Oil On Wood

Yvonne Dewals (xx) Hsp / Belgian School / Expressionism / 40s Or 50s

Yvonne Dewals (xx) Hsp / Belgian School / Expressionism / 40s Or 50s
Yvonne Dewals (xx) Hsp / Belgian School / Expressionism / 40s Or 50s

Yvonne Dewals (xx) Hsp / Belgian School / Expressionism / 40s Or 50s    Yvonne Dewals (xx) Hsp / Belgian School / Expressionism / 40s Or 50s
Stamp of workshop in bottom left. Portrait of woman in red blouse.

40's or 50's. 28.5 x 22 cm. Very beautiful oil on board. Stamp workshop on lower left. Portrait of woman in red blouse.

11.2 \Yvonne dewals, Belgian artist, was active in the years 1940-50. Painter of portraits and nudes, his style combines a spontaneity and a speed in the key that gives it this particular style that pulls towards the erasure. As if the portraits were slightly veiled or in a very fine mist.

There is in his work a real freshness and an expressionist touch, sometimes close in the impression of speed that emerges from his brush stroke of the great German master lovis corinth. Painter of portraits and nudes, his style combines spontaneity and speed in the key that gives this particular style that pulls deletion. As if the portraits were slightly warped or in a very fine mist.

There is in his work a real freshness and expressionist key sometimes close in printing that emerges from his brushwork of the great german master lovis corinth. Als schilder van portretten en naakten combines zijn stijl spontaniteit in snelheid in de sleutel die deze specifieke stijl geeft die uit de weg gaat. Alsof of portretten enigszins krom waren of in een zeer fijne mist. Er is in zijn werk een echte frisheid en een expressionistische sleutel die soms dicht in de afdruksnelheid zit die voortkomt uit zijn penselvoering van de grote duitse meester lovis corinth.

Is an artistic movement appeared at the beginning of the twentieth century, in northern europe, especially in germany. Expressionism has touched many artistic fields: painting, architecture, literature, theater, cinema, music, dance, etc. Survivor until the advent of the Nazi regime, Expressionism is condemned by the latter who considers it \Expressionism is the projection of a subjectivity that tends to distort reality to inspire the viewer with an emotional reaction. The representations are often based on distressing visions, distorting and stylizing reality to achieve the greatest expressive intensity.

These are the reflection of the pessimistic vision that Expressionists have of their time, haunted by the threat of the First World War. Expressionist works often depict symbols, influenced by nascent psychoanalysis and the search for symbolism. At the beginning of the twentieth century, this movement deeply rooted in northern Europe (especially Germany) is a reaction to French Impressionism.

While Impressionism is yet to describe physical reality, German Expressionism no longer attaches itself to this reality and submits it to the artist's moods. Expressionism also breaks with Impressionism through a very aggressive form: violent colors, sharp lines. It is then part of the continuity of fauvism that begins to exhaust and whose main representatives are more or less abruptly removed: matisse, marquet, van dongen, braque, derain, friesz and vlaminck. Expressionism is not really a movement or a school, but rather a reaction against academism and society. Expressionist artists will often remain isolated. The cry of the painter Edvard Munch, or the war of Otto Ten, are the most representative paintings of the Expressionist genre. The painters of the fifteenth and sixteenth centuries, matthias grünewald and greco, can be related to the expressionist tendency, but in practice the term applies essentially to the works of the twentieth century.

The earliest elements of Expressionism appeared at the end of the nineteenth century, especially in the painting of edvard munch, the cry and in the evolution of van gogh's work. The art critic wilhelm worringer, in 1908, is the first to speak of expressionism. Expressionism also erupts while the photographic technique is perfected and the relationship between art and reality is profoundly altered. The pictorial art loses its function as a privileged means of reproduction of the objective reality which reinforces its subjective component and allows it progressively to free itself from the norms.

The madonna of edward munch, 1894. Several artistic groups can be attached to expressionism, such as the association of Munich artists (nkvm) and the new secession of berlin which are born by rupture, respectively der blaue reiter (the rider blue) and die brücke (the bridge).

