Who can explain what is new behavior painting? thank you

Representative figures and causes: In the late 1970s and early 1980s, German neo-expressionism, represented by Barthez, Roupell, richter, Penke, Imendorf, Sigmar Polk and anselm kiefer, not only showed the German nation,

Influence: At the beginning of the 20th century, German painters appeared expressionism to resist the influence of French "art center" colonial culture. 19 12 painter Kirchner publicly declared: "German art must fly with its own wings, and we have the responsibility to separate ourselves from France." (See Robert Hughes' The Impact of the Art Nouveau Movement, translated by Liu Pingjun, Shanghai People's Publishing House, 1989, p. 25 1. For a time, Germany became another modern art center independent of France. Unfortunately, however, during the Nazi period in Germany, all modern art was banned. Hitler's slogan of "Germanization and Nationalization" not only deviates from the development track of German national culture itself, but also deviates from the general trend of international modern art development. After World War II, German artists tried their best to get rid of the shadow left by the defeated country. At the same time, he tried to get rid of the losses caused by Nazi rule in culture and art; And as soon as possible, it will form a situation that is not only in line with the international mainstream culture, but also against the "abstract expressionism", "pop art" and "conceptual art" centered on the United States. In 1970s and 1980s, with the recovery and rise of German economy, a large number of young artists who had been marginalized for a long time stood out in Berlin, Cologne and Hamburg and became the mainstream of German contemporary art ... This "mainstream" painting style with obvious expressionism tendency is different from the expressionism represented by Nold and Kirchner in the early 20th century and the abstract expressionism centered on the United States, so it is called "expressionism".

The creation of "pure painting" represented by Bathritz, Roupell and richter, which is neither simple concrete nor abstract, took the lead in getting rid of the shackles of abstract expressionism, established "theme" and "aesthetic norms", and persisted in the opposition between easel creation and post-colonial hegemony centered on the United States, thus giving a new life to dying German painting art.

If fabien barthez, Roupell, and richter's art made painting explore into pure form in order to avoid the temptation of the theme of "conceptual art", then the younger generation of painters represented by Imendorf endowed the "new expression" painting with spiritual and political significance on the basis of pure form; If the former laid a formal foundation for the rise of German painting in the 1980s, the art of artists such as Imendorf played an important role in the further creative expression of German painting in the spiritual and social aspects and social changes in the 1980s. From more than a dozen paintings of German cafes created by Immendorf, we can see Nazi badges many times. It is not difficult to see that the crazy, drunken, lewd and grotesque scenes of rock music are an organic combination of German history, reality, politics, myths and legends and the artist's own experience, a vivid, complex and creative combination of image symbols, and a typical German "new expressionism" that reflects social reality with paintings.

The German New Painting Movement, represented by fabien barthez, Roupell, richter, Imendorf, Kiefer, Polk and Punk, not only opened up a new space for the development of German postmodern art, but also led to the re-emergence of the endangered easel painting art in other European countries and the United States.

1. The heterogeneity highlighted in the ideological trend

We have to admit that, under the background of post-modern conceptual art surging at the end of the 20th century, the emergence of German New Expressionism painting has some unique visual power. Through the efforts of accident art, event art, concept art and surfing art, ideas, behaviors, performances, photos, words and objects have been established as artistic media trends in the post-war art world. However, abstract painting has become the mainstream trend of easel painting. In this environment, German New Expressionism painting gave birth to different real numbers. Why is there such an artistic possibility of drifting away from the trend of the times? The deposition of art history narrative often reflects some unexpected clues.

The teacher of German neo-expressionist master Immendorf is Boyce, the spiritual leader of the art world after World War II. His "expanded artistic concept" and "social sculpture" have far-reaching influence. 1965, Boyce's "How to Explain Painting to a Dead Rabbit" had a strong catalytic effect on Imendorf, which made him feel the blurring and dissolution of social life and artistic edge. Facing the crazy invasion of American abstraction, he tried to find an effective artistic method from the capitalist consumption material life to resist the infinite expansion of social form. As a typical Germanic, he was more radical than Boise, the pioneer of thought. The words "stop painting" are painted on the bed board, and a hat signed by Boyce is hung on the leg of the bed. Political topics, accidents and demonstrations are used to attract attention, and slogans are marked on the painting to enhance the effect. After wandering through these art forms, he began to firmly engage in easel painting in 197 1 until today.

