GERMAN ART: ITS PECULIARITIES AND TRANSFORMATIONS
A series of lectures by Mariano Akerman
1
The contribution of German artists and their colleagues working in Germany encompasses the development of the print as an artistic means of expression (Albrecht Dürer), outstanding formulations concerning the grotesque (aesthetical category), the subjective approach of Romanticism, which involves considering the visible together with the spiritual (Caspar David Friedrich), incursions in Impressionism (Max Liebermann) and Art Nouveau (Laeuger and Ephraim Lilien), the conjunction of Primitivism with the Soul (Ernst Ludwig Kirchner and Karl Schmidt-Rotluff), the simplification of the image leading to abstraction in 20th-century art (Franz Marc and Wassily Kandinsky), sharp criticism of the bourgeoisie and the aftermath of WWI (Georg Grosz and Otto Dix), the exploration of the absurd and apparently irrational nature of dreams (Kurt Schwitters, Max Ernst, Meret Oppenheim), and a most logical amalgamation of the arts and crafts in order to supply normative archetypes to the industry as developed in the Bauhaus (Walter Gropius and Mies van der Rohe).
2
Controversial is the impact of totalitarianism on German Art, yet luminous are the contributions by some German artists during WWII and certain post-war painters such as Hans Hartung and Anselm Kiefer.
3
Mariano Akerman explores these and other aspects considering the historical context of selected masterpieces. As a whole, Akerman’s approach aims to reveal how diverse and meaningful German Art is.
4
CITATIONS AND TERMINOLOGY
„Ich bekenne mich zu dem Geschlecht, das aus dem Dunkel ins Helle strebt.” – I belong to those who from darkness to light aspire. - Johann Wolfgang von Goethe (1749-1832).
5
Deutsche Kunst – German art
Kunstgeschichte – Art History
Druck – Print
Gesamtkunstwerk – The total, all-encompassing artwork
Traumwerk – Dreamwork
Das Groteske – The grotesque
Gemütlich – Familiar, cosy, homely
Lebensangst – Fear of life
Öhrmuschelstil – Auricular style
Knorpelornamentik – Gristly, cartilaginous ornament
Jugendstil – Art Nouveau, Modernism
Ornament und Verbrechen – Ornament and Crime
Die Brücke – The Bridge
Der Blaue Reiter – The Blue Rider
Neue Sachlichkeit – New Objectivity
Der Übermensch – The superman
„Entartete Kunst” – ‘Degenerate’ Art (Nazi fabrication)
Einfühlung – Empathy
6
“Nobody will give you freedom. You have to take it.” Meret Oppenheim (1913-1985).
7
It is not what they built. It is what they knocked down.
It is not the houses. It is the space between the houses.
It is not the streets that exist. It is the streets that no longer exist.
It is not the memories which haunt you.
It is not what you have forgotten, what you must forget.
What you must go on forgetting all your life.
...
The workers are dismantling the houses of the dead.
...
It is not what he wants to know.
It is what he wants not to know.
It is not what they say.
It is what they do not say.
James Fenton (b. 1947), A German Requiem, 1981.
8
„Schwarze Milch der Frühe wir trinken sie abends wir trinken sie mittags und morgens wir trinken sie nachts wir trinken und trinken [...] / dein goldenes Haar Margarete / dein aschenes Haar Sulamit.” – Black milk of dawn we drink it at sunset we drink it at noon and in the morning we drink it at night / we drink and we drink it [...] / your golden hair Margarete, your ashen hair Shulamith. - Paul Celan (1920-1970), Todesfuge (Death Fugue), 1947-48.
9
MARIANO AKERMAN - Painter and Art Historian
Born in Buenos Aires in 1963, Mariano Akerman studied at the School of Architecture of Universidad de Belgrano (Argentina), completing his formation with a prized graduation project on the limits and space in modern architecture (1987). Abroad from 1991 onwards, he has researched the paintings of Francis Bacon and the architectural projects of Louis Kahn.
