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Franz Kafka and his relationship with Felice Bauer

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Franz Kafka and his relationship with Felice Bauer

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"His audience in faraway Berlin... is a lone individual, but to him she is the whole world: Felice Bauer"

"hot-headed, enchanting, strange, unsettling letters."

How did Kafka's relationship with Felice Bauer influence his writings at the time? Can we get a better picture of emotions that are prevalent throughout his writing, fear of intimacy, self-sabotage, anxiety, through these letters to Felice?

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"Seldom in his life has anything hit Freud as hard as this act of parricide."

How did Freud's earlier research contribute to and shape what became of his research into parricide and what is now known as modern Freudianism?

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Perception of Women, Nudity, and Sexuality

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Perception of Women, Nudity, and Sexuality

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"Fear of women - the minute they take their clothes off."

Monte Verita was where a group of "free-thinkers, free spirits, and nudists" gather to do exercises, yoga and physiotherapy.

Two art studios in Vienna also were of note.

Egon Schieles were sensual and of a new style called "New Objectivity". They were strained and distorted, but still distinctly sexual.

Gustav Klimt's, however, were more soft and sensual as opposed to the more rugged/intense style of Schieles.

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Wanted to look more into the trends in the art world mentioned at the beginning of February.

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What led to Vienna being such a hub for creativity, and intellectuality?

"The most erotic city in the world"

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Further Characterization of Egon Schiele

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Further Characterization of Egon Schiele

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"Egon's relatinoship with his sisters Melanie and Gertie is unusually close: he repeatedly draws them naked, takes a gynaecological interest in their bodies as they awaken into puberty" (Illies 94).

Definitely a little bit more unusual then I was expected, but perhaps experiences so far on the other end of the spectrum is what is needed to break through the prudeness of the era, and is what led to his breakthroughs in views on women and sexuality.

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The extra information on Klimt furthers the theory that Schiele's family life is why his paintings are so different from Schiele's.

"[he] is still living with his mother at the age of fifty-one... half a dozen naked women or girls are walking about, stretching, lazing around, waiting until he summons them with a little wave of his hand. He wears nothing under his apron, so that he can take it off quickly when desire overwhelsm him... But he's home with Mum on the dot for dinnertime, or else he goes to the theatre with Emilie Floge" (Illies 96).

If I were to picture men who began shifting the cultures views on women and sexuality through nude artwork, I would more imagine one like Klimt and artwork like Klimt's, this definitely shows his more traditional or "usual" and "healthy" relationships influence the style of his paintings.

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"...would you think it a good thing if I came? ... I would do nothing in Berlin but wait for you" (Illies 100), and then after she says yes, "I dont know if I'll be able to come" (Illies 100).

It's interesting how well Illies' is able to characterize Kafka, despite not being written from his perspective at all, but this quote I think almost perfectly captures his essence, the longing, the anxiety, the unsuredness with which he thinks, the constamt mental turmoil he faces.

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I wonder if there is any writing and records on Felice Bauers perspective during this.

I wonder if she shares Kafka's eccentricity and anxiety in relationships, and if theres anything that can shed light on that.

After doing some research, it looks like there really isn't much.

As we have seen, Kafka often references her responses in his letters, but there is nothing really saved or recorded that came from her, and although she did speak about him publicly at times, she never really shared much information about her relationship with him.

Later in life it seems she married a banker and ran a store that sold knitting.

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I know very little of Picasso and his styles and life, so this shall serve to document some of the information I am learning and the root of further explorations.

Got cheated on by his lover and then ended up with her friend, who he went on to rename Eva.

Inspired his move from the "first phase of Cubism and a move to Synthetic Cubism" (Illies 105).

His relationship seems to be a lot healthier than I had first initially suspected due to the nature of its starting.

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"In art you must kill your father" (Illies 108).

Paternal relationships are always such a point of interest. Why are complex and tumultuous relationships so common for those who achieve greantess?

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Entire presentation done on this! Very interesting movement, don't feel it necessary to rehash everything I have learned.

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Another interesting chess piece moving around in the ever changing art scene of Illies' 1913.

I really love this piece, something about the way its angled and flowing upward really seems to capture this sense of sensuality and togetherness. Like their entire beings are about to float off together.

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"Then he goes out onto the street, into the cafes, the brothels, the bars, and sketches the crown of creation: the pig, mankind" (Illies 127).

I love this quote, not too sure yet why.

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Such an interesting mind that is easy to grasp but hard to understand.

His anxieties and mental turmoil seems neverending, the more i read the more it fits in the same picture of what I thought it to be, but still can never really truly understand the depths of it.

"He is given a choice between flowers and vegetables. Of course, Kafka chooses the vegetables" (Illies 135).

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What is to come

"Austro-Hungary doesn't have a chance against the attack from the French... at the final of the Madrid tennis tournament" (Illies 142).

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"I'll marry you if you create a real masterpiece" (Illies 144).

I think I've always underestimated the amount art plays in characterizing a time period. You can look at technological advancements, at buildings, at infrastructure, but without seeing the media built by the people, you can never really feel a time period.

Illies' does a great job at making me feel liek I'm discovering what it would be like to live in 1913.

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"Hitler packs his bags and takes the first train to Munich"

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"The disenchantment of the world" (Illies 148).

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"The disenchantment of the world" (Illies 148).

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Interesting quote, one I'm not sure if I've heard before, but one that makes me think a lot about how far humanity has come in its understandings of the world.

Not too long ago, millions of different phenomena were thought to simply be actions of gods or just accepted to be the way the world is, and in not much time, we have come to understand a reason for nearly every single physical phenomena, whether it being why the tides come in and out, or why lightning strikes, or why the planets make such interesting patterns across the sky from our perspective. I know there is still much that is not understood, but the idea of accepting something for the way it is is much less common.

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'Lasker-Schuler's confidant" (Illies 149).

'men afraid of too much femininity - Rainer Maria Rilke and Franz Kafka" (Illies 150).

