness and that we might be able to find in some of these paintings that we look at today especially the painters of
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de Brooker that show us a world usually an urban world that's anything but easy
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and empathic it's actually and gives us an uneasy vibe so that's a brief
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encapsulation of Warner's thesis any few if you find it to be interesting and if
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you find interesting parallels and connections where we're friends mark and
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Kandinsky and others were actually reading him you can actually see it in the work then all the better to have started with this brief introduction but
Der Blauereiter
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let's get to some of the the nuts and bolts of these two groups so we'll start with der blaue reiter which calls which
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which can be translated was translated to the blue rider and this is in reference in loose reference to
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revelations and a history of Christianity and in fact the the cover
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of d'herblay writer is like a form of folk art based off of
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pretty celebrated images of st. George slaying slaying a dragon so right off
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the back you're getting the sense that here is a group that in some ways has spiritual ambitions for art and by
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spiritual I think we should mean not so much not so much like religion like convinced key doesn't like if you read
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Kandinsky it's not really like he's talking about Christ and Christianity or judeo-christian traditions but more he
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is a conception of art as more as having ability to afford the viewer a spiritual
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access access to some sort of spiritual world of creativity of imagination and
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of joy there's something actually quite joyous for the most part about Kandinsky and about the blaue reiter and so
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they're like the artists we discussed in primitivism this could actually be an
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extension of that that lecture the way in which Kandinsky and Franz Marc and
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others who were part of the Brooker the way they sought to have access to this more spiritual realm which which would
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be the opposite of let's say a crass materialistic modern conception of the
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world where everything is reducible to making money and to science and to just
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like materialist causes right the opposite of this would be like returning to a more spiritual understanding of
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what it means to be a living thing and especially a human being but with Franz
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Marc you're gonna see that he opens the equation to other forms of life so that's the way you want to understand
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the spiritual with with their blaue reiter in one of the ways they tried to access this is yes through non objective
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abstract forms of painting Kandinsky is one of the first painters not the first
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but one of the first painters to paint almost wholly non objectively almost wholly abstractly which means that his
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paintings don't show you anything that corresponds to the world it's just the pure imagination and play
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of color line composition and form so that's one of the ways they try to tap
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into this more sort of spiritual realm but another is to go back and this is where we talk about German Expressionism
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being in some ways modernist a modernist avant-garde that taps into much older
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traditions so I already mentioned the cover of the Dubois Rider Almanac as being an instance of folk art so they're
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interested in folk art so non you know like what today we would call maybe d
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skilled or outsider art they're interested in that then they're
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interested in non-western visual culture for in many of the same reasons that like a Gaga or a Picasso or a Matisse
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were because they thought it gave them access to a spiritual realm that was outside of the West the crafts material
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is west of the early 20th century they're also interested in the art of
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children so the way in which children are creative it's as if it's argued the
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rider would argue that in some ways that creativity is untainted by adult
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civilization and and sort of the stifling effects of morality and so on
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and so forth they're also influenced by animals especially Franz Marc so the
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idea that somehow through non-human animals through the creaturely realm of
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existence you can you can tap into a certain type of imagination or spiritualism like a pan spiritualism
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through nature and through animals and that that can somehow afford you a way
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out of the crass Western modernity towards something more spiritual so all
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of these things are working in tandem and you can find them all within this very important publication the der blaue
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reiter Almanac from 1911 so here are just a few pages so what you have are examples of of all these forms of art
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all these forms of creativity that I've just laid out for you along with writings writings about quote/unquote
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primitive art writings about folk art and so on and so forth so this was a almost like a really important source
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book afford Oba writer but not only for der blaue reiter it's an important text and
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if you want to see the whole thing all these pages are basically cut and paste from MoMA's website and moment does a
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really beautiful job archiving their works online and you can go and flip