In Imendorf's body, we can see the past life of German New Expressionism painting and the vague artistic ambition between modernism and postmodernism. After being tempted by "old" Dada and "new" Dada, the masters could not help but question the theme of painting creation. The abstract painting with indifferent texture has some traces of elite thoughts, but the retort of German neo-expressionism is to keep the confrontational atmosphere of images forever.

At that time, German neo-expressionism had a postmodern mind, but a modernist body. This may be a wonderful freak.

Second, a keen perception of political discourse.

Roupell, a German neo-expressionist, often introduced various symbols of Nazi period into his paintings, such as Nazi military caps and badges, and used them to express the picture language he needed. Looking directly at the scars left by World War II is his thinking angle filtered out from postmodernism. Not directly misappropriate, but reconcile the visual power he needs in the change. Roupell also said: "My paintings are full of secret symbols of the future, which I don't understand myself or the audience." There is no historical statement in his picture, but there is a formal exploration, which uses the possibility of Nazi exploration to directly attack the image of abstract art.

Immendorf constantly thinks about the artistic possibility brought about by the change of social reality. In 1970s, he became a Marxist. How to become a painter in the political map seems to be a problem he faced in the late 20th century. He has always been concerned about where artists should put themselves, the edge of society or the inheritor of culture. His grand declaration is that artists should be the spokesmen of culture. "Visual implication" is a breakthrough of German neo-expressionist masters in shaping the shape of visual materials. Immendorf's monkey-faced formal language represents his political enlightenment posture, and his favorite topic "Untitled" reveals his own political thinking. His paintings combine the consistent spirit of self-doubt, anxiety about his own identity, political conscience and hedonism. He tried to find a harmonious way between the attitude of political radicalism and the perceptual painting world rooted in his heart. At the same time, different from the art under futurism and other socialist systems, his paintings can be said to be a mixture of real time and space, conveyed by the symbol systems of the East and the West, and covering the symbol systems of personal wishes and philosophy.

Whether it is the religious theme in classical painting since the Middle Ages or the impressionists' concern about the real light and shadow, painters' feelings about real politics are often dull, but German neo-expressionist masters have embodied new painting language in their examination of self-spirit and the influence of external politics.

Third, the extension and betrayal of German traditional expressionism.

The history of German traditional expressionism can be traced back to the Bridge Society and the Youth Riding Society in the early 20th century. They questioned the internal strength of the Bridge Society, opposed the cautious realism of the traditional academic school, and proposed that artistic subjectivity endowed objects with expressive force, which inherited the characteristics of German art since the Middle Ages, such as attaching importance to individuality, emotional color and subjective expression. In modeling, it pursues the beauty of strong contrast, distortion and change, and emphasizes the rhythm and rhythm of brushwork movements and the resulting heavy texture. They had a strong influence on classicism.

But German traditional expressionism is rarely symbolic. Early German expressionism basically had no concept, especially the concept of political and social criticism emphasized by contemporary art. They emphasized the artist's personal feelings with color and brushwork, and used it to fight against the dehumanized modern city, rather than the artist's thoughts. At this point, German neo-expressionism fully demonstrated their postmodernism, and Bassett gradually formed a creative way with personal style ―― character inversion. You know, hanging upside down is not only a way of hanging, but also the artist himself paints upside down when he is creating. For such a unique form, he first subverted the way of highlighting literary themes in traditional painting, trying to make the audience focus on the picture itself rather than the theme. When the audience appreciates his works, their attention is attracted to the picture, and the theme is easily weakened; Secondly, it also shows his resistance to abstract paintings that were popular at that time. His resistance to abstract paintings is to keep the image depicting things forever. Dramatic upside-down images appear in his works, showing the friction of painting existentialism. He needs to use the upside-down image as a correction fluid in the form of a picture to achieve the purpose of strengthening expression. Punk, another German expressionist, not only pays attention to the actual social situation in Germany, but also tries to express those primitive desires and potential psychological images that dominate human beings with graffiti symbols with primitive texture, thus revealing the deep-seated reasons leading to human violence and war. His graffiti can be described as a self-created artistic symbol, which seems to have the innocence of ancient cave murals and the shadow of ancient Egyptian hieroglyphics. We can't see the formal direction of symbols, but we can see the conceptual exploration of German neo-expressionist masters.