In Asia, Akerman developed the educational series of conferences In the Spirit of Linnaeus (2007), Discovering Belgian Art and Raisons d’être: Art, Freedom and Modernity (2008-10) and German Art (2010). Specializing in visual communication, Akerman is an experienced educator. He lectures on modern art at renowned institutions such as the Museo Nacional de Bellas Artes in Buenos Aires, The National Museum of the Philippines in Manila, The University of Modern Languages in Islamabad, The National College of Arts and Beaconhouse University in Lahore.
An artist himself, Mariano Akerman exhibits his paintings, drawings and collages since 1979 onwards. He has been awarded with at least twelve major international prizes.
10
The media on Akerman's educational lectures in Pakistan: Salman Peerzada, "Between Reality and Fantasy," Dawn News, 14.6.2008. Jonaid Iqbal, "Art Historian highlights Cultural Diversity Genesis," Business Recorder, 27.6.2008, p. 8. Anwar Abbas, "Artist endevours to promote Art and Culture," The Post, 2.7.2008, sect. B, p. 2. Qudsia Rahim, "Mariano Akerman at the NCA Auditorium," Danka, Lahore, 11.4.2009. Ishrat Hyatt, "Art Historian deliver Lecture at IFWA Fundraiser," International The News, 30.3.2010, City News, p. 20. Sophie Ali Khan, "Art Historian delivers Lecture to Students of ICAS," Islamabad College of Arts & Sciences, 23.4.2010. Igor G. Barbero, "Un pintor argentino educa a través del arte en Pakistán," Noticias EFE, Pakistán-Cultura, 20.4.2010. "Xornadas de Akerman en Paquistán," Galicia Hoxe, Spain, 20.4.2010.
11
About the images. 1. Caspar David Friedrich, The Ice Sea: Wreck of the Hope, 1823-24. 2. Ludwig Mies van der Rohe, Model for a Glass Skyscreaper, 1922. 3. Hans Hartung, Abstract painting (Informalism, c. 1950s). 4. Franz Marc, Deer in a Flower Garden, 1913. 5. Max Liebermann, Beer-Garden in Brannenburg, 1893. 6. Karl Schmidt-Rotluff, The Girl from Kowno, 1918. 7. Käthe Kollwitz, Seed corn must not be ground, black chalk, 1942. 8. Anselm Kiefer, Shulamith (detail), 1983. 9. Anselm Kiefer, Margarete, 1981. 10. Philipp Otto Runge, Self Portrait, 1810. 11. Käthe Kollwitz, Mother and Twins, 1927.
Lectures and venues
1. "German Art: Its Peculiarities and Transformations"
Embassy of the Federal Republic of Germany, Islamabad
2. "The Artist, Modernity and German Society: Between Criticism and Approval"
National College of Arts, Rawalpindi
3. "The German Contribution to the Modern Visual Arts, 1500 to 1933"
Quaid-i-Azam University, Islamabad
4. "Reality and Imagination in the Visual Arts of Germany"
Fatima Jinnah Women University, Rawalpindi
5. "Art History: The German Case"
Islamabad College for Girls, Islamabad
A series of lectures by Mariano Akerman
1The contribution of German artists and their colleagues working in Germany encompasses the development of the print as an artistic means of expression (Albrecht Dürer), outstanding formulations concerning the grotesque (aesthetical category), the subjective approach of Romanticism, which involves considering the visible together with the spiritual (Caspar David Friedrich), incursions in Impressionism (Max Liebermann) and Art Nouveau (Laeuger and Ephraim Lilien), the conjunction of Primitivism with the Soul (Ernst Ludwig Kirchner and Karl Schmidt-Rotluff), the simplification of the image leading to abstraction in 20th-century art (Franz Marc and Wassily Kandinsky), sharp criticism of the bourgeoisie and the aftermath of WWI (Georg Grosz and Otto Dix), the exploration of the absurd and apparently irrational nature of dreams (Kurt Schwitters, Max Ernst, Meret Oppenheim), and a most logical amalgamation of the arts and crafts in order to supply normative archetypes to the industry as developed in the Bauhaus (Walter Gropius and Mies van der Rohe).
