Der Blaue Reiter Lyonel

HELENA CELDRN New York’s Whitney Museum organizes the most complete exhibition so far of the artist who went to Berlin to study music and became a painter. Sample offers, alongside the best-known oil paintings, figurative paintings, architectural photos and comic strips. Feininger belonged to Die Brucke and Der Blaue Reiter Expressionists artistic groups and was a prominent member of the Bauhaus. Lyonel Feininger (1871-1956) painted scenes whose elements seem to see fragmented, as through a broken glass. He started studying music, left him and became a cartoonist, then she fell, German Expressionism and the architects, designers and artists from the Bauhaus school. It absorbed everything naturally, with the lust that provokes curiosity. New York’s Whitney Museum exposes Lyonel Feininger: At the Edge of the World (Lyonel Feininger: on the edge of the world), the first retrospective in 45 years of the artist in the United States and the first opportunity to contemplate the versatility of his work. Sample best known meets their exquisite oil paintings (than there are three in the permanent collection of the Museum Thyssen Bornemisza in Madrid), his artistic side.

But the Whitney goes beyond and delves into the different facets of Feininger. A pioneer of the modern comic with great detail, the Museum has gathered his lesser-known close to German Expressionism figurative works, architectural buildings of the Bauhaus and New York photos, the Ethereal late works that portrayed to the Big Apple. Even presents the comic strips in the American newspaper Chicago Sunday Tribune that won in their early life and now current cartoonists like Art Spiegelman considered to be pioneers of modern comics. Although he was born and grew up in New York, Lyonel Feininger was moved to Berlin at the age of 16 to study music, but was effectuated artistic environment that promoted Expressionism and knew that paint was what I needed his spirit. He was part of the artistic groups of Die Brucke and Der Blaue Reiter, was later a member of the Bauhaus.

Hitler came to power in 1933. The campaign to revile modern art and that his wife was Jewish forced him to return to his country after 15 years out. The mixture of European abstraction and American imagery earned him recognition. Critics classified as purely European art: he lived divided between two continents, lacking always the place in which it was not. Source of the news: Lyonel Feininger, the New Yorker who was always European

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