There is a stereotype of the expressionist artist that — not coincidentally — matches the qualities associated with expressionist art: almost pathologically irrational, careless of social conventions, and spontaneous to the point of being out of control. It seems that in order to express intensely, the artist has to live intensely. Many analyses of The Old Guitarist begin with the story of Picasso’s own adversities at the time, when he was living in poverty in Paris and had just lost a close friend to suicide. Similar stories of the Post-Impressionist Vincent van Gogh’s madness, the German Expressionist Ernst Ludwig Kirchner’s wartime trauma, and the American Neo-Expressionist Jean-Michel Basquiat’s life on the streets are often used to validate the expressive authenticity of their art.
Khan Academy does not support this browser.
To use Khan Academy you need to upgrade to another web browser. Just select one of the options below to start upgrading.
If you’re seeing this message, it means we’re having trouble loading external resources on our website.
If you’re behind a web filter, please make sure that the domains *.kastatic.org and *.kasandbox.org are unblocked.
Main content
Modernisms 1900-1980
Lesson 2: Key concepts
Modern art and reality
Expression and modern art
Primitivism and Modern Art
Formalism I: Formal Harmony
Formalism II: Truth to Materials
© 2023 Khan Academy
By Dr. Charles Cramer and Dr. Kim Grant
Pablo Picasso, The Old Guitarist, 1903-04 oil on panel, 122.9 x 82.6 cm (Art Institute of Chicago)
Pablo Picasso, The Old Guitarist, 1903-04 oil on panel, 122.9 x 82.6 cm (Art Institute of Chicago)
In his painting The Old Guitarist, Picasso made a series of choices to evoke feelings of pity. The guitarist is an old man, with gray hair. The fact that he is seated on the ground suggests that he is playing on the street for spare change. His emaciated state, torn clothes, and dejected posture show poverty and depression.
Furthermore, Picasso does not simply paint the old guitarist exactly as he would appear in real life; he deliberately distorts or exaggerates certain aspects of the scene in order to further intensify his intended expression. Most obviously, the entire work—except for the guitar—is in blue monochrome. This is clearly unrealistic, but it capitalizes on the melancholy emotional quality associated with that color.
Left: Edouard Manet, The Spanish Singer, 1860, oil on canvas, 58 x 45 cm (The Metropolitan Museum of Art); right: Pablo Picasso, The Old Guitarist, 1903-04 oil on panel, 122.9 x 82.6 cm (Art Institute of Chicago)
Left: Edouard Manet, The Spanish Singer, 1860, oil on canvas, 58 x 45 cm (The Metropolitan Museum of Art); right: Pablo Picasso, The Old Guitarist, 1903-04 oil on panel, 122.9 x 82.6 cm (Art Institute of Chicago)
When we compare Picasso’s painting to one of a very similar subject by Edouard Manet, we can see other strategic formal distortions. Picasso’s guitarist is in an improbable (if not impossible) pose that is cramped on all sides by the frame. He looks caged or trapped, where Manet’s guitarist, already in a more dynamic pose with his energy thrusting upward, has room to move within the frame. Also, where the form of Manet’s guitarist flows through organic, rounded curves, Picasso has exaggerated the hard angularity of his guitarist, who appears to be all jutting elbows, ankles, and tendons.
These two works exemplify the difference between naturalism and expression as artistic goals. One of Manet’s primary goals was an accurate depiction of the appearance of the guitarist, what art historians call naturalism. As to how to feel about him, we are left largely on our own: it is equally probable that a viewer could pity his evident poverty (examine his worn shoes, five o’clock shadow, and simple meal), or admire his bohemian freedom. Picasso, by contrast, paints his guitarist in an expressive manner, explicitly directing our feelings through his stylistic choices.
Left: Caravaggio, Deposition (or Entombment), c. 1600-04, oil on canvas, 300 x 203 cm (Vatican Museums); right: J. M. W. Turner, The Slave Ship, 1840, oil on canvas, 90.8 x 122.6 cm (Museum of Fine Arts, Boston)
Left: Caravaggio, Deposition (or Entombment), c. 1600-04, oil on canvas, 300 x 203 cm (Vatican Museums); right: J. M. W. Turner, The Slave Ship, 1840, oil on canvas, 90.8 x 122.6 cm (Museum of Fine Arts, Boston)
Picasso’s willingness to sacrifice naturalism in order to enhance the emotional impact of The Old Guitarist is what makes the painting exemplary of modern expression. Between the Renaissance and the nineteenth century (with some notable exceptions, such as El Greco), artists would primarily evoke emotions in ways consistent with naturalism.
In his Deposition, the Baroque artist Caravaggio uses spotlighting, gritty earth colors, and body language to help express the emotional drama of the moment Christ’s body is laid in the tomb, but nothing is too distorted. The work remains naturalistic; you could see such a scene in real life. Romantic artist J. M. W. Turner pushes the boundaries more in his Slave Ship, with obviously painterly brushwork and very intense color, but the painting still looks plausibly like a storm at sea, with the whipping spray and blowing clouds backlit by the setting sun. The Baroque and Romantic periods both emphasized expression as an artistic goal, but both also largely stayed within the confines of naturalistic representation.
