Top 100 - Expressionism
Expressionism: 100 famous paintings where emotion takes over
Munch, Kirchner, Kandinsky, Schiele, Nolde and their companions: a painting that prefers to tell the inner truth rather than smile politely at the mirror.
Expressionism happens when painting decides that resemblance is no longer enough. Sometimes he comes in, puts on his coat, and asks frankly how your soul is.
The paint increases the volume
The world, seen from the nerves
Expressionism does not first seek to copy the visible world. He wants to show what the world provokes inside: worry, fever, loneliness, fervor, desire, dizziness. The colors tense, the lines distort, the faces almost become psychological landscapes. It's not always relaxing, but no one promised that a masterpiece should behave like a cushion.
Expressionism does not ask reality to pose gently: it passes through it, colors it and makes it admit what it felt behind the facade.Switch to images
Classification in images
The most famous works establish cry, anxiety and color as leading forces.
#1
The cry
In "The Scream", Edvard Munch makes the motif a visual event rather than a simple label; the contrast organizes the scene before we even read the details. For "The Scream" by Edvard Munch, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Scream" by Edvard Munch, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Scream" by Edvard Munch, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Scream" by Edvard Munch, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Scream" by Edvard Munch, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Scream" by Edvard Munch, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Scream" by Edvard Munch, the composition is read in stages: first the motif, then the masses
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#2
Madonna
In "Madonna", Edvard Munch constructs a scene with an immediately sensitive character; the diagonals give the subject an energy that does not hold in place. For "Madonna" by Edvard Munch, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Madonna" by Edvard Munch, this work is worth its precise motif as much as its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. In "Madonna" by Edvard Munch, this work is as valuable for its precise motif as for its light and its atmosphere; she is not there to fill a box: she adds an identifiable nuance to the journey. We can love "Madonna" for its calm or its brilliance, but her outfit comes mainly from the way in which Edvard Munch organizes the look.
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#3
Starry Night
For "Starry Night": Painted in Saint-Rémy in 1889, Starry Night transforms sight and memory into a swirling sky. For this version of "Starry Night": Van Gogh does not copy the night: he makes it speak louder than expected, as is often the case. About "Starry Night", in reproduction, these nuances remain precious: they allow you to feel the rhythm of the canvas, its contrasts and this little silent authority that a good painting keeps even when no one asks its opinion.
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#4
Sunflowers
For "Les Tournesols": Les Tournesols were born in Arles in the project of decorating the Yellow House for Gauguin. For this version of "Les Tournesols": The bouquet becomes manifest of yellow, of dreamed friendship and domestic energy, which is a lot for a vase. About "Les Tournesols", this detail counts for the visitor: an identifiable work, well located, with a real reason for being in the Top; not just a famous name placed there like a tired label.
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#5
The Entry of Christ into Brussels
In "The Entry of Christ into Brussels", James Ensor gives everyday life a density that he had not asked for; the diagonals give the subject an energy that does not hold in place. In "The Entry of Christ into Brussels", Paul Getty; dimensions: 252.6 x 431 cm. For "The Entry of Christ into Brussels" by James Ensor, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much-squeezed glances. In James Ensor's "The Entry of Christ into Brussels", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In James Ensor's "The Entry of Christ into Brussels", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In James Ensor's "The Entry of Christ into Brussels", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In James Ensor's "The Entry of Christ into Brussels", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In James Ensor's Brussels" for its calm or its brilliance, but its outfit comes mainly from the way in which James Ensor organizes the look.
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#6
The Plot
In "The Plot", James Ensor constructs a scene with an immediately sensitive character; the details delay reading just enough to make it interesting. For James Ensor's "The Plot", on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In James Ensor's "The Plot", this work is as valuable for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. In James Ensor's "The Plot", this work is as valuable for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. We can love "The Plot" for its calm or its brilliance, but its hold comes mainly from the way in which James Ensor organizes the look.
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#7
Self-portrait with Physalis
In "Self-Portrait with Physalis", Egon Schiele transforms a recognizable motif into a viewing experience; light distributes roles with quiet authority. For "Self-portrait with Physalis" by Egon Schiele, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Self-portrait with Physalis" by Egon Schiele, the figure brings another type of presence: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Self-portrait with Physalis" by Egon Schiele, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. In "Self-portrait with Physalis" by Egon Schiele, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. "Self-portrait with Physalis" by Egon Schiele, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. "Self-portrait with Physalis" by Egon Schiele, the figure brings another type of presence: posture, costume, face or
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#8
Death and Young Girl
In "Death and Maiden", Egon Schiele gives the gaze a clear entry point; secondary gestures tell almost as much as the main subject. For "Death and Maiden" by Egon Schiele, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Death and Maiden" by Egon Schiele, it is not only a silhouette placed in a beautiful light; the figure becomes not just a silhouette placed in a beautiful light; the figure becomes the center of gravity, the detail that transforms the atmosphere into an encounter. The interest of "Death and Maiden" in Egon Schiele is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#9
Blue horse I
In "Blue Horse I", Franz Marc shifts a concrete subject towards a more ambiguous image; the masses give the composition its internal rhythm. For "Blue Horse I" by Franz Marc, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. The interest of "Blue Horse I" in Franz Marc is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#10
The Yellow Cow
In "The Yellow Cow", Franz Marc transforms a recognizable pattern into a gaze experience; the point of view transforms a familiar observation into a lasting surprise. For Franz Marc's "The Yellow Cow", the eye finds a specific reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In Franz Marc's "The Yellow Cow", the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In Franz Marc's "The Yellow Cow", the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In Franz Marc's "The Yellow Cow", the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In Franz Marc's "The Yellow Cow", the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In Franz Marc's "The Yellow Cow", the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In Franz Marc's "The Yellow Cow", the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In Franz Marc's "The Yellow Cow", the painting brings a distinct subject to the classification,
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#11
Composition VII
In "Composition VII", Wassily Kandinsky avoids the interchangeable image and asserts a clean tone; the details delay reading just enough to make it interesting. For "Composition VII" by Wassily Kandinsky, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Composition VII" by Wassily Kandinsky, this work is worth its precise motif as much as its light and atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. In "Composition VII" by Wassily Kandinsky, this work is as valuable for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. In "Composition VII" by Wassily Kandinsky, this work is as valuable for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. In "Composition VII" by Wassily Kandinsky, this work is as valuable for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. "Composition VII" by Wassily Kandinsky, this work is as valuable for its precise mot
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#12
Composition VIII
In "Composition VIII", Wassily Kandinsky moves a concrete subject to a more ambiguous image; voids count as much as figures and avoid any heaviness. In "Composition VIII", guggenheim Museum, New York; dimensions: 140 x 201 cm. In "Composition VIII" by Wassily Kandinsky, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "Composition VIII" by Wassily Kandinsky, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "Composition VIII" by Wassily Kandinsky is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#13
Woman in green jacket
In "Woman in the Green Jacket", August Macke shifts a concrete subject to a more ambiguous image; the contours alternate precision and freedom with a beautiful aplomb. For "Woman in the Green Jacket" by August Macke, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Woman in the Green Jacket" by August Macke, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. In "Woman in the Green Jacket" by August Macke, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. In August Macke's "Woman in the Green Jacket", the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. The interest of "Woman in the Green Jacket" at August Macke, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. The interest of "Woman in the Green Jacket" at August Macke, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. The interest of "Woman in the Green Jacket" at August Macke, the figure brings another type of presence: posture, costume, face or gesture give the painting
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#14
Turkish coffee
In "Turkish Café", August Macke constructs a scene with an immediately sensitive character; light distributes roles with quiet authority. For August Macke's "Turkish Café", the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In August Macke's "Turkish Café", this work is worth its precise motif as much as its light and atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. In August Macke's "Turkish Café", this work is as valuable for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. We can love "Turkish Café" for its calm or its brilliance, but its hold comes mainly from the way in which August Macke organizes the look.
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#15
Meditation
In "Meditation", Alexej von Jawlensky constructs a scene with an immediately sensitive character; the tone ratios establish a depth without noise. For "Meditation" by Alexej von Jawlensky, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Meditation" by Alexej von Jawlensky, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. We can like "Meditation" for its calm or its brilliance, but its hold comes mainly from the way in which Alexej von Jawlensky organizes the gaze.