These both give us interesting context on Marc's personal life, although it does not say much about him himself, just that he was taking long intervals to respond to her. I wonder if we can get more in depth context on his romantic relationship with his wife, and if that can give us any insight into his artwork and philosophies.

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Want to look further into the work of Else Lasker-Schuler

https://allpoetry.com/Else_Lasker-Schuler

Out of the few poems I have read, I really like "An old Tibetan carpet".

I think I just really like how it showcases the feeling of being interwoven with someone. Likening it to the threads on a rug, it reminds me a lot of the Camille Claudel sculpture I referenced here. The same idea that it conveys some sense of interwoven, deeper type of linking, of two people becoming one.

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Poems by Else Lasker-Schuler at Allpoetry

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"I carry you  around always / Between my teeth" (Illies 152).

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"I carry you  around always / Between my teeth" (Illies 152).

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Another quote/poem that I find really interesting, I have always loved those that liken love to need, hunger, desire, and violence.

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Seeing Kafka's perspective on others is always interesting, we see his perspective of Lasker-Schuler in one of his letters to Bauer, his derision clear.

I wonder what interactions warrant this, is it simply that he truly does not appreciate her work, or is it a clash of personalities?

Always in awe of how interconnected these big names were during this time period.

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Want to address some of the more political side of things.

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"And the war keeps threatening to come" (Illies 157).

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"And the war keeps threatening to come" (Illies 157).

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I wonder how the impending war affects the mindset and life of those living in Germany, the cloud of war and the knowledge of what is to come, how does it affect the mindset and the media that comes forth from the time period?

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Afred Redl convicted of espionage,

"City is frozen in shock" (Illies 159), I wonder if there are more personal accounts of the betrayal and more on his relationships with others at the time

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Extremely interesting read that gave me information I was not even looking for.

The root cause that initially sparked his journey into spying for Russia was two fold: money problems, and homosexuality. He was already struggling with money to uphold type of life that was typical of an officer, while also needing to pay an essentially pretend wife to hide his homosexuality.

Once the Russians learned of this they sought him as a vulnerable target and made him their spy.

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The man who eventually caught his eye and became his lover was Stefan Hromodka.

A young man who continued straining Redl's finances.

Redl was eventually transferred to Prague and had trained a man named Ronge to take over his post. At some point in the future Hromodka insinuated that he would break off from Redl and marry someone else, and as is so common in history and fiction, Redl's lover indirectly resulted in his downfall. After rushing back to Vienna to speak with Hromodka, he picked up some letters waiting for him under an alias, and was immediately caught by his successor Ronge as the spy he had been staking out.

So interest

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As is consistent with the rest of the book, the everyday portrayal and telling of such influential characters of history is so intriguing. From Hitlers loaf of bread and milk every day, to him trying to sell watercolors to tourists, learning of a mundanity of otherwise extraordinary people.

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The wedding of Princess Victoria Louise to Duke Ernst August is described as the "greatest social event of the young century" (Illies 171).

It says that Franz Ferdinand was not invited due to his "unsuitable bride" (Illies 172).

After doing a little bit of research (https://en.wikipedia.org/wiki/Sophie,_Duchess_of_Hohenberg)

it seems to be ebcause of the fact that she is not of royal blood, rendering their marriage a "morganatic" marriage, and stripping their children of any inheritance. I understand that it was pretty important for both parties to be of equal class, but I thought by the early 20th century this wasn't still such an important factor in societal acceptance.

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"He cannot forgive her for destroying the fruit of their love" (Illies 179). I wish we had further understanding on why Alma decided to abort the child. The type of fervent or manic artists such as Kokoschka are painted even more interesting as we begin to understand their everyday life.

His desire to be beat during sexual activities is also interesting and seems to be pretty fitting with his relationship with Alma. He desires more and more and just wants to be able to feel a type of intensity it seems she cannot give him.

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"There will be no Great War" (Illies 185).

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"higher beings are, in essence, nice to one another... conflict only arises in the animal kingdom when an opponent is deliberately provoked" (Illies 185).

But what is considered provocation? Is it the taking of something you ahve, or is it not letting someone take what you have? What if I want something only someone else has, how far does one go being "nice" to an agressor?

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Curious on the look of this painting.

Very haunting look on his face, apt name. It's almost as if you can feel what he's feeling, that sinking stomach, the closing throat, the emotional sickness.

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How often do we let anger and regret keep up from achieving what truly matters?

"lays his fountain pen aside. The enchanted mountain will have to wait. He writes to his lawyer, instructing him to pressurize the rug trader into paying up" (Illies 188).

As I read this I wonder if we will ever hear of this tale again, "The Enchanted Mountain", I have never heard of it, but I also have not heard of 99% of the works mentioned in this book, will the story be written once the rug problem is sorted, or did the story end right there, with his pen laid down on the table.

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Despite the assuredness with which everyone believes a world war is unfeasible, the 6x increase in peacetime troops is a little concering. I wonder what those who were so certain a war could not come thought when hearing of this news from the Reichstag.

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I didn't even really ocnceive the idea of school shootings happening so early in history, is this one of the first since firearms were invented?

https://www.washingtonpost.com/history/2022/05/25/first-school-shooting-louisville-ward-butler/

Seems like there was one all the way in 1857 in the U.S.

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The first U.S. school shooting was in 1853. Its victim was a teacher.

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“I have a little matter to settle with you,” Matt Ward told teacher William H.G. Butler. Then he shot him in the chest. It was the first documented primary or secondary school shooting in the United States.

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Interesting painting, I remember I came across it during my work for Der Blaue Reiter, but did not really understand the significance nor the historical context, the abrupt change from his usual style makes a lot more sense and. gives this painting more meaning now.

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Funny name, I wonder about the german publics reception to him and his reputation. What was propaganda and media control like? What type of emperor truly was he? And how accurate to his reign was his reputation?

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"The Worst Marriage Proposal in the World" (Illies 199).

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"The Worst Marriage Proposal in the World" (Illies 199).

