Thesis Chapters by Lilia Sokolova
Von Franz Marc ist der Ausspruch bekannt, daß er hoffe, die Bilder der neuen Kunst würden einmal ... more Von Franz Marc ist der Ausspruch bekannt, daß er hoffe, die Bilder der neuen Kunst würden einmal auf den Altären der Zukunft ihren Platz haben. -Franz Marc hat selbstverständlich recht, Herr Schreyer. Aber ich bin nüchterner als Franz Marc. Die Zukunft hat bereits begonnen. Sie ist schon heute da. Und es bedarf nur eines kleinen Mutes einiges einsichtiger geistlicher Herrn, um der Kunst des 20. Jahrhunderts in den Kirchen Raum zu geben. Die Kunst [dieses] Jahrhunderts aber bestimmen wir. -There is a well-known claim by Franz Marc, that he hoped for the examples of new art to be one day placed at the altars of the future. -Franz Marc was indeed right, Mr. Schreyer. But I am more prosaic than he was. The future has already begun. It is already here today. And what is needed in order to set the art of the twentieth century in a church space is merely a bit of courage in a single insightful spiritual man. The art of [this] century, though let us specify. Conversation between Lothar Schreyer and Wassily Kandinsky, Weimar, 1922 from Lothar Schreyer, Erinnerungen an Sturm und Bauhaus (1956).
Papers by Lilia Sokolova
Les destins de l'expressionnisme abstrait: à l'occasion du centenaire de la naissance de Guy de Montlaur (1918-1977), 2018
INHALTSVERZEICHNIS / TABLE OF CONTENTS Die Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift... more INHALTSVERZEICHNIS / TABLE OF CONTENTS Die Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien<br> No. 10 / 2021 (Open Access) GESAMTAUSGABE COVER INHALTSVERZEICHNIS PDF VORWORT / EDITORIAL Fabienne Eggelhöfer, Walther Fuchs, Osamu Okuda HTML PDF ARTIKEL PAUL KLEE | HANS BLOESCH, Die Korrespondenz 1898–1940<br> <strong>Oskar Bätschmann</strong> HTML PDF ERNESTINE SCHMITZBERGER, PAUL KLEE ET AL. – ZUR IDENTIFIZIERUNG VON LEBENSWIRKLICHKEIT<br> <strong>Wolfgang F. Kersten und Ginster Eheberg</strong> HTML PDF THE BLUE FOUR'S INCORPOREAL VOYAGE TO AMERICA<br> <strong>Lilia Sokolova</strong> HTML PDF »GESPALTENE« WERKE BEI PAUL KLEE<br> <strong>Marie Kakinuma</strong> HTML PDF WORKSHOP: »PAUL KLEE. ICH WILL NICHTS WISSEN« LULUWA-FIGUR AUS KONGO UND DREI SPEERE AUS PAPUA-NEUGUINEA IN PAUL KLEES NACHLASS<br> <strong>Osamu Okuda</strong> HTML PDF »M. FRANCI...
The Blue Rider was not an official association but rather a circle of friends and likeminded arti... more The Blue Rider was not an official association but rather a circle of friends and likeminded artists who gathered in Munich around Wassily Kandinsky and Franz Marc. Between 1911 and 1914 they organized two exhibitions and published one issue of The Blue Rider Almanac (FIG. 1). First World War put an end to the group's activities, taking the lives of Marc as well as »blue riders« Wladimir Burliuk and August Macke. The war also forced the Russian members of the group-Jawlensky, Kandinsky, and Marianne von Werefkin-to flee from Germany. After the war, Walter Gropius appointed three artists formerly associated with The Blue Rider to teach at the newly founded
Thirty years ago two West German churches, Saint Peter in Cologne and Hospital Church in Stuttgar... more Thirty years ago two West German churches, Saint Peter in Cologne and Hospital Church in Stuttgart separately from each other commenced series of contemporary non-sacramental and non-religious art exhibitions within their sacred spaces. Today in addition to their ongoing activities, over 3000 religious institutions across Germany welcome various types of non-traditional, i.e. secular, art forms to their active ritual spaces. While the early developments of the 1980s were met with criticism and even opposition, today one can almost take for granted the presence of abstract painting or sculpture inside of an urban church, and be mildly astonished by similar objects in a rural parish. Indeed when contemporary art seems to be ubiquitous, a Christian place of worship becomes yet another location for its public appearance. However, one’s encounter with art in a hotel lobby or a train station cannot be accurately compared to experiencing art in a space of worship. In the case of Christiani...
The Destinies of Abstract Expressionism: For the Centenary of Guy de Montlaur’s Birth, 2018
Wassily Kandinsky’s life-long adherence to Orthodox Christianity was a driving force in his explo... more Wassily Kandinsky’s life-long adherence to Orthodox Christianity was a driving force in his exploration of non-objective painting. Under the influence of the Russian Neo-Christian thinkers who aimed to revitalize Orthodox theology at the turn of the twentieth century, Kandinsky sought to imbue new vigor into art that could be simultaneously modern and Christian. While Kandinsky’s early works with overtly Christian themes of 1908–14 have received ample scholarly attention, this study explores religiosity inherent in Kandinsky’s art and writing produced after the First World War. By juxtaposing Kandinsky’s painting Fröhliche Struktur and the Eastern Orthodox icon The Ladder of Divine Ascent , this paper proposes that the kinship between his images and the Orthodox tradition of icon painting is in spiritual revelations that they are purposed to communicate. To gain a better understanding of Kandinsky’s non-objective oeuvre, it therefore helps to recognize the religious truths that the artist strove to impart in his works.
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Thesis Chapters by Lilia Sokolova
Papers by Lilia Sokolova