Art

Throughout the 20th century, it is undeniable that the expressionism may appropriately be considered as the forefront of German and European art. Interestingly though, the term expressionism cannot be perceived as strict and unified in fact, the term has been used to collectively categorize a myriad of different styles and approaches while still maintaining the requirement for an emphasis on emotion and perception (Wolf, 2004). In this sense, it would be possible to consider expressionist art as more of a direct manifestation of an artists point of view instead of being a specific style or genre in which a myriad of specific requirements must be met. Regardless of the differences, as noted beforehand, it is essential for immense emotions to be suitably and effectively projected prior to which artist or a specific work would be considered as expressionist in relation to this, it is essential to note that Germans have been known for their capability in infusing emotion into works of art even prior to the 20th century, and thus the emergence of expressionism may have been both expectable and inevitable (Wolf, 2004).

Expressionism may be perceived as an example of unity and at the same time disarray. The approaches of artists considered as expressionist still differed. In relation to this, it would not be surprising to find an artist commonly considered as expressionist to critique the many aspects of expressionist art. In particular, an example of such would be Max Beckmann. Instead of praising the manner in which abstraction have been effectively used for expressionist art to further convey emotions, Beckmann instead criticized the tendency of expressionist artists to forget the vital need to maintain a degree of objectivity (Elger, 2002). Eventually, Beckmann became a foremost example an artist who embodies a new approach to expressionism. Hence, in order to further understand such developments throughout the history of expressionism and art during the 20th century, it is necessary to specifically evaluate and analyze the works of two distinct artists during the period, namely Egon Schieles Death and the Maiden and Max Beckmanns Brother and Sister.  

Death and the Maiden (1915), Initial Appeal
Schieles Death and the Maiden, an oil on canvas painting, is without doubt a highly emotional painting despite the presence of a rather dark imagery. From a quick glance of the painting, the features of both death and the maiden whom he holds become a distinct point for further scrutiny. For one, the it is apparent that the faces of both Death and his maiden are positioned in a pessimistic manner. To further explain, the facial expressions of both figures are clearly filled with sadness, as if parting ways is inevitable. In addition, the manner in which the two are holding each other are indicative of deep emotions as well. Both characters are embracing each other, in a deep yet romantic aspect rather than one that implies sensuality and erotic tendencies. Of course, the foreground and other objects in the painting must be understood as well. Basically, among the most notable aspects of the background is that it is mainly composed of soil. One would develop an idea that the couple are merely residing or hiding in a hollow underground location. Expectedly though, this reflects the common connotation regarding death and the passage to the underworld, specifically its emptiness and barren appearance.      

Aside from the characters and the background, another notable object in the painting is the cloth which covers the area wherein both Death and his maiden is embracing. The presence of the cloth highlights the possibility that sexual manifestations of affection have occurred or would occur despite such, it is still apparent that lust is not among the main themes of the painting. The coarse approach as well as the level of detail and objectivity or realism apparent in the painting is also another point which demands attention. Specifically, the presence of such details allows the audience to establish a more direct connection with the situation through realism. Abstraction is maintained to a degree in terms of style as well. Also, as mentioned beforehand, the choice of rather dark colors, especially earth tones, have further supported the image of sadness as such colors are generally known to be ideal for such purposes. Therefore, in accordance to Nietzsches implied notion wherein both reality and representation exist in an inseparable manner (Cazeaux, 2000), the emotions triggered from viewing Schieles painting is indeed a prime example in terms of how expressionist art may be considered as the unique product of ones perception.  

Roots of Schieles Accomplishment
Aside from providing a raw analysis of the painting, it would be a worthwhile endeavor to discuss Schieles background and the reason as to how the painting came to be. Schiele hails from Austria and has been among those taught and supported by Gustav Klimt in particular, given the nature of Klimt to allow artists such as Schiele to become involved in exhibits to display their accomplishments is undeniably a vital opportunity for Schiele during his earlier years as an artist (Owen, 1998). Aside from such an opportunity, the tendency of the aforesaid artists inclination to detail aspects of anatomy has been historically defined and associated with certain events with his family. Specifically, due to the health concerns of his father, as well as the reasons for his fathers eventual demise, Schiele believed that there is a distinct relation between the ones mind and ones body (Owen, 1998). Hence, it would be appropriate to assume that the aforesaid interest became the basis for most of his works which mainly focused representations and depictions of the human body. However, despite the level of detail placed upon the human figure in the Death and the Maiden, it is still apparent that the human figure is not the focus of the painting.

Specific experiences in his life may have been the main reason as to why he was able to paint the aforesaid piece in such a manner. As the painting radiates both strong emotions in terms of love and despair, it would be most ideal to delineate some of the relationships and affairs in which Schiele was involved in. Of these, Schieles romantic involvement with Wally Neuzil and Edith Harms would be the most important to discuss in relation to the Death and the Maiden. Wally Neuzil has been with Schiele for several years and certainly an essential part of Schieles artistic growth to further expound, Wally assumed the role of the main model for many of Schieles works which focused upon the female anatomy even those with a nude and erotic image (Steiner, 2004). Given such, it would not be a difficult task to understand the importance and impact of Wally on Schieles life in general. However, despite the essential significance of Wally, he soon found an opportunity to be romantically involved with another woman. Specifically, Edith Harms became Schieles love interest during times in which he and Wally are still in a relationship.

