{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-c03aa079.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-517835be.css\" media=\"all\" /\u003e\n\u003cdiv data-title='Impressionism meets expressionism in Berlin' data-url='/boclips/videos/5c54ca55d8eafeecae19af20' data-video-url='/boclips/videos/5c54ca55d8eafeecae19af20' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\nImpressionism meets expressionism in Berlin\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eGERMANY ARTSOURCE: AP TELEVISIONRESTRICTIONS: HORIZONS CLIENTS AND AP LIFESTYLE, HEALTH AND TECHNOLOGY CLIENTS ONLYLENGTH: 5:31SHOTLIST:AP TelevisionBerlin - 20 May, 20151. Wide of \"Chestnut tree in bloom\" by Auguste Renoir (1881) on the...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eGERMANY ARTSOURCE: AP TELEVISIONRESTRICTIONS: HORIZONS CLIENTS AND AP LIFESTYLE, HEALTH AND TECHNOLOGY CLIENTS ONLYLENGTH: 5:31SHOTLIST:AP TelevisionBerlin - 20 May, 20151. Wide of \"Chestnut tree in bloom\" by Auguste Renoir (1881) on the right and  \"Canal in Winter\" by Erich Heckel (1913) on the left 2. \"Chestnut tree in bloom\" by Auguste Renoir (1881)3. Close of \"Chestnut tree in bloom\" by Auguste Renoir (1881)4. Zoom to \"Canal in Winter\" by Erich Heckel (19135. Wide of woman looking at paintings6. Wide of \"Bathing Boys\" by Max Liebermann (1902) on the right and \"Bathers at the shore\" by Ernst Ludwig Kirchner (1913) on left7. Close of \"Bathing Boys\" by Max Liebermann (1902)8. Close of \"Bathers at the shore\" by Ernst Ludwig Kirchner (1913)9. Woman looking at paintings 10. \"In the Bohemian Cafe\" by Leo Von Koenig (1909)11. Tilt up of In the Bohemian Cafe\" by Leo Von Koenig (1909)12. Close of In the Bohemian Cafe\" by Leo Von Koenig (1909)13. Mid of \"Wine Bar\" by Karl Schmidt-Rottluff (1913)14. Pan of \"Wine Bar\" by Karl Schmidt-Rottluff (1913)15. Wide of exhibition 16. Set up of Philipp Demandt, Director of the Alte Nationalgalerie (Old National Gallery) 17. SOUNDBITE: (German), Philipp Demandt, Director of the Alte Nationalgalerie (Old National Gallery)\"In general people think of art history as linear, that first impressionism came and then expressionism as a reaction. It is not that simple. Impressionism paved the way for expressionism and these two styles of art have a lot in common, and we show that here.\"18. Self portrait by Max Liebermann (1908)19. Tilt up of self portrait by Max Liebermann (1908)20. Self portrait by Ludwig Meidner (1915)21. Tilt-up of self portrait by Ludwig Meidner (1915)22. Self portrait by Lovis Corinth (1900)23. Tilt-up of self portrait by Lovis Corinth (1900)24. Self portrait by Karl Schmidt-Rottluff (1910)25. Close of self portrait by Karl Schmidt-Rottluff (1910)26. Set-up of Angelika Wesenberg, curator of exhibition27. SOUNDBITE: (German), Angelika Wesenberg, curator of exhibition\"The difference is that the impressionists paint what they see, and only what they see, and try to keep their experiences and what they know away from the painting. The expressionists think that this focus on just the surface is simply terrible and they paint what they feel, just what they feel.\"28. Mid of \"Still Life with Flowers and Fruit\" by Paul Cezanne (ca 1890)29. Pan of \"Still Life with Flowers and Fruit\" by Paul Cezanne (ca 1890)30. Man looking at paintings31. Close of \"Mask Still Life\" by Emil Nolde (1911)32. Pull focus on \"Mask Still Life\" by Emil Nolde (1911)33. Woman looking at paintings34. SOUNDBITE: (German), Udo Kittelmann, Director of the National galleries of Berlin\"As we came up with this idea we really all asked ourselves, why has there never been an exhibition with impressionism and expressionism in a dialogue? It is clear that both of the styles are close to one another so it is really an art-historical sensation that this type of exhibition has not happened before. But like we all know, sometimes a good idea needs a hundred years to mature before it can be realised.