#germanexpressionism — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #germanexpressionism, aggregated by home.social.
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FAD NEWS: Rare Picasso, Monet & Hartley Works Arrive at the National Gallery this Summer
Visitors to the National Gallery will have the chance to experience three exceptional paintings on loa…
#London #Britain #UnitedKingdom #UK #GB #England #Headlines #News #Europe #EU #BluePeriod #ClaudeMONET #GermanExpressionism #impressionism #KennethC.GriffinCollection #Londonexhibitions #MarsdenHartley #NationalGallery #PabloPicasso #TerraCollection #Waterlilies
https://www.europesays.com/gbr/london/8303/ -
The Cabinet of Dr. Caligari (1920) [4K] Score by DJ Spooky (2014) #silentfilm #germanexpressionism
https://retroreelworks.com/the-cabinet-of-dr-caligari-1920-4k-score-by-dj-spooky-2014-silentfilm-germanexpressionism/?fsp_sid=5478 -
CW: May look scary
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1/7 🎞️
Ever feel like the world is literally leaning in on you? That’s not just a Monday morning vibe—it’s the DNA of German Expressionism. Born in the post-WWI rubble of the Weimar Republic, this movement decided that reality was overrated. Why film a room that looks like a room when you can film a room that looks like a panic attack? 🏚️😱 #FilmHistory #GermanExpressionism -
A poster from Metropolis (1927) in the background in a scene from Lang's Spies (1928):
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A poster from Metropolis (1927) in the background in a scene from Lang's Spies (1928):
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A poster from Metropolis (1927) in the background in a scene from Lang's Spies (1928):
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A poster from Metropolis (1927) in the background in a scene from Lang's Spies (1928):
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A poster from Metropolis (1927) in the background in a scene from Lang's Spies (1928):
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Landscape, North Friesland by Emil Nolde, 1920 (oil on canvas)
#EmilNolde #painting #art #expressionism #germanexpressionism -
Landscape, North Friesland by Emil Nolde, 1920 (oil on canvas)
#EmilNolde #painting #art #expressionism #germanexpressionism -
Landscape, North Friesland by Emil Nolde, 1920 (oil on canvas)
#EmilNolde #painting #art #expressionism #germanexpressionism -
Landscape, North Friesland by Emil Nolde, 1920 (oil on canvas)
#EmilNolde #painting #art #expressionism #germanexpressionism -
Landscape, North Friesland by Emil Nolde, 1920 (oil on canvas)
#EmilNolde #painting #art #expressionism #germanexpressionism -
The original Nosferatu (1922) is a brilliant flick. Especially clever was the relation of the arrival of the vampire with the arrival of plague, a detail that was not in the original book.
HOWEVER. When the captain of the ship that brings Count Orlok to Germany ties himself to the wheel, he uses a granny knot. NO. NO WAY. Not believable.
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The original Nosferatu (1922) is a brilliant flick. Especially clever was the relation of the arrival of the vampire with the arrival of plague, a detail that was not in the original book.
HOWEVER. When the captain of the ship that brings Count Orlok to Germany ties himself to the wheel, he uses a granny knot. NO. NO WAY. Not believable.
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The original Nosferatu (1922) is a brilliant flick. Especially clever was the relation of the arrival of the vampire with the arrival of plague, a detail that was not in the original book.
HOWEVER. When the captain of the ship that brings Count Orlok to Germany ties himself to the wheel, he uses a granny knot. NO. NO WAY. Not believable.
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The original Nosferatu (1922) is a brilliant flick. Especially clever was the relation of the arrival of the vampire with the arrival of plague, a detail that was not in the original book.
HOWEVER. When the captain of the ship that brings Count Orlok to Germany ties himself to the wheel, he uses a granny knot. NO. NO WAY. Not believable.
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The original Nosferatu (1922) is a brilliant flick. Especially clever was the relation of the arrival of the vampire with the arrival of plague, a detail that was not in the original book.
HOWEVER. When the captain of the ship that brings Count Orlok to Germany ties himself to the wheel, he uses a granny knot. NO. NO WAY. Not believable.