2Controversial is the impact of totalitarianism on German Art, yet luminous are the contributions by some German artists during WWII and certain post-war painters such as Hans Hartung and Anselm Kiefer.
3Mariano Akerman explores these and other aspects considering the historical context of selected masterpieces. As a whole, Akerman’s approach aims to reveal how diverse and meaningful German Art is.
4CITATIONS AND TERMINOLOGY
„Ich bekenne mich zu dem Geschlecht, das aus dem Dunkel ins Helle strebt.” – I belong to those who from darkness to light aspire. - Johann Wolfgang von Goethe (1749-1832).
5Deutsche Kunst – German art
Kunstgeschichte – Art History
Druck – Print
Gesamtkunstwerk – The total, all-encompassing artwork
Traumwerk – Dreamwork
Das Groteske – The grotesque
Gemütlich – Familiar, cosy, homely
Lebensangst – Fear of life
Öhrmuschelstil – Auricular style
Knorpelornamentik – Gristly, cartilaginous ornament
Jugendstil – Art Nouveau, Modernism
Ornament und Verbrechen – Ornament and Crime
Die Brücke – The Bridge
Der Blaue Reiter – The Blue Rider
Neue Sachlichkeit – New Objectivity
Der Übermensch – The superman
„Entartete Kunst” – ‘Degenerate’ Art (Nazi fabrication)
Einfühlung – Empathy
6“Nobody will give you freedom. You have to take it.” Meret Oppenheim (1913-1985).
7It is not what they built. It is what they knocked down.
It is not the houses. It is the space between the houses.
It is not the streets that exist. It is the streets that no longer exist.
It is not the memories which haunt you.
It is not what you have forgotten, what you must forget.
What you must go on forgetting all your life.
...
The workers are dismantling the houses of the dead.
...
It is not what he wants to know.
It is what he wants not to know.
It is not what they say.
It is what they do not say.
James Fenton (b. 1947), A German Requiem, 1981.
8„Schwarze Milch der Frühe wir trinken sie abends wir trinken sie mittags und morgens wir trinken sie nachts wir trinken und trinken [...] / dein goldenes Haar Margarete / dein aschenes Haar Sulamit.” – Black milk of dawn we drink it at sunset we drink it at noon and in the morning we drink it at night / we drink and we drink it [...] / your golden hair Margarete, your ashen hair Shulamith. - Paul Celan (1920-1970), Todesfuge (Death Fugue), 1947-48.
9MARIANO AKERMAN - Painter and Art Historian
Born in Buenos Aires in 1963, Mariano Akerman studied at the School of Architecture of Universidad de Belgrano (Argentina), completing his formation with a prized graduation project on the limits and space in modern architecture (1987). Abroad from 1991 onwards, he has researched the paintings of Francis Bacon and the architectural projects of Louis Kahn.
In Asia, Akerman developed the educational series of conferences In the Spirit of Linnaeus (2007), Discovering Belgian Art and Raisons d’être: Art, Freedom and Modernity (2008-10) and German Art (2010). Specializing in visual communication, Akerman is an experienced educator. He lectures on modern art at renowned institutions such as the Museo Nacional de Bellas Artes in Buenos Aires, The National Museum of the Philippines in Manila, The University of Modern Languages in Islamabad, The National College of Arts and Beaconhouse University in Lahore.
An artist himself, Mariano Akerman exhibits his paintings, drawings and collages since 1979 onwards. He has been awarded with at least twelve major international prizes.
10The media on Akerman's educational lectures in Pakistan: Salman Peerzada, "Between Reality and Fantasy," Dawn News, 14.6.2008. Jonaid Iqbal, "Art Historian highlights Cultural Diversity Genesis," Business Recorder, 27.6.2008, p. 8. Anwar Abbas, "Artist endevours to promote Art and Culture," The Post, 2.7.2008, sect. B, p. 2. Qudsia Rahim, "Mariano Akerman at the NCA Auditorium," Danka, Lahore, 11.4.2009. Ishrat Hyatt, "Art Historian deliver Lecture at IFWA Fundraiser," International The News, 30.3.2010, City News, p. 20. Sophie Ali Khan, "Art Historian delivers Lecture to Students of ICAS," Islamabad College of Arts & Sciences, 23.4.2010. Igor G. Barbero, "Un pintor argentino educa a través del arte en Pakistán," Noticias EFE, Pakistán-Cultura, 20.4.2010. "Xornadas de Akerman en Paquistán," Galicia Hoxe, Spain, 20.4.2010.