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through the pages of the think you can go in and flip through the whole pages of the de bois rider Almanac which would
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be a very valuable a very valuable first edition of the book you can just watch
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it on see look at it online and so how did these interest translate into art
Three Riders
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into paint well for Kandinsky by and large it had to do with abstracted
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simplified simplified shapes and here with three riders from 1911 you do get
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maybe something of a naturalistic representation maybe you can read these
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lines here as three horses or three forms sort of riding along a landscape
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of some kind but in some ways it's a bit of a stretch because by and large the
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the few you get from a painting like this is just the primacy of the color the primacy of the movement of the line
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the primacy of the composition and while there might be some correspondence with
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the quote-unquote objective world by and large this feels like a non-objective painting and if you read Kandinsky for
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him what his art should do was elicit a response in the viewer like he thought
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that the miss was pretty forward looking in some ways he thought that that it was
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the relationship between the viewer and and the artwork and the artist that created the condition for a more
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spiritual and more spiritual
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interpretation or more spiritual experience so that that's one way to explain the non objectivity of
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Kandinsky's work and I think maybe you could read in a childlike wonder most
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people will say most lay people and I help them get this from my students when
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I first thought sure that my Kandinsky they think oh my goodness why would anyone like this it looks like a kid a kid could do
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it right and maybe that's true although probably not because these these type
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these types of work are always much more methodical than they first appear but
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that actually might very well be the point if Kandinsky and der blaue reiter are interested in the inherently let's
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say uncorrupted creative energies of children then it would make sense that they will try to tap into that with
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their with their paintings and notice it's not it's not a coincidence that in the the three big blobs of color right
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in the center are the primary color so there's something very foundational about Kandinsky's non-objective painting
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here which might tap into the art of lurid of children and here's a quote
Spiritual Art
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from him so it will help us to read directly from the artists the artists of writing so he insisted that the very
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contents of his art are what spectators live or feel under the direct form of
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the form and the color and the combinations of the picture and that this leads to a spiritual experience or
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have a spiritual quality which will run counter to quote-unquote the whole this is where you get the their investment
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very very clearly the whole nightmare of the materialist attitude which is turned life of the universe into an evil
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purposeless game so I think you can tell what the ambitions are for his work that
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this is this is countering the crass materialistic modernity that they're
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seeing all around them especially in urban spaces that's not the last time we're going to talk about this and
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throughout all of 20th century art it's certainly not the last time this thematic will come up as a concern for
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artists so if you're interested in Kandinsky go ahead and read they're really nice excerpts of his concerning
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the spiritual art of art from 1911 a very famous text I'm just widely available so if you like
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Kandinsky and look it up I also want to mention the the connection with music
Schoenberg
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here so Kandinsky and Schoenberg actually had a relationship Schoenberg is a very important modernist composer
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we could have talked about and I think we did talk about with Vienna secession and so there are interesting parallels
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to play here between Kandinsky's abstracted work and Schoenberg's atonal
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work which if you don't know anything about Schoenberg and a tonality in his form of composition it was a radical
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departure from from Western forms of composition based in twelve-tone system
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that like Mozart Beethoven Bach and all these incredible composers in Western
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music history were using so it's a radical departure and he's using sounds and tones in a completely new way and I
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think you're seeing a correspondence here with Kandinsky who's using color composition line form and pictorial
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qualities in ways that are that are quite novel for the history of Western art and notice the the way he describes
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art as simply well not simply but as an effect from form and color like it's
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like almost a purely formal experience one that doesn't necessarily to the
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outside world like the form and the color doesn't have to look like something it can just be itself as its
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own quality if that doesn't sound like a definition of music then I don't know
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what does music almost inherently except for certain examples is tonal these
