On Literature and Art

.....Art belongs to the people.Its roots should be deeply implanted in the very thick of the labouring masses.It should be understood and loved by these masses.It must stir to activity and the art instincts within them.

Should we serve exquisite sweet cake to a small minority while the worker and peasant masses are in need of black bread?.....

For art to get closer to the people and the people to art we must start by raising general education and cultural standards.

Lenin (On Literature and Art)

The V & A Cafe

I never knew just how lovely the V & A cafe was,even if you went no where else in the museum.

Comparative Essay Oscar Nerlinger - Lionel Feininger

Image 1 Oskar Nerlinger “A travers les lunettes roses du romantique” (1929) - Through the rose coloured glasses of Romanticism-Museum of Modern Art – Paris.
Image 2 Lyonel Feininger “Town at the end of the World” (1920 – 1925) Hamburg, Kunstalle – Bridgeman Art Library.

Lionel Feininger (1871 – 1956)and Oscar Nerlinger(1893 – 1961) are the two artists of who I had hoped to provide an essay on of conflicting views and contradictory opinion on their respective imagery but the further I made research into both the more it appeared there were common links, I had hoped that these images would be spurring partners, I was going to enjoy their drawn out fight to the last bell, they are not, there is intrinsically wisdom and innately an appreciation of traditions and common belief in both which I have found endearing,

Oskar Nerlinger, “a travers les lunettes roses du romantiques” (1929
This is painting that is housed within the galleries of the museum of modern art in Paris. The painting shows a section of the Rhine painted in a industrious light with boats carrying cargo, burning fuel and the river lined with factories – within the painting is a part section of a pair of rose coloured spectacles and within the rose coloured glass is shown the Rhine in previous years with a man rowing on the river and the Rhine with old castles set within distant hills.


Lyonel Feininger, “Town at the end of the World”(1920 – 1925)

My second image has the title “Town at the end of the World”(1920 – 1925)The picture shows a scene from this series. It is a hand carved wooden miniature version of the Thuringian town of Gelmeroda, near Weimar. It is a small medieval town and within its streets are small wooden figures of the towns people, carved slightly larger in scale, probably a few bumped heads ensued trying to make their way through Feiningers tiny doorways.

In Oscar Nerlingers painting he was fairly clearly visually making a comparison himself showing us the Rhine as it once might have been, as with Ferlingers miniature town the piece is lovingly carved in a way that only be done with careful thought and affection. To believe that these two images would conflict is now laughable to me. What strikes me directly is the intention to convey the importance of cherished traditions and more peaceful times past. Are both guilty of romanticism? – perhaps – in Oscar Nerlingers case and he certainly was not the first to sway from the stark realities of the Rhine at that time. Artistic interpretation had been many and varied in its opinion, along with others such as Theroux,the poet Van den Vondel,Lord Byron.Experience of the Rhine and certainly the brutal resolve of the rivers commission in 1815 to use the Rhine to its fullest for commercial means also attracted much political comment.

Lyonel Feiningers comment in the work shown is deeply and touchingly felt,his appreciation of the small medieval towns common throughout Germany at that time and as he conveyed in the carving “Town at the end of the world” is also a gently direct reminder that appreciation of what surrounds us creates a stabile nurturing quality that in all well planned towns is conducive to life running as well as possible for its inhabitants.

Perhaps there is a psychological need in artists when in an unsettled political climate to look to the past and grasp onto fond memories to enjoy personal stability. As John Berger states in Ways of Seeing “Fear of the present leads to mystification of the past” – and Nerlingers Rhine could definitely described as obscure but Lyonel Feiningers town has too many nuances of reality and his interpretation in the “Town at the end of the world” appears to be solid and tangible.

Both Feininger and Nerlinger at that time were living in a Germany whose political climate was changing alarmingly and like animals fleeing land when sensing an earthquake perhaps there is a creative hyper-villigance that causes artists to set an anchor down on their poignant past. A beautiful and subtle rebellion to the changes taking place.
To be quietly political is stirring – to make such a robust observation in such a gentle way shows a huge amount of emotional control and intellect. Both Images were produced at a time when the world had been shaken by a world war that had caused much disaffection politically.
The Weimar Republic hadn’t fulfilled its promise of a stable democratic Germany; its economy had felt the effects of Americas depression and Wall Street Crash which had fuelled support for the Nazi Party. There is no doubt that this was an unsettling time for artists whose views were not mainstream.
That Feininger would distance himself from the Bauhaus teachers when the mantras of mass production grew loudest gives these his work further strength.
When the Bauhaus school moved from Weimar to Dessau Feininger discontinued teaching within the school he eventually returned to his native America in 1933.
Oscar Nerlinger lived the rest of his life as a working artist within Germany.

Comparatively these two Artists have many parallel thoughts and observation.
To conclude it is fair to interpret their subject matter and the way in which they communicate this as a brave rejection of the commonly held beliefs and ambitions politically. Both these Artists will have reflected individually on the devastation and loss of life during the 1st world war and even though unknown to one-another they share the same unique purpose which is revealed in the questioning nature of their works. In hindsight perhaps more people, had they had the outlet to do so would have communicated much the same.