In 1918, the November group crystallized the political significance. After 1933, the movement, in its formal dimension, influenced many other artists, such as the Abstract Expressionists in the United States. Max Pechstein and Emil Nolde in 1906, otto müller in 1910, and cuno amiet join them.

The fauviste van dongen also joined them and was the intermediary with his French companions. The intention of the group was to attract any revolutionary element that would like to be seen by them, so they expressed it in a letter to Nolde. Their greatest interest was to destroy the old conventions, the same as what happened in France. According to Kirchner, they could not set rules and inspiration should flow freely and give immediate expression to the emotional pressures of the artist; they are less preoccupied with the formal aspects, a position separating them from the fauvism of matisse and braque. With very brutal and bloody scenes for Germans, the content is more important than the form.

The burden of social criticism which they impressed upon the work earned them the criticism of conservatives who accused them of being a danger to German youth. Kirchner was considered the most authentic representative of die brücke. He was a hypersensitive artist who painted the streets and urban life of Berlin in a new and original way. Its pointed, pointed, acid-colored forms are characteristic in works such as the 1914 dance school.

Emil Nolde, even though he left the group at the end of the year 1907, was also considered one of the most important representatives of the group. Influenced by the Belgian ensor and van gogh, he felt strongly attracted to black primitivism and the myth of the savage. His search for paradise focused more on the concretion of the primordial than on the escapist attitudes, shaping his tragic feeling of nature and his inspiration of psychological and instinctive character, elements that made him the Expressionist painter par excellence. Around 1909, after a serious illness, he began to paint religious-themed paintings, in which he expressed his mystical inspiration.

Edvard munch although he is not related with die brücke is considered the father of expressionism. He was Norwegian and until 1885 was interested in Impressionism and Symbolism. From 1892, his style was fully formed, sinuous curves, arbitrary colors, obsession for innocence and death, disturbing beings who flee from a mass of color, as we see in his most famous painting, the cry.

His stay in Germany until 1908 explains his influence within die brücke. In 1913, the dissolution of the group occurred, as a result of the obvious differences between the components of the group and the establishment of a market which for them complicated the requirements of a common front. In 1912, another group of artists including wassily kandinsky, franz marc, august macke, alexej jawlensky, gabriele münter and marianne von werefkin gather in murnau, near munich under the name of der blaue reiter (the blue rider). Unlike die brücke, derbla reiter artists felt the need to create more controlled language to promote their messages.

They published books and organized exhibitions. They developed a spiritual art in which they reduced naturalism to the point of arriving at abstraction. They shared some ideas with the expressionists of die brücke but they had a greater purification of instincts and they also wanted to capture the spiritual essence of reality. On this point, their ideas were more sought after and speculative.

The biggest representatives were Kandinsky and Franz Marc, accompanied by Macke, Jawlensky and Klee. Kandinsky, a native of Moscow, arrived in Munich in 1896. In 1909 he was appointed president of the new association of artists in munich and organized the exhibitions of 1909 and 1910 to present the work of the Fauvists and the first cubists. In the catalog produced during the second exhibition, he began to introduce his theory of art, which came to an end two years later when his book on the spiritual in art was published.

In 1912, after having resigned from the association, he founded with Frank marc der blaue reiter. This name derives from the love of kandinsky for riders and that of franz marc for horses. The group dispersed with the war to which Macke and Marc died.

The first two exhibitions by der blaue reiter showed graphic works and drawings. In 1913, they will be invited to participate in an international exhibition in berlin named the Berlin autumn fair. His poetics was defined as a lyrical expressionism in which the loophole tended not towards the wild world. But towards the spirituality of nature and the inner world. For kandinsky, the painting had to extend from the.

Weighing material reality to the abstraction of pure vision, with color as. In painting as pure art, the 1913 book, he argues that painting is already a separate reality, a world in itself, a new form of being, which acts on the viewer through the sight and which provokes in him profound spiritual experiences.

