Neo-expressionism

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Neo-expressionism (Gr. Neo = new, Latin expressio = expression) is a style in the fine arts that is characterized by figurative painting with expressive colors. Neo-expressionism emerged in the early 1960s as a departure from the predominant Informel . In Germany, master students from art schools in East and West Berlin, such as Georg Baselitz and Eugen Schönebeck, played a key role in its creation .

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Markus Lüpertz : The fallen warrior , painted bronze, 1995

Baselitz and Schönebeck, who met at the Berlin University of Fine Arts , put their “1. Pandemonic Manifesto ”, in which they rebelled against the established art forms and called for a new expressive painting style. Under the same title they exhibited their pictures in the gallery of Michael Werner and Benjamin Katz in Berlin. They affirmed their demand in a manifest , the actual pandemonium , the “2. Pandemonic Manifesto ”1962. Shortly afterwards, the collaboration between the two painters ended. Starting from the Informel, artists like Walter Stöhrer followed similar approaches at the time, which were mainly developed in Berlin by painters like Peter Chevalier, Rainer Fetting , Dieter Hacker , Markus Lüpertz , Helmut Middendorf and the founders of the Vision group (1960-64) Karl Horst Hödicke and Bernd Koberling . Anselm Kiefer , who was initially based on Baselitz's style , is also included here.

The imagery is mostly characterized by spontaneous, violent gestures . In the early days , the subjects mainly served as motifs from large cities, with some thoughts of Expressionism being received and reproduced anew. In particular, the return of painting to a personal and symbolic visual language was called for. From the mid-1970s, Barbara Heinisch developed her very own combination of painting and performance in dialogue with the model. From around the end of the 1970s, various groups emerged from Neo-Expressionism, which were given keywords such as “Berliner Heftige”, “Spontanisten” and finally “Junge Wilde” or Neue Wilde .

Outside of the Berlin art scene, the new cultural-political protest painting found more ironic forms of expression, so from the 1969 summer semester the group " YIUP ", consisting of Hans Rogalla , Peter Angermann , Robert Hartmann , Hans Heininger and Hans Henin, emerged from the Beuys class at the Düsseldorf Art Academy whose name was an allusion to the Rhenish dialect form of Beuys' first name "Joseph" (Jupp). From “YIUP” in the mid-1970s, Peter Angermann, Jan Knap and Milan Kunc formed the “ Group Normal ”, which is programmatically devoted to unmasking the dissolution of the boundaries between kitsch, consumption and art and “the normal” and Relate “the reasonable”.

Parallel developments internationally

Vasyl Ryabchenko . Daphne , 200 × 150 cm, oil on canvas, 1989

Correspondences can be found in Europe in France in the Figuration Libre and in the Italian Transavanguardia with artists such as Sandro Chia , Francesco Clemente , Fernando Leal Audirac or Mimmo Paladino . In Spain, Jorge Rando is considered to be the leading exponent of neo-expressionism. Ukrainian representatives of the direction are Oleg Golosiy and Vasyl Ryabchenko . In the Anglo-American region, terms such as bad painting , new image painting or wild style manifested themselves as counter-movements to conceptual art , whereby the term wild style, which emerged around 1980, in turn represents an intellectual continuation of European fauvism and mostly used by the painters of the New York graffiti scene finds. Well-known representatives here are Jean-Michel Basquiat , Chuck Connelly, David Salle or Julian Schnabel as well as Ronnie Cutrone, Keith Haring and Kenny Scharf (the latter are sometimes also referred to as "Neo-Pop").

literature

Individual evidence

  1. ↑ Michael Klant (Ed.): Art in Movement Hatje Cantz , 2004, ISBN 3-7757-1433-2 ( PDF file , reading samples from films on contemporary art ).
  2. ↑ Neo-Expressionism. In: The large art dictionary by PW Hartmann. Retrieved January 14, 2009 .
  3. ↑ Johannes Stüttgen: The whole belt. The appearance of Joseph Beuys as a teacher - the chronology of events at the State Art Academy Düsseldorf 1966–1972 . Ed. Hessisches Landesmuseum Darmstadt, Verlag der Buchhandlung Walter König, Cologne 2008, ISBN 978-3-86560-306-7 , p. 722 
  4. ↑ Karin Thomas: Until today. Style history of the fine arts in the 20th century. , DuMont Buchverlag, Cologne 1986, ISBN 3-7701-1939-8 , pp. 354–359
  5. ↑ Thomas: Until today , glossary