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#16
Woman's head
In "Woman's Head", Alexej von Jawlensky transforms a recognizable motif into a gaze experience; light distributes roles with quiet authority. For "Woman's Head" by Alexej von Jawlensky, strength comes less from a burst of brilliance than from balance: enough structure to guide the eye, enough breathing to let the scene live. In "Woman's Head" by Alexej von Jawlensky, it is not just a silhouette placed in a beautiful light; the figure becomes the center of gravity, the detail that transforms the atmosphere into an encounter. In "Woman's Head" by Alexej von Jawlensky, it is not just a silhouette placed in a beautiful light; the figure becomes the center of gravity, the detail that transforms the atmosphere into an encounter. In "Woman's Head" by Alexej von Jawlensky, it is not just a silhouette placed in a beautiful light; the figure becomes the center of gravity, the detail that transforms the atmosphere into an encounter. Alexej von Jawlensky's "Woman's Head" is not just a silhouette placed in a beautiful light; the figure becomes the center of gravity, the detail that transforms the atmosphere into an encounter. Alexej von Jawlensky's "Woman's Head" thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#17
Self-portrait on the sixth wedding anniversary
In "Self-portrait on the Sixth Wedding Anniversary", Paula Modersohn-Becker gives everyday life a density that he had not asked for; the diagonals give the subject an energy that does not hold in place. For "Self-portrait on the Sixth Wedding Anniversary" by Paula Modersohn-Becker, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Self-portrait on the Sixth Wedding Anniversary" by Paula Modersohn-Becker, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Self-portrait on the Sixth Wedding Anniversary" by Paula Modersohn-Becker, it is not just a silhouette posed in a beautiful light; the figure becomes the center of gravity, the detail that transforms the atmosphere into an encounter. We can love "Self-portrait on the sixth wedding anniversary" for its calm or brilliance, but its outfit comes mainly from the way Paula Modersohn-Becker organizes the look.
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#18
The departure
In "The Departure", Max Beckmann seeks a presence that resists the simple title; voids count as much as figures and avoid any heaviness. For "Le Départ" by Max Beckmann, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Le Départ" by Max Beckmann, this work is as valuable for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. In "Le Départ" by Max Beckmann, this work is as valuable for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. We can love "Le Départ" for its calm or its brilliance, but its hold comes above all from the way in which Max Beckmann organizes the look.
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#19
The night
In "Night", Max Beckmann organizes the motif without reducing it to a pretext; the diagonals give the subject an energy that does not hold in place. For Max Beckmann's "Night", strength comes less from a burst of brilliance than from balance: enough structure to guide the eye, enough breathing to let the scene live. Max Beckmann's "Night" brings its own mood to the course: enough structure to guide the eye, enough breathing to let the scene live. Max Beckmann's "Night" brings its own mood to the course; the canvas breathes, but it did not come just to open the window.
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#20
Senecio
In "Senecio", Paul Klee retains a moment whose painting extends its duration; secondary gestures tell almost as much as the main subject. For Paul Klee's "Senecio", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In Paul Klee's "Senecio", the painting avoids anonymity because it carries a recognizable subject; the light, framing and material then give it its own personality. In Paul Klee's "Senecio", the painting avoids anonymity because it carries a recognizable subject; the light, framing and material then give it its own personality. "Senecio" by Paul Klee, the painting avoids anonymity because it carries a recognizable subject; the light, framing and material then give it its own personality. "Senecio" by Paul Klee, the painting avoids anonymity because it carries a recognizable subject; the light, framing and material then give it its own personality. Paul Klee's "Senecio" thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#21
Chirping machine
In "Tweeting Machine", Paul Klee transforms pose or gesture into true architecture; the contrast organizes the scene before we even read the details. In Paul Klee's "Tweeting Machine", the painting avoids anonymity because it carries a recognizable subject; the light, the framing and the material then give it its own personality. The interest of Paul Klee's "Tweeting Machine" is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#22
The Flayed Ox
In "The Flayed Ox", Chaïm Soutine organizes the motif without reducing it to a pretext; the palette brings the shots together without flattening the scene. For "The Flayed Ox" by Chaïm Soutine, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. "The Flayed Ox" by Chaïm Soutine, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. "The Flayed Ox" by Chaïm Soutine brings its own mood to the journey; the canvas breathes, but it did not come just to open the window.
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#23
Portrait of Madeleine Castaing
In "Portrait of Madeleine Castaing", Chaïm Soutine seeks a presence that resists the simple title; the tonal relationships establish a depth without noise. For "Portrait of Madeleine Castaing" by Chaïm Soutine, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Portrait of Madeleine Castaing" by Chaïm Soutine, it is not only a silhouette posed in a beautiful light; the figure becomes the center of gravity, the detail which transforms the atmosphere into an encounter. We can love "Portrait of Madeleine Castaing" for its calm or its brilliance, but its outfit comes above all from the way in which Chaïm Soutine organizes the look.
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#24
Winter night in the mountains
In "Winter Night in the Mountains", Harald Sohlberg constructs a scene with an immediately sensitive character; the diagonals give the subject an energy that does not hold in place. For Harald Sohlberg's "Winter Night in the Mountains", the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In Harald Sohlberg's "Winter Night in the Mountains", the title announces a study of light: evening, morning, moon or sun become real subjects here, not simple weather settings. In Harald Sohlberg's "Winter Night in the Mountains", the title announces a study of light: evening, morning, moon or sun become real subjects here, not simple weather settings. In Harald Sohlberg's "Winter Night in the Mountains", the title announces a study of light: evening, morning, moon or sun become real subjects here, not simple weather settings. We can like "Winter Night in the Mountains" for its calm or its brilliance, but its hold comes mainly from the way in which Harald Sohlberg organizes the gaze.
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#25
Portrait of Lajos Kassak
In "Portrait of Lajos Kassák", Lajos Tihanyi shifts a concrete subject towards a more ambiguous image; pictorial material gives weight to the quieter areas. For "Portrait of Lajos Kassák" by Lajos Tihanyi, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Portrait of Lajos Kassák" by Lajos Tihanyi, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Portrait of Lajos Kassák" by Lajos Tihanyi, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. In "Portrait of Lajos Kassák" by Lajos Tihanyi, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. In "Portrait of Lajos Kassák" by Lajos Tihanyi, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. The interest of "Portrait of Lajos Kassák" by Lajos Tihanyi, the figure brings another type of presence: posture, costume, face or gesture give
Discover →The human figure and the modern street become barometers which rarely announce great beauty.
