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Isabella Orloff

OSKAR KOKOSCHKA

1. Lead Section

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after "was an Austrian"... artist, poet, playwright, and teacher ... "best known for"

2. Article Content

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..."sciences and language". Despite his intent of continuing a formal education in Chemistry, "Kokoschka was not..." Like many of Kokoschka's French and German contemporaries, he was interested in the primitive and exotic art featured in the ethnographical exhibits around Europe.[1]

One of Kokoschka's... in the fine arts after being impressed by some of his drawings.[1]

...Applied Arts Vienna. He received a scholarship and "was one of"...[1] (citation needed for the existing sentence)

New paragraph after "...nervously animated style." In 1908 Kokoschka was offered the opportunity of submitting works to the first Vienna Kunstschau.[1] This government funded exhibition was established to both bring in tourists and affirm Vienna's prominence within the art world. Upon showing a compilation of paintings, drawings, lithographs and sculptures, Kokoschka received backlash from conservative officials. One of these works, a series of lithographs entitled The Dream Bearers that served as illustrations for a book, was pronounced disturbing due to its depiction of exotic fantasies. As a result, he was expelled from the Kunstgewerbeschule and found his place within the Viennese avant-garde.[1] Austrian architect Adolf Loos befriended Kokoschka and introduced him to other avant-garde members who then became his subjects in a series of portrait paintings.

Kokoschka moved to Berlin in 1910, the same year the Neue Secession was established in Berlin. The group, comprised of artists and philosophers such as Emil Nolde, Ernst Ludwig Kirchner, Enrich Heckel and Max Pechstein, formed as a rebellion against the older Secession group. While Kokoschka refrained from adopting the group's techniques and ideologies, he did admire the sense of community established between its members.[1] Berlin art dealer Paul Cassirer saw promise in Kokoschka's works and launched the artist into the international circle. Around the same time, Herwarth Walden, a publisher and art critic who was introduced to Kokoschka by Loos, employed Kokoschka as an illustrator for his magazine Der Sturm.[1] Kokoschka continued to travel back and forth between Vienna and Berlin over the next four years.

Following his own artistic training, Oskar Kokoschka dedicated years of his life thereafter teaching art and writing articles and speeches documenting his views and practices as an educator. 17th century Czech humanist and education reformer, Jan Amos Comenius, was Kokoschka’s primary influence in terms of how to approach education. From Comenius’s theories, Kokoschka adopted the belief that students benefit most from using their five senses to facilitate reasoning.[2] Kokoschka taught in Vienna from 1911 to 1913 and then again in Dresden from 1919 to 1923.[3] While his efforts as a teacher were noted in various publications, they generally focused on his personality captured within his own art rather than his classroom practices. Kokoschka neglected the conventional structured methodologies and theories assumed by art educators, and instead taught through story telling infused with mythological themes and dramatic emotion.[4] ... next paragraph "Kokoschka had a..."

New paragraph after "Progressive International artists"... Oskar Kokoschka returned to Vienna in the Autumn of 1931, where he spent six months in the home he had purchased for his parents eleven years earlier. Located in Vienna’s 16th District known as Liebharstal, the house, now functioning as the artist’s studio, provided a view of Schloss Wilhelminenberg which had been converted into a Kinderheim, or orphanage, by the City Council. During this time, Kokoschka accepted a commission by the Social Democratic City Council, ‘Red Vienna,’ for a painting that would be hung inside the Rathaus, or City Hall. Kokoschka, along with other Austrian artists, was asked to create an artwork depicting Vienna in contribution to this project managed by the Historisches Museum der Stadt (Wien Museum). In honor of the humanitarian efforts of the City Counsel, Kokoschka decided to illustrate children playing outside of the palace in the foreground of the composition which otherwise consisted of a cityscape. Other identifiable Viennese architecture within the painting includes the City Hall and St. Stephen's Cathedral.[2] next paragraph ... "Deemed a degenerate"

New paragraph after "Poland and Sweden" ... Oskar Kokoschka left the bustling city center of London and settled in Polperro, in Cornwall. While residing in this seaside village, Kokoschka made paintings depicting landscapes of the harbor, along with The Crab, which began a series of works embedded with political allegories resisting the Nazi regime.[5] ... next paragraph "During World War II"...

following "before settling in..." Villeneuve, Switzerland in 1953 ..."where he lived". "...of his life." Kokoschka spent these years as an educator at the Internationale Sommer Akademie für Bildenden Künste, while also working on stage designs and publishing a collection of his writings. A retrospective of Kokoschka's work was exhibited at the Tate Gallery in London in 1962.[6] ..."He died in"

3. References

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  1. ^ a b c d e f g Kokoschka, Oskar (1948). Oskar Kokoschka, a retrospective exhibition with an introduction by James S. Plaut and a letter from the artist. New York: Published for the Institute of Contemporary Art, Boston... [et al.] by the Chanticleer Press.
  2. ^ a b CALVOCORESSI, RICHARD (2006). "Oskar Kokoschka, Red Vienna and the Education of the Child". Austrian Studies. 14: 215–226. ISSN 1350-7532.
  3. ^ Toub, James (1994). "Oskar Kokoschka as Teacher". Journal of Aesthetic Education. 28 (2): 35–49. doi:10.2307/3333266. ISSN 0021-8510.
  4. ^ Toub, James (1994). "Oskar Kokoschka as Teacher". Journal of Aesthetic Education. 28 (2): 35–49. doi:10.2307/3333266. ISSN 0021-8510.
  5. ^ Toub, James (1994). "Oskar Kokoschka as Teacher". Journal of Aesthetic Education. 28 (2): 35–49. doi:10.2307/3333266. ISSN 0021-8510.
  6. ^ "Oskar Kokoschka Biography – Oskar Kokoschka on artnet". www.artnet.com. Retrieved 2019-10-11.
  1. https://www-jstor-org.libproxy.temple.edu/stable/27944808?Search=yes&resultItemClick=true&searchText=oskar&searchText=kokoschka&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Doskar%2Bkokoschka%26amp%3Bacc%3Don%26amp%3Bwc%3Don%26amp%3Bfc%3Doff%26amp%3Bgroup%3Dnone&ab_segments=0%2Fl2b_100k_with_tbsub%2Fcontrol&refreqid=search%3Ae44ed9ba3e96ccf0eaacbef1769a33f7&seq=1#metadata_info_tab_contents

  2. https://www.jstor.org/stable/3333266?Search=yes&resultItemClick=true&searchText=oskar&searchText=kokoschka&searchUri=%2Faction%2FdoBasicSearch%3FsearchType%3DfacetSearch%26amp%3Bcty_journal_facet%3Dam91cm5hbA%253D%253D%26amp%3Bcty_chapter_facet%3DY2hhcHRlcg%253D%253D%26amp%3Bsd%3D%26amp%3Bed%3D%26amp%3BQuery%3Doskar%2Bkokoschka%26amp%3Brefreqid%3Dexcelsior%253Ab1ada89b876a75f323d82a57a8b09b66&ab_segments=0%2Fbasic_SYC-4631%2Ftest&refreqid=search%3Ae88a2391bfdeaab2bb4f8dd3d83b19fc&seq=1#metadata_info_tab_contents
  3. https://www.moma.org/documents/moma_catalogue_2814_300062068.pdf
  4. http://www.artnet.com/artists/oskar-kokoschka/biography
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