neo symbolism


White Supremacist Propaganda 

While a lot of Klan and neo-nazi propaganda contains racial slurs, threats of violence, and other very recognizable hatred (intended to terrorize people of color, Jewish people, and LGBT people- in the case of my home town) there are also forms of white supremacist propaganda designed to recruit white people. 

These are ‘softer’ forms of propaganda, designed to appeal to people who don’t consider themselves racist but have an underlying resentment of people of color and for any progressive circle to center their experiences at all. They resent white privilege and systemic racial oppression being spoken about at length. They resent people of color rejecting white entitlement to their spaces and cultures. 

The intent is to convince racist white people (who don’t think of themselves as racist, but who clearly are, and clearly feel angry when their entitlement isn’t immediately gratified) that the hate group in question is just ‘misunderstood’ and is really about pride and celebrating your own culture, etc. 

The intent is that once someone falls for that bait and hook, they can play up on their underlying resentment and entitlement. If you already believe that you should be able to celebrate being white, and they can bring you from that belief to the belief that people of color are preventing you from your right to have pride in that, then they can foster anger against people of color. From there, any time there is a collective societal reaction of disgust towards the hate group or towards the notion of white pride, the recruited whites can be relied upon to feel victimized by society collectively. 

It’s only a short step from that to being sold conspiracy theories about ‘white genocide’ or ‘Jewish globalists’ to explain why society is against them. And a short step from there to terrorization of those suspected of being a part of that conspiracy, and the impulse to ‘warn’ other whites in the form of more hateful propaganda. 

This shit is extremely dangerous and fucked up and I want everyone to understand how this functions. Because tumblr’s meme of ‘positivity posts’ can be so easily co-opted by white supremacists to function as this form of propaganda. All they need to do is shift the vocabulary very slightly. 

How to recognize it: 

  • Resentment at not being able to openly express white pride

    “why is it okay for other races to be proud?” 
    “loving your heritage doesn’t mean being a racist” 

  • Framing white identity as a ‘culture’ with ‘heritage’ instead of as a societal category created to oppress people of color 

    “why are we not allowed to celebrate our culture?” 
    “you can love […] and actively participate in the culture of the country your ancestors came from”

  • The suggestion that these beliefs aren’t inherently hateful, they aren’t a hate group, that they’re misunderstood, and that they support other races being proud too. They frame this as people of color having a ‘right’ that white people do not. 

    “why are other races allowed these rights, as they should, but not the folk of european ancestry?” 

    [from white-sapphics about page] “Tumblr is very, very focused on minority rights, and there is nothing wrong with that, but more and more white lesbians are being alienated from other blogs.”

Call this shit out. It is dangerous and terrifying. 

  Can people start getting upset that white supremacists and neo-nazis keep stealing symbols from Asatru? A religion that has nothing to do with white supremacy and is a MODERN religion still practiced today? Hell, it’s one of the most progressive religions in existence and the Icelandic branch even fought for marriage equality, separation of church and state, and even stated:

  “ We strongly oppose any attempt by individuals to use their association with the Ásatrúarfélagið of Iceland to promote attitudes, ideologies and practices rejected by the leadership of the Ásatrúarfélagið. We particularly reject the use of Ásatrú as a justification for supremacy ideology, militarism and animal sacrifice. “

  So why do people just willingly let nazis steal symbols that are a part of these Nordic country’s history and culture, just to turn them into images of fear and hate? There are still many many people that practice Asatru paganism that have absolutely NOTHING to do with these hate groups and their religion is getting taken away from them. If you would be outraged by hate groups taking Christian/Muslim/Budist/Jewish symbols and making them the face of evil, please extend your outrage to help the overlooked people of the Asatru faith.

  I know a lot of people probably don’t even know about Asatru, but please be aware that not everyone with Nordic symbols is a hate-fueled white supremacist. It pains me to see so many people be ignorant on the subject, so I’d like to just spread awareness. 

Charging Your Sigils-A Brief Explaination

Charging your sigils:

There are countless ways to charge your sigils into your subconcious and imbue the with your magickal energies.

Two of the most common ways to charge your sigil are:



You can also charge your sigil in a bowl of salt in the moonlight, but this is less common.