Bibliography

Museum of Modern Art – Full Catalogue.
The Rhine – An Eco Biography 1815- 2000
Germany- A travellers History – Robert Cole
Ways of seeing – John Berger
Art Theory – Cynthia Freeland
Bauhaus – Flame Tree Publishing
Wiki-pedia – Lionel Feininger Biography
On- line American Historical Review –www.history cooperative.org
Book Review – William Rollins – University of Canterbury
www.makris.net
artefacts.net

The lives of 2 German Women Artists.Comparing the life of Paula Modersohn Becker,member of the Workspede group based in Bremen towards the end of the late eighteenth century with Gabrielle Munter who commenced her creative career as a member of the Expressionist movement.
Gabrielle Munter - 1877 - 1962
Paula Modersohn Becker -1876 - 1907

I have chosen to compare the images of these two artists because they were both successful in their own right despite the severe limitations that overshadowed them both professionally and in Paula Modersohn Beckers case personally.During the short life of Pauls Modersohn Becker she was able to produce a vast amount of work.In total over 400 paintings and drawings.
'Brustbild einer Jungen Frau mit Offenem Haar'(half portrait of a young woman with beautiful hair)- is a particularly serene painting,it is the painting of a young girl dressed in pale colours looking downwards as if reading or glimpsing a small bracelet around her wrist.The softness of Modersohn Beckers palette gives an angelic haze to the painting that is very charming.I find the beauty in this particular painting is that the girl featured appears to be so unaware or posed at all,you feel a that the artist has captured a quietly composed moment,there is no attempt to show off skills or even a hint of anything other then pure individual and delicate observation.The influence of the Impressionist movement is clearly seen within this painting.Paula Modersohn Becker studied at various times when Millais and Manet were acsending creative heights during the late eighteenth century.Paula Modersohn Becker was one of the few painters from the Worpswede group whose paintings showed a new strain of influence which was linked to Fauvism and Gauguins later work.The colours are simple and starkly tonal to a point of understatement.The womans warm brown hair,stark white top against a background of a pale golden olive colour that creates an imploring contrast.Modersohn Becker was painting at a time when it was difficult to study as a women artist at reputable art schools who catered mainly for male students,even though there was so much cultural richness around - Tchaikovsky was one of the prominent composers of the day - the last decade of the eighteenth century saw the important Gothic Revivalists pursue romantic ideals and make an unforgettable mark on the history of British Art - during this time technology was advancing in ground breaking ways - the first telephone exchanges were established in two major British cities .The late eighteenth century definitely was a progressive and exciting time to be painting.The wealth of recent artworks to be influenced by and draw ideas from was a deep well of inspiration.

My second image is a work painted by the artist Gabrielle Munter - The title of the painting is 'Black Mask with Rose' (1912) - This is a still life painting- the objects painted are quite theatrical - a mask,gloves and ornate cushions.The objects are clearly outlined in dark colours and the essence of these still life objects worked in a heavy manner on top in a array of colours - plums,pinks and furher pink and warner tones - even though painted in a stilted manner,it is thoughtfully created.

Gabrielle Munter began her studies as an artist under the tuition of Kandinsky and commenced her studies learning in the style of the post Impressionists - which later was to evolve into expressionism.I see also within this painting strains of influence of the Fauvres because of the heavy outlines and strong tonal ventage.

I feel the one particular focus of my comparison between these two artists is to recognise from Gabrielle Munters later work the posssible potential pathway that Paula Modersohn Beckers work may have taken if she had not had ner life tragically cut short at the age of 31.Both these Artists worked when the Wilheim state was in force within Germany which had firm ideas regarding the types of Art that were accepted nationally.As within other European countries in the late eighteenth/early nineteenth century the restraints created by various governments instead of preventing the natural flow of Artistic Expression actually fueled and intensified the work that was being produced.

Both Paula Modersohn Becker and Gabrielle Munter have been written about under the heading of primitive art - both artists sought to create works in a new and progressive way.Even though unknown to eachother,each followed a personal and single minded journey,inspired by others but with a unique focus.

To compare both these artists against a contemporary setting is to see them in clearly in their mutual historical context - for them both to exist in the artworld of our modern day is an interesting thought.Would the numerous restrictions that they faced have been the reason why their paintings were so intense and direct?

With more freedom would this have in fact taken away what was tangible from their work or given them a freedom that would have broken further personal boundaries?

Following Gabrielle Munters high productivity under the influence of Kandinsky and further relationship that lasted over ten years her work was to decline in its output.

Germany was going through a turbulent time within its history and artists were not highly regarded,at times being labelled as degenerate.Many artists working through the wartime years chose to leave the country,many travelled and settled within the U.S.A.Gabrielle Munter shared the strong inclination to leave her homeland and settled in England.

Books researched - Primitism and Modern Art - Colin Rhodes Women,Art and Society - Whtney Chadwick - History of Art - Starfire Books - Women Artists / Heller Books

Internet resources researched from include- www.paula-modersohn-becker.com - www.paratheatrical.com - www.neart.com

Cyberfolio

Artworks to view