Postmodern and contemporary painting in Germany - PowerPoint PPT Presentation


PPT – Postmodern and contemporary painting in Germany PowerPoint presentation | free to download - id: 6c59-MDViM


The Adobe Flash plugin is needed to view this content

Get the plugin now

View by Category
About This Presentation

Postmodern and contemporary painting in Germany


Annihilation of Modern Art in Nazi Germany 1933- 45 ... Nazi Degenerate Art Exhibition. Composition with ... Sigmar Polke (German, b. 1941), Modern Art, 1968 ... – PowerPoint PPT presentation

Number of Views:376
Avg rating:3.0/5.0
Slides: 60
Provided by: Elai6
Learn more at:


Write a Comment
User Comments (0)
Transcript and Presenter's Notes

Title: Postmodern and contemporary painting in Germany

Post-modern and contemporary painting in Germany
Berlin Wall, 1989, marking the end of the Cold War
Annihilation of Modern Art in Nazi Germany 1933-
45 (left) Ernst Ludwig Kirchner (German
Expressionist,1880-1938) Girl Under a Japanese
Umbrella, 1906 (right) Emil Nolde (German
Expressionist, 1867-1956), Excited People, 1910
(below) Degenerate Art Exhibition, Munich, 1937
The poster of the Degenerate Music exhibition
(1938). Jewish Composers and Jazz/Swing musicians
were, for instance, accused by the Nazis of
producing "degenerated music"...
Composition with Blue, 1926 Piet Mondrian, oil,
24 in. sq.
Degenerate Art
Marc Chagall, Purim, 1916-18, oil, 20 x 28 in,
exhibited in
Nazi Degenerate Art Exhibition
Good German Art Socialist Realism (only)
Joseph Beuys (German, 1921-1986), (left) Fat
Chair, 1964 (right) Felt Suit, 1970 (center)
Joseph Beuys the artist "The whole process of
living is my creative act."
First German artist after WW II to
achieve international fame based
on exploration of his German identity
Joseph Beuys, How to Explain Paintings to a Dead
Hare, performance on Nov. 26, 1965. Three hours
talking about pictures in in the Galerie Schmela
in Düsseldorf. The hare was one of Beuys totemic
animals. Artists face was coated with honey and
gold leaf and one of his shoes had an iron heel
symbolic materials. Artist shaman
Joseph Beuys, The Pack (2 views), 1969.
Volkswagen bus with twenty-four wooden sleds,
each with felt, flashlight, fat and stamped with
brown oil paint
The Dionysian versus the Apollonian
Joseph Beuys, I Like America and America Likes
Me, performance, Action, René Block Gallery,
NYC, May, 1974
Beuys, Honey Pump at the Workplace for Documenta,
1977, electric motors pumped honey through a
gigantic assemblage of pipes in the stairwell of
the museum, symbolizing the circulation of life
and flowing energy.
(left) Beuys lecturing in New York, 1974, about
the social revolution to be led by artists
(everyone) (right) Beuys, Action Piece, 26-6
February 1972 presented as part of exhibition
held at the Tate Gallery February - March 1972.
Drawings are acts of mind mapping mental
processes toward transformative personal and
social consciousness. "Man is only truly alive
when he realizes he is a creative, artistic
Beuys inaugurating 7000 Oaks at Documenta 7,
Kassel, Germany, 1982. Project completed after
artists death the last tree was planted by his
son at the opening of Documenta 8 in 1987
Beuys was a founding member of the Green Party
  • Beuys 7000 Oak project extended by the Dia
    Foundation in 1996. Trees (of several kinds)
    planted on West 22nd Street, each paired with a
    basalt stone column