#26
The Convalescent
In "The Convalescent", Helene Schjerfbeck transforms a recognizable motif into a viewing experience; the palette brings the shots together without flattening the scene. For "The Convalescent" by Helene Schjerfbeck, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Convalescent" by Helene Schjerfbeck, the painting is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Convalescent" by Helene Schjerfbeck, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "The Convalescent" by Helene Schjerfbeck, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "The Convalescent" by Helene Schjerfbeck, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "The Convalescent" by Helene Schjerfbeck, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "The Convalescent" by Helene Schjerfbeck, the painting brings to the classification a distinct subject, with enough presence and light to avoid
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#27
La Paloma
In "La Paloma", Isidre Nonell chooses a specific situation and pushes it beyond the anecdote; the gaze circulates between structure, material and small expressive gaps. For "La Paloma" by Isidre Nonell, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "La Paloma" by Isidre Nonell, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "La Paloma" by Isidre Nonell thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#28
Portrait of a German officer
In "Portrait of a German Officer", Marsden Hartley retains a moment whose painting extends its duration; the framing tightens what really deserves attention. For "Portrait of a German Officer" by Marsden Hartley, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Portrait of a German Officer" by Marsden Hartley, the human subject finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Portrait of a German Officer" by Marsden Hartley, the human subject allows Marsden Hartley to be followed as close as possible to a presence which looks, reads, waits or stays at a distance. In "Portrait of a German Officer" by Marsden Hartley, the human subject allows us to follow Marsden Hartley as closely as possible to a presence which looks, reads, waits or stays at a distance. In "Portrait of a German Officer" by Marsden Hartley, the human subject allows us to follow Marsden Hartley as close as possible to a presence which looks, reads, waits or stays at a distance. In "Portrait of a German Officer" by Marsden Hartley, the human subject allows us to follow Marsden Hartley as closely as possible to a presence which looks, reads, waits or stays at a distance. In "Portrait of a German Officer" by Marsden Hartley, the human subject allows us to follow Marsden Hartley as close as possible to a presence which looks, reads
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#29
Self-portrait with a necklace of thorns and hummingbird
In "Self-portrait with a necklace of thorns and hummingbird", Frida Kahlo establishes a discreet tension from the first glance; the masses give the composition its internal rhythm. For "Self-portrait with a necklace of thorns and hummingbird" by Frida Kahlo, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Self-portrait with a necklace of thorns and hummingbird" by Frida Kahlo, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Self-portrait with a necklace of thorns and hummingbird" by Frida Kahlo, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of overly hurried glances. In "Self-portrait with a necklace of thorns and hummingbird" by Frida Kahlo, the human subject allows Frida Kahlo to be followed as close as possible to a presence that looks, reads, waits or stays at a distance. In "Self-portrait with a necklace of thorns and hummingbird" by Frida Kahlo, the human subject allows us to follow Frida Kahlo as close as possible to a presence that looks, reads, waits or stays at a distance. In "Self-portrait with a necklace of thorns and humming
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#30
Naked lying
In "Nude lying down", Amedeo Modigliani seeks a presence that resists the simple title; the masses give the composition its internal rhythm. For "Nude lying down" by Amedeo Modigliani, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Nude lying down" by Amedeo Modigliani, this work is worth a lot for its precise motif as much as for its light and its atmosphere; she is not there to fill a box: she adds an identifiable nuance to the journey. In "Nu lying down" by Amedeo Modigliani, this work is as valuable for its precise motif as for its light and its atmosphere; she is not there to fill a box: she adds an identifiable nuance to the course. We can like "Nu lying down" for its calm or its brilliance, but her outfit comes mainly from the way in which Amedeo Modigliani organizes the look.
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#31
Jeanne Hébuterne
In "Jeanne Hébuterne", Amedeo Modigliani seeks a presence that resists the simple title; the framing tightens what really deserves attention. For "Jeanne Hébuterne" by Amedeo Modigliani, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Jeanne Hébuterne" by Amedeo Modigliani, the painting avoids anonymity because it bears a recognizable subject; light, framing and material then give it its own personality. We can love "Jeanne Hébuterne" for its calm or brilliance, but its hold then gives it its own personality. We can love "Jeanne Hébuterne" for its calm or brilliance, but its hold then gives it its own personality. We can love "Jeanne Hébuterne" for its calm or brilliance, but its hold then gives it its own personality. We can love "Jeanne Hébuterne" for its calm or brilliance, but its hold then gives it its own personality. We can love "Jeanne Hébuterne" for its calm or brilliance, but its hold then gives it its own personality. We can love "Jeanne Hébuterne" for its calm or brilliance; the painting then gives it its own personality. We can love "Jeanne Hébuterne" for its calm or brilliance, but its hold then gives it its own personality. We can love "Jeanne Hébuterne" for its calm or brilliance; the
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#32
Entrada
In "Entrada", Amadeo de Souza-Cardoso leads the eye through a series of perfectly visible decisions; the diagonals give the subject an energy that does not hold in place. For "Entrada" by Amadeo de Souza-Cardoso, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Entrada" by Amadeo de Souza-Cardoso, the painting is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Entrada" by Amadeo de Souza-Cardoso, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In "Entrada" by Amadeo de Souza-Cardoso, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In "Entrada" by Amadeo de Souza-Cardoso, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Entrada" by Amadeo de Souza-Cardoso, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Entrada" by Amadeo de Souza-Cardoso, the
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#33
Woman in hat
In "Woman in the Hat", Henri Matisse seeks a presence that resists the simple title; the contours alternate precision and freedom with a beautiful confidence. In "Woman in the Hat" by Henri Matisse, the human subject allows us to follow Henri Matisse as closely as possible to a presence that looks, reads, waits or stays at a distance. We can like "Woman in the Hat" for its calm or its brilliance, but its outfit comes mainly from the way in which Henri Matisse organizes the look.
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#34
The Green Ray
In "The Green Ray", Henri Matisse chooses a specific situation and pushes it beyond the anecdote; secondary gestures tell almost as much as the main subject. For "The Green Ray" by Henri Matisse, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "The Green Ray" by Henri Matisse, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. In "The Green Ray" by Henri Matisse, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. "The Green Ray" by Henri Matisse, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. "The Green Ray" by Henri Matisse, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. "The Green Ray" by Henri Matisse, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. "The Green Ray" by Henri Matisse thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#35
Mountains in Collioure
In "Montagnes à Collioure", André Derain puts the subject to the test of a very personal framing; the pictorial material gives weight to the quietest areas. For "Montagnes à Collioure" by André Derain, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Montagnes à Collioure" by André Derain, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Montagnes à Collioure" by André Derain, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Montagnes à Collioure" by André Derain, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Montagnes à Collioure" by André Derain, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Montagnes à Collioure" by André Derain, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Montagnes à Collioure" by André Derain, here, the reading begins with the subject, then moves towards light and general balance;
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#36
The regattas
In "The Regattas", Raoul Dufy leads the eye through a series of perfectly visible decisions; the light distributes the roles with quiet authority. For Raoul Dufy's "Les Régates", the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. Raoul Dufy's "Les Régates", the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. Raoul Dufy's "Les Régates" brings its own mood to the course; the canvas breathes, but it did not come just to open the window.
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#37
The Electricity Fairy
In "La Fée Électrcité", Raoul Dufy organizes the motif without reducing it to a pretext; the secondary gestures tell almost as much as the main subject. For "La Fée Électrcité" by Raoul Dufy, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "La Fée Électrcité" by Raoul Dufy, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "La Fée Électrcité" by Raoul Dufy, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "La Fée Électrcité" by Raoul Dufy, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "La Fée Électrcité" by Raoul Dufy brings its own mood to the journey; the canvas breathes, but it did not come just to open the window.
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#38
The Port Antwerp
In "The Port of Antwerp", Othon Friesz transforms pose or gesture into real architecture; the details delay reading just enough to make it interesting. For "The Port of Antwerp" by Othon Friesz, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "The Port of Antwerp" by Othon Friesz, this constructed subject allows us to measure Othon Friesz's hand: we must hold the lines, the light and the atmosphere without transforming the place into a simple document. In "The Port of Antwerp" by Othon Friesz, this constructed subject allows us to measure Othon Friesz's hand: we must hold the lines, the light and the atmosphere without transforming the place into a simple document. The interest of "The Port of Antwerp" by Othon Friesz, this constructed subject allows us to measure Othon Friesz's hand: we must hold the lines, the light and the atmosphere without transforming the place into a simple document. The interest of "The Port of Antwerp" by Othon Friesz, this constructed subject allows us to measure Othon Friesz's hand: we must hold the lines, the light and the atmosphere without transforming the place into a simple document. The interest of "The Port of Antwerp" by Othon Friesz is due to this concrete difference: the lines, the light and the atmosphere must hold together without transforming the place into a simple document. The interest of "The Port of Antwerp" by Othon Friesz is due to this concrete difference:
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#39
La Ciotat
In "La Ciotat", Othon Friesz avoids the interchangeable image and asserts a clean tone; the tonal ratios establish a depth without noise. For "La Ciotat" by Othon Friesz, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "La Ciotat" by Othon Friesz, this work is valid in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "La Ciotat" by Othon Friesz, this work is valid for its precise motif as much as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the course. In "La Ciotat" by Othon Friesz, this work is valid for its precise motif as much as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the course. "La Ciotat" by Othon Friesz, this work is valid for its precise motif as much as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the course. "La Ciotat" by Othon Friesz, this work is valid for its precise motif as much as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the course. "La Ciotat" by Othon Friesz, this work
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#40
Rue du Mont-Cénis
In "Rue du Mont-Cénis", Maurice Utrillo makes the motif a visual event rather than a simple label; the framing tightens what really deserves attention. For "Rue du Mont-Cénis" by Maurice Utrillo, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Rue du Mont-Cénis" by Maurice Utrillo, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In "Rue du Mont-Cénis" by Maurice Utrillo, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In "Rue du Mont-Cénis" by Maurice Utrillo, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Rue du Mont-Cénis" by Maurice Utrillo, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Rue du Mont-Cénis" by Maurice Utrillo, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Rue du Mont-Cénis" by Maurice Utrillo, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Rue du Mont-Cénis
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#41
The Agile Rabbit, Montmartre
In "The Agile Rabbit, Montmartre", Maurice Utrillo chooses a precise situation and pushes it beyond the anecdote; the palette brings the shots together without flattening the scene. For "The Agile Rabbit, Montmartre" by Maurice Utrillo, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Agile Rabbit, Montmartre" by Maurice Utrillo, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Agile Rabbit, Montmartre" by Maurice Utrillo, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Agile Rabbit, Montmartre" by Maurice Utrillo, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Agile Rabbit, Montmartre" by Maurice Utrillo, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Agile Rabbit, Montmartre" by Maurice Utrillo, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Agile Rabbit, Montmartre" by Maurice Utrillo thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#42
I Saw the Figure 5 in Gold
In "I Saw the Figure 5 in Gold", Charles Demuth gives everyday life a density that he had not asked for; the diagonals give the subject an energy that does not hold in place. In "I Saw the Figure 5 in Gold" by Charles Demuth, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. We can like "I Saw the Figure 5 in Gold" for its calm or its brilliance, but its hold comes mainly from the way in which Charles Demuth organizes the look.
