Rainer Magold is a German Expressionist,
an informal and figurative painter
using mixed techniques.
On this page you will find just a small selection of R. Magolds work. Each picture can be clicked on to display a larger version of the painting. If you would like any more information regarding these works please feel free to contact us.
Prices upon request
Exstase,Erotik,women, femme, tachismeMagold,rainer,magold,painter,painting,paintings,expressive,german,expressionism,expressionist, Bild, Bilder,Gemälde,expressiv,Künstler,Maler,fine art,artist,modern art,famous artwork, deutsch,rainer,magold,rainer magoldformal,modern,impressionist,expressionist,millionair,architecture,monumental,farmacias,apothekers,medical,interior,design,psychiatric,academic,psychological, expressive, Painting, paintings,acrylic,acrylic paintings,oil,oil paintings,modern, postmodern art,artist,Rainer Magold,women,erotic,extasy,orgasm,Bild,Bilder,Acryl,Acrylbilder,Kunst,Kuenstler,Öl, Ölbilder,Frauen,,picasso,lucien freud,anselm kiefer,francis bacon,edward hopper,mark rothko,new classical,art,modern art,informel,abstract,expressionism,movements,
Expressionism is the tendency of an artist to distort reality for an emotional effect; it is a subjective art form. In a general sense, painters such as Matthias Grünewald and El Greco can be called expressionist, though in practice, the term is applied mainly to 20th century works.
Although it is used as term of reference, there has never been a distinct movement that called itself "expressionism", apart from the use of the term by Herwald Walden in his polemic magazine Der Sturm in 1912. The term is usually linked to paintings and graphic work in Germany at the turn of the century which challenged the academic traditions, particularly through the Die Brücke and Der Blaue Reiter groups. Philosopher Friedrich Nietzsche played a key role in originating modern expressionism by clarifying and serving as a conduit for previously neglected currents in ancient art.
In The Birth of Tragedy Nietzsche presented his theory of the ancient dualism between two types of aesthetic experience, namely the Apollonian and the Dionysian; a dualism between the plastic "art of sculpture", of lyrical dream-inspiration, identity (the principium individuationis), order, regularity, and calm repose, and, on the other hand, the non-plastic "art of music", of intoxication, forgetfulness, chaos, and the ecstatic dissolution of identity in the collective. The analogy with the world of the Greek gods typifies the relationship between these extremes: two godsons, incompatible and yet inseparable. According to Nietzsche, both elements are present in any work of art. The basic characteristics of expressionism are Dionysian: bold colors, distorted forms-in-dissolution, two-dimensional, without perspective.
More generally the term refers to art that expresses intense emotion. It is arguable that all artists are expressive but there is a long line of art production in which heavy emphasis is placed on communication through emotion. Such art often occurs during time of social upheaval, and through the tradition of graphic art there is a powerful and moving record of chaos in Europe from the 15th century on the Protestant Reformation, Peasants' War, Spanish Occupation of Netherlands, the rape, pillage and disaster associated with countless periods of chaos and oppression are presented in the documents of the printmaker. Often the work is unimpressive aesthetically, but almost without exception has the capacity to move the viewer to strong emotions with the drama and often horror of the scenes depicted.
The term was also coined by Czech art historian Antonín Matějček in 1910 as the opposite of impressionism: "An Expressionist wishes, above all, to express himself....[An Expressionist rejects] immediate perception and builds on more complex psychic structures....Impressions and mental images that pass through mental peoples soul as through a filter which rids them of all substantial accretions to produce their clear essence [...and] are assimilated and condense into more general forms, into types, which he transcribes through simple short-hand formulae and symbols." (Gordon, 1987)
There was never a group of artists that called themselves "The expressionists". This movement primarily originated in Germany and Austria, though following World War II it began to influence young American artists. Norris Embry (1921-1981) studied with Oskar Kokoschka in 1947 and over the next 43 years produced a large body of work grounded in the Expressionist tradition. Norris Embry has been called "the first American German Expressionist". Other American artists of the late 20th and early 21st century have developed distinct movements that are generally considered part of Expressionism. Another prominent artist who came from the German Expressionist "school" was Bremen born Wolfgang Degenhardt. After working as a commercial artist in Bremen he migrated to Australia in 1954 and became quite prominent and sought after in the Hunter Valley region. His paintings captured the spirit of Australian and world issues but presented them in a way which was true to his German Expressionist roots. There were a number of Expressionist groups in painting, including the Blaue Reiter and Die Brücke. The Der Blaue Reiter group was based in Munich and Die Brücke was based originally in Dresden (although some later moved to Berlin). Die Brücke was active for a longer period than Der Blaue Reiter which was only truly together for a year (1912). The Expressionists had many influences, among them Munch, Vincent van Gogh, and African art. They also came to know the work being done by the Fauves in Paris. American Expressionism and particularly the Boston figurative expressionism were an integral part of American modernism around the Second World War.
Influenced by the Fauves, Expressionism worked with arbitrary colors as well as jarring compositions. In reaction and opposition to French Impressionism which focused on rendering the sheer visual appearance of objects, Expressionist artists sought to capture emotions and subjective interpretations: It was not important to reproduce an aesthetically pleasing impression of the artistic subject matter; the Expressonists focused on capturing vivid emotional reactions through powerful colors and dynamic compositions instead. The leader of Der Blaue Reiter, Kandinsky, would take this a step further. He believed that with simple colors and shapes the spectator could perceive the moods and feelings in the paintings, therefore he made the move to abstraction.