A Correlation between Expressionism and Neo Expressionism in 20th Century Modern Painting

20세기 현대미술에서 표현주의와 신표현주의 연관성

  • Received : 2011.01.04
  • Accepted : 2011.01.31
  • Published : 2011.02.28


Although having only become a unified nation in latter 19th century, Germany saw a movement centered on intellectuals to find culture via mental revolution after experiencing much confusion amidst rapid urbanization and materialism. Having expressed as they are such psychological states as anger, sorrow, repression, etc., which arise in reality, by remaining faithful to instinctive sensibility, the form naturally becomes distorted or exaggerated and continues on the tradition of romanticism of a powerful, dark, and introverted atmosphere. Having been discontinued after being branded as 'decadent art' by the Nazis of Fascism, expressionist art has returned in latter 20th century mainly centered on Germany, and this merits our attention. While neo expressionists actively use various objets and media, they metaphorically express hope about Germany's culture and society by again placing on the screen figures, myths, and symbols using rough brush touch, rich colors, etc., which past expressionists enjoyed using to represent the inner world of humans. As such, by examining expressionism, which can be seen as the origin of neo expressionism, we will discover the context in which these people conform to Germany's traditional romanticism and how they inherited and developed it.


Expressionism;Neo Expressionism;Fascism


Supported by : 한남대학교


  1. 김영나, “서양 현대미술의 기원(1880-1914)”, 시공사, 1996.
  2. 정영목, “독일 표현주의와 신표현주의 미술에 나타난 전통성과 시대정신”, 서양미술사학회논문집, 1992.
  3. 고충환, “독일 표현주의 미술에 있어서 형식감정의 차별성 연구”, 미학예술학연구 3,4권 1994.
  4. 김홍섭, “독일미술사”, 이유, 2004.
  5. 유로 현대미술 연구회, “현대 미술 속으로”, 예경, 2002.
  6. 슐라미스베어, 김숙옮김, “표현주의”, 열화당, 2003.
  7. 김영나, “독일표현주의 회화 : 다리파와 청기사파를 중심으로”, 미술사연구논문집, 1996.
  8. 하요 뒤히팅, 최정윤 옮김, “표현주의”, 미술문화, 2007.
  9. 이오연, “독일 신표현주의 미술의 형상성과 알레고리 연구”, 경기대학교 조형대학원, 석사논문, 2004.