I have done all three ways.

Meditation is the most common of the ways to charge a sigil.

basically what you do when meditation is to focus your mind and your magical energy onto the sigil and imagine what it will do.  Now let your mid wander or go completely blank.  Once you have done so destroy the image or meaning of the sigil.  Let the sigil enter your subconcious.  This increases the meaning and power of your sigil. (keep the symbol though, how else are you going to draw it on things? I keep mine in pages of my BOS.  But destroy the meaning of them.) 

Another way to charge a sigil is to create a simple ritul asking the goddess and god, or a certain deity to watch over you, give guidance and aid to increase the power of your sigil.  The ritual does not have to be long, you can even incorporate it into another ritual as a small section.

The third and probably the most simple way is to charge the sigil in a bowl of salt in the moonlight.  I have done this only when I didnt have the time or opportunity to meditate or ritual.  I feel it is a bit less personal and does not charge the sigil into its full potential.

However you choose to charge your sigil is up to you, do what feels right to you, there is no wrong way to charge them.  I hope this has helped all that are looking to learn how to charge sigils!

Blessed be! )o(



“Deus In Absentia II - The Warrior Angel” (Castiel)

I’m so in love with old paintings… Neo classic and Symbolism (Gustave Moreau) inspirations are my life. I’m also in love with Caravaggio for his wonderful use of light/dark contrast (”chiaroscuro” in english?). 

Anyway, I’ll go back to my chibi stuff and will start soon the last of the serie, “Deus In Absentia III - Lucifer’s Choice”! 

EDIT : Added some details and some change of color mood.

List of paintrist by Isme

Second part: Impressionism to abstract expressionism


Impressionism is a 19th-century art movement that originated with a group of Paris-based artists. Their independent exhibitions brought them to prominence during the 1870s and 1880s, in spite of harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satirical review published in the Parisian newspaper Le Charivari.

Impressionist painting characteristics include relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles.

the French impressionism

  • Frédéric Bazille
  • Marie Bracquemond
  • Gustave Caillebotte
  • Mary Cassatt
  • Paul Cézanne
  • Edgar Degas
  • Paul Gauguin
  • Eva Gonzalès
  • Armand Guillaumin
  • Edouard Manet
  • Claude Monet
  • Berthe Morisot
  • Camille Pissarro
  • Pierre-Auguste Renoir
  • Alfred Sisley

American impressionism

  • Walter Emerson Baum
  • Reynolds Beal
  • James Carroll Beckwith
  • Frank Weston Benson
  • Rae Sloan Bredin
  • Soren Emil Carlsen
  • John Fabian Carlson
  • William Merritt Chase
  • Morgan Colt
  • Colin Campbell Cooper
  • Fern Isabel Coppedge
  • Nate Dunn
  • John Fulton Folinsbee
  • Edmund Greacen
  • Arthur Clifton Goodwin
  • Frederick Childe Hassam
  • Joseph Rodefer DeCamp
  • Thomas Wilmer Dewing
  • Frederick Carl Frieseke
  • Daniel Garber
  • Wilfid de Glehn
  • Philip Leslie Hale
  • William Langson Lathrop
  • Willard Leroy Metcalf
  • Roy Cleveland Nuse
  • Julian Onderdonk
  • Mary Elizabeth Price
  • Robert Lewis Reid
  • Edward Willis Redfield
  • Granville Redmond
  • Guy Orlando Rose
  • Charles Rosen
  • Walter Elmer Schofield
  • Edward Emerson Simmons
  • George William Sotter
  • Robert Carpenter Spencer
  • Edmund Charles Tarbell
  • John Henry Twachtman
  • William Wendt
  • Julian Alden Weir
  • Guy Carleton Wiggins
  • Mary Agnes Yerkes

impressionism elswhere

  • George Hendrik Breitner
  • Emile Claus
  • Joaquin Clausell
  • Lovis Corinth
  • Isaac Israels
  • Konstantin Korovin
  • Max Liebermann
  • Valentin Serov
  • Max Slevogt
  • Joaquin Sorolla
  • Frits Thaulow
  • Lesser Ury
  • Sherree Valentine-Daines
  • Federico Zandomeneghi


