German Expressionism: Warning...this exhibition could ' drive you mad.'

A trip to the Musée Fleury in Lodève.

Joan

7/19/20244 min read

When I first saw the poster for this year's summer exhibition at our local museum, I was very disappointed. "Psychoses?" I moaned. Who wants to see a series of clips from horror films, or related Expressionist art for that matter? It all sounded so depressing. Why not bring back those beautiful impressionist paintings of past exhibitions? Let us revisit those beautiful portraits of children by Berthe Morisot, or see again those brilliant colours of the 'fauvistes ,' or the fascinating mobiles of Alexander Calder. And yes, let's have more of such things. But Psychoses? This summer exhibition was once a central highlight of my summer. Nowadays I no longer wish to visit it.

Image from the  film 'Le Cabinet de Dr Caligari'
Image from the  film 'Le Cabinet de Dr Caligari'

Yesterday I needed to go into town, so I decided to give the exhibition a try. I am very glad that I did. It occupies the entire second floor of this beautiful 17C building. As one proceeds through the various rooms, scenes from silent movies from the nineteen twenties flicker across the far walls. Shadowy figures lurk and hover. They brandish knives and terrorise sweet innocent maidens. The films featured are 'Nosferatu the Vampire,' 'Metropolis,' and the Cabinet of Dr Caligari.' But what is the point? Doesn't this distract the art seeker?

I began to peruse the art that was arranged along the walls. After all, that was what I had really come to explore. Until then, I knew very little about what they called Expressionism. Nearly all the images were in black and white and , just like the projected films, they distorted reality, and gave off a threatening, unhappy air. Here are some of my favourite pieces.

Coalminers Homecoming: Felix MÜller
Coalminers Homecoming: Felix MÜller
Street at Kreuzberg: Ludwig Meidner
Street at Kreuzberg: Ludwig Meidner
The Ideologues: Max Beckmann
The Ideologues: Max Beckmann

Portraits were sombre and reflective.

Head of a woman:: August Macke
Head of a woman:: August Macke
Male portrait: Erich Heckel
Male portrait: Erich Heckel

Before I arrived at the gallery, I had only recognised one of the artists' names : that of Otto Dix. I was already familiar with some of his striking , characterful portraits, and was looking forward to seeing more of his work. There were two examples here. The first is a portrait entitled 'Lust Murderer' in which a body seems to have been torn from limb to limb, and blood spurts out. I did not enjoy this nearly as much as other portraits of his that I have seen. But still, it is in keeping with the gruesome theme of this expo.

Otto Dix: The Lust Murderer
Otto Dix: The Lust Murderer

The second piece of Otto Dix' work, happened to be the largest and most striking picture in the exhibition. Entitled 'Self portrait with Muse,' it seemed quite out of keeping with his more intriguing portrait sketches. But then, it is always good to have one's expectations challenged. It is certainly not a painting to forget.

Self portrait with Muse.
Self portrait with Muse.

Aided by the text on the walls, I slowly began to understand more about this specific period of art , and the way that the curator has tried to show the interconnections between this and the films of the period. The period from 1918 onwards in Germany , represents a time of great angst and unhappiness after the first world war. Many people were in a state of depression and shock, recovering from terrible injuries and the mental distress that war brings. Little wonder that these pictures are sombre and distracting. After all, if art does not reflect the mood of the times, then what is it about?

Käthe Kollwitz: Death seizes a Woman
Käthe Kollwitz: Death seizes a Woman

This startling image of a mother and her child was painted in 1934 by Käthe Kollwitz, who suffered greatly herself. There couldn't be a stronger testimony against the futility of war than this .

I am so glad that I visited this exhibition. I now hold a resident's pass for the museum, so I shall certainly be back , as there is still much to fathom. But what I have definitely learned is that 'true art' is not always 'cosy' after all. And as the saying goes, one is "never too old to learn."