Left: Edvard Munch, The Scream, 1910, tempera on board, 66 x 83 cm (The Munch Museum, Oslo); right: Joan Mitchell, Rock Bottom, 1960-61, oil on canvas, 198.1 x 172.7 cm (Blanton Museum, Austin, Texas)
Left: Edvard Munch, The Scream, 1910, tempera on board, 66 x 83 cm (The Munch Museum, Oslo); right: Joan Mitchell, Rock Bottom, 1960-61, oil on canvas, 198.1 x 172.7 cm (Blanton Museum, Austin, Texas)
Starting in the later nineteenth century, the expressionist art movements of the Modern period were increasingly willing to sacrifice naturalism in pursuit of more powerful expressive effects. Although Edvard Munch’s The Scream does include expressive body language in the foreground figure, the painting’s emotional charge is largely carried by its formal distortions. We react first of all to the expressive power of the work’s acrid color,
vertiginous
recession, and nauseatingly undulating composition, which have been exaggerated to the point where the depicted scene is no longer plausible. Expression has superseded naturalism as the main aesthetic goal. The Modern period saw an increasing recognition of the expressive power of form — color, line, shape, composition, and so on. It is no great conceptual leap from Munch to Joan Mitchell, for whom pure form conveys pure expression, as the name of the Abstract Expressionist movement suggests.
Ex-pression as non-rational
The prefix “ex” means “out,” so to ex-press literally means to push out, reconfirming the distinction between expression and representation or naturalism. In the latter, the motive for the work is out in the world, part of nature, and the artist just re-presents it. With ex-pression, the motive for the work is inside the artist, a mental or emotional state, and must be pushed out.
Expression in art history is generally associated with non-rational states of mind. It is not used to describe works that convey objective facts or for ideas arrived at through rational thought processes. In addition to emotions, the term expression is also used for works that convey spiritual content, such as Vasily Kandinsky’s apocalyptic paintings of the 1910s, and subconscious content, such as the Surrealist André Masson’s automatic drawings of the 1920s.
Left: Vasily Kandinsky, Small Pleasures, 1913, oil on canvas, 110.2 x 119.4 cm (Solomon R. Guggenheim Museum, New York); right: André Masson, Automatic Drawing, 1924, ink on paper, 23.5 x 20.6 cm (MoMA)
Left: Vasily Kandinsky, Small Pleasures, 1913, oil on canvas, 110.2 x 119.4 cm (Solomon R. Guggenheim Museum, New York); right: André Masson, Automatic Drawing, 1924, ink on paper, 23.5 x 20.6 cm (MoMA)
Because it pertains to non-rational states of mind, expression is often associated with spontaneous or even involuntary creative processes, both mental and manual. While naturalistic art is generally acknowledged to require intensive training, the skills associated with expressionist art are often said to be innate. Correspondingly, rapid or unrefined execution is frequently taken as a sign of expressive intensity, as though the artist’s hand were responding in automatic synchronization with the outpourings of the emotions or unconscious. This is not a universal stylistic characteristic of modern expressionist art, but it is common, as the examples above of Turner, Munch, Mitchell, Masson, and Kandinsky all demonstrate.
Understanding the Connection Between Silk and Art
Silk’s relationship with the art world is deeply rooted in history, with its origins dating back thousands of years. The significance of silk in art extends beyond its physical properties; it has come to symbolize luxury, elegance, and sophistication.
But what is it about silk that has captivated artists throughout the ages? Let’s delve deeper into the historical significance of silk in art and explore the aesthetic appeal that makes it such a beloved medium.
The Historical Significance of Silk in Art
In ancient times, silk was highly prized and regarded as a symbol of wealth and status. It was primarily produced in China and traded along the Silk Road, leading to its introduction in various parts of the world. The use of silk in art became prevalent in many ancient civilizations, including Egypt, Greece, and Rome, where it adorned murals, garments, and tapestries.
But silk’s journey from cocoon to canvas was no simple feat. The intricate process of silk production and the rarity of the material made it an art form in itself. From silkworm cultivation to spinning the silk threads, every step required skill and precision. This artistic process created a strong connection between silk and art, with the finished fabric serving as a testament to human craftsmanship.
Imagine the ancient artisans carefully tending to their silkworms, patiently waiting for the delicate creatures to spin their cocoons. The transformation of these cocoons into luxurious silk threads must have been a sight to behold, a true marvel of nature and human ingenuity.
The Aesthetic Appeal of Silk in Artistic Creations
One of the primary reasons artists are drawn to silk is its visual allure. The natural luster of silk adds a radiant quality to artworks, enhancing their overall impact. The smooth surface of silk allows colors to blend seamlessly, resulting in vibrant and nuanced compositions.