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13 Days of Halloween: "The Golem: How He Came Into the World" (1920) Movie Review
2025 Theme: Decades of Horror
Director: Paul Wegener#moviereview #halloween #horror #horrormovie #13DaysOfHalloween #germanexpressionism #silentfilm #paulwegener #thegolem #golem #thegolemhowhecameintotheworld
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13 Days of Halloween: "The Golem: How He Came Into the World" (1920) Movie Review
2025 Theme: Decades of Horror
Director: Paul Wegener#moviereview #halloween #horror #horrormovie #13DaysOfHalloween #germanexpressionism #silentfilm #paulwegener #thegolem #golem #thegolemhowhecameintotheworld
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13 Days of Halloween: "The Golem: How He Came Into the World" (1920) Movie Review
2025 Theme: Decades of Horror
Director: Paul Wegener#moviereview #halloween #horror #horrormovie #13DaysOfHalloween #germanexpressionism #silentfilm #paulwegener #thegolem #golem #thegolemhowhecameintotheworld
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13 Days of Halloween: "The Golem: How He Came Into the World" (1920) Movie Review
2025 Theme: Decades of Horror
Director: Paul Wegener#moviereview #halloween #horror #horrormovie #13DaysOfHalloween #germanexpressionism #silentfilm #paulwegener #thegolem #golem #thegolemhowhecameintotheworld
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13 𝑫𝙖𝒚𝙨 𝙤𝒇 𝑯𝙖𝒍𝙡𝒐𝙬𝒆𝙚𝒏: "𝙏𝒉𝙚 𝙂𝒐𝙡𝒆𝙢" (1915) 𝙈𝒐𝙫𝒊𝙚 𝙍𝒆𝙫𝒊𝙚𝒘 -
2025 Theme: Decades of Horror
Director: Paul Wegener#moviereview #halloween #horror #horrormovie #13DaysOfHalloween #thegolem #paulwegener #silentfilm #germanexpressionism
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13 𝑫𝙖𝒚𝙨 𝙤𝒇 𝑯𝙖𝒍𝙡𝒐𝙬𝒆𝙚𝒏: "𝙏𝒉𝙚 𝙂𝒐𝙡𝒆𝙢" (1915) 𝙈𝒐𝙫𝒊𝙚 𝙍𝒆𝙫𝒊𝙚𝒘 -
2025 Theme: Decades of Horror
Director: Paul Wegener#moviereview #halloween #horror #horrormovie #13DaysOfHalloween #thegolem #paulwegener #silentfilm #germanexpressionism
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13 𝑫𝙖𝒚𝙨 𝙤𝒇 𝑯𝙖𝒍𝙡𝒐𝙬𝒆𝙚𝒏: "𝙏𝒉𝙚 𝙂𝒐𝙡𝒆𝙢" (1915) 𝙈𝒐𝙫𝒊𝙚 𝙍𝒆𝙫𝒊𝙚𝒘 -
2025 Theme: Decades of Horror
Director: Paul Wegener#moviereview #halloween #horror #horrormovie #13DaysOfHalloween #thegolem #paulwegener #silentfilm #germanexpressionism
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13 𝑫𝙖𝒚𝙨 𝙤𝒇 𝑯𝙖𝒍𝙡𝒐𝙬𝒆𝙚𝒏: "𝙏𝒉𝙚 𝙂𝒐𝙡𝒆𝙢" (1915) 𝙈𝒐𝙫𝒊𝙚 𝙍𝒆𝙫𝒊𝙚𝒘 -
2025 Theme: Decades of Horror
Director: Paul Wegener#moviereview #halloween #horror #horrormovie #13DaysOfHalloween #thegolem #paulwegener #silentfilm #germanexpressionism
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"And, near the god-machines, the slaves of the god-machines: the men who were as though crushed between machine companionability and machine solitude. They have no loads to carry: the machine carries the loads. They have not to lift and push: the machine lifts and pushes. They have nothing else to do but eternally one and the same thing, each in this place, each at his machine. Divided into periods of brief seconds, always the same clutch at the same second, at the same second. They have eyes, but they are blind but for one thing, the scale of the manometer. They have ears, but they are deaf but for one thing, the hiss of their machine. They watch and watch, having no thought but for one thing: should their watchfulness waver, then the machine awakens from its feigned sleep and begins to race, racing itself to pieces. And the machine, having neither head nor brain, with the tension of its watchfulness, sucks and sucks out the brain from the paralysed skull of its watchman, and does not stay, and sucks, and does not stay until a being is hanging to the sucked-out skull, no longer a man and not yet a machine, pumped dry, hollowed out, used up. And the machine which has sucked out and gulped down the spinal marrow and brain of the man and has wiped out the hollows in his skull with the soft, long tongue of its soft, long hissing, the machine gleams in its silver-velvet radiance, anointed with oil, beautiful, infallible - Baal and Moloch, Huitzilopochtli and Durgha. And you, father, you press your fingers upon the little blue metal plate near your right hand, and your great glorious, dreadful city of Metropolis roars out, proclaiming that she is hungry for fresh human marrow and human brain and then the living food rolls on, like a stream, into the machine-rooms, which are like temples, and that, just used, is thrown up...."