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Twenty page long marriage proposal, from the continually developing insights into Kafka's life from Illies, I truly could not imagine it any other way.

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I feel like not much has been said about nationalism as of yet, Vienna has shown to be a cultural center for all regardless of nationality, but we're starting to see hints at the rising nationalistic ideals.

"You died in battle / as a loyal German man" (Illies 202).

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"Everyone goes half-mad in their hotel rooms. But still: Matisse brings Picasso a bunch of flowers" (Illies 207).

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One of the leading members of the Der Blaue Reiter movement, Illies speaks about his intimate relationship with Max Ernst.

As before, Illies way of contextualizing the small details of prominent figures always intrigues me and it is nice to hear about the small details, romanticizing the mundane.

"Macke even uses a notebook with a few lecture notes by Ernst as a sketchbook" (Illies 209).

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Piazza d'Italia (Chirico 1913).

I was curious on what this piece looked like after reading that it was described as showing "nothingness" (Illies 210).

It is quite strange, it feels almost alien, the color of the sky, the stark contrast between the sunlit parts of the building and the shadowed, along with the length and angle of the shadows themselves. Its empty, two people alone in the field of what looks like a plaza that should have held a lot more buildings then three.

"The good new artists are philosophers who have overcome philosophy" (Illies 210).

Perhaps this quote can help shed some more light on what he intended with the painting, and what he is trying to convey.

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Spent with his patron Arthur Roessler, invited in the hopes that he would paint for him, but he doesn't.

"He can do perfect imitations of train whistles, coupling, shunting, squealing. He asks Roessler to join in. Someone has to do the announcements at the little station" (Illies 212).

i don't really know what about this seems almost hopeful. Is it just the mundane show of humanity that Illies somehow surprises me with again and again? It's like dancing in the kitchen, the joy in the the regular.

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"The court only agreed after wife and children had renounced all claims. So Sophie was condemned to a life in teh shadows... She was even forbidden to sit next to her husband in the imperial box at the Burgtheater or the Hofoper" (Illies 213).

Tragic circumstances imposed by a still conservative society, but it's nice to know that he was happy, free of the common responsibilities and burden of the court.

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"Henri Matisse keeps dropping round to ask after him. He came today to bring Picasso flowers" (Illies 213). The never ending displays of humanity. I'm going to keep quoting them as they always speak to me in some way.

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Wanted to do some more research into Matisse as I know little about him.

https://www.henrimatisse.org/

Son of florists.

Australian painter John Russell introduced him to impressionism, gifting him a painting of Van Gogh. Afterwards, Matisse's style changed completely, abandoning all the earth tones for bright colors.

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Henri Matisse (31 December 1869 - 3 November 1954), one of the undisputed masters of 20th century art, was a French artist, known for his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter. Matisse is commonly regarded, along with Picasso and Marcel Duchamp, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting and sculpture. Although he was initially labeled a Fauve (wild beast), by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the expressive language of colour and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art.

Early life and education

Henri Matisse was born in Le Cateau-Cambresis, Nord, France. He grew up in Bohain-en-Vermandois, Picardy, France, where his parents owned a flower business; he was their first son. In 1887 he went to Paris to study law, working as a court administrator in Le Cateau-Cambrésis after gaining his qualification. He first started to paint in 1889, after his mother brought him art supplies during a period of convalescence following an attack of appendicitis. He discovered "a kind of paradise" as he later described it, and decided to become an artist, deeply disappointing his father. In 1891, he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau and Gustave Moreau. Initially he painted still-lifes and landscapes in a traditional style, at which he achieved reasonable proficiency. Matisse was influenced by the works of earlier masters such as Jean-Baptiste-Siméon Chardin, Nicolas Poussin, and Antoine Watteau, as well as by modern artists such as Edouard Manet, and by Japanese art. Chardin was one of Matisse's most admired painters; as an art student he made copies of four Chardin paintings in the Louvre.

With the model Caroline Joblau, he had a daughter, Marguerite, born in 1894. In 1898 he married Amélie Noellie Parayre; the two raised Marguerite together and had two sons, Jean (born 1899) and Pierre (born 1900). Marguerite and Amélie often served as models for Matisse.

In 1896, Matisse, an unknown art student at the time, visited the Australian painter John Russell on the island Belle Ile off the coast of Brittany. Russell introduced him to Impressionism and to paintings of Vincent van Gogh - who had been a friend of Russell - and gave him one of Vincent van Gogh's drawings. Matisse's style changed completely; abandoning his earth-coloured palette for bright colours. He later said "Russell was my teacher, and Russell explained colour theory to me."

In 1898, on the advice of Camille Pissarro, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica. Upon his return to Paris in February 1899 he worked beside Albert Marquet and met André Derain, Jean Puy, and Jules Flandrin. Matisse immersed himself in the work of others and went into debt from buying work from painters he admired. The work he hung and displayed in his home included a plaster bust by Rodin, a painting by Gauguin, a drawing by Van Gogh, and Paul Cézanne's Three Bathers. In Cézanne's sense of pictorial structure and colour Matisse found his main inspiration.

Many of Matisse's paintings from 1898 to 1901 make use of a Divisionist technique he adopted after reading Paul Signac's essay, " Eugene Delacroix and Néo-impressionisme". His paintings of 1902-03, a period of material hardship for the artist, are comparatively somber and reveal a preoccupation with form. Having made his first attempt at sculpture, a copy after Antoine-Louis Barye, in 1899, he devoted much of his energy to working in clay, completing The Slave in 1903.

Fauvism

His first solo exhibition was at Ambroise Vollard's gallery in 1904, without much success. His fondness for bright and expressive colour became more pronounced after he spent the summer of 1904 painting in St. Tropez with the neo-Impressionists Signac and Henri Edmond Cross. In that year he painted the most important of his works in the neo-Impressionist style, Luxe, Calme et Volupté. In 1905 he traveled southwards again to work with André Derain at Collioure. His paintings of this period are characterized by flat shapes and controlled lines, and use pointillism in a less rigorous way than before.

