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George, Lord Digby and William, Lord Russel c. 1637, or earlier

Aristocratic portraiture operated broadly within the same parameters as Royal portraiture. Just as the monarch had reason to announce his humanity as well as his authority, aristocracy had a role and claimed a sensibility. ( From the evidence of the portraits, it sometimes seems as if some aristocrats were not able to look in both directions at the same time.) There might be a quasi-feudal duty to do again.
And martial readiness remained a virtue. However, in the mean time, to be warlike and pious was not enough. Again renaissance humanism had produced the solution to the problem of redundancy for aristocrats in the post-feudal age. It had rediscovered and re-present an ideal of nobility that could persist outside of the perilous conditions of feudalism.
While some people lived under the yoke of necessity and others had economic and social power sufficient to enable them to exploit their situation, the noblest human being was the one who was above both need and greed. The aristocrat, so long as he was sufficiently inured, could have the privilege of conducting himself disinterestedly. A life of aesthetic self-improvement could be the way.

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The Deposition, 1611 central piece in triptych

Painting that would emulate Titian attempts to catch to catch the sensational aspects of things. What painting, as an art, shares with objects of sensation is visibility ; and vision is in the first instance the experience of being bombarded by stimuli of colour . Rubens attempted to evoke all the senses in his work. It is enough to refer to the grimy, bruised and bloody foot of Christ touching the pale skin of the Magdalen's shoulder in his 1611 Deposition. But the important thing for him is the engagement of the senses. The role of the eye in the context of painting is self-evident.

Man with a glove, c. 1520

Tiziano Vecelli or Vecellio (c. 1488-90 – August 27, 1576), better known as Titian, was the leader of the 16th-century Venetian school of the Italian Renaissance. He was born in Pieve di Cadore, in the Cadore territory, near Belluno (Veneto), in Italy, and died in Venice. During his lifetime he was often called Da Cadore, taken from the place of his birth.

Recognised by his contemporaries as "the sun amidst small stars" (recalling the famous final line of Dante's Paradiso), Titian was one of the most versatile of Italian painters, equally adept with portraits and landscapes (two genres that first brought him fame), mythological and religious subjects. Had he died at the age of 40, he would still have to be regarded as one of the most influential artists of his time. But he lived on for a further half century, changing his manner so drastically that some critics refuse to believe that his early and later pieces could have been produced by the same man. What unites the two parts of his career is his deep interest in colour. His later works may not contain vivid, luminous tints as his early pieces do, yet their loose brushwork and subtlety of polychromatic modulations have no precedents in the history of Western art.

George Grosz, Sonnenfinsternis ( Eclipse Of The Sun ) 1926

Will Küpper, Nach Dem Krieg ( After The War ) 1919 and Will Küpper, Streichhòlzer ( Matches, Matches ), 1919



Some of the most Compelling posters were distributed by the anti-Bolshevik groups. They used Images of gorillas and vultures depicted in Gaudy, horrific yellows and reds to frighten the public to attention. These artists sought a coalition, a united Germany, as illustrated in Klein Arbeiter,
Bürger. Bauern. Soldaten (Workers. Citizens. Farmers. Soldiers;
In addiction to making posters, many artists created covers for widely circulated broadsheets, pamphlets, and periodicals.
Between 1918 and 1925 different literary journals of varying longevity were published throughout Germany; most of these were liberal to radical in bias. Of these fifty-three were founded after 1918 and folded before 1925." The periodicals were able to respond instantly to current events. Their titles reflect the youth and vigor of their makers.
Guenther discusses many of the lesser-known journals in this essay.
From Berlin, Bielefeld, Darmstadt, Dresden, Dusseldorf, Hamburg, Hannover, Heidelberg, Munich, and Saarbrucken came periodicals with titles such a Die Aktion,
Der Anbruch,( The new beginning ) Die Dachstube ( The attic Room ), Feuer ( Fire ), Kündung ( Herald ), Menschen, Die Rote Erde( The Red Hearth ) Die Sichel ( The Sickle ), Das Tribunal ( The Tribunal ) Der Wurf
( The Venture ), and Der Ziegelbrenner ( Brick-Maker ).
Together they form an important part of the history of postwar
German Expressionism, for it was in these periodicals that the artists, writes, publishers, and poets were able to join together most effectively to sound their cry for a new society and for a new role for creative peolple.

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