By Wilhelm Worringer
Wilhelm Worringer’s landmark learn within the interpretation of contemporary paintings, first released in 1908, has seldom been out of print. Its profound effect not just on paintings historians and theorists but additionally for generations of artistic writers and intellectuals is sort of unheard of. ranging from the inspiration that good looks derives from our feel of having the ability to spot with an item, Worringer argues that representational paintings produces pride from our “objectified have fun with the self,” reflecting a self belief on the planet because it is—as in Renaissance paintings. against this, the urge to abstraction, as exemplified by means of Egyptian, Byzantine, primitive, or glossy expressionist paintings, articulates a wholly diversified reaction to the area: it expresses man’s lack of confidence. therefore in ancient classes of hysteria and uncertainty, guy seeks to summary gadgets from their unpredictable nation and rework them into absolute, transcendental kinds. Abstraction and Empathy additionally has a sociological measurement, in that the urge to create fastened, summary, and geometric varieties is a reaction to the fashionable adventure of industrialization and the experience that particular id is threatened by way of a opposed mass society. Hilton Kramer’s advent considers the impression of Worringer’s thesis and areas his booklet in ancient context.
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Additional info for Abstraction and Empathy: A Contribution to the Psychology of Style (Elephant Paperbacks)
She was married to Walden, and even after the two separated 34 “I AM A POET, AFTER ALL” and then divorced, her works appeared regularly in Der Sturm until 1913, the year Klee began his professional association with Walden and published his translation of Delaunay’s essay in Der Sturm. Unfettered by the constraints of domestic responsibility, Lasker-Schüler moved freely in those quarters of Munich and Berlin where writers and artists mingled. 51 Grosz seems not to have responded in kind, evidently preferring the verbal energy of German expressionism to the imagistic concentration of Lasker-Schüler as a model for his own poetry.
79 Like the two stanzas quoted from “Music at Mirabell,” Klee’s poem evokes nature in an accumulation of discrete images that have no obvious temporal or spatial continuity. The internal structural coherence of both poems results from a rhythmic flow achieved by coordinating metric stresses, rhyme, and assonance. Rhythm also contributes to a consistency of mood, as does color imagery. Klee adapted these same poetic devices to the reiteration of his text in its visual setting. The second copy of the poem was hand-printed in blocky letters inscribed within colored squares that are similar though not uniform in shape.
By contrast, the viewer responds to the sensations evoked by colors, which communicate independently of a text that is intentionally obscured. The color palette of Once Emerged from the Gray of Night is, in fact, integrally related to the text, albeit conceptually rather than literally. It is significant that Klee chose a color scheme dominated by the complementary pairs of blue/orange, yellow/violet, and red/green. Helmholtz and other color theorists defined complementary colors as those that produce white when mixed in specific ratios.
Abstraction and Empathy: A Contribution to the Psychology of Style (Elephant Paperbacks) by Wilhelm Worringer