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Tradition and Zeitgeist on German Expressionism and Neo-Expressionism
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독일 표현주의와 신표현주의 미술에 나타난 전통성과 시대정신

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Type
Academic journal
Author
Journal
Association of Western Art History Journal of the Association of Western Art History Vol.4 KCI Accredited Journals
Published
1992.12
Pages
125 - 142 (18page)

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Tradition and Zeitgeist on German Expressionism and Neo-Expressionism
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This paper endeavors to demonstrate the important that the problems of ‘tradition’ and ‘Zeitgeist’ on the art of German Expressionism and Neo-Expressionism by examining a formal and subjective relationship in which Expressionists treated subjects from German national characters. By its extent alone, the tradition and the Zeitgeist assume a significant position in interpretation of the Expressionist’s art. From Northern Romanticism of the late 18th century to Neo-Expressionism of the 1970s and 80s there are certain metaphysical and formal elements of German charateristic origin.
Expressionist’s tradition and Zeitgeist are viewed from two perspectives : (1) those aspects-their philosophical approach in general and the influence on them of Nietzsche in particular-which are important in it ; (2) those aspects-their psychological approach in general and the implications of the society and their reations to it-which appear decisive for their picture-making. The remainder of this paper examines the formal character and iconography of their paintings on German traditional themes.
From the beginning of the 20th century on, Expressionist’s theme became more ambiguous and esoteric than their precedents. They selected and combined ideas from German myths and thoughts, or different systems of thought in the process of finding philosophical parallels and visual analogies. The content of their art also, like that of Nietzsche’s thoughts, depends fundamentally on antithesis or contradiction. The notion of antithesis is rooted in Northern Romanticism rather than Classicism. Expressionist’s emotion is also dualistic. Their prime emotional state is tension, ambiguity, ambivalence, and this dualism defines such typical themes as the vital and decadent city, or the self as suffering hero.
Expressionist’s ultimate goal however was not to seek for truth in the traditional thoughts and religion but in the ‘self’. They saw it as the mysterious meeting ground for the world of the senses and the realm of the spirit, therefore they saw painting as a means of discovering a transcendent ‘self’. Their energies to express just come from this identity confusion between ‘inner self’ and ‘outer society’.

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UCI(KEPA) : I410-ECN-0101-2009-609-017288955