A late 19c/early 20century art movement that focuses on the freedom of expression. # [[Whitehot Magazine]] > https://whitehotmagazine.com/articles/on-expressionism-especially-german-expressionism/4387 Expressionism operates through what psychoanalyst Didier Anzieu calls the “destructive reversal” of the “skin ego” of the art object. This means that instead of presenting a smooth, flawless surface (as seen in classical and neo-classical art, which hides the labor behind it), Expressionism deliberately exposes the raw, “flayed” surface of the work. This act of primitivizing the art object defies the traditional, civilized presentation of art. While this destruction of the surface may seem nihilistic, it actually leads to a “creative reversal.” By turning the “skin inside-out,” Expressionism reveals inner [[Emotions]] and makes them a knowable reality, leading to an epistemological transformation that offers new insight into the emotional experience. Rainer Fetting![[Rainer Fetting - Van Gogh and Wall, 1983.jpg]] ![[Kandinsky, Composition VII, 1913.jpg]] In Expressionism, the material surface of the art object becomes highly expressive, evoking intense and unexpected emotions. The form of the artwork becomes secondary to the emotionalized matter, leading to a tendency towards formlessness. Expressionistic art portrays feelings as being in constant flux, making them difficult to control or contain within traditional forms like the human figure or geometric shapes. These forms are seen as attempts to suppress raw emotion, which is too powerful to be confined. In contrast to classical and neo-classical art, where form guarantees aesthetic credibility, Expressionism shifts focus to the material, prioritizing it over form. The artist embodies their emotions in the material rather than adhering to familiar, structured forms, making the art feel unfamiliar and emotionally provocative, even if the emotions expressed may resonate on a subconscious level. Freud’s concept of the “[[Skin]] ego,” which refers to the body’s surface as the first ego, is central to Expressionism. In this art movement, the artist returns to the visceral and instinctive aspects of being, aiming to rejuvenate and revitalize art that has become stale or decadent. Expressionism rejects the [[Control]] of classical art, which emphasizes the ego and superego, focusing instead on art’s [[Unconscious]], primitive roots. The spontaneous, instinctive gestures of Expressionism, as seen in artists like Van Gogh, embody the loss of ego control, often resulting in chaotic, emotionally charged works that reflect internal turmoil. This regression is evident in Van Gogh’s shift from socially conscious, representational art to instinctive, expressive works in Arles, where his emotions became increasingly uncontrollable, culminating in his suicide—paralleled in Jackson Pollock’s chaotic all-over paintings. In contrast, German Neo-Expressionists like [[Anselm Kiefer]] use expressive surfaces in a representational context. Kiefer’s allegorical works, like Germany’s Spiritual Heroes, incorporate raw materials like charcoal and burlap to create a tactile, emotionally charged experience that confronts Germany’s dark history, particularly [[The Holocaust]]. This hallucinatory representation engages both social and psychological themes, drawing the viewer into the artwork’s emotional and historical content. `Concepts:` [[Art]] `Knowledge Base:`