Expressionists – Individuals; Characteristic of expressionist art is the fierce use of color, the distortions, capriciousness of the compositions, the ignoring of the spatiality of paintings, where perspective laws are ignored,
human figures that are not represented in plastic, but two-dimensionally ‘flat’. Even before the groups of Die Brücke and Der Blaue Reiter were founded, there were already several individually working artists, whose artworks showed characteristics from those of the later expressionist art.
In this connection we should mention Paul Gauguin and Vincent Van Gogh. And until 1940 there were still many artists who, although not affiliated with a group, came to figurative expressionist expressions. In this context Lovis Corinth, Paula Modersohn-Becker, Max Beckmann, Egon Schiele, the Flemish expressionists – Constant Permeke and Gustave De Smet – and the Norwegian artist Edvard Munch can be mentioned.
The term expressionism is used after the initial period of expressionism (1905 – 1914), to indicate that an artist paints from his feeling in the first place, without following imposed laws. Just as the artists of abstract expressionism did after the Second World War, even though they painted this abstract instead of figuratively, like the expressionists of the first hour.
SHAPE AND COLOR BASED ON THE FEEL
In the style of expressionism, not the sensibly perceptible reality is important, but the inner expression of the artist. The artist tries to express his feelings, his experiences, so that in expressionist works of art the connection with reality fades away, so that new freely formed forms get a chance. There seems to be only one law: that there are no laws, and that they can not be imposed on the artist.
Not only painted figures and objects can undergo a change in shape, as a result of which they are barely identifiable, the colors in expressionist art have their own emotional value, which can be completely separate from the visually perceptible reality. Expressionism was a frequently applied style at the beginning of the twentieth century and formed a reaction to 19th-century academics, in which, according to the expressionists, too much was painted according to rules instead of feeling.