Thea von Harbou, 1925 (Harbou wrote the novel Metropolis, and then the screenplay for the Fritz Lang adaption. This is from the original novel.)
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"And, near the god-machines, the slaves of the god-machines: the men who were as though crushed between machine companionability and machine solitude. They have no loads to carry: the machine carries the loads. They have not to lift and push: the machine lifts and pushes. They have nothing else to do but eternally one and the same thing, each in this place, each at his machine. Divided into periods of brief seconds, always the same clutch at the same second, at the same second. They have eyes, but they are blind but for one thing, the scale of the manometer. They have ears, but they are deaf but for one thing, the hiss of their machine. They watch and watch, having no thought but for one thing: should their watchfulness waver, then the machine awakens from its feigned sleep and begins to race, racing itself to pieces. And the machine, having neither head nor brain, with the tension of its watchfulness, sucks and sucks out the brain from the paralysed skull of its watchman, and does not stay, and sucks, and does not stay until a being is hanging to the sucked-out skull, no longer a man and not yet a machine, pumped dry, hollowed out, used up. And the machine which has sucked out and gulped down the spinal marrow and brain of the man and has wiped out the hollows in his skull with the soft, long tongue of its soft, long hissing, the machine gleams in its silver-velvet radiance, anointed with oil, beautiful, infallible - Baal and Moloch, Huitzilopochtli and Durgha. And you, father, you press your fingers upon the little blue metal plate near your right hand, and your great glorious, dreadful city of Metropolis roars out, proclaiming that she is hungry for fresh human marrow and human brain and then the living food rolls on, like a stream, into the machine-rooms, which are like temples, and that, just used, is thrown up...."
Thea von Harbou, 1925 (Harbou wrote the novel Metropolis, and then the screenplay for the Fritz Lang adaption. This is from the original novel.)
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"And, near the god-machines, the slaves of the god-machines: the men who were as though crushed between machine companionability and machine solitude. They have no loads to carry: the machine carries the loads. They have not to lift and push: the machine lifts and pushes. They have nothing else to do but eternally one and the same thing, each in this place, each at his machine. Divided into periods of brief seconds, always the same clutch at the same second, at the same second. They have eyes, but they are blind but for one thing, the scale of the manometer. They have ears, but they are deaf but for one thing, the hiss of their machine. They watch and watch, having no thought but for one thing: should their watchfulness waver, then the machine awakens from its feigned sleep and begins to race, racing itself to pieces. And the machine, having neither head nor brain, with the tension of its watchfulness, sucks and sucks out the brain from the paralysed skull of its watchman, and does not stay, and sucks, and does not stay until a being is hanging to the sucked-out skull, no longer a man and not yet a machine, pumped dry, hollowed out, used up. And the machine which has sucked out and gulped down the spinal marrow and brain of the man and has wiped out the hollows in his skull with the soft, long tongue of its soft, long hissing, the machine gleams in its silver-velvet radiance, anointed with oil, beautiful, infallible - Baal and Moloch, Huitzilopochtli and Durgha. And you, father, you press your fingers upon the little blue metal plate near your right hand, and your great glorious, dreadful city of Metropolis roars out, proclaiming that she is hungry for fresh human marrow and human brain and then the living food rolls on, like a stream, into the machine-rooms, which are like temples, and that, just used, is thrown up...."
