German Expressionism, English Vorticism, and Early Abstraction (1908-1917)

Publication: Wilhelm Worringer publishes Abstraction and Empathy, exploring the dichotomy between abstract art and representational art.
Key Concepts:
- Abstraction: A withdrawal from the engagement with the external world.
- Empathy: An emotional connection to the world through representational art.
Impact on Movements: Influences German Expressionism and English Vorticism, elaborating on psychological polarities in art.

Quote: Franz Marc reflects on the historical love for abstraction and its ties to tribal art.
Connection: Marc draws on Charles Baudelaire's idea of poetic "correspondences" and mentions an affinity between modern abstract art and tribal art.
Worringer's Influence: Marc corresponds with Wassily Kandinsky, praising Worringer's disciplined thinking.

Defense of Expressionists: Worringer defends German Expressionists against antimodernist critiques in 1911.
Ideas in Abstraction and Empathy: Develops two notions: 1) Einfühlung (empathy) from Theodor Lipps and 2) Kunstwollen (artistic will) from Alois Riegl, relating art styles to psychic states.
Contrasted Styles:
- Naturalistic Representation: Empathy with the external world.
- Geometric Abstraction: Withdrawal from engagement, conveying interior unrest.

Die Brücke (The Bridge): Founded in 1905 by Ernst Ludwig Kirchner; emphasized a metaphysical approach to art through urban chaos and primal vitality.
Der Blaue Reiter (The Blue Rider): Founded in 1911 by Marc and Kandinsky; pursued abstraction to explore spiritual and natural connections.

Natural Chaos: Worringer's view: Abstraction arises from man's unrest in a chaotic world. Primitives feel nature as hostile and chaotic.
Modernity's Challenges: Both modern and primitive man experience struggles with the world's chaotic nature.

Mystical Aspirations: Blaue Reiter artists, like Marc and Kandinsky, merged abstraction with spirituality, seeing their work as a connection to higher principles.
Art as Empathy: They attempted to reconcile an emotional connection between inner necessity and the outer world through their work.

Delaunay's Impact: In 1913, Robert Delaunay’s “Windows” series embodies the early problems and styles of abstraction, emphasizing vibrant color and dynamic compositions.
Cézanne's Fragmentation: Delaunay's remark on Cézanne highlights the break from mimetic representation to sheer abstraction, avoiding restoration of traditional forms.

Cultural Context: Abstraction arose from various influences across different cultures - not strictly from Paris. Examples include Russian avant-garde artists and their exploitation of folk art, iconography, and abstraction.
International Interactions: Notable early abstractionists include Malevich, Mondrian, and Kupka from various countries, all contributing to the emergent abstract style.

Transcendental Concepts: Abstract artists grappled with the quest for meanings beyond the visual, often related to music and universality in art.
Contrasting Ideals: A tension exists between materiality of paint and idealist sentiments in abstraction, paralleling philosophical debates.

Shift to Neoplasticism: After returning to Holland in 1914, Mondrian takes influences from Hegelian dialectics to affirm dynamic relations between forms without reverting to representation.
Composition Principles: Strives for a balanced yet tension-filled composition without hierarchical structures, exploring the very nature of painting.

Definition and Journal: Founded by Theo van Doesburg in 1917 with a journal promoting a modernist vision of unity across arts.
Key Contributions:
- Reaction against illusionism in space, advocating for clarity in form and function.
- Integration of painting and architecture in a holistic approach, highlighting the unity of space as a new possibility for modern design.
- Discussions on color and form promoted through collaborative projects, while individual contributions varied among members.