Previously, in 1910, kandinsky had made the first abstract watercolors. For klee, the artist had to mingle with the forces of nature and act as a medium so that his creations would be accepted in the same way that natural phenomena are accepted. Unlike kandinsky, klee was convinced that art could capture the creative meaning of nature and that's why he rejected absolute abstraction. Concretely, klee allowed himself to be influenced at the beginning, like macke, by the simultaneity of the delaunay.

At the same time, he was the first artist to enter the realms of the unconscious while Freud and Jung began to study them. After the dissolution of the group in 1919, Walter Gropius founded the Bauhaus at Weimar, a school of design and architecture, whose professors were the greatest masters of constructive expressionism, and which brought together men such as feininger, klee or kandinsky. In Germany, after the First World War, expressionist realism appeared, a movement in which artists separated from abstraction, reflecting on figurative art and rejecting any activity that did not deal with the problems of the urgent reality of post-war. This movement brought together otto dix, george grosz, max beckmann and the sculptor barlach.

Among the leading painters, at the beginning of the twentieth century, having had at least one expressionist period. Germany: ernst barlach, max beckmann, fritz bleyl, heinrich campendonk, otto ten, conrad felixmüller, george grosz, erich heckel, carl hofer, ernst ludwig kirchner, käthe kollwitz, wilhelm lehmbruck, elfriede lohse-wächtler, august macke, franz marc, ludwig meidner, paula modersohn-becker, otto mueller, gabriele münter, rolf nesch, emil nolde, max pechstein, karl schmidt-rottluff.

Australia: sidney nolan, blackman charles, john perceval, albert tucker, joy hester. Austria: egon schiele, oskar kokoschka, alfred kubin. Belgium: constant permeke, gustave de smet, fried van den berghe, james ensor, albert servaes, floris jespers, albert droesbeke.

Brazil: anita malfatti, capinari portinari, di cavalcanti, lasar segall. Estonia: konrad mägi, eduard wiiralt. Finland: tyko sallinen1, alvar cawen, juho mäkelä, wäinö aaltonen. France: georges rouault, georges gimel, gen paul, chaim soutine.

Mexico: mathias goeritz (German emigrant), rufino tamayo. Norway: edvard munch, kai fjell.

Netherlands: Charles Eyck, Willem Hoofhuizen, Jaap Min, Jan Sluyters, Vincent van Gogh, Jan Wiegers, Hendrik Werkman. Portugal: mário eloy, amadeo de souza cardoso.

Russia: wassily kandinsky, marc chagall, alexej von jawlensky, natalia goncharova, mstislav dobuzhinsky, and marianne von werefkin (russian turned Swiss). Switzerland: carl eugen keel, friend cuno, paul klee.

United States: albright ivan, avery milton, george biddle, hyman bloom, peter blume, burchfield charles, david burliuk, stuart davis, kooning elaine (en), kooning willem, beauford delaney, arthur g. Dove, norris embryo, philip evergood, kahlil gibran, william gropper, philip guston, marsden hartley, albert kotin, yasuo kuniyoshi, rico lebrun, jack levine, alfred henry maurer, alice neel, abraham rattner, ben shahn, harry shoulberg, joseph stella , harry sternberg, henry ossawa tanner, dorothea tanning, max weber, hale woodruff, karl zerbe.

The item \The seller is \This item can be shipped to the following countries: America, Europe, Asia, Australia.

  1. period: xxth and contemporary <\/ li>
  2. size: 28.5 x 22 cm <\/ li>
  3. style: 1940-1960 <\/ li>
  4. gender: expressionism <\/ li>
  5. theme: portrait <\/ li>
  6. type: oil <\/ li>
  7. characteristics: stamp of the workshop <\/ li>
  8. artist: yvonne dewals (xx) <\/ li> <\/ Ul>

    Yvonne Dewals (xx) Hsp / Belgian School / Expressionism / 40s Or 50s    Yvonne Dewals (xx) Hsp / Belgian School / Expressionism / 40s Or 50s