Thea von Harbou, 1925 (Harbou wrote the novel Metropolis, and then the screenplay for the Fritz Lang adaption. This is from the original novel.)
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"And, near the god-machines, the slaves of the god-machines: the men who were as though crushed between machine companionability and machine solitude. They have no loads to carry: the machine carries the loads. They have not to lift and push: the machine lifts and pushes. They have nothing else to do but eternally one and the same thing, each in this place, each at his machine. Divided into periods of brief seconds, always the same clutch at the same second, at the same second. They have eyes, but they are blind but for one thing, the scale of the manometer. They have ears, but they are deaf but for one thing, the hiss of their machine. They watch and watch, having no thought but for one thing: should their watchfulness waver, then the machine awakens from its feigned sleep and begins to race, racing itself to pieces. And the machine, having neither head nor brain, with the tension of its watchfulness, sucks and sucks out the brain from the paralysed skull of its watchman, and does not stay, and sucks, and does not stay until a being is hanging to the sucked-out skull, no longer a man and not yet a machine, pumped dry, hollowed out, used up. And the machine which has sucked out and gulped down the spinal marrow and brain of the man and has wiped out the hollows in his skull with the soft, long tongue of its soft, long hissing, the machine gleams in its silver-velvet radiance, anointed with oil, beautiful, infallible - Baal and Moloch, Huitzilopochtli and Durgha. And you, father, you press your fingers upon the little blue metal plate near your right hand, and your great glorious, dreadful city of Metropolis roars out, proclaiming that she is hungry for fresh human marrow and human brain and then the living food rolls on, like a stream, into the machine-rooms, which are like temples, and that, just used, is thrown up...."
Thea von Harbou, 1925 (Harbou wrote the novel Metropolis, and then the screenplay for the Fritz Lang adaption. This is from the original novel.)
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"And, near the god-machines, the slaves of the god-machines: the men who were as though crushed between machine companionability and machine solitude. They have no loads to carry: the machine carries the loads. They have not to lift and push: the machine lifts and pushes. They have nothing else to do but eternally one and the same thing, each in this place, each at his machine. Divided into periods of brief seconds, always the same clutch at the same second, at the same second. They have eyes, but they are blind but for one thing, the scale of the manometer. They have ears, but they are deaf but for one thing, the hiss of their machine. They watch and watch, having no thought but for one thing: should their watchfulness waver, then the machine awakens from its feigned sleep and begins to race, racing itself to pieces. And the machine, having neither head nor brain, with the tension of its watchfulness, sucks and sucks out the brain from the paralysed skull of its watchman, and does not stay, and sucks, and does not stay until a being is hanging to the sucked-out skull, no longer a man and not yet a machine, pumped dry, hollowed out, used up. And the machine which has sucked out and gulped down the spinal marrow and brain of the man and has wiped out the hollows in his skull with the soft, long tongue of its soft, long hissing, the machine gleams in its silver-velvet radiance, anointed with oil, beautiful, infallible - Baal and Moloch, Huitzilopochtli and Durgha. And you, father, you press your fingers upon the little blue metal plate near your right hand, and your great glorious, dreadful city of Metropolis roars out, proclaiming that she is hungry for fresh human marrow and human brain and then the living food rolls on, like a stream, into the machine-rooms, which are like temples, and that, just used, is thrown up...."
Thea von Harbou, 1925 (Harbou wrote the novel Metropolis, and then the screenplay for the Fritz Lang adaption. This is from the original novel.)