Eventually, Schiele decided to marry Edith Harms instead of Wally Neuzil interestingly though, Schiele attempted to maintain close romantic relations with Wally, an effort which did not achieve fruition (Steiner, 2004). Of course, such an ideal outcome, in relation to the needs and wants of Schiele, would not be possible as it would only initiate envy and doubt from both individuals. Hence, instead of complying with Schieles requests to meet from time to time for recreational purposes, Wally completely eliminated the possibility of such as she decided to move away from Schieles life completely (Steiner, 2004). As one may expect, considerable repercussions upon Schieles aspirations was brought forth by such an outcome despite the fact that he was still going to be married to Edith. In addition, realizations of Wallys worth and importance came too late for him and thus resulted in unparalleled grief and pain from which the he painted the Death and the Maiden. Thus, the distinct feeling of grief which may be seen from the painting, as noted throughout the raw assessment of the painting, interestingly is an extension of Schieles emotional state during such times in his life.      

Brother and Sister (1933), Outright Impact
Max Beckmanns Brother and Sister, also an oil on canvas painting, also expresses a theme associated with both romantic and sexual theme. Immediate upon looking at the painting, the combination of bright hues and color choices which express a sense of wealth and royalty express a notion which highlights the fact that the siblings depicted in the painting are of high social status. In addition, the mere appearance of the figures or characters in the painting is of majestic form as well further serving as testament to the aforementioned point. The gestures and movement of the characters also embody intimacy as a message is being carefully and playfully whispered from one to another furthermore, the lack of clothing of course presents a notion that the siblings are being enticed into engaging in mutual sexual pursuits with each other. Expectedly, in the context of the Western world, and throughout the world in general, sexual and even romantic associations between those related in blood are regarded as an unacceptable act. Specifically, it would not be inappropriate to expect that for those with such relationships, regardless of the historical period, societal and legal repercussions would subsequently arise. Therefore, the theme of an unacceptable love between siblings is clearly depicted in the painting.

Interestingly, in all the objects seen in the painting, the most notable and considerably out of place is the sword. In particular, the sword is situated between the siblings as if serving as a barrier which would prevent the unacceptable union of the two. In this sense, the sword may be perceived as either representative of social acceptance or humanitys universal laws which serve as an essential means of prevention for such unholy practices. However, despite the presence of a considerably imposing sword between them, it is still evident that the siblings are still attempting to pursue their wants albeit to a limited extent. Given that expressionism is considered as a form of symbolisms and is an extension of an artists perception and spirit (Harrison  Wood, 2003), then it would not be difficult to understand the reason as to why such a painting is considered as the work of an artist adept in the approach and rationale of expressionism. Despite such though, as noted beforehand, Max Beckmann is not an artist who wills to be regarded as among the expressionist painters of his time.  

Max Beckmanns Interest and Perception
In order to properly comprehend the aforementioned painting of Max Beckmann, it would be vital to further assess his interests as an artist. Throughout his career as an artist, more specifically as a painter, Beckmann eventually transitioned from having to find the style most suitable to his approach to one who expresses his thoughts and searches for his inner being through his own art (Selz  Beckmann, 1987). In this sense, art became the main means for Beckmann to reflect and possibly to chronicle his experiences and thoughts. Furthermore, Beckmanns willingness to let others know of his thoughts became a point of concern for those attempting to unravel the meaning imbued in Beckmanns paintings. Specifically, during the advent of the World War and the rise of the Nazi, Beckmanns tendency to maintain his privacy in terms of his views and thoughts became more evident also, being branded as among the Degenerate Artists further supported such a stance but also initiated a personal reflection upon the tendencies of humanity (Selz  Beckmann, 1987). A direct example or result of the aforesaid changes in Beckmanns perception and personality would be the painting Brother and Sister.  

Interestingly, ancient mythology became the Beckmanns focus throughout his pursuit to understand more of humanitys history. Specifically, his pursuit to highlight and incorporate Greek and Norse mythologies in his art began during the 1930s Brother and Sister was made after Beckmann has accomplished one of his greatest achievements, the Rape of Europa (Selz  Beckmann, 1987). The main theme of the painting, from a personal analysis of the piece, is interestingly in agreement with the views and critical analysis presented in literature. In particular, the painting is actually a depiction of the sibling from Norse mythology, Sigmund and Siglinde whom are known to have a relationship which transcends core sibling-based affection to further expound, in order to prevent the union of the two, the divine sword known as Gram (Selz  Beckmann, 1987). In a way, Beckmann may have perceived such unions or relationships as naturally occurring yet for the better of humanity are suppressed by rules and judgment despite the fact that emotions and desires are affected and unfulfilled in this case the appropriate outcome is emphasized and given priority.      

Conclusion
Both works analyzed Egon Schieles Death and the Mistress and Max Beckmanns Brother and Sister, highlight themes which expresses a strong emotional response without difficulty. As noted beforehand, expressionism, aside from being mainly associated with abstraction, is most importantly a rekindling of the spirit of art which has been partly lost furthermore, the effective incorporation of emotions into art as well as the presence of a more realistic perspective on how art is regarded and appreciated also manifested during the advent of expressionism (Harrison  Wood, 2003). In relation to this, it is undeniable that both Schieles and Beckmanns works as discussed above may be considered as appropriate examples of expressionist art. However, as noted above as well, Beckmann eventually detached himself from being classified as one who champions expressionism. It is important to note though that Beckmann has also been associated with becoming increasingly personal and unwilling to discuss his position and stance throughout his career also, his main argument against expressionism was based upon the excessive use of abstraction of expressionists which became apparent during his time (Selz  Beckmann, 1987).

Hence, it may not be appropriate to assume that Beckmann was against expressionism. Instead it would be most suitable to perceive his decisions as an argument against the trend and changes occurring in expressionism. It is most probable that those who began and furthered the expressionist era such as Schiele have not deviated from a sufficient degree of objectivity.  Nevertheless, despite the such disagreements and concerns, it is without doubt that both Schiele and Beckmann may appropriately be branded as superb expressionists as the key element of expressionism, emotions, have been infused into their achievements.