In 1905, Matisse and a group of artists now known as "Fauves" exhibited together in a room at the Salon d'Automne. The paintings expressed emotion with wild, often dissonant colours, without regard for the subject's natural colours. Matisse showed Open Window and Woman with the Hat at the Salon. Critic Louis Vauxcelles described the work with the phrase "Donatello au milieu des fauves!" (Donatello among the wild beasts), referring to a Renaissance-type sculpture that shared the room with them. His comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage. The exhibition garnered harsh criticism "A pot of paint has been flung in the face of the public", said the critic Camille Mauclair but also some favorable attention. When the painting that was singled out for special condemnation, Matisse's Woman with a Hat, was bought by Gertrude and Leo Stein, the embattled artist's morale improved considerably.

Matisse was recognized as a leader of the Fauves, along with André Derain; the two were friendly rivals, each with his own followers. Other members were Georges Braque, Raoul Dufy and Maurice de Vlaminck. The Symbolist painter Gustave Moreau (1826 - 1898) was the movement's inspirational teacher; as a professor at the École des Beaux-Arts in Paris, he pushed his students to think outside of the lines of formality and to follow their visions.

What I dream of is an art of balance, purity, and serenity devoid of troubling or depressing subject matter... a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue. "
- Henri Matisse

In 1907 Apollinaire, commenting about Matisse in an article published in La Falange, said, "We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable." But Matisse's work of the time also encountered vehement criticism, and it was difficult for him to provide for his family. His controversial 1907 painting Nu bleu was burned in effigy at the Armory Show in Chicago in 1913.

The decline of the Fauvist movement after 1906 did nothing to affect the rise of Matisse; many of his finest works were created between 1906 and 1917, when he was an active part of the great gathering of artistic talent in Montparnasse, even though he did not quite fit in, with his conservative appearance and strict bourgeois work habits. He continued to absorb new influences: after viewing a large exhibition of Islamic art in Munich in 1910, he spent two months in Spain studying Moorish art. The effect on Matisse's art was a new boldness in the use of intense, unmodulated colour, as in L'Atelier Rouge (1911).

Matisse had a long association with the Russian art collector Sergei Shchukin. He created one of his major works La Danse specially for Shchukin as part of a two painting commission, the other painting being Music, 1910. An earlier version of La Danse (1909) is in the collection of The Museum of Modern Art in New York City.

Gertrude Stein, Académie Matisse, and the Cone sisters

Around 1904 he met Pablo Picasso, who was 12 years younger than Matisse. The two became life-long friends as well as rivals and are often compared; one key difference between them is that Matisse drew and painted from nature, while Picasso was much more inclined to work from imagination. The subjects painted most frequently by both artists were women and still life, with Matisse more likely to place his figures in fully realized interiors. Matisse and Picasso were first brought together at the Paris salon of Gertrude Stein and her companion Alice B. Toklas. During the first decade of the 20th century, Americans in Paris, Gertrude Stein, her brothers Leo Stein, Michael Stein and Michael's wife Sarah were important collectors and supporters of Matisse's paintings. In addition Gertrude Stein's two American friends from Baltimore, the Cone sisters Clarabel and Etta, became major patrons of Matisse and Picasso, collecting hundreds of their paintings. The Cone collection is now exhibited in the Baltimore Museum of Art.

While numerous artists visited the Stein salon, many of these artists were not represented among the paintings on the walls at 27 Rue de Fleurus. Where Monet, Cézanne, Matisse, and Picasso's works dominated Leo and Gertrude Stein's collection, Sarah Stein's collection emphasized Matisse.

Among Pablo Picasso's acquaintances who also frequented the Saturday evenings were: Fernande Olivier (Picasso's mistress), Georges Braque, André Derain, the poets Max Jacob and Guillaume Apollinaire, Marie Laurencin (Apollinaire's mistress and an artist in her own right), and Henri Rousseau.

His friends organized and financed the Académie Matisse in Paris, a private and non-commercial school in which Matisse instructed young artists. It operated from 1907 until 1911. Hans Purrmann and Sarah Stein were amongst several of his most loyal students.

There are always flowers for those who want to see them. " - Henri Matisse

After Paris

In 1917 Matisse relocated to Cimiez on the French Riviera, a suburb of the city of Nice. His work of the decade or so following this relocation shows a relaxation and a softening of his approach. This "return to order" is characteristic of much art of the post-World War I period, and can be compared with the neoclassicism of Picasso and Stravinsky, and the return to traditionalism of Derain. His orientalist odalisque paintings are characteristic of the period; while popular, some contemporary critics found this work shallow and decorative.

In the late 1920s Matisse notably once again engaged in active collaborations with other artists. He worked with not only Frenchmen, Dutch, Germans, and Spanish, but also a few Americans and recent American immigrants.

After 1930 a new vigor and bolder simplification appeared in his work. American art collector Albert C. Barnes convinced him to produce a large mural for the Barnes Foundation, The Dance II, which was completed in 1932. The Foundation owns several dozen other Matisse paintings.

He and his wife of 41 years separated in 1939. In 1941, he underwent surgery in which a colostomy was performed. Afterward he started using a wheelchair, and until his death he was cared for by a Russian woman, Lydia Delektorskaya, formerly one of his models. With the aid of assistants he set about creating cut paper collages, often on a large scale, called gouaches découpés. His Blue Nudes series feature prime examples of this technique he called "painting with scissors"; they demonstrate the ability to bring his eye for colour and geometry to a new medium of utter simplicity, but with playful and delightful power.

In 1947 he published Jazz, a limited-edition book containing prints of colorful paper cut collages, accompanied by his written thoughts. In the 1940s he also worked as a graphic artist and produced black-and-white illustrations for several books and over one hundred original lithographs at the Mourlot Studios in Paris.