\" 35. \"In the Conservatory\" by Edouard Manet (1878)36. Close of \"In the Conservatory\" by Edouard Manet (1878)37. Wide of \"Conversation\" by Max Beckmann (1908) on right and \"Kaete and Hugo Perls\"  by Edvard Munch (1913) on the left38. Close of  \"Conversation\" by Max Beckmann (1908) 39. Mid of \"Kaete and Hugo Perls\"  by Edvard Munch (1913)40. Pan right of \"Kaete and Hugo Perls\"  by Edvard Munch (1913)41. Mid of \"At Pere Lathuille\" by Edouard Manet (1879)42. Pan of \"At Pere Lathuille\" by Edouard Manet (1879)43. Close of \"At Pere Lathuille\" by Edouard Manet (1879)44. Wide exterior of Alte Nationalgalerie (Old National Gallery) in Berlin45. Close of banner advertising exhibitionLEAD IN An exhibition placing impressionist and expressionist paintings together has opened in the German capital Berlin. The \"Impressionism - Expressionism: Art at a Turning Point\" at Berlin's Alte Nationalgalerie shows over 160 paintings from impressionist and expressionist masters such as Paul Cezanne, Auguste Renoir, Edvard Munch and Max Liebermann. STORYLINE These two paintings, hanging side by side in Berlin's Alte Nationalgalerie museum, might not look like they have much in common but there's a common thread.On one side is Auguste Renoir's impressionist masterpiece \"Chestnut tree in bloom\" from 1881; an oil painting with dazzling colours depicting a fleeting moment in an idyllic landscape. Two men kneel down by the river under the tree, in the background a woman and a child strolls along road, all depicted with Renoir's signature masterful, delicate, brush strokes. On the other side is the expressionist take on a similar scene. Erich Heckel 's \"Canal in Winter\" is dark, dense and made with thick brush strokes. The dark river flows past thick black trees and it is not so much a realistic depiction of a moment or scene as it is a deep look in to the mind of the artist. This juxtaposition is repeated throughout the \"Impressionism - Expressionism: Art at a Turning Point\" exhibition. On one side realistic impressionism, most often by French artists. On the other emotional and distorted expressionist art, mostly by German artists. The two art genres formed in the decades before the First World War. Impressionism originated in Paris before the turn of the century and expressionism in the pre-war years in Germany. \"In general people think of art history as linear, that first impressionism came and then expressionism as a reaction. It is not that simple,\" says Philipp Demandt, the director of Alte Nationalgalerie. \"Impressionism paved the way for expressionism and these two styles of art have a lot in common, and we show that here.\"The similarities but also the differences become even clearer in the room of self-portraits. The impressionist self portraits are realistic depictions, artists like Liebermann and Lovis Corinth sternly and emotionlessly observe the visitors from their canvases.The expressionists use similar settings, but their self portraits almost look like they are mocking their impressionists predecessors with their distorted, colourful and soul searching depictions. Both movements were fascinated by modern urban life, painting dancers and revellers, scenes in bars, restaurants or cabarets. At the same time they also had a longing for nature and often took their brush and easel along to paint outdoors.\"The difference is that the impressionists paint what they see, and only what they see, and try to keep their experiences and what they know away from the painting,\" explains Angelika Wesenberg, the curator of the show. \"The expressionists think that this focus on just the surface is simply terrible and they paint what they feel, just what they feel.\"In another room Paul Cezanne's depiction of a bouquet of flowers with a bowl of fruit is shown alongside Emil Nolde's painting of a theatrical masks. The two still life paintings both depict inanimate objects, but while Cezanne's flowers and fruits are carefully and realistically depicted, Nolde's masks take on a life of their own, almost screaming in despair at the viewer. Organisers say it's the first time the two artistic styles are being presented together in Germany. \"As we came up with this idea, we really all asked ourselves: why has there never been an exhibition with impressionism and expressionism in dialogue?\" says Udo Kittelmann, the director of the Nationalgalerie, which includes several museums, among them Alte Nationalgalerie. \"It is clear that both of the styles are close to one another so it is really an art-historical sensation that this type of exhibition has not happened before. But like we all know, sometimes a good idea needs a hundred years to mature before it can be realised.\" The exhibition runs through September 20 and is accompanied by a series of events focusing on the art and time period from both the German and French perspectives with concerts, readings and lectures.====Clients are reminded: (i) to check the terms of their licence agreements for use of content outside news programming and that further advice and assistance can be obtained from the AP Archive on: Tel +44 (0) 20 7482 7482 Email: info@aparchive.com. 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