Phalanx was an association of artists formed in Munich in 1901.
Phalanx was an association of artists formed in Munich in 1901.
The Phalanx group were opposed to old fashioned and conservative viewpoints in art. Founding members were Wassily Kandinsky, Rolf Niczky, Waldemar Hecker, and Wilhelm Hüsgen. Kandinsky was elected president of the association and also became the director of the Phalanx School of Painting.
The group lasted two years closing in 1903 and broke up in 1904. [1]
The group organized twelve exhibitions between 1901 and 1904 which in addition to those of its members, featured works by Claude Monet, Jugendstil (Art Nouveau) artists, Symbolists and Post-Impressionist artists Paul Signac, Félix Vallotton and Henri de Toulouse-Lautrec.
Phalanx was where Kandinsky met Gabriele Münter, an art student at the school. She was to become his pupil, intimate companion, and critic until they separated in 1914.
Wassily Wassilyevich Kandinsky was a Russian painter and art theorist. Kandinsky is generally credited as one of the pioneers of abstraction in western art. Born in Moscow, he spent his childhood in Odessa, where he graduated from Odessa Art School. He enrolled at the University of Moscow, studying law and economics. Successful in his profession, he was offered a professorship at the University of Dorpat. Kandinsky began painting studies at the age of 30.
Abstract art uses visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world.
Der Blaue Reiter was a group of artists and a designation by Wassily Kandinsky and Franz Marc for their exhibition and publication activities, in which both artists acted as sole editors in the almanac of the same name. The editorial team organized two exhibitions in Munich in 1911 and 1912 to demonstrate their art-theoretical ideas based on the works of art exhibited. Traveling exhibitions in German and other European cities followed. The Blue Rider disbanded at the start of World War I in 1914.
Aleksandr Vasil'evich Kuprin was a Russian painter, a founding member of the Knave of Diamonds group. Kuprin was born in Borisoglebsk in 1880 and died in Moscow in 1960. His most famous works are various landscape and still lifes.
Maurice Brazil Prendergast was an American artist who painted in oil and watercolor, and created monotypes. His delicate landscapes and scenes of modern life, characterized by mosaic-like color, are generally associated with Post-Impressionism. Prendergast, however, was also a member of The Eight, a group of early twentieth-century American artists who, aside from Prendergast, represented the Ashcan School.
Gabriele Münter was a German expressionist painter who was at the forefront of the Munich avant-garde in the early 20th century. She studied and lived with the painter Wassily Kandinsky and was a founding member of the expressionist group Der Blaue Reiter.
Mir iskusstva was a Russian magazine and the artistic movement it inspired and embodied, which was a major influence on the Russians who helped revolutionize European art during the first decade of the 20th century. The magazine had limited circulation outside Russia.
Eugeniusz Zak, also known as Eugène Zak and Eugene Zak, was a Polish artist.
The Neue Künstlervereinigung München (N.K.V.M.), was an Expressionism art group based in Munich. The registered association was formed in 1909 and prefigured Der Blaue Reiter, the first modernist secession which is regarded as a forerunner and pathfinder for Modern art in 20th-century Germany.
The phrase synesthesia in art has historically referred to a wide variety of artists' experiments that have explored the co-operation of the senses in the genres of visual music, music visualization, audiovisual art, abstract film, and intermedia. The age-old artistic views on synesthesia have some overlap with the current neuroscientific view on neurological synesthesia, but also some major differences, e.g. in the contexts of investigations, types of synesthesia selected, and definitions. While in neuroscientific studies synesthesia is defined as the elicitation of perceptual experiences in the absence of the normal sensory stimulation, in the arts the concept of synaesthesia is more often defined as the simultaneous perception of two or more stimuli as one gestalt experience. The usage of the term synesthesia in art should, therefore, be differentiated from neurological synesthesia in scientific research. Synesthesia is by no means unique to artists or musicians. Only in the last decades have scientific methods become available to assess synesthesia in persons. For synesthesia in artists before that time one has to interpret (auto)biographical information. For instance, there has been debate on the neurological synesthesia of historical artists like Kandinsky and Scriabin. Additionally, Synesthetic art may refer to either art created by synesthetes or art created to elicit synesthetic experience in the general audience.
Alexander Alexandrovich Osmerkin was a Russian painter, graphic artist, stage designer, and art teacher. He was a member of the Knave of Diamonds avant-garde group, AKhRR, and Society of Moscow Artists (OMKh) groups. Since 1932 he was a member of the Leningrad Union of Artists.
Fourierism is the systematic set of economic, political, and social beliefs first espoused by French intellectual Charles Fourier (1772–1837). Based upon a belief in the inevitability of communal associations of people who worked and lived together as part of the human future, Fourier's committed supporters referred to his doctrines as associationism. Political contemporaries and subsequent scholarship has identified Fourier's set of ideas as a form of utopian socialism—a phrase that retains mild pejorative overtones.
John Ottis Adams was an American Impressionist painter and art educator who is best known as a member of the Hoosier Group of Indiana landscape painters, along with William Forsyth, Richard B. Gruelle, Otto Stark, and T. C. Steele. In addition, Adams was among a group that formed the Society of Western Artists in 1896, and served as the organization's president in 1908 and 1909.
Anton Ažbe was a Slovene realist painter and teacher of painting. Ažbe, crippled since birth and orphaned at the age of eight, learned painting as an apprentice to Janez Wolf and at the Academies in Vienna and Munich. At the age of 30, Ažbe founded his own school of painting in Munich that became a popular attraction for Eastern European students. Ažbe trained the "big four" Slovenian impressionists, a whole generation of Russian painters, Serbian painters Nadežda Petrović, Beta Vukanović, Ljubomir Ivanović, Borivoje Stevanović, Kosta Miličević, and Milan Milovanović or a Czech painter Ludvik Kuba.
Robert Polhill Bevan was a British painter, draughtsman and lithographer who was married to the Polish-born artist Stanisława de Karłowska. He was a founding member of the Camden Town Group, the London Group, and the Cumberland Market Group.
Arthur Jerome Eddy was an American lawyer, author, art collector, and a prominent member of the first generation of American Modern art collectors. His book Cubists and Post-Impressionism was the first American book promoting these new art movements and the work of Wassily Kandinsky. Eddy's collection was distinguished by the inclusion of German expressionists and Wassily Kandinsky.
Linien was an artists' association in Denmark in the 1930s and 1940s focusing on Abstraction and Symbolism. The group's exhibitions in Copenhagen created wide international participation. After the Second World War, the association was revived as Linien II with an emphasis on Concrete art.
Artur Vladimirovich Fonvizin was a Soviet painter of watercolours.
Grace Veronica Kelly was an American painter and art critic. An accomplished watercolorist, she was a member of the Cleveland School of artists, and served as The Plain Dealer's principal art critic from 1926 to 1949.
Max Creutz was a German art historian and curator of the Museum für Angewandte Kunst Köln and the Kaiser-Wilhelm-Museum in Krefeld where he worked from 1922 until his death. In Cologne, in 1914 he was instrumental in the first exhibition of the Deutscher Werkbund, Deutsche Werkbundausstellung. In Krefeld, he succeeded in acquiring modern art exhibits, including works by Max Ernst, Wassily Kandinsky, and Alexej von Jawlensky. He included a substantial collection of art, crafts and design from the Bauhaus.
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