Matisse, thoroughly unpolitical, was shocked when he heard that his daughter Marguerite, who had been active in the Résistance during the war, was tortured (almost to death) in a Rennes prison and sentenced to the Ravensbrück concentration camp.

According to David Rockefeller, Matisse's final work was the design for a stained-glass window installed at the Union Church of Pocantico Hills near the Rockefeller estate north of New York City. "It was his final artistic creation; the maquette was on the wall of his bedroom when he died in November of 1954", Rockefeller writes. Installation was completed in 1956.

If my story were ever to be written truthfully from start to finish, it would amaze everyone. "
- Henri Matisse

Legacy

In 1951 Matisse finished a four-year project of designing the interior, the glass windows and the decorations of the Chapelle du Rosaire de Vence, often referred to as the Matisse Chapel. This project was the result of the close friendship between Matisse and Sister Jacques-Marie. He had hired her as a nurse and model in 1941 before she became a Dominican nun and they met again in Vence and started the collaboration, a story related in her 1992 book Henri Matisse: La Chapelle de Vence and in the 2003 documentary "A Model for Matisse".

He established a museum dedicated to his work in 1952, in his birthplace city, and this museum is now the third-largest collection of Matisse works in France.

Matisse died of a heart attack at the age of 84 in 1954. He is interred in the cemetery of the Monastère Notre Dame de Cimiez, near Nice. Just like William Shakespeare on literature, and Sigmund Freud on psychology, Henri Matisse's impact on Fauvism movement is tremendous. Thanks to the influence he had on painting following the Second World War, Henri Matisse's reputation is higher than it has ever been before. Following the principle discussed by Hans Hofmann, that color was responsible for structural configurations behind the picture, was showcased in American abstract art. Works of Jackson Pollock, Mark Rothko, and other color field painters, showcased this style in their pieces. Following this concept, Matisse is an influential figure of the 20th century, and a decisive figure of the time. By defining a clearly pictorial language, of colors and arabesque lines, rather than looking at painting as a means to an end, Matisse had a great impact on future movements, and works, produced by artists in the 20th century.

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Henri Matisse: 100 Famous Paintings Analysis, Complete Works, & Bio

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Henri Matisse (31 December 1869 - 3 November 1954), one of the undisputed masters of 20th century art, was a French artist, known for his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter.

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I really love the bright colors, and think this is a really good portrayal of his impressionistic style, with the curvy trees and the leaves that are distinct yet fade together to createa. background.

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This one kind of stood out to me because of the depiction of the sailors face, he looks cat-like! Very interesting.

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"He wants to be entirely ordinary... he writes letters of wonderful ordinariness to Fau Schratt" (Illies 217).

Reminiscent of so many stories I like whether fictitious or real, where some great hero or villain or character just gets a little bit of time to act entirely normal and always reminisce on their time doing nothing important.

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"comes to the museum, falls to her knees with enthusiasm; her paintings of Prince Yussuf soon bear the features of Amenophis IV, also known as Akhenaten" (Illies 219).

Wanted to take a look at her paintings of Prince Yussuf.

https://www.rixdorfeditions.com/blog/2022/7/5/images-of-jussuf

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One of the many fascinating things about Else Lasker-Schüler’s career is that through her dynamic, luminous illustrations, we have an insight into how she herself saw the characters who appear in her writings. In particular, the biblical figure of ‘Jussuf’ (Joseph/Jusuf, the favoured son of Jacob wi

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Self-portrait as Prince Jussuf (Lasker-Schuler 1913).

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Self-portrait as Prince Jussuf (Lasker-Schuler 1913).

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Of the same style as the rest of them, pretty interesting, not sure how I feel about it, likely need more context to really understand her style.

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‘Jussuf Prince Tiba’ (Lasker-Schuler 1913).

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‘Jussuf Prince Tiba’ (Lasker-Schuler 1913).

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Reminds me of the style of some children's movie I can't put my finger on, the facial features specifically.

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Jussuf with spear (Lasker-Schuler 1913).

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Jussuf with spear (Lasker-Schuler 1913).

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"Summer is passing and I dont feel it" (Illies 223).

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"Summer is passing and I dont feel it" (Illies 223).

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Something simple yet strong here.

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Almost the archetype of madly in toxic love. Almost married but then she runs off, he writes her letters with crazy declarations, "For example, I'm uncomfortable with a thug of a doctor feeling you up, a waitress seeing you partially undressed or in youd bed and so on" (Illies 224). I have to applaud him for clearly stating his boundaries i guess, amusing as they may be.

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Drowns himself in his paintings, in his manic rage to create his "masterpiece", I wish i had more context on Alma's side of things, on her seductions, her wile, and how they began.

"You can't marry a 'Wind-Bride'. Only paint one" (Illies 227). Such an impactful line that seems to contextualize so much of love and passion. Capturing the difficulty with which it is to see things clearly while you are still a part of it.

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"Picasso and Matisse go horse-riding together" (Illies 228).

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Is there any other information on this artist who was forgotten under the sand.

Couldn't find much. What a shame.

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I wonder what stage he's at in his career at this point, is he the household name yet? Or is he still relatively early in his career, not yet achieving his current notoriety,

https://psychoanalysis.org.uk/our-authors-and-theorists/sigmund-freud#:~:text=In%201909%20they%20travelled%2C%20along,of%20the%20Viennese%20medical%20community.

It seems like he became a global name after giving various lectures in the U.S.A in 1909, which had already occurred at this point. But how much further does his name continue to grow?

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Sigmund Freud | Institute of Psychoanalysis

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Sigmund Freud was the founder of psychoanalysis and, over his immensely productive and extraordinary career, developed groundbreaking theories about the nature and workings of the human mind, which went on to have an immeasurable impact on both psychology and Western culture as a whole. Sigismund Schlomo Freud was born on 6th May 1856 to Jewish parents, Amalia and Jakob Freud,

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"head back to pulsating Paris in search of some 'peace and quiet'" (Illies 245). Amusing to think that anyone has ever gone to Paris in search of peace and quiet, much less a globally acknowledged artist.