Post-Impressionism (also spelled Postimpressionism) is a predominantly French art movement that developed roughly between 1886 and 1905; from the last Impressionist exhibition to the birth of Fauvism. Post-Impressionism emerged as a reaction against Impressionists concern for the naturalistic depiction of light and colour. Due to its broad emphasis on abstract qualities or symbolic content, Post-Impressionism encompasses Neo-Impressionism, Symbolism, Cloisonnism, Pont-Aven School and Synthetism, along with some later Impressionists work. The movement was led by Paul Cezanne, Paul Gauguin, Vincent van Gogh and Georges Seurat.
The term Post-Impressionism was coined by the British artist and art critic Roger Fry in 1910 to describe the development of French art since Manet. Fry used the term when he organized the 1910 exhibition Manet and the Post-Impressionists. Post-Impressionists extended Impressionism while rejecting its limitations: they continued using vivid colours, often thick application of paint, and real-life subject matter, but they were more inclined to emphasize geometric forms, to distort form for expressive effect, and to use unnatural or arbitrary colour.

  • Richard Bergh
  • Emile Bernard
  • Frank Bramley
  • Paul Cezanne
  • Paul Gauguin
  • Charles Guerin
  • Augustus John
  • Nils Kreuger
  • Henri Lebasque
  • Karl Nordstrom
  • Leonid Pasternak
  • Maurice Prendergast
  • Henri Rousseau
  • Paul Serusier
  • Gaston La Touche
  • Henri Toulouse-Lautrec
  • Suzanne Valadon
  • Vincent van Gogh

Camden Town Group (Post-impressionism) (UK)

The Camden Town Group was a group of English Post-Impressionist artists active 1911-1913. They gathered frequently at the studio of painter Walter Sickert in the Camden Town area of London.

  • Walter Bayes
  • Robert Bevan
  • Malcolm Drummond
  • Harold Gilman
  • Charles Ginner
  • Spencer Gore
  • Ducan Grant
  • James Dickson Innes
  • Augustus John
  • Henry Lamb
  • Wyndham Lewis
  • Maxwell Gordon Lightfoot
  • James Bolivar Manson
  • Lucien Pissarro
  • William Ratcliffe
  • Walter Sickert

Non members

  • Anna Hope Hudson
  • Ethel Sands
  • Marjorie Sherlock
  • John Nash
  • Paul Nash


Neo-Impressionism is a term coined by French art critic Félix Fénéon in 1886 to describe an art movement founded by Georges Seurat. Seurats greatest masterpiece, A Sunday Afternoon on the Island of La Grande Jatte, marked the beginning of this movement when it first made its appearance at an exhibition of the Societe des Artistes Independants (Salon des Independants) in Paris. Around this time, the peak of France™s modern era emerged and many painters were in search of new methods. Followers of Neo-Impressionism, in particular, were drawn to modern urban scenes as well as landscapes and seashores. Science-based interpretation of lines and colors influenced Neo-Impressionists™ characterization of their own contemporary art. Pointillism technique is often mentioned, because it was the dominant technique in the beginning.

  • Henri-Edmond Cross
  • Alfred William Finch
  • Maximilian Luce
  • Angelo Morbelli
  • Hippolyte Petitjean
  • Lucien Pissarro
  • Theo van Rysselberghe
  • Georges Seurat
  • Paul Signac

Les XX (Belgium)

Les XX was a group of twenty Belgian painters, designers and sculptors, formed in 1883 by the Brussels lawyer, publisher, and entrepreneur Octave Maus. For ten years “Les Vingt” , as they called themselves, held an annual exhibition of their art; each year twenty international artists were also invited to participate in the exhibition. Artists invited over the years included Camille Pissarro (1887, 1889, 1891), Claude Monet (1886, 1889), Georges Seurat (1887, 1889, 1891, 1892), Paul Gauguin (1889, 1891), Paul Cézanne (1890), and Vincent van Gogh (1890, 1891).
Les XX was in some ways a successor to the group L'Essor. The rejection of Ensor’s The Oyster Eater in 1883 by L'Essor Salon, following the earlier rejection by the Antwerp Salon, was one of the events that led to the formation of Les XX.
In 1893, the society of Les XX was transformed into “La Libre Esthétique”.