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#43
The Machine Gun
In "The Machine Gun", C. In "The Machine Gun", r. In "The Machine Gun", w. In "The Machine Gun", Nevinson establishes a discreet tension at first glance; light distributes roles with quiet authority. For "The Machine Gun" by C. In "The Machine Gun", Nevinson does not leave a formula, he adjusts the distance. The place of "The Machine Gun" by C. In "The Machine Gun", Nevinson does not leave a formula, he adjusts the distance. The place of "The Machine Gun" by C. In "The Machine Gun", Nevinson does not leave a formula, he adjusts the distance. The place of "The Machine Gun" by C. In "The Machine Gun", Nevinson, this type of subject matters because it shows another speed of gaze: less immediate effect, more hold. We can like "The Machine Gun" by C. In "The Machine Gun", Nevinson, this type of subject counts because it shows another speed of gaze: less immediate effect, more hold. We can like "The Machine Gun" by C. In "The Machine Gun", Nevinson, this type of subject counts because it shows another speed of gaze: less immediate effect, more hold. We can like "The Machine Gun" by C. In "The Machine Gun", Nevinson, this type of subject counts because it shows another speed of gaze: less immediate effect, more hold. We can like "The Machine Gun" by C. In "The Machine Gun", Nevinson, this type of subject counts because it shows another speed of gaze: less immediate effect, more hold. We can like "The Machine Gun" by C. In "The Machine Gun", Nevinson, this type of subject counts because it shows another speed of
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#44
Back to the trenches
In "Return to the Trenches", C. In "Return to the Trenches", r. In "Return to the Trenches", w. In "Return to the Trenches", Nevinson transforms a recognizable motif into a viewing experience; light distributes roles with quiet authority. For "Return to the Trenches" by C. In "Return to the Trenches", Nevinson, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Return to the Trenches", Nevinson, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Return to the Trenches", Nevinson, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Return to the Trenches", Nevinson, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Return to the Trenches", Nevinson, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Return to the Trenches", Nevinson, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Return to the Trenches", Nevinson, the force comes less from a burst of brill from "Return to the Trenches" by C. "Return to the Trenches" by C. In "Return to the Trenches", Nevinson thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#45
Self-portrait
In "Self-Portrait", Charley Toorop establishes discreet tension at first glance; light distributes roles with quiet authority. For Charley Toorop's "Self-Portrait", the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In Charley Toorop's "Self-Portrait", the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. We can like "Self-portrait" for its calm or its brilliance, but its outfit comes mainly from the way in which Charley Toorop organizes the look.
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#46
Puberty
In "Puberty", Edvard Munch organizes the motif without reducing it to a pretext; the gaze circulates between structure, material and small expressive gaps. For "Puberty" by Edvard Munch, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Puberty" by Edvard Munch, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. in Edvard Munch's "Puberty", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. "light, framing and material then give it its own personality. "Puberty" by Edvard Munch, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. "Puberty" by Edvard Munch, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. "Puberty" by Edvard Munch, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. "Puberty" by Edvard Munch, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. "Puberty" by Edvard Munch, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. "Puberty" by Edvard Munch, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its
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#47
Anxiety
In "Anxiety", Edvard Munch makes the motif a visual event rather than a simple label; voids count as much as figures and avoid any heaviness. For Edvard Munch's "Anxiety", strength comes less from a burst of brilliance than from balance: enough structure to guide the eye, enough breathing to let the scene live. In Edvard Munch's "Anxiety", the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In Edvard Munch's "Anxiety", the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. Edvard Munch's "Anxiety", the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. Edvard Munch's "Anxiety", the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. Edvard Munch's "Anxiety", the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. Edvard Munch's "Anxiety", the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. Edvard Munch's "Anxiety", the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. Edvard Munch's "Anxiety", the first interest comes from the subject itself: it gives the reader a
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#48
Van Gogh's Room in Arles
For "Van Gogh's Room in Arles": Van Gogh's Room in Arles transforms a simple room into an indirect self-portrait. For this version of "Van Gogh's Room in Arles": Bed, chairs, blue walls: everything tells the fragile idea of a refuge, with furniture that obviously has a lot to say. About "Van Gogh's Room in Arles", the pleasure also comes from the fact that the work refuses to explain everything; About "Van Gogh's Room in Arles", the pleasure also comes from the fact that the work refuses to explain everything; she gives enough clues to direct the eye, then keeps an element of reserve, like a model who knows her best profile very well.
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#49
Café terrace in the evening
In "Café Terrace in the Evening", Vincent van Gogh organizes the motif without reducing it to a pretext; secondary gestures tell almost as much as the main subject. For "Café Terrace in the Evening" by Vincent van Gogh, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Café Terrace in the Evening" by Vincent van Gogh, the light serves as the main reference point: it transforms a simple subject into a long-term experience, as if the painting kept the exact time in its pocket. In "Café Terrace in the Evening" by Vincent van Gogh, the light serves as the main reference point: it transforms a simple subject into a long-term experience, as if the painting kept the exact time in its pocket. In "Café Terrace in the Evening" by Vincent van Gogh, the light serves as the main reference point: it transforms a simple subject into a long-term experience, as if the painting kept the exact time in its pocket. In "Café Terrace in the Evening" by Vincent van Gogh, the light serves as the main reference point: it transforms a simple subject into a long-term experience, as if the painting kept the exact time in its pocket. "Café Terrace in the Evening" by Vincent van Gogh, the light serves as the main reference point: it transforms a simple subject into a long-term experience, as if the painting kept the exact time in its pocket. "Café Terrace in the Evening" by Vincent van Gogh, the light serves as the main reference point: it transforms a simple subject into a long-term experience,
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#50
Portrait of Wally
In "Portrait of Wally", Egon Schiele moves a concrete subject towards a more ambiguous image; the palette brings the shots together without flattening the scene. In "Portrait of Wally" by Egon Schiele, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. The interest of "Portrait of Wally" by Egon Schiele is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#51
Woman sitting with her leg bent
In "Sitting Woman with Folded Leg", Egon Schiele transforms a recognizable pattern into a gaze experience; light distributes roles with quiet authority. For "Sitting Woman with Folded Leg" by Egon Schiele, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Sitting Woman with Folded Leg" by Egon Schiele, the figure brings another type of presence: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Sitting Woman with Folded Leg" by Egon Schiele, the figure brings another type of presence: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Sitting Woman with Folded Leg" by Egon Schiele, the figure brings another type of presence: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Sitting Woman with Folded Leg" by Egon Schiele, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. "Sitting Woman with Folded Leg" by Egon Schiele, the figure brings another type of presence: posture, a costume, a profile or a contrast which gives the painting its little authority. In "Sitting Woman with Folded Leg" by Egon Schiele, the figure brings another type of presence: posture, a costume, a profile or a contrast which gives the painting its little authority. In "Sitting Woman with Folded Leg" by Egon Schiele, the figure brings
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#52
Self-portrait as a soldier
In "Self-portrait as a soldier", Ernst Ludwig Kirchner establishes a discreet tension from the first glance; the gaze circulates between structure, material and small expressive gaps. For "Self-portrait as a soldier" by Ernst Ludwig Kirchner, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Self-portrait as a soldier" by Ernst Ludwig Kirchner, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Self-portrait as a soldier" by Ernst Ludwig Kirchner, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. In "Self-portrait as a soldier" by Ernst Ludwig Kirchner, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. In "Self-portrait as a soldier" by Ernst Ludwig Kirchner, the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. We can like "Self-portrait as a soldier" for its calm or its brilliance, but its outfit comes mainly from the way in which Ernst Ludwig Kirchner organizes the gaze.
