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Even more than in other countries, German art in the early 20th century developed through a number of loose groups and movements, many covering other artistic media as well, and often with a specific political element, as with the Arbeitsrat für Kunst and November Group, both formed in 1918. In 1922 The November Group, the Dresden Secession ...
The House of German Art in Munich. The early twentieth century was characterized by startling changes in artistic styles. In the visual arts, such innovations as cubism, Dada and surrealism, following hot on the heels of Symbolism, post-Impressionism and Fauvism, were not universally appreciated.
Elisabeth von Eicken (1862–1940) Andreas Eigner (1801–1870) Fritz Eisel (1929–2010) Felix Eisengräber (1874–1940) Marie Ellenrieder (1791–1863) Friedrich August Elsasser (1810–1845) Adam Elsheimer (1578–1610) Ludwig Elsholtz (1805–1850) Wilhelm Emelé (1830–1905) Edgar Ende (1901–1965) Sylvester Engbrox (born 1964)
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 ...
Pages in category "German art movements" The following 14 pages are in this category, out of 14 total. This list may not reflect recent changes. B. Beuron school;
An art movement is a tendency or style in art with a specific art philosophy or goal, ... German Romanticism, ... c. 1918 –1940s; Regionalism (art), c. 1930s –1940s;
Notable European early film movements include German expressionism (1920s), Soviet montage (1920s), French impressionist cinema (1920s), and Italian neorealism (1940s); it was a period now seen in retrospect as "The Other Hollywood". War has triggered the birth of Art and in this case, the birth of cinema.
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.
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