  • James Ensor
  • Alfred William Finch
  • Henry de Groux
  • Dario de Regoyos y Valdes
  • Odilon Redon,
  • Theo van Rysselberghe
  • Paul Signac
  • Jan Toorop
  • Henry van de Velde

les Nabis (France)

Les Nabis (Nabi means prophet in Hebrew and in Arabic.) were a group of Post-Impressionist avant-garde artists who set the pace for fine arts and graphic arts in France in the 1890s. Initially a group of friends interested in contemporary art and literature, most of them studied at the private art school of Rodolphe Julian (Académie Julian) in Paris in the late 1880s.
In 1890, they began to participate successfully in public exhibitions, while most of their artistic output remained in private hands or in the possession of the artists themselves. By 1896, the unity of the group had already begun to break: The Homage to Cézanne, painted by Maurice Denis in 1900, recollects memories of a time already gone, before even the term Nabis had been revealed to the public. Meanwhile, most members of the group—Maurice Denis, Pierre Bonnard, Édouard Vuillard—could stand, artistically, on their own. Only Paul Sérusier had problems to overcome—though it was his Talisman, painted at the advice of Paul Gauguin, that had revealed to them the way to go.

  • Pierre Bonnard
  • Maurice Denis
  • Paul Serusier
  • Felix Vallotton
  • Edouard Vuillard

Newlyn School (UK)

The Newlyn School was an art colony of artists based in or near Newlyn, a fishing village adjacent to Penzance, Cornwall, from the 1880s until the early twentieth century. The establishment of the Newlyn School was reminiscent of the Barbizon School in France, where artists fled Paris to paint in a more pure setting emphasizing natural light. These schools along with a related California movement were also known as En plein air.
Newlyn had a number of things guaranteed to attract artists: fantastic light, cheap living, and the availability of inexpensive models. The artists were fascinated by the fishermen’s working life at sea and the everyday life in the harbour and nearby villages. Some paintings showed the hazards and tragedy of the community’s life, such as women anxiously looking out to sea as the boats go out, or a young woman crying on hearing news of a disaster. Lamorna Birch was the prime mover behind the colony and the work done there. The later Forbes School of Painting, founded by Stanhope Forbes and his wife Elizabeth in 1899, promoted the study of figure painting.
In the late nineteenth and early twentieth centuries, Lamorna, a nearby fishing village to the south, became popular with artists of the Newlyn School and is particularly associated with the artist S. J. “Lamorna” Birch who lived there from 1908.

  • Frank Bramley
  • Samuel John Lamorna Birch
  • Percy Robert Craft
  • Elizabeth Adela Forbes
  • Stanhope Alexander Forbes
  • Norman Garstin
  • Thomas Cooper Gotch
  • Edwin Harris
  • Harold Harvey
  • William Ayerst Ingram
  • Harold Knight
  • Laura Knight
  • Walter Langley
  • Alfred Munnings
  • Dod Procter
  • Ernest Procter
  • Henry Meynell Rheam
  • Albert Chevallier Tayler
  • Henry Herbert La Thangue
  • Henry Scott Tuke

The Ashcan School (USA)

The Ashcan School, also called the Ash Can School, was an artistic movement in the United States during the early twentieth century that is best known for works portraying scenes of daily life in New York, often in the city’s poorer neighborhoods. Some of the members of the Eight were also part of the Ashcan School.

  • Thomas Anshutz
  • Gifford Beal
  • George Bellows
  • William Glackens
  • John Grabach
  • Robert Henri
  • George Luks
  • Jerome Myers
  • Everett Shinn
  • John French Sloan

The Eight (USA)

  • Arthur Bowen Davies
  • William Glackens
  • Robert Henri
  • Ernest Lawson
  • George Benjamin Luks
  • Maurice Prendergast
  • Everett Shinn
  • John French Sloan

The Philadelphia Ten

  • Theresa Bernstein

Mir iskusstva (World of Art) (Russia)

Mir iskusstva (Russian: «Мир иску́сства», World of Art) was a Russian magazine and the artistic movement it inspired and embodied, which was a major influence on the Russians who helped revolutionize European art during the first decade of the 20th century. In fact, few Europeans outside Russia actually saw issues of the magazine itself.
From 1909, several of the miriskusniki (i.e., members of the movement) also participated in productions of Sergei Diaghilev’s Ballets Russes company based in Paris.