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#53
Animal destinies
In "Destins d’animals", Franz Marc transforms pose or gesture into real architecture; the painted surface retains a tension that the subject alone would not explain. For Franz Marc's "Destins d'animals", the painting does not only seek to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. The interest of "Destins d’animals" by Franz Marc is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#54
The Tower of the Blue Horses
In "The Tower of Blue Horses", Franz Marc gives the gaze a clear entry point; the palette brings the shots together without flattening the scene. For "The Tower of Blue Horses" by Franz Marc, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "The Tower of Blue Horses" by Franz Marc, this constructed subject allows Franz Marc's hand to be measured: it is necessary to hold the lines, the light and the atmosphere without transforming the place into a simple document. In "The Tower of Blue Horses" by Franz Marc, this constructed subject allows Franz Marc's hand to be measured: it is necessary to hold the lines, the light and the atmosphere without transforming the place into a simple document. The interest of "The Tower of Blue Horses" by Franz Marc, this constructed subject allows Franz Marc's hand to be measured: it is necessary to hold the lines, the light and the atmosphere without transforming the place into a simple document. The interest of "The Tower of Blue Horses" by Franz Marc, this constructed subject allows Franz Marc's hand to be measured: it is necessary to hold the lines, the light and the atmosphere without transforming the place into a simple document. Franz Marc's "Tower of Blue Horses", this constructed subject allows Franz Marc's hand to be measured: it is necessary to hold the lines, the light and the atmosphere without transforming the place into a simple document. Franz Marc's "Tower of Blue Horses", this constructed subject allows Franz Marc's hand to be measured: it is necessary to hold the lines, the light
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#55
Improvisation 28 (second version)
In "Improvisation 28 (second version)", Wassily Kandinsky starts from a clearly identified subject; the diagonals give the subject an energy that does not hold in place. In "Improvisation 28 (second version)", guggenheim Museum, New York; dimensions: 111.4 x 162.2 cm. For "Improvisation 28 (second version)" by Wassily Kandinsky, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Improvisation 28 (second version)" by Wassily Kandinsky, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Improvisation 28 (second version)" by Wassily Kandinsky, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Improvisation 28 (second version)" by Wassily Kandinsky, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Improvisation 28 (second version)" by Wassily Kandinsky, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Improvis big reels. "Improvisation 28 (second version)" by Wassily Kandinsky brings her own mood to the journey; the canvas breathes, but it did not come just to open the window.
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#56
The Blue Rider
In "The Blue Rider", Wassily Kandinsky gives the gaze a clear entry point; the contours alternate precision and freedom with a beautiful confidence. For "The Blue Rider" by Wassily Kandinsky, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "The Blue Rider" by Wassily Kandinsky, this work is worth its precise motif as much as its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the route. In "The Blue Rider" by Wassily Kandinsky, this work is worth its precise motif as much as its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the route. The interest of "The Blue Rider" by Wassily Kandinsky is due to its precise pattern as much as its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the course. The interest of "The Blue Rider" by Wassily Kandinsky is due to its concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#57
Walk
In "Promenade", August Macke puts the subject to the test of a very personal framing; the framing tightens what really deserves attention. For "Promenade" by August Macke, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. The interest of "Promenade" by August Macke is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#58
Self-portrait in a tuxedo
In "Self-portrait in a tuxedo", Max Beckmann makes the motif a visual event rather than just a label; the framing tightens what really deserves attention. For Max Beckmann's "Self-portrait in a tuxedo", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In Max Beckmann's "Self-portrait in a tuxedo", the figure is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In Max Beckmann's "Self-portrait in a tuxedo", the figure brings another type of presence: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In Max Beckmann's "Self-portrait in a tuxedo", the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. In Max Beckmann's "Self-portrait in a tuxedo", the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. Max Beckmann's "Self-portrait in a tuxedo", the figure brings another type of presence: posture, costume, face or gesture give the painting a human tension that the landscape alone could not produce. Max Beckmann's "Self-portrait in a tuxedo", the figure brings another type of presence: posture, costume, face
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#59
Angelus Novus
In "Angelus Novus", Paul Klee gives everyday life a density that he had not asked for; the color then regulates the temperature of the whole. In "Angelus Novus" by Paul Klee, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. We can love "Angelus Novus" for its calm or its brilliance, but its hold comes mainly from the way in which Paul Klee organizes the gaze.
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#60
The Little Pastry Chef
In "Le Petit Pâtissier", Chaïm Soutine puts the subject to the test of a very personal framing; the color then regulates the temperature of the whole. In "Le Petit Pâtissier" by Chaïm Soutine, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "Le Petit Pâtissier" by Chaïm Soutine, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "Le Petit Pâtissier" at Chaïm Soutine is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#61
Landscape of Céret
In "Paysage de Céret", Chaïm Soutine gives everyday life a density that he had not asked for; voids count as much as figures and avoid any heaviness. For "Paysage de Céret" by Chaïm Soutine, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. We can love "Paysage de Céret" for its calm or its brilliance, but its hold comes above all from the way in which Chaïm Soutine organizes the look.
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#62
Street in Røros in winter
In "Street in Røros in Winter", Harald Sohlberg transforms pose or gesture into real architecture; tone ratios establish a depth without noise. For "Street in Røros in Winter" by Harald Sohlberg, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Street in Røros in Winter" by Harald Sohlberg, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of leading the eye without making large reels. In "Street in Røros in Winter" by Harald Sohlberg, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of leading the eye without making large reels. In "Street in Røros in Winter" by Harald Sohlberg, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of leading the eye without making large reels. The interest of "Street in Røros in Winter" by Harald Sohlberg, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of leading the eye without making large reels. The interest of "Street in Røros in Winter" by Harald Sohlberg, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of leading the eye without making large reels. The interest of "Street in Røros in Winter" by Harald Sohlberg, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of leading the eye without making
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#63
Mirri
In "Mirri", Tyko Sallinen puts the subject to the test of a very personal framing; the point of view transforms a familiar observation into a lasting surprise. In "Mirri" by Tyko Sallinen, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. The interest of "Mirri" in Tyko Sallinen is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#64
The Schoenberg Family
In "The Schönberg Family", Richard Gerstl transforms pose or gesture into real architecture; the palette brings the shots together without flattening the scene. For "The Schönberg Family" by Richard Gerstl, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "The Schönberg Family" by Richard Gerstl, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "The Schönberg Family" by Richard Gerstl, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "The Schönberg Family" by Richard Gerstl, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "The Schönberg Family" by Richard Gerstl, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "The Schönberg Family" by Richard Gerstl, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "The Schönberg Family" by Richard Gerstl, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "The Schönberg Family" by Richard
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#65
Himmel
In "Himmel", Marsden Hartley gives everyday life a density that he had not asked for; the pictorial material gives weight to the quietest areas. We can love "Himmel" for its calm or its brilliance, but its hold comes mainly from the way in which Marsden Hartley organizes the gaze.