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qualities timbre it's a composition that affects you in some ways but in a way
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that's not magnetic it doesn't represent the world in any ways its own qualities or the things that that affect you and
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that's why we love music and that's one way that approach Kandinsky's work so
Marc
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the other der blaue reiter is a Franz Marc and he's one of the great animal
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painters in history and but he has a completely different conception of painting animals
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so these are its very famous large blue horses so you have these four blue blue horses that seem to be their bodies are
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like rippling and echoing the the world and the landscape again with
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these very vibrant colors not unlike Kandinsky and verging on abstraction
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though this is less abstract than Kandinsky I would say um so friends Marc
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maybe it was less about children and folk art and quote unquote primitive art but he was above all interested in the
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natural world and animals animals were a major source of creativity and
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fascination for him and then we can get a text we can get a quote from from marketer to see this I'm not gonna read
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this whole thing but because you can you can just pause it and read it for
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yourself but basically what he's trying to get at here is that he's fascinated
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by animal Minds about other minds about non-human Minds and trying to understand
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how one might be able to see how they see the world how do we get a picture of the way animals see nature so rather
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than focusing on the way humans see the world animals included he's sort of
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turning the tables and asking ok well we're not the only minds in the world there are other Minds out there how do
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they see the world right and are we just imposing our way of seeing the world
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when we assume certain things about non-human animals right so Franz Marc is getting to a certain
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key question about other minds about about animal Minds non-human animal
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Minds that are other than us that that only a few decades later and into the
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20th century and then much later in philosophy philosophers and ethology will be asking and we'll be studying
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right in 1911 they really have no idea about how other Minds really work and so
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friends Marc's work is interesting because he's trying to tap into the way
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animals he see the world and he's not alone so he's influenced or a fellow traveler would be someone like the poet
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Rilke who wrote a really beautiful set of poems called the due;o lg's in 1922 but he began them in 1912 right
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around this time and he has a theory of the creature of the animal as is having
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access to nature and access to the world in total in total openness total
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completeness for real cat animals are not burdened by civilization by culture
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by technology by all these things they're not inhibited at all they're free beings that see the world
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for what it is in this beautiful open expansive way they're directed outwards
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whereas for real human beings they're constantly looking inside they're constantly thinking about other things
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that are constantly held back by culture civilization and other concerns that
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they're actually closed to the natural world these are all contested ideas
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right but it still it seems to be very compatible with the way
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diabla ride or understood these creative energies of not only children you know
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maybe children they would think we're more open to the world and once you become an adult you get closed you stop
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caring about all these these things you may be cared about as a kid but it also
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fits with this idea of animality as inherently more open to the world whereas in when you when you're too
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human you close inside yourself and you're too preoccupied admired with
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culture and civilization and modernity and so Rilke fits really well with with
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this discussion we're having and the last thing I'll say about friends marking and der blaue reiter is that
Rosa de Bona
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it's just to give a counter example so this is this is a realist work by Rosa
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de Bona French paints are very very famous boom she's an incredible painter she's woman she was a woman but she
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painted in these large genre scenes that usually only men paint at the time and she also loved animals
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and so she's showing you these cows that are plowing the field right in in France
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but this is very clearly a painting from the point of view of a human namely the
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farmers and namely the painter herself right it's almost in some ways it's a
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realism that verges on like the photographic right you don't really get
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the perspective from the cow and plowing plowing the field right you're getting access to the world to this very
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naturalistic very human anthro centric conception of the natural
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world well when you go to France marking it's something completely different this is where you see the clearest difference
Marker
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in sort of the inspiration he had when it came to to animals this is this very
