...Schoenberg's tragic pathos, which called for rebirth, also appears suggestively in the works of young Viennese Expressionist painters who had broken away from the influence of Klimt, such as Kokoschka's visionary figures and Schiele's self-portraits with the secrets of death. However, it was the magazine Sturm, founded in Berlin in 1910 by H. Walden (later establishing an art gallery of the same name, with a publishing company and a stage), and the magazine Die Aktion, founded in 1911 by F. Pfemfert, that led these artistic trends into a broad-based Expressionist movement that linked literature. In the midst of the conflict and exchange between the former, who were oriented towards artistic revolution, and the latter, who were oriented towards politics, the expressionist art movement featured apocalyptic themes fighting against the end of the world, reflecting the situation in the imperial capital of Berlin. This is exemplified by Kirchner's series of street prostitutes, which was a part of the Brücke group that moved to Berlin in 1911, and Marc's Fate of the Animals, which was a part of the Blaue Reiter group that was invited to the opening of the Sturm Gallery in 1912. *Some of the terminology explanations that mention "Aktion" are listed below. Source | Heibonsha World Encyclopedia 2nd Edition | Information |
…また新生を求めるシェーンベルクの悲劇的パトスは,クリムトの影響を脱したウィーンの若い表現主義の画家,つまりココシュカの幻視的人物像やシーレの死を秘めた自画像などにも暗示的な姿で現れている。しかしこのような美術の諸傾向を文学と結節する広範な表現主義運動へ導いたのは,ベルリンで1910年にワルデンH.Waldenにより創刊された《シュトゥルム》誌(その後同名の画廊が創設され,出版社,舞台を併設)と11年にフェムファートF.Pfemfertにより創刊された《アクツィオーンDie Aktion》誌である。芸術革命志向の前者と政治志向の後者とが対立し交流する中で,表現主義芸術運動には帝都ベルリンの状況を反映して世界の終末と戦う黙示録的な主題が顕著になり,それは11年にベルリンへ移住した〈ブリュッケ〉派のうちでもとくにキルヒナーの街娼群像連作や,12年のシュトゥルム画廊開きに招かれた〈ブラウエ・ライター〉派のうちではとくにマルクの《動物の運命》などに端的に示されている。… ※「《アクツィオーン》」について言及している用語解説の一部を掲載しています。 出典|株式会社平凡社世界大百科事典 第2版について | 情報 |
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