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Interested to see his works in photography.

https://galeriemarenzi.at/heinrich-kuehn/

https://www.artic.edu/artists/14425/heinrich-kuhn

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„Impressionistische Fotografien“ 21. April- 2. Juni 2018

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This is my favorite photograph from him. Something about the lighting makes it feel so ethereal. The white of the windows is bright but does not blind the rest of the scene, and then goes on to perfectly illuminate the front half of her dress to the point where it also melds with the window, details discernible in some places, and not others. Giving her some sense of divinity or etherealness in my eyes.

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I also like the framing on this one, honestly if not for the black and white, it seems like something I'd see today on someone's Instagram feed.

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Militarism butts its head once more

"You know how it is, Herr Kuhn" (Illies 255).

The money that could have potentially been spent for the state photography teaching position for Kuhn was instead spent in the military. Once more showing the continuing slide towards militarism and thus an inevitable (but also "impossible") war.

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Beautiful.

"intended to resolve all unresolved issues between nations" (Illies 256). Quite the grand expectations for this peace conference, is this truly what people at the time believed, or was it just the narrative pushed by those hosting. What is the current opinion of the people? Do they still believe that a world war would be "impossible" or has the continued rush towards militarism become more worrying for the public?

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Feel the warmth of the peace flame on your back as you admire the most photographed building in The Hague: the Peace Palace. It is the seat of the International Court of Justice, the only judicial organ of the United Nations not located in New York, and the Permanent Court of Arbitration. This beautiful Neo-Renaissance style building, which was actually the winning design of an architecture competition in the early nineteen hundreds, and the organisations it houses have given The Hague worldwide recognition as the internationale city of Peace and Justice.

The Eternal Peace Flame burns beside the entrance to the Peace Palace. The first peace flame in the Netherlands was placed beside the entrance gates to the Peace Palace on 18 April 2002. The monument bears the inscription: "May all beings find peace". Since 2004, the monument has been surrounded by the World Peace Path, which consists of a path of 196 large and small stones from 196 countries. Some of these stones are unique: they include, for example, a piece of stone from the Berlin Wall and a stone from Robben Island where Nelson Mandela was imprisoned for many years.

The Peace Palace can be viewed under the supervision of a guide. Booking in advance is required. An interactive exhibition can be viewed in the Visitor Centre.

Virtual visitors can admire the spectacular architecture, the mesmerising interior and all of the original details. For the online tour more than 400 High Dynamic Range photographs were taken with a 360° camera and then drawn together with the most advanced software. From today, the virtual tour is freely accessible via the website of the Peace Palace: Virtual Tour
www.peacepalace.org/virtualtour

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Feel the warmth of the peace flame on your back as you admire the most photographed building in The Hague: the Peace Palace. It is the seat of the International Court of Justice, the only judicial organ of the United Nations not located in New York, and the Permanent Court of Arbitration.

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"The stars look bad on 9th September" (Illies 261).

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Have not heard of this piece of Mann's work yet, going to read a quick plot synopsis to try picking out any themes or anything I have previously learned about him.

https://en.wikipedia.org/wiki/Death_in_Venice

Another story where a disease plays a major role in the setting, with the quarantining of cholera. Interesting how he uses illness as almost a catalyst towards self-discovery/reflection.

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I like how this character was introduced:

"Brecht is fifteen. Marie Rose Amann is twelve. Unfortunately they haven't yet met; he hasn't held her in his arms like a lovely dream, as he will later write in 'Memory of Marie A'" (Illies 265).

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"the stars are shining" (illies 268).

Once again its always the little details that seem to call out at me, this one in particular because it was mentioned how the stars look bad the following day on the 9th.

If they had met just a day later, would they still have become as entranced by each other, would she think that "he recognizes my essence" (Illies 268).

I am also continually impressed and curious about how Illies was able to compile such information about the small details in the lives of these characters. The quote I had just mentioned was also quoted, indicating that it was form some journal or some account, but what about how she "even lets Kraus stroke Bobby... which no one else is allowed to touch" (Illies 268).

It really does amaze me how he was able to compile these details.

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Louis Armstrong is mentioned, just having turned thirteen, I wonder at the decision to include him in this story.

As a thirteen year old boy halfway across the Earth, he does not have any real influence at this point over any events in the story. Given the novels focus on European events, the shift of focus even for a minute, intrigues me.

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I had initially thought that this was referring to Duke Ernst August and was surprised how his mass murder spree was just getting brushed over.

https://en.wikipedia.org/wiki/Ernst_August_Wagner

Some light research has shown that he tried to commit suicide twice, after being caught in an act of bestiality. It seems the ridicule and depression ultimately led him to committing his acts of murder. Seems to just have been rather troubled for most of his life.

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Despite the fact that he is already quite well known, the Fourth Congress of the International Psychoanalytic Association receives only about 140 attendees. I guess it may be because of the fact that psychoanalysis and treatment of the mind is still not as widely regarded and has not been fully developed yet, that even as a large name in the space, his reach is still quite small.

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Kafka is on his way to a sanatorium!

Without having read excerpts from The Magic Mountain, I likely would not be able to contextualize this experience enough.

"He writes his last letter to Felice Bauer for the time being... He has recognized that he cannot produce great art if he yields to love and life" (Illies 275).

Quite interesting of a thought from him, as so much of his work is an expression of his deep and strong emotions, I wonder what experience or train of thought has prompted this out of him? Is it truly the lack of love that feels freeing and relieving to him, or is it just one less thing for his anxious mind to spiral over?

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I wonder what will be coming from him now, his letters to Felice done for the time being atleast, his mind mildly more at rest, what will he accomplish and where willhis life lead next?

"He has plunged for ten days into a childlike passion that will lead nowhere" (Illies 277).

Such an impactful way to conclude this section on Kafka, a time where he was finally free from the burden of his mind, and yet we are told right away that there will be no more to come from this.

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"a yearbook in letters" (Illies 277).

