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Der Sturm Sheet With Incision Original by Ludwig Meidner Expressionism RareThe description of this item has been automatically translated. If you have any questions, please feel free to contact us.Page of the important magazine DER STURM with engraving with original matrix (as reported originalzeichnung) by LUDWIG MEIDNER, great exponent of German expressionism.On the back of the frame there is the provenance of the painting: LE IMMAGINI contemporary art studio, Turin.dimensions with frame: 44×34 cm”The avant-garde magazine Der Sturm – published in Berlin – published Filippo Marinetti’s Manifesto in 1911 and in its pages appear writings by Boccioni, Carrà, Balla and Severini. The exhibition intends to recall and document the relationships between Marinetti and the Futurist group with the German cultural world, particularly in Berlin, a lively meeting place for the European avant-gardes. In 1912 Umberto Boccioni, Carlo Carrà, Gino Severini, Luigi Russolo with FT Marinetti trod the Berlin scene. Berlin, an initially unscheduled destination, represented the stage preceding the conclusion of the noisy European tour which, organized by the histrionic Marinetti, had already touched Paris and London. Dynamism as a lyrical exaltation of speed, simultaneity as a lyrical expression of the modern conception of life, affirmation of the technicized life of the metropolis, of which Berlin will become a significant example with the chaos of its traffic converging at Potsdamer Platz. Uproar, indignation, fierce controversy aroused in the critics, curiosity, interest, enthusiasm in many German artists, who gradually energized the expressionist art already full of originality. Marinetti, the ambassador of an anti-classical Italian youth, moved with elegance, with measured gestures, with controlled transport: he accompanied his futurists and Herwarth Walden, founder of the magazine “Der Sturm” who, enthusiastic patron of the avant-garde, had prepared the public, with the printing of some posters in German, to welcome the new avant-garde in Germany, hosting the futurist group in its gallery. The public success was enormous. Marinetti’s popularity was skyrocketing. Coffee frequenter was called everywhere, he talked a lot. Italian art was finally able to compete with that of other countries, even if there was no lack of fierce controversy from the press. There were other exhibitions for the futurists in Berlin, collective and personal, which reinforced their popularity. Herwarth Walden was fascinated by the genius of Umberto Boccioni.Openness to Cubism and Futurism had been the prerogative of “Der Sturm”, the magazine whose covers were designed by Oskar Kokoschka, Ferdinand Léger, Wassilij Kandinsky, Picasso, Artur Segal, Marc Chagall, August Macke, Emil Nolde, Kirchner, Gabriele Münter, Robert Delaunay, Gino Severini, Paul Klee… An authoritative voice of German Expressionism, he was an “experimentation ground” for young artists from different countries who, comparing and measuring themselves, developed new forms of expression also in literature. Openness to Cubism and Futurism had been the prerogative of “Der Sturm”, the magazine whose covers were designed by Oskar Kokoschka, Ferdinand Léger, Wassilij Kandinsky, Picasso, Artur Segal, Marc Chagall, August Macke, Emil Nolde, Kirchner, Gabriele Münter, Robert Delaunay, Gino Severini, Paul Klee… An authoritative voice of German Expressionism, he was an “experimentation ground” for young artists from different countries who, comparing and measuring themselves, developed new forms of expression also in literature. “Openness to Cubism and Futurism had been the prerogative of “Der Sturm”, the magazine whose covers were designed by Oskar Kokoschka, Ferdinand Léger, Wassilij Kandinsky, Picasso, Artur Segal, Marc Chagall, August Macke, Emil Nolde, Kirchner, Gabriele Münter, Robert Delaunay, Gino Severini, Paul Klee… An authoritative voice of German Expressionism, he was an “experimentation ground” for young artists from different countries who, comparing and measuring themselves, developed new forms of expression also in literature. Openness to Cubism and Futurism had been the prerogative of “Der Sturm”, the magazine whose covers were designed by Oskar Kokoschka, Ferdinand Léger, Wassilij Kandinsky, Picasso, Artur Segal, Marc Chagall, August Macke, Emil Nolde, Kirchner, Gabriele Münter, Robert Delaunay, GOpenness to Cubism and Futurism had been the prerogative of “Der Sturm”, the magazine whose covers were designed by Oskar Kokoschka, Ferdinand Léger, Wassilij Kandinsky, Picasso, Artur Segal, Marc Chagall, August Macke, Emil Nolde, Kirchner, Gabriele Münter, Robert Delaunay, Gino Severini, Paul Klee… An authoritative voice of German Expressionism, he was an “experimentation ground” for young artists from different countries who, comparing and measuring themselves, developed new forms of expression also in literature. Openness to Cubism and Futurism had been the prerogative of “Der Sturm”, the magazine whose covers were designed by Oskar Kokoschka, Ferdinand Léger, Wassilij Kandinsky, Picasso, Artur Segal, Marc Chagall, August Macke, Emil Nolde, Kirchner, Gabriele Münter, Robert Delaunay, G
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