Imagine a painter delicately applying brushstrokes onto a silk canvas, the colors effortlessly merging and flowing across the fabric. The interplay between the artist’s vision and the silk’s texture creates a mesmerizing dance of form and color.
But silk’s appeal goes beyond its visual qualities. Its tactile nature adds another dimension to artistic creations. Running your fingers across a silk painting can be a sensory experience, as the fabric’s softness and smoothness invite touch and exploration.
The versatility of silk as a medium allows artists to explore different styles and techniques. Whether it be delicate watercolor strokes, bold brushwork, or intricate detailing, silk’s surface interacts with the artist’s touch in a unique and captivating manner.
Artists throughout history have pushed the boundaries of silk as a medium, experimenting with various methods of dyeing, printing, and embellishing. From the delicate silk paintings of ancient China to the vibrant silk tapestries of the Renaissance, silk has been a vehicle for artistic expression and innovation.
As we reflect on the connection between silk and art, we can appreciate the rich history and aesthetic beauty that this ancient material brings to the world of creativity. Silk continues to inspire and captivate artists, reminding us of the enduring power of art to transcend time and culture.
The Process of Creating Art on Silk
Creating art on silk involves a meticulous process that encompasses both preparation and execution. Artists must carefully prepare the silk fabric before applying their creative vision. This ensures that the artwork will have a smooth and stable surface, allowing it to come to life in all its vibrant glory.
Preparing Silk for Artistic Use
Before painting or printing on silk, it is crucial to properly prepare the fabric. This involves more than just selecting a piece of silk; it requires attention to detail and a deep understanding of the material. One important step in the preparation process is removing any sizing from the silk. Sizing is a substance that is applied to the fabric during the manufacturing process to give it stiffness and body. By removing the sizing, artists ensure that the silk will be more receptive to the dyes and paints that will be applied later.
Another important aspect of preparing silk for artistic use is treating the fabric to ensure it is taut. This is achieved by stretching the silk onto a frame, much like a canvas, and securing it tightly. This step is crucial because it prevents the fabric from wrinkling or sagging during the painting or printing process, allowing the artist to have complete control over their brushstrokes or printmaking techniques.
Choosing the appropriate silk weight and weave is also an essential part of the preparation process. Silk comes in various weights, ranging from lightweight chiffon to heavier crepe de chine. The weight of the silk affects how the colors and dyes will interact with the fabric, as well as the overall texture and drape of the finished artwork. Additionally, the weave of the silk can add another layer of visual interest to the artwork, with options such as plain weave, twill weave, or satin weave.
Techniques for Painting on Silk
Artistic techniques on silk encompass a wide range of approaches, each with its own distinct characteristics. Some artists work with dyes and brushes, delicately layering color onto the silk surface to create gradients and textures. The dyes used for silk painting are specially formulated to bond with the fabric, resulting in vibrant and long-lasting colors. Artists can use various brush techniques, such as wet-on-wet or wet-on-dry, to achieve different effects and levels of detail.
Others prefer to use resist techniques, such as batik, to create intricate designs on silk. Batik involves applying a wax resist to the fabric, which acts as a barrier to the dye. The areas covered in wax will remain the original color of the silk, while the rest of the fabric absorbs the dye, creating a beautiful contrast between the dyed and undyed areas.
In addition to painting, silk can also be used for printmaking, embroidery, and mixed media art. Printmaking on silk involves transferring an image onto the fabric using various techniques, such as screen printing or block printing. Embroidery on silk adds a three-dimensional element to the artwork, with delicate stitches enhancing the beauty of the fabric. Artists can also incorporate other materials, such as beads, sequins, or even found objects, to create mixed media art that pushes the boundaries of traditional silk art.
The possibilities are truly limitless when it comes to creating art on silk. Artists have the freedom to experiment with different techniques, explore new ideas, and push the boundaries of their creativity. Whether it’s through painting, printmaking, embroidery, or mixed media, silk provides a luxurious and versatile canvas for artists to express their unique visions.
The Impact of Silk Art in Modern Times
Even in the modern art world, silk continues to captivate artists and audiences alike. Its timeless beauty and allure are showcased in contemporary galleries and have inspired new forms of artistic expression.
Silk Art in Contemporary Galleries
Contemporary artists are embracing silk as a medium to explore various themes and concepts. From abstract compositions to realistic depictions, silk art is showcased in galleries around the world, offering viewers a mesmerizing visual experience.
The delicacy and elegance of silk draw attention, creating a sense of intimacy between the artwork and the viewer. The reflective qualities of silk interact with lighting, adding depth and dimensionality to the pieces, further enhancing their impact.
The Influence of Silk Art on Fashion and Design
Beyond traditional art spaces, silk art has extended its reach into the realm of fashion and design. Designers incorporate silk artworks into clothing, accessories, and home decor, allowing individuals to carry pieces of art with them. This convergence of art and fashion opens up new avenues for both artists and consumers to engage with silk art.