Reminds me much of 1913 itself!

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Work seemingly organized by Franz Marc and August Macke, two of the members of Der Blaue Reiter!

"It is an aesthetic alliance across all boundaries, a demonstration of the solidarity of the avant-garde beyond all foreign political skirmishes" (Illies 280).

Very interesting! It seems to be much like the Der Blaue Reiter Almanach, a celebration of diversity, an almost "call to arms" for all artistic expression.

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"Never has pretention been more presumptuous, never less well-founded" (Illies 281).

It's actually really interesting to me how such a slight shift in tone or audience preconception can lead to such a drastically different reaction in the realm of art. I am thinking about my own experiences with contemporary art and how I thought of it before doing my project on Der Blaue Reiter, and if I had to describe it simply, it really would just be with the word "pretentious". But such a small shift in perspective helps me see it so differently, that it really is experimental, that someone is trying to find something outside the realm of normal, the beauty beyond what is seen in nature.

I don't entirely know where I am going with this, but I think I am trying to emphasize the fine line between the idea of painting something abnormal that only an eye that is not exactly intuitive to appreciate, and being seen as looking down upon those who don't appreciate it.

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"Freud picks up his hat - and throws it at some mushrooms" (Illies 285).

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The Free German youth groups kind of remind me of hippies, protesting against hyper German patriotism along with a strong focus on environmental causes.

Never really thought of it before, but I'm wondering now whether more counter culture / anti-war groups are affiliated with nature in some way, seems to be an almost natural combination.

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"My greetings to the youth that is no longer drinking/Instead, hiking through Germany and thinking" (Illies 289).

Try to do too much at once and you'll accomplish nothing.

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Nice to see some context to the little blurb at the beginning of the chapter. For a man with such an odd characterization and polarizing view points, its nice to see his normal relationships.

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"Dont destroy, but rather get closer to life" (Illies 291). A mention of a counter to Futurism, addressed to Marinetti.

Wondered if this was actually a movement of sorts and found this:

https://www.jstor.org/stable/405005

Skimmed through it and saw that Doblin tried to get his literature to be as close to reality as possible. I am not entirely familiar with Futurism enought o fully understand what their stance on it is, but with expressionism and specifically in the Der Blaue Reiter group, reality and realism was looked at as kind of a false goal, a beauty that was materialistic, and you could only transcend to some higher and more pure form of beauty by forgoing it. So I find Doblins points interesting.

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Judith Ryan, From Futurism to “Döblinism”, The German Quarterly, Vol. 54, No. 4 (Nov., 1981), pp. 415-426

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Exploration into the mentioned paintings, the paintings of his "visions of horror" (Illies 295).

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https://collections.lacma.org/node/2234080

I have not seen art from Meidner before, but I really like the style utilized. Broad strokes with plenty of contrast in between them, along with the perception being entirely warped as your eyes move along the different background pieces. It feels almost as if the whole land is being sucked into different directions, he does it very fluidly as its clear its done with intent rather than simply being off.

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Once again very interesting perception. Both paintings actually feel more like his thoughts than an actual landscape, it gives the feeling that these buildings popping up at different angles are actually sprouting from his mind, and the darkness above his head is slowly engulfing them.

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Ludwig Meidner: I and the City, 1913 [Print]

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Printed on archival paper, 9 3/4 x 12 1/8 inches.
Mounted on a 14 3/4 x 16 5/8 inch matte.Designed and printed at Thornwillow Press in Newburgh, New York under…

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https://www.sothebys.com/en/articles/german-expressionist-ludwig-meidners-prophetic-vision-of-a-world-at-war

I'm continuing to more and more feel as though his art style is more reminiscent of a memory then it would be if the style was more realistic. It feels as though you are in the place of the running man, because when i remember scenes or experiences, they are not of photographic quality but of feelings, and i think this conveys those feelings.

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Another connection in the spiderweb of this book, seems to be Camille Claudels brother.

Going to do some research into his play L'Annonce faite a Marie.

https://fr.wikipedia.org/wiki/L%27Annonce_faite_%C3%A0_Marie

Claudel himself participated! Another piece of art where a disease is a prominent catalyst, this one being leprosy.

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L'Annonce faite à Marie est un " mystère " en quatre actes et un prologue de Paul Claudel créé le par la troupe du théâtre de l'Œuvre ( salle Malakoff) dans une mise en scène d' Aurélien Lugné-Poe à laquelle participe Claudel lui-même. Bien qu'il ne s'agisse pas du premier texte de théâtre de l'auteur du Partage de midi, c'est la première pièce jouée. La pièce sera recréée dans une nouvelle version en 1948 au théâtre Hébertot.

Historique

Une première version de la pièce a été publiée sous le titre de La Jeune Fille Violaine en 1892, remaniée en 1899 (elle sera créée sur scène en 1944, salle Iéna).

La pièce a été jouée le au Teatro municipal de Rio de Janeiro lors de la tournée de propagande de la troupe de Louis Jouvet pour le gouvernement de Vichy avant d'être reprise le au théâtre de l'Athénée à Paris. La pièce a été traduite en polonais (1914), italien (1931), slovaque (1940) et néerlandais (2014).

L'aqueduc romain de Vieu-en-Valromey (fontaine de l'Adoue au hameau de Chongnes) dans l' Ain aurait servi d'inspiration à Claudel pour le sujet de sa pièce ainsi que le rappelle une plaque à l'embouchure du souterrain. [réf. nécessaire] Le titre définitif est une référence à l' Annonciation.

Dans un " Moyen Âge de convention ", Violaine, fille d' Anne Vercors, et fiancée à Jacques Hury, rencontre l'architecte Pierre de Craon, qui l'a autrefois désirée et a, depuis, contracté la lèpre. Violaine consent à lui donner, par compassion et charité, un baiser d'adieu. Mais la scène a été surprise par sa sœur Mara, amoureuse de Hury, et celle-ci va tout tenter pour nuire à sa rivale. C'est à ce moment que le père, Anne, annonce son intention subite d'abandonner la prospérité du domaine familial pour se rendre en Terre sainte laissant à Jacques le patronage de la maison et la main de Violaine.