  • Yury Annenkov
  • Leon Samoilovitch Bakst
  • Alexandre Nikolayevich Benois
  • Mstislav Valerianovich Dobuzhinsky
  • Igor Grabar
  • Boris Grigoriev
  • Pyotr Konchalovsky
  • Boris Kustodiev
  • Filipp Malyavin
  • Eugene Lanceray
  • Ilya Mashkov
  • Anna Ostroumova-Lebedeva
  • Nicholas Roerich
  • Konstantin Somov
  • Serge Sudeykin

Cubism (France)

Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century. The term is broadly used in association with a wide variety of art produced in Paris (Montmartre, Montparnasse and Puteaux) during the 1910s and extending through the 1920s.
The movement was pioneered by Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne. A retrospective of Cézanne’s paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907.
In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context.
The impact of Cubism was far-reaching and wide-ranging. Cubism spread rapidly across the globe and in doing so evolved to greater or lesser extent. In essence, Cubism was the starting point of an evolutionary process that produced diversity; it was the antecedent of diverse art movements.
In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism. In other countries Futurism, Suprematism, Dada, Constructivism and De Stijl developed in response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso’s technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.

  • Henryk Berlewi
  • Georges Braque
  • Roger de la Fresnaye
  • Albert Gleizes
  • Juan Gris
  • Auguste Herbin
  • Fernand Leger
  • Jean Metzinger
  • Pablo Picasso

De Stijl (Netherlands)

  • Burgoyne Diller
  • Theo van Doesburg
  • Jean Gorin
  • Vilmos Huszar
  • Piet Mondrian

Futurisme (Italy)

  • Giacomo Balla
  • Umberto Boccioni
  • Carlo Carra
  • Fortunato Depero
  • Luigi Russolo
  • Gino Severini

Rayonism (Russia)

  • Natalia Goncharova
  • Mikhail Larionov

The Berlin Secession (Germany)

The Berlin Secession (German: Berliner Secession) was an art association founded by Berlin artists in 1898 as an alternative to the conservative state-run Association of Berlin Artists. That year the official salon jury rejected a landscape by Walter Leistikow, who was a key figure amongst a group of young artists interested in modern developments in art. Sixty-five young artists formed the initial membership of the Secession.
Max Liebermann was the Berlin Secession’s first president, and he proposed to the Secession that Paul Cassirer and his cousin Bruno act as business managers.
In 1901 Bruno Cassirer resigned from the Secession, so that he could dedicate himself entirely to the Cassirer publishing firm. Paul took over the running of the Cassirer gallery, and supported various Secessionist artists including the sculptor Ernst Barlach and August Gaul, as well as promoting French Impressionism and Post-Impressionism.
The biggest conflict in the Berlin Secession was about the question if it should follow the new wave of Expressionism or not.

  • Hans Baluschek
  • Bruno Cassirer
  • Paul Cassirer
  • Lovis Corinth
  • Lyonel Feininger
  • August Gaul
  • Adolf Eduard Herstein
  • Kaethe Kollwitz
  • Walter Leistikow
  • Max Liebermann
  • Emil Nolde
  • Jacob Steinhardt
  • Hermann Struck
  • Wilhelm Truebner
  • Julie Wolfthorn

Vienna Secession (Austria)

The Vienna Secession (German: Wiener Secession; also known as the Union of Austrian Artists, or Vereinigung Bildender Künstler Österreichs) was formed in 1897 by a group of Austrian artists who had resigned from the Association of Austrian Artists, housed in the Vienna Künstlerhaus. This movement included painters, sculptors, and architects. The first president of the Secession was Gustav Klimt, and Rudolf von Alt was made honorary president. Its official magazine was called Ver Sacrum.

  • Josef Anton Engelhart
  • Gustav Klimt
  • Wojciech Weiss

Expressionism (Germany)

Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. Expressionist artists sought to express meaning or emotional experience rather than physical reality.