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Digital drawing made with Krita. inspired by german expressionism
#art #monochrome #dessin #drawing #digitalart #digitaldrawing #krita #illustration #dark #landscape #artwork #experimental #germanexpressionism
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Digital drawing made with Krita. inspired by german expressionism
#art #monochrome #dessin #drawing #digitalart #digitaldrawing #krita #illustration #dark #landscape #artwork #experimental #germanexpressionism
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Digital drawing made with Krita. inspired by german expressionism
#art #monochrome #dessin #drawing #digitalart #digitaldrawing #krita #illustration #dark #landscape #artwork #experimental #germanexpressionism
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Digital drawing made with Krita. inspired by german expressionism
#art #monochrome #dessin #drawing #digitalart #digitaldrawing #krita #illustration #dark #landscape #artwork #experimental #germanexpressionism
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🟡 Tiger & Cub Woodcut Design 1912 Franz Marc
#Cats, #FranzMarc, #GermanExpressionism, #Tiger
Vintage ◦ Classic ◦ Historical | Art ◦ Design ◦ Inspiration | Restored ◦ Enhanced ◦ Remixed
Prints, T-Shirts, Stickers, & More by @rocketshipretro via RedBubble → https://bigplanetprints.com/go/jYFJrd -
https://www.facebook.com/stories/2880057225364322/UzpfSVNDOjU4OTY0MjU5MzgzMzg4Mw==/?view_single=1
Gilded Mirage: Scarlet blooms, deceptive gold leaf... a glimpse into a fevered vision. #GermanExpressionism #Poppies #GildedMirage #DarkArt #Surreal #HorrorArt #Floral -
https://www.facebook.com/stories/2880057225364322/UzpfSVNDOjU4OTY0MjU5MzgzMzg4Mw==/?view_single=1
Gilded Mirage: Scarlet blooms, deceptive gold leaf... a glimpse into a fevered vision. #GermanExpressionism #Poppies #GildedMirage #DarkArt #Surreal #HorrorArt #Floral -
Versuchung im Schatten, und mehr... https://www.facebook.com/stories/2880057225364322/UzpfSVNDOjg2ODU2MDY5NzgyMzM0MDE=/?view_single=1 #LunarNewYear, #ChineseNewYear2025, #YearoftheSnake, #GongXiFaCai, #GongHayFatChoi, #恭喜發財, #Klimt, #GermanExpressionism
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Versuchung im Schatten, und mehr... https://www.facebook.com/stories/2880057225364322/UzpfSVNDOjg2ODU2MDY5NzgyMzM0MDE=/?view_single=1 #LunarNewYear, #ChineseNewYear2025, #YearoftheSnake, #GongXiFaCai, #GongHayFatChoi, #恭喜發財, #Klimt, #GermanExpressionism
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Goth before there was goth 🧛♀️
Genuine: A Tale of a Vampire
(1920, German Expressionist horror, Robert Wiene’s follow-up to The Cabinet of Dr. Caligari)“Genuine is not actually a vampire, but rather a vamp (succubus) who uses her powers of seduction to torment and control the men who love her.”
#germanexpressionism #genuine #cabinetofdrcaligari #robertwiene #goth #gothic #horror #silentfilm
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Goth before there was goth 🧛♀️
Genuine: A Tale of a Vampire
(1920, German Expressionist horror, Robert Wiene’s follow-up to The Cabinet of Dr. Caligari)“Genuine is not actually a vampire, but rather a vamp (succubus) who uses her powers of seduction to torment and control the men who love her.”
