Man with a glove, c. 1520

Tiziano Vecelli or Vecellio (c. 1488-90 – August 27, 1576), better known as Titian, was the leader of the 16th-century Venetian school of the Italian Renaissance. He was born in Pieve di Cadore, in the Cadore territory, near Belluno (Veneto), in Italy, and died in Venice. During his lifetime he was often called Da Cadore, taken from the place of his birth.

Recognised by his contemporaries as "the sun amidst small stars" (recalling the famous final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits and landscapes (two genres that first brought him fame), mythological and religious subjects. Had he died at the age of 40, he would still have to be regarded as one of the most influential artists of his time. But he lived on for a further half century, changing his manner so drastically that some critics refuse to believe that his early and later pieces could have been produced by the same man. What unites the two parts of his career is his deep interest in colour. His later works may not contain vivid, luminous tints as his early pieces do, yet their loose brushwork and subtlety of polychromatic modulations have no precedents in the history of Western art.

Conrad Felixmüller, Opfer der Not / Für das Hilfswerk der IAH ( Victim of Privation/For the Relief Organization of the IAH ), 1924

Wilhelm Rudolph, Helft am Werk der IAH ( Help the Work of the IAH ), 1924

George Grosz, Sonnenfinsternis ( Eclipse Of The Sun ) 1926

Will Küpper, Nach Dem Krieg ( After The War ) 1919 and Will Küpper, Streichhòlzer ( Matches, Matches ), 1919



Some of the most Compelling posters were distributed by the anti-Bolshevik groups. They used Images of gorillas and vultures depicted in Gaudy, horrific yellows and reds to frighten the public to attention. These artists sought a coalition, a united Germany, as illustrated in Klein Arbeiter,
Bürger. Bauern. Soldaten (Workers. Citizens. Farmers. Soldiers;
In addiction to making posters, many artists created covers for widely circulated broadsheets, pamphlets, and periodicals.
Between 1918 and 1925 different literary journals of varying longevity were published throughout Germany; most of these were liberal to radical in bias. Of these fifty-three were founded after 1918 and folded before 1925." The periodicals were able to respond instantly to current events. Their titles reflect the youth and vigor of their makers.
Guenther discusses many of the lesser-known journals in this essay.
From Berlin, Bielefeld, Darmstadt, Dresden, Dusseldorf, Hamburg, Hannover, Heidelberg, Munich, and Saarbrucken came periodicals with titles such a Die Aktion,
Der Anbruch,( The new beginning ) Die Dachstube ( The attic Room ), Feuer ( Fire ), Kündung ( Herald ), Menschen, Die Rote Erde( The Red Hearth ) Die Sichel ( The Sickle ), Das Tribunal ( The Tribunal ) Der Wurf
( The Venture ), and Der Ziegelbrenner ( Brick-Maker ).
Together they form an important part of the history of postwar
German Expressionism, for it was in these periodicals that the artists, writes, publishers, and poets were able to join together most effectively to sound their cry for a new society and for a new role for creative peolple.

MMaxi

Nude Girl in yellow coat, 1911, Albertina, Vienna

In 1910, the year he executed his first breakthrough Expressionism works, Egon Schiele was scarcely twenty years old-four years younger than Oskar Kokoschka,
five years younger than Max Oppenheimer.
Youthful prodigies are less common in the visual arts than in music or literature, perhaps because artists require more extensive technical training to master the skills necessary to their form of creative expression.
Schiele achieved artistic maturity at an exceptionally early age, but his emotional development was at best average.
Consequently, he dealt more directly than most artists with the psychological problems of late adolescent and early adulthood, exploring anxieties and obsessions that adults tend to repress or sublimate.
That maybe why, even in today's age of anything-goes morality, Schiele's work still retains the ability to shock.

Schiele remained indefferent to, if not proud of, his fractious relationship with society at large. He felt that is special status as an artist should grant him immunity from normal standarts of behavior. He did not particularly care if people refused to buy his paintings. " I am glad there are so few who can recognise art," he noted in a letter to the surely unappreciative Czihaczek. " That is constant proof of it's divine nature"
Nor did Schiele seem particularly concerned that, once again, he was running afoul of community standards in Neulengbach. As he had in Vienna and Krumau, Schiele was accustomed to wooing Children and adolescents to his studio and persuading them to pose.
But whereas the children who had modeled for him in Vienna were unsupervised vagrants, the children of Neulengbach had strict, concerned, middle-class parents.
It was thus that Schiele came unwittingly to operate on the fingers of the law.
It took only one untoward incident to knock him into the abyss behond.

MMaxi