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famous yellow cow and it's not pictured in your book but I'm bringing it I'm bringing both the bees in because
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they're so clearly different from each other this is naturalistic this is quote-unquote objective which is really
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a you know a human centered view of the world whereas this one you're almost it's impossible to do of course but mark
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is trying to give you the the the world from the perspective of the cow here of
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this dairy cow here who has these sort of fantastical colorations so she's
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yellow and we know it's a she not only because of the utter but mark has had
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this whole color theory that certain colors were masculine and certain colors were feminine there's a whole emotive
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range when his theories of color and yellow was feminine there's this purple
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purple patch on the body of the cow and the cow seems to be jumping or remoting
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in a way that does not seem natural and he's in a landscape that also doesn't
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seem natural whatsoever there's something abstracted so for mark the recourse the color to form two lines
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abstraction is a bit different from Kandinsky Marc seems to be interested in using it for us to then empathize
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with non-human existence with the creaturely with the animal right as if
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you were getting a view of the world not through our eyes but maybe through the eyes of this cow who seems to be at one
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with landscape who seems to be in some ways jumping for joy in this very let's
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say sort of subjective experience of the world that would be foreign to our eyes
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so it's an interesting it's an interesting way and shift of an
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interesting shift of depicting animality and if you've ever seen videos of dairy
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cows dairy cows who have been taken out or let's say rescued from dairy farms
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where they're often cooped up and hooked up to machines and they can't they
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actually can't really even move when they when they're retired or rescued and
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put in a sanctuary it's interesting there all sorts of witty videos online where they're sort of jumping and acting
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almost like dogs and in a way that's completely foreign to us because we normally just see them as these large
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laboring beasts who are either like hooked up to machines or plowing fields
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right which is very human centric but when you see them sort of jumping for
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joy in a pasture it approximates more friends Mark's vision of the nonhuman
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world than this one right so it's all in keeping with their blue rider's
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ambitions but I don't want to sell I don't want to say that mark is is only in the friends mark is only into
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animality in the sense of of joy and freedom and so on and so forth for the most part his his animal paintings were
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about despair and violence and pain so
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the fate of any animals is is definitely one of those it's this abstracted form of animal painting of horses you have
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foxes you have a deer in the scent you have pigs boars on the lower left
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here and something is going wrong you even have the movement of like a D
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saturation of color from left to right it's as if there's this cloud and this
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is dark energy that's moving from right to left on the canvas an abstraction itself seems to be piercing the bodies
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of the animals in this in this painting so if excuse me if in the yellow count
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you have this painting as a form of empathy enjoy here like the book
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actually like the way the book writes about this here they chose the the
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limits of empathy we empathize with pain and suffering because we also suffer we
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also feel pain like any other animal but there are limits to accessing it we
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can't quite know what it feels for for
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other creatures though I think we can guess and so here abstraction we get to a
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certain limit of understanding at least that's the way I don't think that's the way friends mark would have would have
26:52
thought of this painting but that's the way it's interpreted in the chapter so
Brooker
26:58
that's good for German Expressionism now let's finish with the Brooker so the other German expressionist movement and
27:08
so whereas der blaue reiter is based in Munich the Brooker the bridge is based
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in Dresden and it's founded until they moved to Berlin but it's founded in Dresden by Fritz Baio
27:20
erich HECO ernest kirk nur and Karl Schmidt Ratliff for architectural
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students will become really dissident architectural students and then start their own start their own group and like
27:33
so many historical avant-garde movements they published a manifesto in our second
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half of class we're going to talk about the most famous manifesto probably of the early 20th century which is the futurist manifesto but the bruco also
27:46
published a manifesto here is the cover of it so it says art group Dubrovka and
27:52
it has an image of a bridge over an abyss so keep that in mind because that's comes from a very famous quote from this
28:01
guy one of the more important in 19th century philosophers for dignity ax who
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wrote a really influential book called thus spake Zarathustra um and one of the
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more famous quotes in the book is this one man is a rope tied between beasts and over man a rope over in a burka or
28:19
an abyss so they're referencing this in this bridge this rope over thus abyss
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directly in their in their manifesto and for Nietzsche what this meant was that