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#66
Composition
In "Composition", Marsden Hartley gives the gaze a clear entry point; the drawing maintains the whole while the atmosphere takes some liberties. The interest of "Composition" in Marsden Hartley lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#67
The Broken Column
In "The Broken Column", Frida Kahlo puts the subject to the test of a very personal framing; voids count as much as figures and avoid any heaviness. In "The Broken Column" by Frida Kahlo, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "The Broken Column" in Frida Kahlo is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#68
Portrait of Lunia Czechowska in a white blouse
In "Portrait of Lunia Czechowska in a white blouse", Amedeo Modigliani chooses a specific situation and pushes it beyond the anecdote; the gaze circulates between structure, material and small expressive gaps. For "Portrait of Lunia Czechowska in a white blouse" by Amedeo Modigliani, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Portrait of Lunia Czechowska in a White Blouse" by Amedeo Modigliani, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Portrait of Lunia Czechowska in a White Blouse" by Amedeo Modigliani, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Portrait of Lunia Czechowska in a White Blouse" by Amedeo Modigliani, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Portrait of Lunia Czechowska in a White Blouse" by Amedeo Modigliani, the human subject allows Amedeo Modigliani to be followed as close as possible to a presence that looks, reads, waits or stays at a distance. In "Portrait of Lunia Czechowska in a White Blouse" by Amedeo Modigliani, the human subject allows us to Modigliani thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#69
Woman with blue eyes
In "Woman with Blue Eyes", Amedeo Modigliani starts from a clearly identified subject; the pictorial material gives weight to the quietest areas. For "Woman with Blue Eyes" by Amedeo Modigliani, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Woman with Blue Eyes" by Amedeo Modigliani, the human subject allows Amedeo Modigliani to be followed as close as possible to a presence that looks, reads, waits or stays at a distance. In "Woman with Blue Eyes" by Amedeo Modigliani, the human subject allows you to follow Amedeo Modigliani as close as possible to a presence that looks, reads, waits or stays at a distance. In "Woman with Blue Eyes" by Amedeo Modigliani, the human subject allows you to follow Amedeo Modigliani as close as possible to a presence that looks, reads, waits or stays at a distance. In "Woman with Blue Eyes" by Amedeo Modigliani, the human subject allows you to follow Amedeo Modigliani as close as possible to a presence that looks, reads, waits or stays at a distance. In "Woman with Blue Eyes" by Amedeo Modigliani, the human subject allows you to follow Amed
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#70
The joy of living
In "The Joy of Living", Henri Matisse retains a moment whose painting extends its duration; the gaze circulates between structure, material and small expressive gaps. For Henri Matisse's "The Joy of Living", strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In Henri Matisse's "The Joy of Living", here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. In Henri Matisse's "The Joy of Living", here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. Henri Matisse's "The Joy of Living" here, reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. Henri Matisse's "The Joy of Living" here, reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. Henri Matisse's "The Joy of Living" thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
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#71
The Red Workshop
In "L'Atelier rouge", Henri Matisse establishes a discreet tension from the first glance; the contours alternate precision and freedom with a beautiful aplomb. In "L'Atelier rouge" by Henri Matisse, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. We can love "L'Atelier rouge" for its calm or its brilliance, but its hold comes mainly from the way in which Henri Matisse organizes the gaze.
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#72
The London Basin
In "The London Basin", André Derain chooses a specific situation and pushes it beyond the anecdote; light distributes roles with quiet authority. For "The London Basin" by André Derain, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. André Derain's "The London Basin", the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. André Derain's "The London Basin" thus maintains a clear visual identity, without the need for a great rhetorical effect to make it interesting.
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#73
Red and white harlequin on violin
In "Red and White Harlequin on the Violin", Raoul Dufy organizes the motif without reducing it to a pretext; the contrast organizes the scene before we even read the details. For "Red and White Harlequin on the Violin" by Raoul Dufy, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Red and white harlequin on the violin" by Raoul Dufy, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Red and white harlequin on the violin" by Raoul Dufy, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Red and white harlequin on the violin" by Raoul Dufy, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Red and white harlequin on the violin" by Raoul Dufy, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Red and white harlequin on the violin" by Raoul Dufy, the composition is read in stages: first the motif, then the masses, then the passages of
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#74
The Nap
In "La Sieste", Henri Manguin gives the gaze a clear entry point; the details delay reading just enough to make it interesting. For "La Sieste" by Henri Manguin, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. The interest of "La Sieste" by Henri Manguin is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#75
Church of Clignancourt
In "Church of Clignancourt", Maurice Utrillo seeks a presence that resists the simple title; light distributes roles with quiet authority. In "Church of Clignancourt" by Maurice Utrillo, architecture provides useful precision; it gives the gaze a point of support, while the painting retains its share of flexibility. We can like "Church of Clignancourt" for its calm or its brilliance, but its hold comes mainly from the way in which Maurice Utrillo organizes the gaze.
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#76
Rue Norvins in Montmartre
In "La Rue Norvins à Montmartre", Maurice Utrillo makes the motif a visual event rather than a simple label; the painted surface retains a tension that the subject alone would not explain. For "La Rue Norvins à Montmartre" by Maurice Utrillo, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "La Rue Norvins à Montmartre" by Maurice Utrillo, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. "La Rue Norvins à Montmartre" by Maurice Utrillo, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. "La Rue Norvins à Montmartre" by Maurice Utrillo, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. "La Rue Norvins à Montmartre" by Maurice Utrillo, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. "La Rue Norvins à Montmartre" by Maurice Utrillo, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. "La Rue Norvins à Montmartre" by Maurice Utrillo,
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#77
Vampire
In "Vampire", Edvard Munch moves a concrete subject to a more ambiguous image; the palette brings the shots together without flattening the scene. For "Vampire" by Edvard Munch, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too much-squeezed glances. In "Vampire" by Edvard Munch, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. The interest of "Vampire" in Edvard Munch is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#78
The Dance of Life
In "The Dance of Life", Edvard Munch gives everyday life a density that he had not asked for; secondary gestures tell almost as much as the main subject. In "The Dance of Life" by Edvard Munch, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. We can love "The Dance of Life" for its calm or its brilliance, but its hold comes mainly from the way in which Edvard Munch organizes the gaze.
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#79
Iris
In "Iris", Vincent van Gogh organizes the motif without reducing it to a pretext; the palette brings the shots together without flattening the scene. For "Iris" by Vincent van Gogh, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Iris" by Vincent van Gogh, the first interest comes from the subject itself: it gives the reader a concrete take before letting the color, light and details do the rest. In "Iris" by Vincent van Gogh, the first interest comes from the subject itself: it gives the reader a concrete grip before letting the color, light and details do the rest. "Iris" by Vincent van Gogh, the first interest comes from the subject itself: it gives the reader a concrete grip before letting the color, light and details do the rest. "Iris" by Vincent van Gogh, the first interest comes from the subject itself: it gives the reader a concrete grip before letting the color, light and details do the rest. "Iris" by Vincent van Gogh, the first interest comes from the subject itself: it gives the reader a concrete grip before letting the color, light and details do the rest. "Iris" by Vincent van Gogh, the first interest comes from the subject itself: it gives the reader a concrete grip before letting the color, light and details do the rest. "Iris" by Vincent van Gogh, the first interest comes from the subject itself: it gives the reader a
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#80
Wheat field with crows
In "Field of wheat with crows", Vincent van Gogh transforms pose or gesture into true architecture; the gaze circulates between structure, material and small expressive gaps. The interest of "Field of wheat with crows" in Vincent van Gogh is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#81
The family
In "The Family", Egon Schiele retains a moment whose painting extends its duration; the tonal relationships establish a depth without noise. For "The Family" by Egon Schiele, the eye finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. In "The Family" by Egon Schiele, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "The Family" by Egon Schiele, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "The Family" by Egon Schiele, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "The Family" by Egon Schiele, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "The Family" by Egon Schiele, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "The Family" by Egon Schiele, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "The Family" by Egon Schiele, the first interest comes from the subject itself: it gives the reader a concrete grip
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#82
Four trees
In "Four Trees", Egon Schiele moves a concrete subject to a more ambiguous image; the color then regulates the temperature of the whole. In "Four Trees" by Egon Schiele, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. The interest of "Four Trees" by Egon Schiele lies in this concrete difference: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. The interest of "Four Trees" by Egon Schiele lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#83
Five women in the street
In "Five Women on the Street", Ernst Ludwig Kirchner gives the gaze a clear entry point; the details delay reading just enough to make it interesting. For Ernst Ludwig Kirchner's "Five Women on the Street", the painting not only seeks to be pretty; it documents a way of seeing, which is significantly more solid than a pretty undocumented mist. In Ernst Ludwig Kirchner's "Five Women on the Street", here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Five Women on the Street" by Ernst Ludwig Kirchner, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Five Women on the Street" by Ernst Ludwig Kirchner, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Five Women on the Street" by Ernst Ludwig Kirchner, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Five Women on the Street" by Ernst Ludwig Kirchner, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Five
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#84
The Tiger
In "The Tiger", Franz Marc transforms a recognizable motif into a gaze experience; the point of view transforms a familiar observation into a lasting surprise. For "The Tiger" by Franz Marc, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "The Tiger" by Franz Marc, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. In "The Tiger" by Franz Marc, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. Franz Marc's "The Tiger", the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. Franz Marc's "The Tiger" already provides a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. Franz Marc's "The Tiger" already provides a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. Franz Marc's "The Tiger" thus maintains a clear visual identity, without the need for a great rhetorical effect to make it interesting.