NYC students planting trees Social Sculpture
Anselm Kiefer (German b. 1945), Occupations, one
in photographic series, 1969 (artist is 24)
(right) Kiefer, Heroic Symbols, 1969 watercolor
and gouache on paper, left sheet 6 in. sq.,
right sheet 22 x 16 in.
This small self-portrait of the artist giving the
Nazi salute is pasted on the same sheet as the
watercolor of the sky, which, according to the
artist, has been wounded by shots.
Taken in Italy and France
Anselm Kiefer The Milky Way, 1985-87 Emulsion
paint, oil, acrylic, shellac on canvas with
applied wires and lead, 12ft 6 in
H Gotterdammerung
Anselm Kiefer, Inner Room, 1981 with (left)
source photo of Nazi meeting room, Albert Speer
Kiefer, Your Golden Hair, Margarete, 1981, oil,
emulsion, and straw on canvas, 51 x 67
Anselm Kiefer Twilight of the West Abendland
1989, lead sheet, synthetic polymer paint, ash,
plaster, cement, earth, varnish on canvas and
wood, 13 feet H Gotterdammerung
Gerhard Richter and Konrad Lueg, Living With Pop,
1963 a performance of Capitalist Realism
Düsseldorf artists mounted an installation of
objects in a local department store and installed
themselves with the commodities as a
demonstration of "Capitalist Realism." To what
situations for artists does "Capitalist Realism"
(left) Richter and Sigmar Polke, 1965, from
Richter/Polke exhibition catalogue (right)
Richter, 1998, from Gerhard Richter 40 Years of
Painting exhibition cat.
Gerhard Richter (b. Dresden, 1932), Nazi
officer Uncle Rudi, 1965, oil on canvas (right)
Administrative Building, 1964, Oil on canvas, 38
1/4 x 59 photo sources family snapshot and
encyclopedia sources See Jason Gaiger,
Post-conceptual painting Gerhard Richters
extended leave-taking
One has to believe in what one is doing, one
has to commit oneself inwardly, in order to do pa
inting once obsessed, one ultimately carries it t
o the point of believing that one might change hu
man beings through painting. But if one lacks th
is passionate commitment there is nothing left t
o do. Then it is best to leave it alone. For b
asically painting is total idiocy. - Ri
Richter, Aunt Marianne, oil on canvas, 1965, 47 x
51 in from a photograph of Richter as a baby with
Aunt Marianne Whenever I behaved badly I was
told you will become like crazy Marianne.
Richter, Phantom Interceptors, 1964, oil on
canvas, 55" x 6' 3 (right) Alpha Romeo (With
Text), 1965, oil on canvas, 60 x 59
Richter, Eight Student Nurses, 1966, oil on
canvas, 8 paintings each c. 36 x 27 in
Compare Richter with Andy Warhol, Jackie The
Week That Was, 1963
Richter, October 18, 1977 Baader-Meinhof series,
Confrontation 1 and 2, 1988 oil on canvas, all
45 H. Series based on media photographs of
members of the terrorist Red Army Faction their
arrest, imprisonment and death.
October, 1977, Protesters in Stuttgart at funeral
of Andreas Baader
(No Transcript)
Final paintings in Richters October 18,
1977 Baader-Meinhof series titled Tote 1, 2, and 3
(left) Richter, Abstract Painting, 1976, oil on
canvas, 26 x 23 in. After the gray paintings,
after the dogma of fundamental painting whose
purist and moralizing aspects fascinated me to a
degree bordering on self-denial, all I could do
was start all over again. This was the beginning
of the first color sketches.
Compare Rauschenberg, Factum I II, 1957
(left) Richter, Iceberg in Fog, 1982, oil on
canvas, 27 x 39 in compare (right) Caspar David
Friedrich (German Romanticism, 1774-1840) (top)
Monk by the Sea (1809) and (bottom) Polar Sea
Richter, Untitled, 1987, oil on canvas, 118
Richter, Betty, 1988, oil on canvas, 40 x 23
compare (right) Untitled, 1987 Painting is the
form of the picture, you might say. The picture