Die Bruecke (The Bridge)

Die Bruecke (The Bridge) was a group of German expressionist artists formed in Dresden in 1905.

  • Fritz Bleyl
  • Erich Heckel
  • Ernst Ludwig Kirchner
  • Karl Schmidt-Rottluff
  • Emil Nolde
  • Max Pechstein
  • Otto Mueller

Der Blaue Reiter (The Blue Rider)

Der Blaue Reiter (The Blue Rider) was a group of artists from the Neue Kuenstlervereinigung Muenchen in Munich, Germany.

  • Albert Bloch
  • David Burliuk
  • Heinrich Campendonk
  • Agnes Cleve
  • Clotilde von Derp
  • Lyonel Feininger
  • Natalia Goncharova
  • Alexej von Jawlensky
  • Wassily Kandinsky
  • Paul Klee
  • August Macke
  • Franz Marc
  • Gabriele Muenter
  • Arnold Schoenberg
  • Marianne von Werefkin

Other expressionist

  • Max Beckmann
  • Marc Chagall
  • Otto Dix
  • James Ensor
  • Lyonel Feininger
  • George Grosz
  • Shalva Kikodze
  • Oskar Kokoschka
  • Kaethe Kollwitz
  • Paula Modersohn-Becker
  • Edvard Munch
  • Georges Rouault
  • Egon Schiele
  • Jan Sluyters
  • Karl Sterrer
  • Wojciech Weiss

Fauvism (France)

Fauvism is the style of les Fauves (French for “the wild beasts”), a loose group of early twentieth-century Modern artists whose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only a few years, 1904 to “1908, and had three exhibitions.

  • Hermenegildo Anglada Camarasa
  • Charles Camoin
  • Emilie Charmy
  • Andre Derain
  • Kees van Dongen
  • Raoul Dufy
  • Henri Evenepoel
  • Othon Friesz
  • Henri Manguin
  • Maurice Marinot
  • Albert Marquet
  • Henri Matisse
  • Jean Puy
  • Georges Rouault
  • Louis Valtat
  • Maurice de Vlaminck

Dada (Europe)

Dada or Dadaism was an art movement of the European avant-garde in the early 20th century. Dada in Zürich, Switzerland, began in 1916 at Cabaret Voltaire, spreading to Berlin shortly thereafter, but the height of New York Dada was the year before, in 1915. The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 when he created his first readymades. Dada, in addition to being anti-war, had political affinities with the radical left and was also anti-bourgeois.

  • Theo van Doesburg
  • Marcel Duchamp
  • Max Ernst
  • Angelika Hoerle
  • Heinrich Hoerle
  • Francis Picabia
  • Christian Schad
  • Rudolf Schlichter
  • Franz Wilhelm Seiwert

New Objectivity (Germany)

The New Objectivity (in German: Neue Sachlichkeit) was a movement in German art that arose during the 1920s as a reaction against expressionism. The term was coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit. As these artists—who included Max Beckmann, Otto Dix, and George Grosz—rejected the self-involvement and romantic longings of the expressionists, Weimar intellectuals in general made a call to arms for public collaboration, engagement, and rejection of romantic idealism.
Although principally describing a tendency in German painting, the term took a life of its own, and came to characterize the attitude of public life in Weimar Germany as well as the art, literature, music, and architecture created to adapt to it. Rather than some goal of philosophical objectivity, it was meant to imply a turn towards practical engagement with the world—an all-business attitude, understood by Germans as intrinsically American.
The movement essentially ended in 1933 with the fall of the Weimar Republic and the rise of the Nazis to power.

  • Max Beckmann
  • Otto Dix
  • George Grosz
  • Heinrich Hoerle
  • Alexander Kanoldt
  • Anton Räederscheidt
  • Rudolf Schlichter
  • Georg Scholz
  • Georg Schrimpf
  • Franz Wilhelm Seiwert

Group of Seven (Canada)

The Group of Seven, also known as the Algonquin School, was a group of Canadian landscape painters from 1920 to 1933. Believing that a distinct Canadian art could be developed through direct contact with nature, The Group of Seven is most famous for its paintings inspired by the Canadian landscape, and initiated the first major Canadian national art movement.