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#85
Foxes
In "Renards", Franz Marc transforms a recognizable pattern into a viewing experience; the contours alternate precision and freedom with a beautiful confidence. For "Renards" by Franz Marc, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Renards" by Franz Marc, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Renards" by Franz Marc, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Renards" by Franz Marc, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Renards" by Franz Marc, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "Renards" by Franz Marc, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "Renards" by Franz Marc, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "Renards" by Franz Marc, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and
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#86
Munich-Schwabing with the Church of St. Ursula
In "Munich-Schwabing with the Church of Saint Ursula", Wassily Kandinsky organizes the motif without reducing it to a pretext; the tone relationships establish a depth without noise. For "Munich-Schwabing with the Church of Saint Ursula" by Wassily Kandinsky, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Munich-Schwabing with the Church of Saint Ursula" by Wassily Kandinsky, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Munich-Schwabing with the Church of Saint Ursula" by Wassily Kandinsky, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Munich-Schwabing with the Church of Saint Ursula" by Wassily Kandinsky, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Munich-Schwabing with the Church of Saint Ursula" by Wassily Kandinsky, the eye finds a precise reason to slow down: a line, a bank, a profile or a Wassily Kandinsky brings her own mood to the journey; the canvas breathes, but it did not come just to open the window.
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#87
Murnau
In "Murnau", Wassily Kandinsky establishes a discreet tension at first glance; the diagonals give the subject an energy that does not hold in place. In "Murnau" by Wassily Kandinsky, the painting avoids anonymity because it carries a recognizable subject; the light, framing and material then give it its own personality. We can love "Murnau" for its calm or brilliance, but its hold comes mainly from the way in which Wassily Kandinsky organizes the look.
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#88
Young Girls under the trees
In "Young Girls Under the Trees", August Macke puts the subject to the test of a very personal framing; the light distributes roles with quiet authority. For "Young Girls Under the Trees" by August Macke, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. The interest of "Young Girls Under the Trees" in August Macke is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#89
Fashion: Woman in the parasol in front of the milliner's shop
For "Fashion: Woman with a parasol in front of the milliner's shop": The Woman with a parasol shows Camille and Jean Monet caught in the wind and the light. For this version of "Fashion: Woman with a parasol in front of the milliner's shop": The family portrait becomes an outdoor scene, with enough sky to make the whole canvas work. About "Fashion: Woman with a parasol in front of the milliner's shop", the composition deserves attention: it organizes the masses, the pauses and the small luminous accents with a precision that is better noticed at second glance than at first.
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#90
Magic of fish
In "Magic of Fish", Paul Klee gives the gaze a clear entry point; voids count as much as figures and avoid any heaviness. The interest of "Magic of Fish" in Paul Klee lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
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#91
Red Balloon
In "Red Balloon", Paul Klee transforms a recognizable pattern into a gaze experience; the framing tightens what really deserves attention. For "Red Balloon" by Paul Klee, the eye finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. In "Red Balloon" by Paul Klee, the title acts as a small starting point: it announces a pattern, a situation or a presence which the painting then transforms into a visual experience. In "Red Balloon" by Paul Klee, the title acts as a small starting point: it announces a pattern, a situation or a presence which the painting then transforms into a visual experience. In "Red Balloon" by Paul Klee, the title acts as a small starting point: it announces a pattern, a situation or a presence which the painting then transforms into a visual experience. In "Red Balloon" by Paul Klee, the title acts as a small starting point: it announces a motif, a situation or a presence which the painting then transforms into a visual experience. In "Red Balloon" by Paul Klee, the title acts as a small starting point: it announces a motif, a situation or a presence which the painting then transforms into a visual experience. "Red Balloon" by Paul Klee, the title acts as a small starting point: it announces a motif, a situation or a presence which the painting then transforms into a visual experience. "Red Balloon" by Paul Klee
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#92
Rhubarb
In "Rhubarb", Nikolai Astrup makes the pattern a visual event rather than just a label; the palette brings the shots together without flattening the scene. For Nikolai Astrup's "Rhubarb", strength comes less from a burst of brilliance than from balance: enough structure to guide the eye, enough breathing to let the scene live. Nikolai Astrup's "Rhubarb" brings less of a burst of brilliance than a balance: enough structure to guide the eye, enough breathing to let the scene live. Nikolai Astrup's "Rhubarb" brings its own mood to the journey; the canvas breathes, but it did not come just to open the window.
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#93
Mathilde Schoenberg
In "Mathilde Schönberg", Richard Gerstl establishes a discreet tension from the first glance; light distributes roles with quiet authority. For "Mathilde Schönberg" by Richard Gerstl, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Mathilde Schönberg" by Richard Gerstl, here, reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. We can love "Mathilde Schönberg" for its calm or brilliance, but its hold comes mainly from the way in which Richard Gerstl organizes the look.
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#94
The wounded deer
In "The Wounded Deer", Frida Kahlo seeks a presence that resists the simple title; the diagonals give the subject an energy that does not hold in place. In "The Wounded Deer" by Frida Kahlo, this work is as valuable for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. We can love "The Wounded Deer" for its calm or its brilliance, but its hold comes mainly from the way in which Frida Kahlo organizes the look.
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#95
Portrait of Paul Guillaume
In "Portrait of Paul Guillaume", Amedeo Modigliani establishes a discreet tension at first glance; light distributes roles with quiet authority. For "Portrait of Paul Guillaume" by Amedeo Modigliani, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Portrait of Paul Guillaume" by Amedeo Modigliani, it is not only a silhouette posed in a beautiful light; the figure becomes the center of gravity, the detail that transforms the atmosphere into an encounter. We can love "Portrait of Paul Guillaume" for its calm or its brilliance, but its outfit comes above all from the way in which Amedeo Modigliani organizes the look.
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#96
Naked sitting
In "Nude seated", Amedeo Modigliani seeks a presence that resists the simple title; the drawing maintains the whole while the atmosphere takes some liberties. For "Nude seated" by Amedeo Modigliani, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Nude seated" by Amedeo Modigliani, this painting provides a simple but useful reference: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Nude seated" by Amedeo Modigliani, this painting provides a simple but useful reference: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. In "Nude seated" by Amedeo Modigliani, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. In "Nude seated" by Amedeo Modigliani, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. In "Nude seated" by Amedeo Modigliani, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. In "Nude seated"
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#97
Blue nude (memory of Biskra)
In "Nude bleu (memory of Biskra)", Henri Matisse starts from a clearly identified subject; the drawing maintains the whole while the atmosphere takes some liberties. For "Nude bleu (memory of Biskra)" by Henri Matisse, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Nude bleu (memory of Biskra)" by Henri Matisse, the title acts as a little starting point: it announces a pattern, a situation or a presence which gives the painting its little authority. In "Nude bleu (memory of Biskra)" by Henri Matisse, the title acts as a little starting point: it announces a pattern, a situation or a presence which the painting then transforms into a visual experience. In "Nude bleu (memory of Biskra)" by Henri Matisse, the title acts as a little starting point: it announces a motif, a situation or a presence which the painting then transforms into a visual experience. In "Nude bleu (memory of Biskra)" by Henri Matisse, the title acts as a little starting point: it announces a motif, a situation or a presence which the painting then transforms into a visual experience. In "Nude bleu (memory of Biskra)" by Henri Matisse
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#98
The dance
In "La Danse", Henri Matisse starts from a clearly identified subject; the pictorial material gives weight to the quietest areas. For "La Danse" by Henri Matisse, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "La Danse" by Henri Matisse, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. In "La Danse" by Henri Matisse, the painting avoids anonymity because it carries a recognizable subject; the light, the framing and the material then give it its own personality. "La Danse" by Henri Matisse, the painting avoids anonymity because it carries a recognizable subject; the light, the framing and the material then give it its own personality. "La Danse" by Henri Matisse, the painting avoids anonymity because it carries a recognizable subject; the light, the framing and the material then give it its own personality. "La Danse" by Henri Matisse, the painting avoids anonymity because it carries a recognizable subject; the light, the framing and the material then give it its own personality. Henri Matisse’s "La Danse", the painting avoids anonymity because it carries a recognizable subject; the light, the framing and the material then give it its own personality. Henri Matisse’s "La Danse", the painting avoids anonymity because it carries a recognizable subject; the light, the fram
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#99
Big Ben
In "Big Ben", André Derain makes the motif a visual event rather than a simple label; voids count as much as figures and avoid any heaviness. For "Big Ben" by André Derain, the eye finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. In "Big Ben" by André Derain, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Big Ben" by André Derain, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "Big Ben" by André Derain, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "Big Ben" by André Derain, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "Big Ben" by André Derain, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "Big Ben" by André Derain, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "Big Ben" by André Derain, the first interest comes from the subject
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#100
Posters in Trouville
In "Les Posters à Trouville", Raoul Dufy gives everyday life a density that he had not asked for; the drawing maintains the whole while the atmosphere takes some liberties. For "Les Posters à Trouville" by Raoul Dufy, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. We can love "Les Posters à Trouville" for its calm or its brilliance, but its hold comes mainly from the way in which Raoul Dufy organizes the look.