is the depiction, and painting is the technique
for shattering it.
Sigmar Polke (German, b. 1941), Modern Art,
1968 (right) Polke, Lovers II, 1965, oil and
enamel on canvas, 6 ft 3 in x 55 in
Sigmar Polke, Bunnies, 1966, acrylic on linen, 58
x 39
Lichtenstein, cover Of Newsweek, 1966
Warhol, "Marilyn," 1964
Sigmar Polke, Alice in Wonderland, 1971, mixed
media on fabric strips, 10ft 6in x 8ft 6 in
Polke, from Watchtower series, 1984, synthetic
polymers on various fabrics
Polke, The Spirits That Lend Strength Are
Invisible III (Nickel), 1988, nickel and
artificial resin on canvas, 157in. x 118 in.
Collection SFMOMA
Sigmar Polke, Mrs. Autumn and Her Two Daughters,
1991, artificial resin and acrylic on synthetic
fabric, 9ft 10in x 16ft 5in
Georg Baselitz (Hans-Georg Kern, b. Dresden,
Germany,1938) The New Type, 1966, woodcut, 42 x
34 in compare (center below) Emil Nolde, The
Prophet, 1912, woodcut (right) Erich Heckel
(German, 18831970) Woman, 1914, woodcut
German Expressionism
1966 Neo-Expressionism
Baselitz, The Gleaner, oil and tempera on canvas,
130 x 98 in, 1978
Van Gogh, The Gleaner ink drawing, 1885
Baselitz, Lazarus, 1984
Baselitz with Neo-Expressionist (Neo-Primitivist)
sculpture, Man (1980s) and source in Sudanese
traditional sculpture (right) Kirchner (German
Expressionist), Dancer, 1914
A.R. Penck, (right) Penck, Standart, 1971 (left)
The Work Goes On, 1982, woodcut
Jörg Immendorff (b. 1941 Silesia, East Germany),
Can one change anything with these?, 1972,
acrylic on canvas, 20 x 31 ½ in
Joseph Beuys, How to Explain Pictures to a Dead
Hare, 1965, Dusseldorf. Immendorffs teacher
Jörg Immendorff, Café Deutschland I, 1978, oil
on canvas, 280 x 320 cm
Compare Expressionism of Max Beckmann (left),
Night, 1917-18 with Neo-Expressionism of
Immendorff, Café Deutschland I, 1978 What (form
and content) do they have in common?
Immendorf, Café Deutschland IV, 1978, oil on
canvas, 111 x 130 in. Dystopia
Blade Runner, film still, 1982
Immendorff, Café Deutschland Cafeprobe,
1980 synthetic resin on canvas, 280 x 350 cm
Jörg Immendorff, Café Deutschland, 1984, oil,
Leipzig group, 2006 from left Tilo Baumgärtel,
Christoph Ruckhärberle, Martin Kobe, Matthias
Weischer and David Schnell "If you want to
talk of an advantage, you can say it the Iron
Curtain allowed us to continue in the tradition
of Cranach and Beckmann. It protected the art
against the influence of Joseph Beuys. What do
they mean?
Max Beckmann (German, 1884-1950), Departure, 1932
Beckmann at MoMA NYC, 1947, in front of Departur
Lucas Cranach the Elder (German, 1472-1553), The
Golden Age, 16th Century
Neo Rauch (b. 1960, Leipzig, Germany, lives and
works in Leipzig) shown in studio before one of
his paintings
Neo Rauch, Das Neue, 2003 "It is important to
create a definite environment or stage on which
things can happen. For me, the function of
painting as I understand it is to work with
myths. I try to create a widespread system where
impulses are trapped. With an analytic
understanding, you can't grasp it."
Giorgio di Chirico, (Italian 1888-1978) Philos
ophers Conquest,
1913 (compare)
(right) Neo Rauch, Diktat, 2004 (left top)
Balthus (French, 19082001) The Mountain, 1937,
oil on canvas, 98 x 144 in (left below) René
Magritte (Belgian, 1898-1967), The Menaced
Assassin, 1926
Tilo Baumgaertel, Hydroplane, oil on linen, 200 x
300 cm, 2002
Christoph Ruckhäberle (Germany, b.1972), Lake at
Sunset, 2004, oil on canvas, 279 x 381cm
E.L. Kirchner, 1909
Cézanne, 1876
Cribbed from all the best bits of art history…
- Saatchi Gallery publicist
David Schnell, Bretter (Wooden Planks), oil on
canvas, 2005
Leipzig school Tim Eitel, (left) Bomber Jacket,
2003 (right) Film, 2003