11About the images. 1. Caspar David Friedrich, The Ice Sea: Wreck of the Hope, 1823-24. 2. Ludwig Mies van der Rohe, Model for a Glass Skyscreaper, 1922. 3. Hans Hartung, Abstract painting (Informalism, c. 1950s). 4. Franz Marc, Deer in a Flower Garden, 1913. 5. Max Liebermann, Beer-Garden in Brannenburg, 1893. 6. Karl Schmidt-Rotluff, The Girl from Kowno, 1918. 7. Käthe Kollwitz, Seed corn must not be ground, black chalk, 1942. 8. Anselm Kiefer, Shulamith (detail), 1983. 9. Anselm Kiefer, Margarete, 1981. 10. Philipp Otto Runge, Self Portrait, 1810. 11. Käthe Kollwitz, Mother and Twins, 1927.
Lectures and venues
1. "German Art: Its Peculiarities and Transformations"
Embassy of the Federal Republic of Germany, Islamabad
2. "The Artist, Modernity and German Society: Between Criticism and Approval"
National College of Arts, Rawalpindi
3. "The German Contribution to the Modern Visual Arts, 1500 to 1933"
Quaid-i-Azam University, Islamabad
4. "Reality and Imagination in the Visual Arts of Germany"
Fatima Jinnah Women University, Rawalpindi
5. "Art History: The German Case"
Islamabad College for Girls, Islamabad
24 comments:
Big-deep breath. Very deep waters here, Mariano. History, literature, art, all combined. I'm looking forward to your views and the progress of this intricate research, breathing heavily -I must admit-, but with a lot of interest of where this trip will take me. It a complex thing, for German culture is something I love and hate simultaneously. It is at once sublime, a place where the extremes do meet. Good and evil, beauty and horror, all of them inhabit there. Kisses.
This looks like it will go over very well; you are such a professional and such a master at putting people at ease who know nothing about art.
Muy interesante el material. Me gustaría saber las razones de tu selección. ¿Por qué está Kandinsky entre los alemanes? Nació en Moscú y murió en Francia. Claro que fue uno de los fundadores de Der Blaue Reiter, pero ¿eso significa que su obra es "alemana"? Max Ernst nació en Alemania, tenía ciudadania francesa, vivió también en Estados Unidos, murió en París. ¿Qué tiene de alemana su obra? Es todo un tema. Y de las imágenes que seleccionaste, Kiefer, cuya obra que siempre me gusta, está aquí bastante tétrico con el crematorio y las cenizas. ¿Es ex profeso esta elección? En cuanto a la chica de Kowno, parece más una máscara africana que una lituanita. Kathe Kollowitz: no tengo palabras, el dolor esta hecho carne viva. Muy buena idea de diversificarte... arte belga... argentino... francés... y ahora alemán. ¡Chapaux!
En el caso de ARTE ALEMÁN no solo es importante dónde el artista nació ni dónde vivió, sino –y en particular– su contribución a la cultura alemana. Exploramos el tema no desde un punto de vista de nacional (actitud excluyente), sino abarcando a todo artista cuya obra tiene una sólida conexión con la cultura alemana, es decir, no Alemania como una cuestión de ciudadanía sino como centro de encuentro, diálogo, inspiración y creatividad (actitud inclusiva).
Así, nos concentramos en el período Dada-Hanover en Ernst (y no tanto en su quehacer tardío). Respecto a Kandisky, sí era ruso por supuesto, pero consideramos aquí sus años en la Alemania, cuando trabajó con Franz Marc, creó Der Blaue Reiter y escribió De lo espiritual en el arte (1911-14), y cuamdo enseñó en la Bauhaus (1922-33). Más aún, Kandinsky realizó sus primeras pinturas abstractas –su famosa abstracción lírica– precisamente en Alemania. Meret Oppenheim es siempre presentada como "suiza" pero de hecho había nacido en Alemania y por lo visto tenía sus raíces al viento, en el desarraigo. Respecto a todos los demás puntos, ambos coincidimos.
