1994

Artistic portrayal of diverse individuals in an urban setting.
Tags: expressionism, cultural diversity, vibrant colors, cityscape

https://nocontext.loener.nl/fullpage/01-January1994-Page-182.png

#photography #illustration #madman #nocontext #sfw #expressionism #culturaldiversity #vibrantcolors #cityscape

1962 Art Studio with Vibrant Paintings and Sculptures

The image depicts an art studio bustling with creative activity, featuring a variety of paintings on easels displaying bold colors and abstract forms. In the foreground, there's a collection of metal sculptures arranged in what appears to be a dynamic display or perhaps awaiting further refinement by the artist.

The artworks showcase various techniques such as expressive brushstrokes, splashes of paint, and intricate details that suggest an exploration of form and color rather than realistic representation.
There is no visible text within this image providing additional context about the artworks themselves.

https://nocontext.loener.nl/fullpage/01-January1962-Page-061.png

#photography #illustration #madman #nocontext #sfw #artstudio #abstractpainting #metalsculptures #creativity #expressionism

ABONDANCE / technique mixte sur carton recyclé / 15x22cm

#abstractart #abstrait #artcontemporain #expressionism #graffiti #artwork #art #painting #peinture #textures #mastoart

1995 Portrait of Two Figures with Warm Hues

This image depicts a watercolor painting featuring two figures, one male and one female.
The style is expressive and appears to be from the early 20th century or influenced by that era's art movements.

https://nocontext.loener.nl/fullpage/01-January1995-Page-090.png

#photography #illustration #madman #nocontext #sfw #portrait #watercolor #expressionism #historical

Pub In Mountain Landscape, Marianne Von Werefkin

the balance of the mountains and the little social group is awesome. All of the colors are amazing, the pink on the side of the building next to that light green and blue. I don't know why she made the trees like that or why the people are hunched over, maybe a long hike preceded the mountain pub visit. I love the weird, but not horrific, feel, it's wobbly and beautiful and old...

#art #fall #mountains #repast #expressionism #color @art #light #bald

Another a3 sketchbook experiment, similar style but using different colour scheme. Calling this "follow the sun"

#abstractart #expressionism #acrylicpainting #mastoart #myart #artoftheday #sunflower #followthesun #abstractpainting #artstudent #studentart

"Cats, Red and White," Franz Marc, 1912.

Marc (1880-1916) was a painter and graphic artist who was a major figure in German Expressionism.

Deeply engaged with Munich's avant-garde scene, he started a journal, Der Blaue Reiter (The Blue Rider) which sought to diverse artistic styles under a single, almost spiritual pursuit. His circle included Kandinsky and other major figures.

Many of his works are of animals in a natural environment, usually with bright colors, like we have here. I don't think there's ever been a cat in that particular shade, but that vibrant green background really makes it pop.

Marc was drafted into the German military during WWI, and died at the Siege of Verdun, only 36. Under the Nazi regime, his work was declared "degenerate" and officially banned; thankfully his body of work survived and is the centerpiece of many museum and gallery collections today, and fetching high prices at auction.

From a private collection.

#Art #Expressionism #FranzMarc #BannedByTheThirdReich

Project Caligari

As the days tolled ever onward to All Hallow’s Eve, an opportunity arose to make use of a new creative space on campus – just by our CentR Stage bar and just in time for the Academy’s Halloween party. Despite only receiving full access and equipment on the morning of festivities, a hastily scribbled tribute to the legacy of cinematic horror was set in motion.

Knowing partygoers were there to chill, chat, and indulge appropriately themed cocktails, there was no expectation they would sit down to watch a full film. Instead we planned a minimalist immersive area to relax in, with low-slung sofas encircled by rear-projected screens showing multiple silent movies. A central plinth would hold an object of focus and contrasting colour from the cold scenes on display.

Implementation demanded a different design – not least a lack of haze, incense, and human remains – with a trio of floor-sat units forward-projecting onto a curve of black drapes. The plinth then sat behind the sofas, adorned with a plastic pumpkin pilfered from the bar – ideally replacing it with the winner of the party’s carving competition.

Vintage horror sourced from archive.org provided the (cunningly Public Domain) vibe, with many films planned for each screen through the night. Technical difficulties, however, meant we had to lock each projector down to a single looping movie – controlled by a laptop behind the curtain running Resolume Media Server going into an HDMI splitter.

The chosen films presented a journey through the early years of macabre movies. An era where the steadfast rules of cinema had yet to be written, inspiring a vibrant visual imagination lost in a later generation of sedate talkies.

The vivid expressionism of The Cabinet of Dr. Caligari (1920) was an essential choice. The first feature-length horror committed to celluloid, and one which many have not been aware. Director Robert Wiene’s eye delivers a pioneering dream-like ambience to a tale of grisly murder, with hand painted backdrops enhancing this unreality.

Next, F. W. Murnau’s Nosferatu (1922) – another German Expressionist classic. Despite drawing the ire of the Stoker estate for obvious plagiarism, this film offers its own interpretation. Max Shreck‘s Count Orlak presents an iconic image of vampyric horror as a monstrous being, a presence revisited in subsequent remakes.

Completing the triptych with another tale retold through the generations, James Whale’s Frankenstein (1931) was filmed with spoken dialogue. However, the rich gothic design still offers strong visual storytelling, with Boris Karloff‘s taciturn performance as the monster just as captivating in silence. A cornerstone of Universal Studios’ shared monster cinematic universe.

All crew work is collective, and we could not have done this without the aid of veterans Nick and Max, who helped to set up and put the final pieces together while I was embroiled in all-day lectures. Their efforts ensured the project was finished to schedule.

Freshers had their chance to contribute too, with new student Ruby curating a masterful multi-genre playlist to accompany proceedings. Although I was obliged to throw in a few extra tracks at the end, we all agreed to remove ‘Monster Mash’ after the shuffle spookily reprised it over and over.

Nothing can ever happen without some form of improvisation, and the taming of wild ideas into practical necessity manifests many happy accidents. The surreal imagery of early experimental cinema, especially in Caligari’s twisted set design, was thrown further off-kilter by the warp of the drapes. An abstract unease accentuated by imperfect focus and inconsistent framing. It is important, at times, to let go of perfection so things may find their own form.

Overall, it went down very well. Revellers in various costumes drifted in and out to watch and take photos, enjoying my eager explanations. The client and crew working in the main studio also popped in to take a look around in appreciation. The only complaint from some was the installation wasn’t ‘scary’ enough…

… but the True Terror was throwing it together on time!

https://heathenstorm.com/2025/11/01/project-caligari/

#academyoflivetechnology #caligari #cinema #expressionism #frankenstein #halloween #horror #immersive #installation #nosferatu #projections #resolume #samhain #vintage