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19th
and Early 20th Century Art In
the early 19th Century, J. F. Overbeck, Schadow-Godenhaus,
Peter von Cornelius and Schnorr von Carolsfeld joined to form
the group of Nazarenes in Rome; and Alfred Rethel became leader
of a school of German historical painting. The Biedermeier
and Neo-Romantic Period were artistic movements that marked
the second half of that century; Moritz von Schwind and Carl
Spitzweg are representatives of the former while the latter
period brings forth such names as Anselm von Feuerbach and
Hans von Marées.
The early years of the 20th Century brought
about a fresher, more vital sensibility, with the strong influences
of French painter Paul Gauguin. At the same time, the English
art nouveau innovations were adopted by German artists
and termed Jugendstil . One of the most important
movements bred in Germany in the early part of the century
was expressionism, which developed in three stages, each stage
with its particular characteristic artists: the first, known
as Die Brücke (1905) {The Bridge}, included E. L.
Kirchner and Emil Nolde as main representatives; the Der
Blaue Reiter stage (1911) {The Blue Rider}, attracted
many foreign artists, among them Paul Klee, Lyonel Feininger
and Wassily Kandinsky; and in the decade of 1920, artists
such as Otto Dix and Max Beckmann were the exponents of disenchanted
realism that formed the basis of a movement known as the New
Objectivity. Several of these artists formed a part of and
taught at the Bauhaus school, led by Walter Gropius and Mies
van der Rohe.
This is where
functionalism flourished, an artistic trend that promoted
experimentation and abstraction as the cornerstones of the
ideal of combining artistic beauty with usefulness. However,
the Nazi regime destroyed this development in favour of heroic,
propagandistic art of little, if any, artistic significance.
