He had the feeling that “on the demonic hinge on Earth, its insatiable desire was again awakened, the desire for its fragmented nature”, Franz Ro, found in 1925 in his study “Magic Realism. Problems of the latest painting. ” After the end of the First World War and its apocalyptic, sacrificial battles, the colorful and sensual formal language of expressionism was a story for raw.
Strong contours and more stringent formal languages should note a symbolic return to the order as “new objectivity” or “magical realism” – as a counterpoint of chaos in the world.
This in no case had any importance for restorative socio -political events. Around 1918, old regimes, such as the German Empire, ended. Democracy was originally strengthened. Women argue in Europe. The October Revolution in Russia has released positive energies in many other places.
This comprehensive change flashes at the exhibition “European realities. The movements of realism of the 1920s and 1930s in Europe ”in the Gunzenhauser Museum in many places. A large show provides new panoramas about societies and everyday life between world wars, and explores “magical realism”, which stated the Munich art historian Franz Ro in 1925: 300 works of 190 artists: inside 20 countries you can see.
He fled to the Nazis
Anger Richter’s scientist and art curator have been many treasures for more than five years. Country characteristics entered the background for “European reality” in favor of categories such as a portrait and still life, nightlife or work. It becomes so clear that artistic ideas and approaches immigrated as the transmission of knowledge and migration movements.
In accordance with well -known works of art, such as “Self -Reference as Warner”, the painting by George Gross (1927), which is reasonably supplemented by Lotta B. Prechner, which is rarely considered as the “era” (1928). The portrait that shows the unorthodox communist George Padmor from Trinidad, in addition to a pile of books and paper rolls, on which the words and parts of words, such as “dictation …” and “… Ismus” are recognizable. Experienced, a Jewish artist from Reynland, was a contemporary of a penny, like this, she had to flee from Germany in 1933 and found refuge in Belgium.
Many previously unknown works of art from Latvia, Poland and Bulgaria are exposed in addition to the works of famous names from Sweden, Italy and England. One of the European realities after 1920 is that more exotic decorative plants from the line found their way to Europe. At that time, travels were possible only, cacti appear in many motionless lives, bring color to gray everyday life: for example, with “Books on the table” (1928), from the Finnish artist Ilmari Aalto, which shows a cactus next to a letter and a shell on which people sit on camels.
As in expressionism, Paris was an archimedic point, whether for artists: inside Eastern Europe or Scandinavia. In the French capital, America, Africa and Europe gathered together, as it is nowhere. In the deviation from expressionism and its cult of primitivism and folk art, many ideas that can be seen in Hemnitsa correspond to an attempt to seize the objective existence of society with new objectivity.
Himmel Picture in evening clothes
The painting “Charity Bazaar” (1927) Milada Mareshova, created as numerous exhibits during the long stay of the Czech artist in Paris, shows people in festive evening clothing. The pair about warnings is located in the center in the middle. This is the British publicist Nancy Kunard and African American jazz musician Henry Krauder, whose real connection in Paris in the mid -1920s became a city conversation: a white, rich woman loves a black artist. Paparazzi pursued a couple and threatened with rights. In the picture of Mareshov, both characters are built into the party, and yet they stand out in the crowd.
Unlike a quiet film of that time, which was distorted in colonial nostalgia, black and grimaces, similar to bad guys or Völkische Zeitung Media, where African soldiers of the French army were marked on rapists in the rapist campaign, people can be seen in the chemical: for example, on Senegal (1928) From Lud -Sleedz varnishing, to the west, west, west, west, west, west, on a western researcher, on a western researcher, in a western researcher, in Western training), in Senegal (1928) from Africa lacquers. Here an unusual perspective fascinates. Two young people stand on a glass panel or wall. One looks in the lower right corner, the other in the uniform and traditional hat Tarbush looks at the ground. Both throw to the recipients.
In the late 1920s, composer George Ante wrote in an essay about jazz, “that many of us want to express on their screens, on their notes … this is a new beginning, this is a black man.”
Where the open boundaries in Europe should be protected again, the “European realities” of Chemnitz, as the European capital of culture, provides a suitable international basis.