Es cierto. Se agrega y se complementa. Es como una cebollita, una capa y otra capa. Y lo principal es que sea sabrosa. Un besito.
¡Qué lindas citas y qué lindas obras! ¿Vas a hacer un artículo, sinópis o algo sobre esta conferencia? Porque la conferencia no tuvo desperdicio. Dos horas y quince minutos de aprender non stop. Me interesó enormemente. Y me da gran satisfacción porque conmoviste a tu audiencia. Algunos por muy "duros" que parezcan tienen su corazoncito y sensibilidad, que es bien profunda. Solo hay que saber llegar a ella y vos llegaste y muy hondo. ¡Bravo! Y bravo por el "bridge over troubled waters" que tendiste. No es de sorprenderse que todos hayan quedado tan emocionados. Gracias por haber compartido esta gran experiencia y enorme alegría conmigo :) "I belong to those who from darkness to light aspire." No tengo ninguna duda de ello ;)
Un veritable tour de Force!
Bravo!
Bisous, Jenny
O mein Gott... Impresionante, fuertisímo. Al poema de Paul Celan lo leí a partir de un artículo tuyo. Me encantó e impresionó a la vez. Como Kiefer pone en imágenes visuales su doloroso mensaje es de una expresividad impresionante. ESPECTACULAR tu enfoque y tu selección de obras. Un mundo de bellezas y atrocidades. Me toca muy hondo. Y me encanta tu obra inspirada en ese mismo poema. Gracias Mariano. Sos un verdadero Kunstmeister.
The conference was intense. INTENSELY BRILLIANT!
A most luminous presentation. Many thanks to you.
Querido Mariano: Quería decirte que disfruté mucho con tu conferencia, me encantó.
Sí - por muy 'duros' que parezcamos - tenemos nuestro corazoncito y sensibilidad, que es bien profunda. Hay que saber llegar a ella.
Mariano, fue muy buena la conferencia, y yo también he aprendido muchísimo gracias al "approach" que has empleado. ¡Muchas gracias!
Leí sobre la conferencia en la embajada de Alemania. Me conmovió. También a familiares y gente amiga que tiene siempre elogios múltiples para con tu persona. Otra vez más -y van unas cuantas- me siento muy orgullosa de vos. Un beso. Mamá.
Querido Mariano: ¡Formidable el trabajo que hiciste! Suponía que harías ese enlace - lo que hay que recordar y lo que hay que olvidar. En esas latitudes el tema habrá tenido un impacto tremendo y de tu capacidad de exponerlo a la máxima potencia no tengo dudas. ¡Fantástico! Creo que todos los elegios que recibiste están bien merecidos. Disfrutá de los laureles. Un beso grande, Gina
Dear Mariano, It was most rewarding attending your lecture and learning about German art through the ages. I have been thirsting for such platforms. Thank you! Peace and joy.
Thank you for your wonderful and knowledgeable conference.
Hello Mariano,
My friend Nancy Eslick, and myself, Leslie Gonzales very much enjoyed last Wednesday's event.
Many thanks,
Leslie
Mariano te felicito!
Dear Mariano,
I am still mesmerized how quick and crisp was your overview of German Art was.
Geytee Ara, Islamabad College for Girls
Impresionante.
Los logros y equivocaciones son también fuente de inspiración para el arte.
You are amazing in a number of languages.
¿Un argentino disertando en inglés acerca de la historia y el arte alemán, con los auspicios de la embajada teutona en Islamabad y en cinco universidades pakistaníes? ¡Maravilloso!
Es fantástico. Comprendo muy bien de que amas el país donde vives y su gente. A seguir con tus trabajos maravillosos por la humanidad. Y sobre todo, sigue inspirando la gente.
Post a Comment