À la suite du baiser donné à Pierre de Craon, Violaine contracte également la lèpre et, dénoncée par sa sœur, elle se voit reniée par les siens et abandonnée par son fiancé qui l'envoie dans une léproserie et épouse Mara. Elle se retire dans la forêt malade pour se vouer à Dieu. Mais voici que meurt l'enfant né du mariage de Mara et de Jacques. Désespérée, Mara va supplier la lépreuse dans sa caverne durant la nuit de Noël : elle ne l'aime pas, mais elle a foi dans la vertu de sa sainteté qui peut obtenir de Dieu un miracle. Violaine l'associe à ses prières et ressuscite l'enfant dont les yeux prennent alors la couleur des yeux bleus de Violaine alors qu'ils étaient noirs comme ceux de Mara.

À l'acte suivant, Violaine est tuée par Mara, toujours jalouse et, avant de mourir, elle obtient pour cette dernière le pardon de son père et de son mari. Et, tandis que la lèpre de Pierre de Craon a été mystérieusement guérie, Mara trouve enfin la paix dans le pardon, au son des cloches de l' Angélus dont le premier versicule donne son titre à la pièce : Angelus Domini nuntiavit Mariae (" L'ange du Seigneur apporta l'annonce à Marie "). L'histoire de cette jeune fille Violaine devenant progressivement une sainte, assimilée à la Vierge Marie, donne finalement la signification de ce mystère : la " possession d'une âme par le surnaturel ", comme l'a décrit Claudel lui-même.

La pièce est créée par la troupe du Théâtre de l'Œuvre dans une mise en scène d'Aurélien Lugné-Poe le 20 . Malgré ses doutes sur sa compétence en matière de mise en scène mais par amitié pour Lugné-Poe, Claudel s'implique dans la création de la pièce.

La distribution fut la suivante :

Louise Lara : Violaine Vercors

Marcelle Frappa : Mara Vercors

Franconi : La mère (Élisabeth Vercors)

Magnat : Pierre de Craon

Aurélien Lugné-Poe : Anne Vercors

Roger Karl : Jacques Hury

Jackson : une femme

Corney : L'apprenti

Dhurtal : Le maire

Jouvey : un ouvrier

Chabrier : un ouvrier

1945 : Louis Jouvet, théâtre de l'Athénée (première version)

Liens externes

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L'Annonce faite à Marie est un " mystère " en quatre actes et un prologue de Paul Claudel créé le par la troupe du théâtre de l'Œuvre ( salle Malakoff) dans une mise en scène d' Aurélien Lugné-Poe à laquelle participe Claudel lui-même.

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I wonder if Sidonie and Kraus' budding relationship is over after the circulated rumors, will we hear of them again?

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Just learned much about him through him and Lasker-Schulers poems!

"he sentenced his father to execution by verse" (Illies 308).

I wonder what ethical grounds his father used to justify the morphine restriction. I also wonder how his relationship with his father continues, does him and his familial relationships give any insight into his relationship with Lasker-Schuler?

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What feels like a conclusion for Macke here. Moved to Switzerland with none of his old paintings

"Elisabeth knew what it was. And so do we. They were pictures of such genuine, captivating beauty that sometimes the only way to bear them is to denounce them as kitsch" (Illies 314).

Very striking end to a chapter, something about how Illies also addresses us here gives such an feeling of finality and bittersweetness.

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"Kafka goes to the cinema and cries" (Illies 315).

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"The house has only to please. Unlike the work of art, which doesn't have to please anybody. The art work seeks to drag people rom their comfort. The house has to serve comfort" (Illies 319).

As someone who was an appreciator of the avant-garde movements, with many close artist friends, I'm actually really surprised he saw this divide between architecture and art.

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The way I see it, what distinguishes architecture from other art forms? Could not the same be said about music?

Why would anyone choose to listen to music that isn't pleasing, and so why would anyone create music that isn't for the sole purpose of pleasing? But there is purpose in experimentation, and value in pushing the boundaries of comfort, I kind of see his point, but also don't see how his logic wouldn't apply to various other forms.

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Will his relationship with Bauer recover?

I feel like his time in the sanatorium might have changed him. At the very least, being free of his overwhelming thoughts of Bauer I hope brought him some measure of clarity.

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"It rains slowly and incessantly... waiting for news from Felice. But nothing happens... I departed from Berlin like someone who went there quite without justification" (Illies 321).

Once more I wish we had some more information to contextualize Bauer's thoughts and actions during this time.

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Otto Gross was arrested when his father declares him insane. I wonder what events transpired between them previously, let me see what I can find.

https://www.encyclopedia.com/psychology/dictionaries-thesauruses-pictures-and-press-releases/gross-otto-hans-adolf-1877-1920

Can't find too much on contextualizing their relationship, seems quite normal, likely just the content of his publications that led to his father's declaration. It even notes that his father's death later left him distraught, so despite any complexity in their relationship, there was still something there.

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Gross, Otto Hans Adolf (1877-1920) | Encyclopedia.com

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GROSS, OTTO HANS ADOLF (1877-1920)
Otto Gross, a neurologist and psychoanalyst, was born March 17, 1877, in Feldbach (Styria), Austria, and died February 13, 1920, in Berlin. Source for information on Gross, Otto Hans Adolf (1877-1920): International Dictionary of Psychoanalysis dictionary.

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"Those who touch you are bound to fall" (Illies 322).

I really like how this quote is shown only after they have split, and how it is shown to be right when she meets him. It fits so perfectly with all we have learned of her, specifically in her poems about Benn, she is always describing her love as something that compels her to allow him to consume her. Without him she is crumbling.

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"the painting that has stood on his easel since the start of the year, which shows Alma and the painter on a stormy sea" (Illies 324).

The Bride of the Wind is finally complete,