By August Macke, Walter Cohen
August Macke (1887-1914) was once a grasp of German Expressionism, a move which sprang up within the early 1900s with the rationale to forego actual fact looking for its emotional counterpart, with a specific emphasis on expressing darkish moods of tragedy and angst. Macke used to be a grasp of colour and shape, generating attention-grabbing canvases that evoke a robust sympathetic response within the viewer. He was once both at home portraying the sunlight soaking wet streets of Tunisia, the cloudy sky round the Bonn cathedral, and the faceless multitude of a crowded railway station. during this compelling textual content, Walter Cohen. Read more...
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Any form of art is an expression of his inner life. The exterior of the art form is its interior. Every genuine art form is a manifestation of our inner life. The outside of the art form is its inside. Each authentic art form emerges from a reciprocal interrelation of man and the factual materials of the forms of nature, of the art forms. The scent of the flower, the happy jumping of the dog, the dancer, the wearing of jewellery, the temple, the image, the style, the life of a people, and a cultural era.
I believe that not many „art lovers‰ share the view that Privy Counsillor Bode recently expressed in an attack on the „new art‰: Art is imitation of nature. It was thanks to the urge for living expression that Gothic churches were built, MozartÊs sonatas were produced, and also African dances including the corresponding masks created without the permission of the art critic. And so it will, I think, remain for a long time. 5 cm Private collection 42 43 The Masks by August Macke A sunny day, a cloudy day, a Persian pier, a sacred vessel, a pagan idol and an immortelles, a Gothic church and a Chinese junk ship, the bow of a pirate ship, the word pirate and the word holy, dark, night, spring, cymbals and their sound and the shooting of the ironclads, the Egyptian Sphinx, and the beauty mark on the cheeks of the Parisian courtesan.
Not long ago, we all had good reasons to explain why they could not do better. However, in order to be immune to any accusations of my enjoying primitives, I will confess that I exceedingly love Giotto, the Sienese, the Cologne masters, the early Flemish school of Ferrara, the Dutch still-life painters, Portrait of Franz Marc 1910 Oil on cardboard, 50 x 38 cm Staatliche Museen zu Berlin, Berlin 40 41 Manet, Renoir, and many others, in whom I see the sensitivity of the „spirited‰. The lively does not necessarily need to coincide with the imitation of nature.