Word: artists
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Dates: during 1970-1979
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...earlier and later artistic endeavors follow one another as naturally as the right foot the left, and together constitute a movement we label German Expressionism. But this label has generated a parasitic stereotype of artistic self-indulgence that sucks the blood of particular meaning from each artist's work. Part of the problem is that the history of Expressionism has all been written in hindsight. Even these few statements left by the artists about their art were, for the most part, made after the cataclysm of World War I. Those of the first generation who wrote of their previous work...
...best of the drawings are observations of the artists' own culture, observations which grow more subtle as the Expressionists develop a facility in using their new techniques. Kirchner's Street Scene (1912), the most widely known drawing in the Bergen collection, captures the process by which the artist evolved what he called "hieroglyphs" out of a chaos of line. The dark hats that emerge become, like printed words, a representation of "men in the street." Among the hatted males, a woman, defined by her dark hair, heavily shadowed eyes, and full-lipped mouth, stands alone. The outlines suggesting the passing...
...vast numbers of drawings done by Die Brucke (many of which are no longer extant) attest to the desire of these artists to make the pencil a sixth sense, an uncerebrated recording of their response to what they saw. Heckel's Reclining Woman (1913) exemplifies the spontaneous quality sought after; the carpenter's pencil defines the woman's body in uncompromising, strong lines, and shades the form into three-dimensionality with vibrating squiggles that are intended to be read as trails of the artist's pencil...
Meidner's work may well have seemed prophetic in hindsight. After the war, his images captured the German experience all too effectively. His work seemed to presage the new preoccupation with social criticism. Grosz, for example, never could have believed, as Kirchner did, that "an artist's drawings will never be superfluous since they have that which is the essence of art--beauty beyond purpose or morality." Drawings such as Grosz's Christ with a Gas Mask (1928), or The Gratitude of the Fatherland (1920) are both purposeful and moralistic. Grosz even used the codified morality of Christian iconography...
...paucity of scientific data on the effectiveness of Laetrile, I was glad to see that you reported on some of the real fears that the FDA and the American Cancer Society have in this area. Cancer patients, especially those who are terminal, are easy prey for the quick-cure artist...