Max Beckmann And The Totality Of The Self Summary

Art, an unexpected passion, truly surprised me. Ever since I was little, I was never artistically inclined. In fact, in middle school, the best artworks I created were collages, as further evidence of my absent artistic talent. What I lack in talent, I make up for in memory, passion for knowledge, and an eager curiosity. Art History

Work of art from the Romantic time period shares many similarities with work that is seen in the modern world and today’s audience can relate greatly to art from that time. There is a strong sense of emotion and erotic response in art in the modern age and people react strongly to that. Art from romanticism brings out the same emotion and response.

Self actualization is the process or act of becoming oneself, developing one’s potential, achieving an awareness of one’s identity and fulfillment oneself. (Le Francois (1996).

When people would say “My hobby is this,” or “My passion is that,” I would wonder how he or she found an activity that they could completely devote themselves to. I always thought that I would immediately know what my passion or hobby was when I encountered it. For me, it happened to be music. My passion for music, however, didn’t come immediately; music wasn’t something that I said to myself, “This is it. I’ve found my passion in life.” The piano wasn’t like that at all.

Great artists of the world were also creating some of their most brilliant work during this decade. Henri Matisse fought to find the artistic freedom he needed by creating the Fauvist movement in the early 1900’s(Pioch 2). Fauvism led to the larger movement called Expressionism, a term used to describe any art that raises subjective feelings above objective observations (Pioch 4). Georges Rouault was another pioneer of the Expressionist movement; he was a Frenchman who linked the decorative effects of Fauvism in France with the symbolic color of German Expressionism (Pioch 6). Another leading artist of the time period was Ernst Ludwig Kirchner, a German who wanted his art to be a bridge to the future (Pioch 6). These men were very important artists, but

Others may argue that art doesn’t always have to imitate life. However, this is not true due to the fact that no matter what kind of art you’re using, the art will always express the emotion of how the person who created it felt. At some point artist will go through life and create art based on a real emotion of theirs. That is why in Letters to a Young Artist by Anna Smith, explains how young artists need to develop the eye, the ear, and the heart to take in everything around them to use in their art. According to the text “Yes, as a painter you will need a hand, and as an actor I need a voice and a body - but before getting to those we need to develop the eye, the ear, the heart” (123). From this quote you see that the author wants the artist to forget about what they physically need to create the art, but to focus on developing the eye, the ear, and the heart to take everything in that our life has to offer. By doing this artists learn how to step outside of given situations to watch, to listen, and to feel, and to feel as others as much as to feel things about others. This allows artists to develop feeling from their lives as they develop as artists. Another quote from

Out of the destruction and cultural upheavals this new medium of expression was formed. It was this new approach to art and manifestation that influenced the creation of countless outpourings of emotions following and during the two world wars. Of these artistic developments individual artists emerged to gain recognition out of the underground and young Dadaism movement, such an artist was Karl Schwitters. His constant desire to discover an ideal medium for his art may indeed have come from his feeling of lack of place. Although the original creations of the Merzbau are no longer in existence for further education and observance, his reputation and remaining works are a testament to his incredible fascination with the ‘new’ and his unabashed courage to pursue art using mediums previously unexplored by the artistic mainstream. These artistic processes will no doubt continue to affect and influence bourgeoning and further

     The stories behind a piece of art are infinite. The reasons the artist produced the piece is only one explanation behind the work. Even so, who is to know the specific thoughts the artist was thinking at the time? As each art critic may conclude his own analysis of an artwork, who is right and who is wrong? Just as students challenge the information that is supposedly “deposited” in them by the teacher in the classroom setting, art challenges the belief- that information can only be used as it was intended, which is highly rare in our day and age.

In 1937, Hitler was able to gather as much as 16,000 avant-garde artworks that were originally in display in the national museums of Germany. He also ordered to ship about 650 artworks to Munich in preparation for his art exhibition called the Degenerate Art or Degenerate Kunst. In the said art exhibition, Ernst had about 2 paintings that were on display. However, these 2 artworks were reported to have disappeared, with the possibility of have been destroyed. In New York, he joined Piet Mondrian and Marcel Duchamp, who were his fellow avant-garde artists from Europe. With these two artists, Ernst inspired a number of aspiring and professional American artists during that period. What captivated American artists about Ernst's works was his evident rejection of conventional styles and imageries in painting. These techniques were largely gained from his father's own styles, which he refused to follow in his later works. As young American artists were more interested in fresh and novel approaches to painting, this Ernst's unique style captured the attention of painters who became exposed to his artworks. In particular, Jackson Pollock was enthralled upon seeing the extraordinary works of Ernst. Hence, the young artist became one of Ernst's followers, among a few others. Specifically, it was Ernst's collage aspects in his paintings that fascinated those who viewed his masterpieces.

What is woebegone in appearance, can be virtuous through extensive contemplation. Sincerity can transfigure the repugnant sight into changing one’s sense of perception. The emotions in life can be embellished through art. Art can help interpret subjective experiences; likewise subjectivity can help clarify aesthetics, they are in constant dialogue with each other. Human understanding of happiness is dependent on subjectivity and the thoughts that one has chosen to act upon. The temptations of life influence the thoughts that people think. Fortune has shaped the way people have thought about art, life and their own desires. Fortune has set the standard of life, as well has altered the subjectivity of the author of the thoughts.

Even though I have dedicated my life to the pursuit of art and art education, I have always cherished and loved learning; with the help of others around me, I have gained a true enthusiasm for education. With both my parents being teachers I have learned to persevere in the face of demanding assignments; because even when

Up until the Romantic period the subject matter of art was that of neoclassical, a feel of personal integrity and nobility of character. The Romantic period gave way to the ideals of chaos and extreme emotions. Friedrich was born into this time and thus a new era was born unto him. Looking at, “View of the Artist's Studio, Left Window-1805/06-Sepia.”1 This was before he transitioned

Daring experiences seem to be considered essential for a relationship: the idea of an intriguing events allows the two individuals to expand into further steps, resulting in the cliché. While love is the intense feeling of deep affection, the opposition is clear. Lustful actions can exemplify a person as egotistical while the individual rather, chooses their preference of desire instead of the other person involved, or assumes their intentions may be the same. Although it appears, the individual who acts on this impulse is selfish for wanting to fulfill their own idea, this eludes to what it takes to gain the bond. “You must lust before you love honestly” says a middle-aged man. However, to reach endearment, prideful ways must be outgrown which is why the first step of the process involves preparation to reduce the selfishness that lust

The first work that drew my attention was a piece titled Here Everything Is Still Floating made in 1920 with the use of cut-and-paste printed paper and pencil on printed paper on card stock. This small, 6x8 inch work has a very intense impression when viewed. It was made a few years after the first World War, and is a commentary on that experience. Germany, during the time in which Ernst was found himself serving, was a time where even citizens found themselves in a state of being confused, scared; the events were so sudden, they were not prepared for.v The ground in this piece is an image of an aerial chemical bomb attack that was originally from a book on German military aviation. He also cut out a

Scher’s justification for her style and approach is plainly a counter for dissatisfaction with the type-face Helvetica along with her rebellious mind set, that differentiated her among other artist by breaking the so called “rules”.