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

Stamp of bottom right shop. Woman in kimono holding an umbrella.

Very beautiful oil on board. Stamp workshop is lower right. Woman in kimono holding an sunshade. 13.8 \Yvonne DeWals, Belgian artist, was active in the 1940-1950 years. Painter of portraits and nudes, his style combines spontaneity and speed in the key that gives this particular style that pulls the deletion.

As if the portraits were slightly veiled or a very fine mist. There is in his work a real freshness and expressionist touch, sometimes close to the speed of impression conveyed his brushwork of the great master German lovis Corinth. Painter of portraits and nudes, His style combines spontaneity and speed in the key That Gives this Particular That deletion style sweaters. As if the portraits Were Slightly warped gold in a very fine mist.

There is In His work has real freshness and expressionism key Sometimes close in printing speed That Emerges from His brushwork of the great german master lovis Corinth. Als schilder van zijn portretten in naakten combineert stijl spontaniteit in snelheid in de sleutel die deze stijl specifieke geeft die uit de weg gaat. Alsof of portretten enigszins Krom waren een zeer fijne of in mist. Er is een en zijn werk in een echte frisheid expressionistische sleutel die dicht in soms of afdruksnelheid voortkomt zit die uit zijn van de grote penseelvoering duitse Meester lovis Corinth. Is an artistic movement emerged in the early twentieth century in Northern Europe, particularly in Germany.

Expressionism has touched many artistic fields: painting, architecture, literature, theater, cinema, music, dance, etc. Surviving until the advent of the Nazi regime, expressionism is condemned by one who sees it as \Expressionism is the projection of a subjectivity which tends to distort reality to inspire the viewer an emotional response. The performances are often based on scary visions and stylizing distorting reality to achieve the greatest expressive intensity. These reflect the pessimistic view that the expressionists of their time, haunted by the threat of world war. Expressionist works often portray symbols, influenced by the nascent psychoanalysis and research of symbolism.

In the early twentieth century, this movement deeply rooted in Northern Europe (especially Germany) is a reaction to French Impressionism. While Impressionism is still to describe physical reality, German expressionism he no longer attaches itself to this reality and submits to the artist emotional. Expressionism also broke with Impressionism through a very aggressive form: violent colors, sharp lines. He then enrolled in the continuity of Fauvism begins to run out and whose main representatives depart more or less brutally: Matisse, marquet van dongen, Braque, Derain, Friesz and vlaminck.

However expressionism is not really a movement or a school but more a reaction against academicism and society. Expressionist artists will often cry isolés.'le painter edvard munch, or war otto ten are the most representative paintings of expressionist genre. We can link the painters of the fifteenth and sixteenth centuries Matthias Grünewald and the Greek expressionist trend, but in practice the term applies mainly to works of the twentieth century. The first warning elements of expressionism appear at the end of the nineteenth century, especially in the web of edvard munch, the scream and the evolution of the work of Van Gogh.

The art critic Wilhelm Worringer in 1908, is the first to talk about \Expressionism hatches otherwise while the photographic technique is perfected and the relation of art to reality is profoundly changed. The pictorial art loses its preferred means of reproductive function of objective reality which reinforces its subjective component and gradually allows him to overcome the standards. The Madonna edward munch, 1894.

Several arts groups can be attached to Expressionism, such as the Association of Munich Artists (NKVM) and the new secession of Berlin which are derived by breaking respectively der Blaue Reiter (the rider blue) and die Brücke (the bridge). In 1918, the group in November crystallizes the political scope. After 1933, the movement in its formal dimension has influenced many other artists, like the Abstract Expressionists in the United States. Pechstein Max and Emil Nolde in 1906, otto müller in 1910 and cuno amiet the meet.

The Fauvist van dongen also joined them and was lintermédiaire with his French companions. The intention of the group was to attract any revolutionary element that wanted renovation-to them, this is so they lexprimèrent in a letter to Nolde. Their greatest interest was to destroy the old conventions in the identical to what was happening in France. According kirchner, they could simposer rules and inspiration would flow freely and give immediate expression to the emotional pressures of the artist; they are less concerned with the formal aspects, position separating the Fauvism of Matisse and Braque.

With very brutal and bloody scenes for German, content is more important than form. Social criticism load they imprinted in their Luvre earned criticism from conservatives who accused them BE a danger to German youth. Kirchner was considered the most authentic representative of Die Brücke. There was a hypersensitive artist who painted the streets and urban life of Berlin in a new and original way. Its forms thin and sharp, the colors acids, are characteristic, in works such as school Dance 1914.

Emil Nolde, even sil 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 by the black primitivism and the myth of the wild. His search of paradise centra more about the concretion of paramount importance that the attitudes escapism, shaping his tragic sense of nature and inspiration from psychological and instinctive, elements that have made him the expressionist painter par excellence.

