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Karl Becker (1820–1900) Benedikt Beckenkamp (1747–1828) René Beeh (1886−1922) Josef Konstantin Beer (1862–1933) Adalbert Begas (1836–1888) Carl Joseph Begas (1794–1854) Luise Begas-Parmentier (1843–1920) Oskar Begas (1828–1883) Akbar Behkalam (born 1944) Franz Joachim Beich (1666–1748) Johannes Beilharz (born 1956) Gisela ...
Pages in category "20th-century German painters" The following 200 pages are in this category, out of approximately 1,282 total. This list may not reflect recent changes .
While the 1920s to 1940s are considered the heyday of modern art movements, there were conflicting nationalistic movements that resented abstract art, and Germany was no exception. Avant-garde German artists were now branded both enemies of the state and a threat to the German nation.
Johann Joachim Kändler; Wolf Kahlen; Leo Kahn; Johannes Kahrs (artist) Hanns-Christian Kaiser; Johanna Keimeyer; Hans Kemmer; George Kenner; Georg Friedrich Kersting
This is a non-diffusing parent category of Category:20th-century German male artists and Category:20th-century German women artists The contents of these subcategories can also be found within this category, or in diffusing subcategories of it.
The artists of the November Group kept the spirit of radicalism alive in German art and culture during the Weimar Republic. Many of the painters, sculptors, music composers, architects, playwrights, and filmmakers who belonged to it, and still others associated with its members, were the same ones whose art would later be denounced as ...
The Bauhaus emblem, designed by Oskar Schlemmer, was adopted in 1922. Typography by Herbert Bayer above the entrance to the workshop block of the Bauhaus Dessau, 2005. The Staatliches Bauhaus (German: [ˈʃtaːtlɪçəs ˈbaʊˌhaʊs] ⓘ), commonly known as the Bauhaus (German for 'building house'), was a German art school operational from 1919 to 1933 that combined crafts and the fine arts. [1]
German Expressionism was an artistic movement in the early 20th century that emphasized the artist's inner emotions rather than attempting to replicate reality. [1] German Expressionist films rejected cinematic realism and used visual distortions and hyper-expressive performances to reflect inner conflicts.