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that man that human being in his present form in the late 19th century Ford
28:38
abraca would be people of the early 20th century is not a endpoint in history in
28:45
fact for Nietzsche and Ferdie Broca the way people were living and they will
28:51
probably say the same about us the way that people were living they were only a pale shadow of what humanity can be and
29:00
so this sort of pale shadow of what humanity can be you know like for for
29:06
Nietzsche and for the de Broca this would be people living and working and only
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caring about money completely materialistic losing sight of all that's
29:20
that's interesting and Noble about about about humanity like literature like art
29:26
and so on and so forth for for nature
29:32
and for the Brooker they were really harsh about their contempor about contemporary people they thought they were just completely inferior for lots
29:42
of different reasons and so for Nietzsche and abraca this is a condition to overcome you want to get behind it so
29:50
Nietzsche says in the spec cereth cereth rooster what's great about man is that he's a bridge not an end what can be
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loved in man is that he's an overture and are going under so this is where we get to the theories that were really employment
30:02
misunderstood of niches over a man or Superman the idea that man is something
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that we can get beyond and there's a conception of the human that's much
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better much more knowable much more interesting and so on and so forth
30:20
so this is the way that Zubrowka read read Nietzsche and they thought they
30:26
wanted their art to lead to this new conception of humanity one that would
30:33
not be mired in modernity and a slave to technology and a slave to material forces and so on and so forth it would
30:41
be a more creative sort of you know this is quite utopian conception of the human
30:47
and so they too took recourse to youthful energies and this is the
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manifesto it's a very short one we call on we call all young people together and as young people who carry the future in
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us we want to wrest freedom for our actions and our lives from the older comfortably established forces and so
31:06
they had a conception of youthful energy as overtaking as going beyond the present must stop defying old rearguard
31:14
social forces that they saw all around them and of course they lived it they
Kirk Nur
31:21
lived this life this is a picture of Kirk nur with his wife in his studio notice we talked about Kirk nur already
31:29
in the primitivism section where he has a African statue in his studio so he
31:36
collected them a studio looks like almost looks a little bit like a go-go
31:47
Gans living in quote-unquote living native and in Tahiti and you have these
31:54
Japanese umbrellas that we wasted that we know shows up in his girl under a Japanese umbrella and then all the
32:00
pornographic images like pretty sexually explicit images that are on
32:06
on the wall and so the the theme of sexuality Indy Broca and naturalness and
Nietzsche
32:15
nudity and freedom especially sexual freedom also in some ways fiction fits
32:22
in with niches Zarathustra and Nietzsche's whole philosophy so one of the key aspects of Nietzsche's
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philosophy is that he is one of the first to really criticize the
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judeo-christian conception of the human body so for most of religious history at
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least judeo-christian religious history the body is something to sort of be kept
32:47
in check even maybe despised like sexuality is sinful sex is a
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temptation as a sin so on and so forth especially of course outside of of matrimony for Curtin or for heckle and
33:03
for the Dubrovka this is this is antithetical to the way they want to live their lives they want total sexual
33:08
freedom they want to be able to go out into nature be naked and and almost
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again this is almost like a paleo conception of life to go back to this sort of natural wonder and oneness with
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nature so here's a woodblock print of Kirk nur it's pretty famous one bathers throwing were throwing reeds this is an
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actual scene like they would go out into the country they would get naked I think people do this today it's called like
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forest bathing or something like that you get naked and then you just lie down in the forest and as supposedly therapeutic effects I've never tried it
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but it's a thing I hear this is definitely something Dee Brooker would
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have liked they would go off into the countryside they would they would play the nudist and they would frolic in in
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nature so this is in keeping with the whole wider ambition of German
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Expressionism and then they would also here's another hood Bach went printed by Eric Hackl
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they would also draw and print pretty
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you know pretty sexually explicit images often of women so again the idea
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of this conjunction between going backwards primitivism and the female form not in every case with Luca but a
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lot of times is centered and focused on the female body as it is again in girl
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under Japanese umbrella so with the theme of nudity and sexuality and
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freedom and despising those who despise the body it's very much within their
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reading of Nietzsche and in Zarathustra and but and just in a larger context
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just this idea of breaking with European morality which is such a common feature for so many of the historical
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avant-gardes beginning with Gauguin and running through the German
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Expressionists and so we'll end with probably the most famous picture of the
Dresden
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German expressionist and that's Kirk nurse Street Dresden which MoMA has so if when it reopens and it's safe to go
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almost um it's almost sure that they'll have it up this is one of their prized
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paintings although it might not be and this is curtain or screen Dresden and this is the other side of the equation
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then so if some of these works were shown freedom nature sexuality as this
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instinctual natural thing we have the opposite here here we have a view of the