#germanexpressionism #genuine #cabinetofdrcaligari #robertwiene #goth #gothic #horror #silentfilm
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Max Schreck & Gustav von Wangenheim in "Nosferatu, A Symphony of Horror" (dir. F.W. Murnau - 1922)
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Max Schreck & Gustav von Wangenheim in "Nosferatu, A Symphony of Horror" (dir. F.W. Murnau - 1922)
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Max Schreck & Gustav von Wangenheim in "Nosferatu, A Symphony of Horror" (dir. F.W. Murnau - 1922)
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Max Schreck & Gustav von Wangenheim in "Nosferatu, A Symphony of Horror" (dir. F.W. Murnau - 1922)
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The Student of Prague 1926 - fan video - featuring Conrad Veidt #ConradVeidt #germanexpressionism #germanexpressionistfilm #techno
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The Student of Prague 1926 - fan video - featuring Conrad Veidt #ConradVeidt #germanexpressionism #germanexpressionistfilm #techno
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🎥 Rediscover "The Golem: How He Came into the World" (1920) - a silent German Expressionist masterpiece! 🇩🇪 A rabbi creates a golem to protect his community, but it becomes a force of destruction. 💀 Directed by Boese and Wegener, this influential horror classic features groundbreaking effects and a brooding atmosphere. 🎬 Experience the power of silent cinema! 🎥
https://www.youtube.com/watch?v=jTtZ6mdrfB0
#TheGolem #SilentFilm #GermanExpressionism #Horror #JewishFolklore #ClassicMovie
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🎥 Rediscover "The Golem: How He Came into the World" (1920) - a silent German Expressionist masterpiece! 🇩🇪 A rabbi creates a golem to protect his community, but it becomes a force of destruction. 💀 Directed by Boese and Wegener, this influential horror classic features groundbreaking effects and a brooding atmosphere. 🎬 Experience the power of silent cinema! 🎥
https://www.youtube.com/watch?v=jTtZ6mdrfB0
#TheGolem #SilentFilm #GermanExpressionism #Horror #JewishFolklore #ClassicMovie
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🎥 Rediscover "The Golem: How He Came into the World" (1920) - a silent German Expressionist masterpiece! 🇩🇪 A rabbi creates a golem to protect his community, but it becomes a force of destruction. 💀 Directed by Boese and Wegener, this influential horror classic features groundbreaking effects and a brooding atmosphere. 🎬 Experience the power of silent cinema! 🎥
https://www.youtube.com/watch?v=jTtZ6mdrfB0
#TheGolem #SilentFilm #GermanExpressionism #Horror #JewishFolklore #ClassicMovie
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🎥 Rediscover "The Golem: How He Came into the World" (1920) - a silent German Expressionist masterpiece! 🇩🇪 A rabbi creates a golem to protect his community, but it becomes a force of destruction. 💀 Directed by Boese and Wegener, this influential horror classic features groundbreaking effects and a brooding atmosphere. 🎬 Experience the power of silent cinema! 🎥
https://www.youtube.com/watch?v=jTtZ6mdrfB0
#TheGolem #SilentFilm #GermanExpressionism #Horror #JewishFolklore #ClassicMovie
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"How Did German Expressionism Change The History of Cinema?"
German Expressionism was the angsty, stylized, and intense postwar cinema of Weimar Germany. The nightmarish shadows and innovative compositions revolutionized filmmaking forever.
#Culture #Art #ArtHistory #Cinema #Expressionism #GermanExpressionism #Film #FilmHistory #CinemaHistory
https://www.thecollector.com/german-expressionism-changed-history-of-cinema/
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"How Did German Expressionism Change The History of Cinema?"
German Expressionism was the angsty, stylized, and intense postwar cinema of Weimar Germany. The nightmarish shadows and innovative compositions revolutionized filmmaking forever.
#Culture #Art #ArtHistory #Cinema #Expressionism #GermanExpressionism #Film #FilmHistory #CinemaHistory
https://www.thecollector.com/german-expressionism-changed-history-of-cinema/
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"How Did German Expressionism Change The History of Cinema?"
German Expressionism was the angsty, stylized, and intense postwar cinema of Weimar Germany. The nightmarish shadows and innovative compositions revolutionized filmmaking forever.
#Culture #Art #ArtHistory #Cinema #Expressionism #GermanExpressionism #Film #FilmHistory #CinemaHistory
https://www.thecollector.com/german-expressionism-changed-history-of-cinema/
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They just wanted to tell the truth. Far from homogenous, they ended up "agitating the viewing public to the very depth of its soul." Those German Expressionists—Die Brücke, conveying a feverish delirium, and Der Blaue Reiter, united by a love of nature. Then came the Degenerates. https://www.christies.com/features/german-expressionism-guide-12084-1.aspx?sc_lang=en#fid-12084
#germanexpressionism #expressionism #modernart #potterdayart #artmuseum #arthistory #degenerateart -
They just wanted to tell the truth. Far from homogenous, they ended up "agitating the viewing public to the very depth of its soul." Those German Expressionists—Die Brücke, conveying a feverish delirium, and Der Blaue Reiter, united by a love of nature. Then came the Degenerates. https://www.christies.com/features/german-expressionism-guide-12084-1.aspx?sc_lang=en#fid-12084
#germanexpressionism #expressionism #modernart #potterdayart #artmuseum #arthistory #degenerateart