Acting-Out Politics

Weblog opens discussion about the psychology of Bushmerican style of behavior.

Eden Mary Cassatt Mary Cassatt, “Mother and Daughter” Mary Cassatt, “Mother and Child” Mary Cassatt, “Motherhood”, 1890 Banished from Eden Emil Nolde Emil Nolde, “Adam and Eve Banished from Paradise” (confrontation with reality) The Lucky Pieces of the Eden Ernst Ludwig Kirchner Ernst Ludwig Kirchner, “Moments of Paradise in the Middle of a Prosaic Life” […]

Leonhard Frank As The Personification Of A Humanistic Thinker E.L. Kirchner, “Portrait of a Poet Leonhard Frank”, 1917 Leonhard Frank’s face is multifaceted and neat as handwriting can be, and pale as a sheet of paper. His eyes don’t look around; his gaze goes through walls, through everyday life. But his eyelashes, as if, frame […]

Artistic Form as a Distancing From the Content of the Work of Art (From Girl Squatting to Squatting Felt as a Girl) Ernst Ludwig Kirchner’s “Girl Squatting” (1910) Can squatting be separated from the object that is squatting? Can the squatting posture be perceived independently – differently from the squatting object? Isn’t the pleasure we […]

Kirchner’s Answer is Paradoxically, Challengingly Painter-nalistic: “The Nudity of the Story-Teller’s Body” E.L. Kirchner, “Erzahlende” (“Milli Telling a Story”), 1909 Is the body of the story-teller relevant to her story-telling? Is her nudity important for her proclivity and desire to tell stories? What in general are the subjective priorities of relevance in relation to story-telling […]

Kirchner’s Aesthetic Pedagogy of Spiritual Sensitivity Ernst Ludwig Kirchner, “Nude Woman Combing Her Hair”, 1913 A young female body that is expected to be attractive and beautiful is transformed by the painter into a generic and awkward representation that makes the painterly and the naturalistic visions of the body to be in conflict with one […]

A Young Girl contemplates Her Future (Woman’s) Destiny E.L.Kirchner, “Marzella”, 1910 While trying to settle down to Kirchner’s painting we have to start by asking ourselves several questions suggested by the painter. First: what is this invisible diagonal that the composition of the painting draws from the lower left corner (from the sweetly vegetating cat […]

  

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