Around 1909, after a serious illness, he began to paint religious theme paintings, in which he expressed his mystical inspiration. Edvard Munch well that it is not linked with Die Brücke is considered the father of Expressionism. He was Norwegian and that, until 1885, was interested in impressionism and symbolism. From 1892 his style was fully formed, sinuous curves, arbitrary colors, linfirmité obsession and death, ominous beings fleeing dune mass of color, as lobserve in his most famous painting, the scream.

His stay in Germany jusquen 1908 explains its influence in die Brücke. In 1913 came the dissolution of the group, a result of the obvious differences between the components of the group and the property of a market for them complicated requirements of a common front. In 1912, another group of artists including Kandinsky wassily, franz marc, august macke, Alexei Jawlensky, Gabriele Münter and Marianne von Werefkin gather at Murnau, near Munich under the name der Blaue Reiter (The Blue Rider). Unlike Die Brücke, the artists der Blaue Reiter felt the need to create a more controlled language to promote their messages.

They published books and organized exhibitions. They developed a spiritual art in which they reduced to naturalism to happen to abstraction.

They shared some ideas with the expressionists of Die Brücke but they had a higher purification instincts and they also wanted to capture the spiritual essence of reality. On this point, their ideas were more popular and speculative. The greatest representatives were Kandinsky and franz Marc, accompanied by macke, Jawlensky and klee. Kandinsky, a native of Moscow, arrived at Munich in 1896. In 1909, he was appointed president of the new association munich artists and organized exhibitions of 1909 and 1910 to present the work of Fauvist and Cubist first.

In the catalog produced during the second exposure, he began to introduce his theory of art which ended two years later, when publishing his book of spiritual in art. In 1912, having resigned from the association he founded with franz marc der Blaue Reiter. This name Kandinsky's love drift for riders and that of franz marc for horses.

The group disbanded with the war that macke and Marc died. The first two exhibitions der Blaue Reiter showed graphic works and drawings. In 1913, they will be invited to participate in an international exhibition in Berlin Berlin named Autumn living room. His poetry was defined as a lyrical expressionism in which the loophole tended not to the wild world.

But towards the spirituality of nature and the inner world. For Kandinsky, the painting was to extend the. Heavy material reality to the abstraction of pure vision, as with the color. In painting as pure art, book 1913, he argues that the painting is already a separate reality, a world in itself, a new form of being, which acts on the viewer through sight and causing him deep spiritual experiences. Previously, in 1910, Kandinsky had pioneered abstract watercolors.

For klee the artist had to mingle with the forces of nature and act as a medium so that his creations are accepted in the same way that we accept natural phenomena. Unlike kandinsky, klee was convinced that art could capture the creative spirit of nature and that is why he rejected absolute abstraction. Specifically, klee sank early influence, as macke, the simultaneity of Delaunay.

At the same time, he was the first artist to enter the fields of the unconscious as Freud and Jung began to study them. After the group disbanded in 1919, waiter gropius founded the Bauhaus in Weimar, design and architecture school, whose teachers were the greatest masters of expressionism constructive, and brings together men like feininger, klee or Kandinsky. In Germany after the First World War, realism appeared expressionist movement in which artists broke away from abstraction, reflecting on figurative art and rejecting any activity that did not concern problems of the urgent reality post-war.

This movement regrouped ten otto george grosz, max beckmann and Barlach sculptor. Among the major painters in the early twentieth century, with at least one expressionist period. Germany: Ernst Barlach, Max beckmann, Fritz Bleyl, Heinrich Campendonk, otto dix, 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, Charles Blackman, 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, Portinari, di Cavalcanti, Segall. Estonia konrad mägi, Eduard Wiiralt. Finland: Tyko sallinen1, Alvar Cawén, Juho Mäkelä, Wäinö Aaltonen. France: george rouault, george gimel, gen paul, chaim Soutine.

Mexico: Mathias Goeritz (emigrated German), Rufino Tamayo. Norway: edvard munch, kai fjell. Netherlands: charles eyck, Willem Hofhuizen, Jaap Min, January Sluyters, Vincent Van Gogh, January 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 (now Swiss Russian). Switzerland: carl eugen keel, cuno amiet, paul klee. United States: Ivan Albright, Milton Avery, George biddle, hyman bloom, peter blume, Charles Burchfield, david Burliuk, Stuart Davis, Elaine kooning (en), Willem de Kooning, Beauford Delaney, Arthur G. Dove, norris embry, 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, well 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.

Period: XXth contemporary <\/ li>
dimensions: 35 x 40 cm <\/ li>
style: 1940-1960 <\/ li>
artist: yvonne DeWals (xx) <\/ li>
type: Expressionism <\/ li>
theme: portrait <\/ li>
Type: Oil <\/ li>
Features: Workshop fees <\/ li> <\/ Ul>