Henri Matisse, The woman with the hat, 1905-Like Derain Matisse was interested in deliberate disharmonies. The painting sparked controversy at the 1905 salon d’Automne. Not because of subject was depicted: with crude drawing, sketchy brushwork, and wildly arbitrary colors that create a harsh and dissonant effect.
Henri Matisse, Le Bonheur de Vivre(The Joy of Life), 1905-depicts nudes in attitudes close to traditional studio poses, but the landscape is intensely bright. He defended his aims in 1908 pamphlet called notes of a painter: “What I am after, above all, is expression,” he wrote. In the past, an artist might express feeling thourgh the figure pses or expressions that the characters in the painting had. But now, he wrote, the whole arranfement of my picture is expressive. The place occupies by the figures or objects, the empty spaces around them, the proportions, everything plays a part.
Ernst Ludwig Kirchner, street, Berlin- Dominating the left half of the painting, two prostitutes, advertised by their large feathered hats and fur trimmed coats, strut past well dressed ourgeois men, their potential clients. The figures appear as artificial and dehumanized figures, with masklike faces and stiff gestures. Their bodies crowd together, but they are psychotically distant from one another, victims of modern urban alienation. The harsh colors, tilted perspective, and angular lines register Kirchners expressionistic response to the subject.
Kollwitz, The outbreak-Expressionist* shows the peasants built up fury from years of mistreatment exploding against their oppressors, a lesson in the power of group action. Kollwitz said that she herself was the model for the leader of the revolt, black anna, who raises her hands to signal the attack. Her arms silhouetted against the sky, and the crowded mass of worker with their farm tools , form a jumbled and chaotic picture of a time of upheaval.
Kandinsky, Improvisation No 28-First abstract work*This work retains vestige of the landscape :Kandinsky found references to nature the hardest transcend. But the work taes us into a vortex of color, line and shape. If we recognize buildings or mountains or faces in the work, then perhaps we are seing in the old way, looking for corresponences between the painting and the world where none are intended. Rather the artist would have us look at the painting as if we were hearing a shmphony, respnding insticntivley and spontaneously to this or that passage, and then to the total experience.
Kandinsky, The Blue Mountain, 1909- shows two horsemen, rendered in the style of Russian folk art, before a looming peak in his favorite color. The flatness of the work and the carefully parallel brushstrokes show influence from Gaugin and Cezanne. Many of his works feature riders; Kandinsky had in mind the horsemen of the Apoclypse who usher in the end of the world before its final transformation at the end of time.
Franz Marc, The large blue horses- The animals merge into a homogenous unit, the fluid contours of which reflect the harmony of their collective existence and echo the lines of the hills behind them, suggestion that they are also in harmony with their surroundings. The pure, strong colors reflect their uncomplicated yet intense experience of the world as March enviously imagined it.
Paul Klee, Hammamet with its mosque-The play between geometric composition and irregular brush strokes is reminiscent of Cezannes work, which...