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city as a very stealth defying oppressive alienating place there's a
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wonderful quote by Georg Simmel that's in your text where he describes the
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urban dweller as developing this organ of protection and I like to translate
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that in more everyday terms as just you know when we all know this although I
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think it's I think this pandemic is probably going to change this I think it's going to change this but but one of
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the cliches of being living in a large city is that you would become jaded you
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become cynical you'd be able to just walk by people even if they're suffering or homeless or whatever it might be
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right it's just understood that you live in the city and that you need to have this protective where you don't feel as much as maybe
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you would at home or with the people you already know but you become kind of
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cynical and jaded that's one way to translate this protective organ that Georg Simmel an early sociologist
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describes this the city as inducing in humans again I think this might actually
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change and we might actually be seeing it change in this large anti-racist
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uprising global anti-racist uprising currently although that's a big claim to
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make but it would be an interesting discussion if we were having if we were having class but in Kirk nurse time in
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1908 this is definitely still a conception of the city as alienated is actually even of like a visual assault a
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cacophonous visual assault not only at the level of color where this is where
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we get the name it's funny I've given this whole lecture on German Expressionism without saying what Expressionism actually is
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I'm although implicitly I've been I've been letting it out for you but Expressionism it really comes out of Van
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Gogh through many of the artists we've talked about before and it's coming through here in Kirk now which is the
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use of color and form in a very expressive way it's I mean it's it's
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it's easy that's what it is form color abstraction not so much to
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represent the world in an objective way but in almost a subjective expressive way where it's it's you're seeing the
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world but also your your it's be feeling certain emotions that the artist and maybe some people in the picture are
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feeling so you have this undifferentiated crowd of people who seem to be centers separated by this
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orange electric filament that runs through the crowd then you have these people in the front these are because of
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their hand gestures a lot of scholars have noted that we know for sure they're prostitutes because prostitutes at the
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time it wasn't it was it was controlled and illegal in certain parts and so they
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had to make these covert gestures that they're available and so the way they're holding the dress
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means that they're open for business that these two prostitutes are open for business and so you like Manet's Olympia
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you're getting right in your face one of the key challenges to them to modernity
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which is the reduction of the human body to simply a crass materialist resource
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like using the body simply for an economic exchange this is so far from the the more sexually free natural
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relationship with the body that you get in some of their other works here this is an image of sexuality as economic
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materialist exchange which is alienating in some ways and he further he he goes
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even further with this where the it's like they're wearing masks you actually don't quite see their real faces they're
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just these masks looking at you in what a lot of people describe as somewhat
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like freaky it's a it's a very strange imposing look as is this guy's who might
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be you know like he might be out for a stroll picking one of these ladies up he's kind of looking at looking at you
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with this strange grimace it's just really really stilted and bizarre and
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and maybe anxiety inducing as are the colours and then the the weirdest part
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of the painting is the little kid who seems like maybe she's being held by a
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parent or something like that but you can't quite see so the kid should just be plopped in the middle there alone
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doesn't seem very happy has a toy was
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holding a toy in her hand but otherwise it's just kind of sitting there standing there staring at you so it's a very very
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bizarre bizarre scene and so this is where we can end coming back to warring
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or maybe this painting does work with Warren or if Warner thinks that expressive abstraction and
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painting that verges on the non objective is reflective or symptomatic of a society that's now uneasy with
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itself uneasy with the natural world as so many of these city dwellers seem to be in dresden then maybe it may be
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warring or thesis make sense that this expressive style and Kirke nur is an expression of uneasiness alienation and
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maybe even even despair so this is the kind of scene that the Brooker wants to
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overcome through freedom through youthfulness through creativity and through art and so quite ambitious as a
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as a group of artists okay so let's take our break and then we'll go to futurism