  • A.J. Casson
  • Franklin Carmichael
  • Emily Carr
  • Lionel LeMoine FitzGerald
  • Lawren Harris
  • Edwin Holgate
  • A.Y. Jackson
  • Frank Johnston
  • Arthur Lismer
  • J. E. H. MacDonald
  • Tom Thomson
  • Frederick Varley

Surealism (Global)

Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to “resolve the previously contradictory conditions of dream and reality”. Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself.
Surrealist works feature the element of surprise, unexpected juxtapositions and non sequitur; however, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost, with the works being an artifact. Leader André Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement.
Surrealism developed out of the Dada activities during World War I and the most important center of the movement was Paris. From the 1920s onward, the movement spread around the globe, eventually affecting the visual arts, literature, film, and music of many countries and languages, as well as political thought and practice, philosophy, and social theory.

  • Michael Cheval
  • Salvador Dali
  • Paul Delvaux
  • Max Ernst
  • Leonor Fini
  • Felix Labisse
  • Rene Magritte
  • Paul Nash
  • Felix Nussbaum
  • Francis Picabia
  • Felka Platek
  • Helene Schjerfbeck

Abstract expressionism

Abstract expressionism is a post–World War II art movement in American painting, developed in New York in the 1940s. It was the first specifically American movement to achieve international influence and put New York City at the center of the western art world, a role formerly filled by Paris. The term abstract expressionism was first applied to American art in 1946 by the art critic Robert Coates.The movement’s name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus, and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic. In practice, the term is applied to any number of artists working (mostly) in New York who had quite different styles.

  • Arshile Gorky
  • Elaine de Kooning
  • Willem de Kooning
  • Lee Krasner
  • Barnett Newman
  • Jackson Pollock
  • Mark Rothko

A Paintrist can belong to more then one isme or be a isme on his one

This is a list in progress…

UK’s legendary extreme metal icons CRADLE OF FILTH have announced the details for the band’s upcoming 12th full-length album.

Cryptoriana - The Seductiveness Of Decay’ will be released on September 22nd via Nuclear Blast. You can view the stunning cover artwork by Artūrs Bērziņš below. Bērziņš is the mastermind behind the new record’s artwork, photography and videography – best known for his defiant neo-symbolism raster graphics and oil paintings; postmodern interpretations of classic myths. He has been proclaimed as a “sacred monster of Latvian postmodernism”.

Commented the infamous Dani Filth:
“The album is deeply infused with Victorian gothic horror and thus the title is a reflection of that. ‘Cryptoriana’ implies the Victorian’s infatuation with the supernatural, the grave and the ghoulish. And the subtitle 'The Seductiveness Of Decay’ further cements this attraction to death and the glittering lengthy process of self-annihilation.”

The first single off ‘Cryptoriana - The Seductiveness Of Decay’ will be released on July 5th, the same day that the album pre-order will become available.

Today the band also announces their first full scale UK and Ireland tour in years, starting in Belfast, Northern Ireland on 30th October.

Added Dani Filth:
“We, as a band, are incredibly excited about hitting the UK and Ireland for a full run of dates around All Hallows Eve, as playing the band’s home country is always great fun and the audiences here are very receptive. And nuts. The dates will be the first in a long line of shows that will extend throughout the rest of the World throughout 2018. We aim to be very prolific on the live front, delivering a show worthy of our fan’s exalted expectations and more”

anonymous asked:

Hi! I wanted to buy more norse things (with runes and symbols) to get connected with Loki more, however most of the sites or etsy stores I can find either don't have a lot of stuff, or make me uneasy with how many... Particularly neo-nazi symbol leaning some of their 'rune' items all seem to be. Do you have any ideas of where to buy norse stuff that is white supremacy free?

Yeah, unfortunately, you have to watch what your money’s supporting when it comes to Norse merchandise. Buying more stuff isn’t necessarily a surefire method, or the best method, to make yourself more in tune with your spirituality, but it’s normal and valid to want to express your religious identity.

This post lists a bunch of options for vendors who aren’t white supremacists.

I’ve personally had consistently good experiences with Wulflund, in terms of quality for the price. I’d also recommend The Wicked Griffin if you really want something custom and are willing to put up with a month or so of wait time. 

- Mod E