Discover →What the ranking reveals
One hundred paintings, three lasting shocks
After a hundred works, expressionism no longer resembles a simple collection of worried faces. It's a way of prioritizing lived experience, even when color arrives without an appointment and sits in the middle of the living room.
The resemblance is not the verdict
A portrait can twist the lines and yet aim more accurately than the morning mirror.
Color becomes emotion
Reds, greens and yellows do not decorate the scene: they directly regulate the temperature.
The landscape also looks
Trees, streets and mountains absorb the interior state of the painter and send him back to the viewer.
Timeline under tension
Five dates to follow the rise of the current
Kirchner, Heckel and Schmidt-Rottluff founded a group in Dresden determined to shorten the distance between art and life.
The term expressionism is gaining critical debate and is beginning to designate a broader sensibility.
Kandinsky and Franz Marc bring together artists in Munich who make color a thought in motion.
The Blaue Reiter publishes a work-manifesto which brings together popular arts, music and the avant-garde.
The war disperses the groups; the expressionist impulse survives and changes tone.
Deep movement
Why does expressionism remain so intense?
Expressionism does not first seek to copy the visible world. He wants to show what the world provokes inside: worry, fever, loneliness, fervor, desire, dizziness. The colors tense, the lines distort, the faces almost become psychological landscapes. It's not always relaxing, but no one promised that a masterpiece should behave like a cushion.
Edvard Munch opens a decisive path with images where fear, love, illness or jealousy take an immediately recognizable form. The Scream is not only a famous face: it is a general vibration, a landscape that seems to hear the same alarm as the character. Munch shows that emotion can become architecture, sky, horizon line and even memory impossible to put away.
In Germany, Die Brücke gives the movement an urban and nervous energy. Kirchner, Heckel, Schmidt-Rottluff and Pechstein paint the streets, workshops, dancers, bathers and figures with acidic colors, dry angles, almost electric tension. The modern city is no longer an elegant setting: it becomes a physical experience. We feel the sidewalks, the looks, the lights, and sometimes the very reasonable desire to take five minutes in peace.
Der Blaue Reiter brings another intensity. Kandinsky, Marc, Macke, Münter or Jawlensky seek a more interior, sometimes spiritual force in color. Blue horses, simplified shapes and frank harmonies not only describe subjects: they seek visual music. The canvas almost becomes a score, with fewer polished violins and more heartbeats.
Egon Schiele and Oskar Kokoschka give the human figure a truth without varnish. The bodies lengthen, the hands clench, the eyes seem to have read the small lines of the existential contract. This painting may be disturbing, but it draws its strength from this frankness. She does not disguise fragility; she offers him a chair in the front row.
In a decoration, expressionism has a very particular presence. It is suitable for rooms that accept character: an office, a library, a sober living room, a hallway that deserves better than remaining a simple passage. An expressionist work does not just dress up a wall; it creates tension, depth, sometimes even a little silent conversation with the sofa, which had asked for nothing but did very well.
This Top highlights images where emotion, expressive distortion, strong color and psychological presence play a central role. Some works are dark, others dazzling, but all refuse lukewarmness. Expressionism reminds us that painting can be beautiful without being comfortable, intense without being confusing, and funny in spite of itself when a painted chair seems to have more interior drama than a Monday morning.
Four reading keys
Look without asking the colors to calm down
Expressionism is read by successive tensions: the line, the color, the space and the gaze construct a sensitive truth rather than a notarized observation of the visible.
Track intensity
Eyes, hands and attitudes often concentrate the emotion even before the setting speaks.
Measure the temperature
An unrealistic hue may be the most accurate indicator of the atmosphere in the painting.
Observe imbalances
Leaning perspectives and compressed forms transform the environment into sensible pressure.
Listen to the material
Impasto, scratches and flat areas keep the physical trace of the gesture.
Sensitive library
Extend the visit without looking down
Artists, collections, museums and sources make it possible to check benchmarks and continue the movement beyond classification, without transforming research into a divination session.
In Alpha Reproduction
01Edvard MunchThe masters of Expressionism02Vincent van GoghThe masters of Expressionism03James EnsorThe masters of Expressionism04Egon SchieleThe masters of Expressionism05Franz MarcThe masters of Expressionism06August MackeThe masters of Expressionism07Alexej von JawlenskyThe masters of Expressionism08Paula Modersohn-BeckerThe masters of Expressionism09Max BeckmannThe masters of Expressionism10Paul KleeThe masters of Expressionism11Expressionism paintingCollections & guides12Expressionist reproductionsCollections & guides13Famous paintingsCollections & guides14All the famous top paintingsCollections & guides15Reproductions Edvard MunchCollections & guides16Reproductions Ernst Ludwig KirchnerCollections & guides17Reproductions Wassily KandinskyCollections & guides18All reproductions of paintingsCollections & guidesMuseums and references
01Wikipedia - ExpressionismMuseum & reference02Wikidata - ExpressionismMuseum & reference03Wikimedia Commons - ExpressionismMuseum & reference04MoMA - ExpressionismMuseum & reference05The Met - German ExpressionismMuseum & reference06Britannica - ExpressionismMuseum & referenceFrequently asked questions
Expressionism without imposed grimace
Some answers to distinguish the movement, its artists and its major works.
What is expressionism?
It is a modern movement which favors inner emotion rather than the faithful reproduction of reality. Artists distort shapes, intensify colors and seek to translate psychological states.
Why is Edvard Munch so important?
Munch gives images to anxiety, desire and solitude that have become universal. With it, the landscape and the body almost become emotional instruments, very effective, sometimes a little too honest to remain decorative.
What is the difference between Die Brücke and Der Blaue Reiter?
Die Brücke is more urban, tense, angular and carnal. Der Blaue Reiter seeks more spiritual, musical and colorful intensity. Both raise their voices, but not with the same accent.
Is Kandinsky an expressionist?
Yes, in part of his journey, especially around Der Blaue Reiter. Her painting then pushes towards abstraction, but she keeps this strong idea: color can express more than a simple object.
Why do expressionist colors seem so strong?
Because they are not just used to describe. They reflect tension, mood, worry or energy. Green can become nervous, red almost sonorous, blue frankly pensive.
Is expressionism suitable for a contemporary interior?
Very good, especially in a sober room. Its colors and lines give character without requiring a lot of ornament around it. You just have to accept that a painting sometimes has more opinion than a lamp.
Which work to choose to start with?
For an emotional icon, Munch is a must-have. For urban energy, Kirchner works very well. For a more lyrical color, Kandinsky, Marc or Macke bring luminous intensity.
Why does expressionism still appeal?
Because he speaks directly about human emotions. Even when the style dates from the beginning of the 20th century, its fears, its impulses and its tensions remain very current. The walls understand this faster than you think.
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