• 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.

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

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

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  • George Grosz, Sonnenfinsternis ( Eclipse Of The Sun ) 1926

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  • 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.