A presente dissertação se propõe a traçar o desenvolvimento do Expressionismo desde sua origem na Alemanha da década de 1910 até o teatro estadunidense da década de 1920, assim como a influência desse movimento de vanguarda na obra do dramaturgo americano do pósguerra, Tennessee Williams. Para esse fim, a relação entre artes visuais, teatro, literatura e cinema é apresentada, definindo essa dissertação no campo dos Estudos Interdisciplinares. A análise será principalmente enfocada nas peças expressionistas americanas da década de 1920 dos dramaturgos Eugene O'Neill, Susan Glaspell, Elmer Rice e Sophie Treadwell, e em quatro peças de Tennessee Williams e suas respectivas versões fílmicas: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Primeiramente, serão apresentadas as origens do Expressionismo na Alemanha na década de 1910 para definir as características do movimento. Posteriormente, serão identificadas características expressionistas no teatro, literatura e cinema estadunidense da década de 1920. Por fim, será verificada a influência do movimento expressionista na obra de Tennessee Williams, tanto em suas peças quanto nas versões fílmicas. O objetivo dessa dissertação é provar a ligação entre a obra de Tennessee Williams e as peças de dramaturgos expressionistas estadunidenses anteriores, assim como discutir a inter-relação e o aspecto colaborativo entre artes visuais, teatro, literatura e cinema. / The aim of this thesis is to track the development of Expressionism from its roots in Germany in the 1910s to its outcome in the American theatre in the 1920s, as well as the influence of the avant-garde movement in the work of the postwar American playwright Tennessee Williams. For the purpose of the present thesis, a relation including the visual arts, theatre, literature and cinema will be traced, thus setting this work in the field of Interdisciplinary Studies. The analysis will mainly focus on 1920s American expressionist plays by Eugene O'Neill, Susan Glaspell, Elmer Rice and Sophie Treadwell, and four plays by Tennessee Williams and their respective film adaptations: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Firstly, the origins of Expressionism in Germany in the 1920s are presented to define the characteristics of the movement. Later, expressionistic aspects are identified in 1920s American theatre, literature and cinema. And finally, the influence of the expressionist movement is verified in the work of Tennessee Williams, both in his plays and film versions. The objective of this thesis is to prove the connection of Tennessee Willliams's work with that of earlier American expressionist playwrights, as well as to discuss the interrelation and collaborative aspect of the visual arts, theatre, literature and cinema.

[pt] A frase a animação é uma arte eminentemente expressionista – proferida pelo animador Cesar Coelho – é o ponto de partida para o desenvolvimento desta tese. O objetivo é verificar se os elementos estruturantes do expressionismo são realmente verificáveis na animação nos níveis da linguagem, do gênero e do estilo. Para tanto, se considera a animação como uma linguagem que apresenta potências que lhe são características e definidoras enquanto forma de expressão. Forma de expressão independente – é verdade –, mas que sofre a ação de gêneros narrativos e de diferentes estilos. Cada um desses níveis de estruturação da animação – linguagem, gênero e estilo – é ainda diretamente influenciado pela infraestrutura de produção, que estabelece uma superestrutura ideológica. Na sequência, são também verificadas diferentes abordagens do expressionismo no Cinema, nas Artes Plásticas e nos cartuns para que se identifiquem quais elementos estruturantes do expressionismo podem ser recorrentes – ao menos em potência – e sustentar a afirmativa de que a animação é eminentemente expressionista. Finalmente, uma vez estabelecidas as características de linguagem, gênero e estilo e verificados quais elementos estruturantes do expressionismo são passíveis de ser encontrados na animação, se empreendem análises de filmes que possam demonstrar a recorrência desses elementos. O primeiro ponto que se pretende verificar por meio desse procedimento é se a frase de Cesar Coelho se sustenta quando investigada profundamente. O segundo ponto verificado e, talvez, o mais relevante, é ampliar a compreensão da animação enquanto forma de arte independente, que se constitui em uma linguagem dotada de potências, mas que dialoga com outros meios de expressão, bem como com toda a cultura que a cerca. / [en] The statement animation is a distinctly expressionist form of art – spoken by the animator Cesar Coelho – is the starting point for the development of this thesis. The aim is to check if structuring elements of expressionism are indeed verifiable in animation on the following levels: language, genre and style. With this in mind, animation will be understood as a means of communication that offers potentials, which are defining and characteristic of it as a form of expression. Certainly, it is an independent form of expression, but influenced by varied narrative genres and different styles nevertheless. Each of the structuring levels – language, genre and style – is, still, directly influenced by the production infrastructure, which, in turn, forms an ideological superstructure. Next, multiple approaches to expressionism are analyzed in cinema, plastic arts and cartoons in order to identify which structuring elements of expressionism might recur – at least potentially – and support the claim that animation is distinctly expressionist. Lastly, once characteristics of language, genre and style have been identified, as well as certain structuring elements of expressionism have been verified to be plausibly found in animation, the paper will analyze movies that may display the recurrence of such elements. The first point to be checked with this procedure is whether Cesar Coelho s claim is consistent when further investigated. The second point and, possibly, the most relevant is to expand the comprehension of animation as an independent art form, which constitutes a means of communication with its own potentials, but that routinely talks with other forms of expression, as well as with the overarching culture.

A presente dissertação se propõe a traçar o desenvolvimento do Expressionismo desde sua origem na Alemanha da década de 1910 até o teatro estadunidense da década de 1920, assim como a influência desse movimento de vanguarda na obra do dramaturgo americano do pósguerra, Tennessee Williams. Para esse fim, a relação entre artes visuais, teatro, literatura e cinema é apresentada, definindo essa dissertação no campo dos Estudos Interdisciplinares. A análise será principalmente enfocada nas peças expressionistas americanas da década de 1920 dos dramaturgos Eugene O'Neill, Susan Glaspell, Elmer Rice e Sophie Treadwell, e em quatro peças de Tennessee Williams e suas respectivas versões fílmicas: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Primeiramente, serão apresentadas as origens do Expressionismo na Alemanha na década de 1910 para definir as características do movimento. Posteriormente, serão identificadas características expressionistas no teatro, literatura e cinema estadunidense da década de 1920. Por fim, será verificada a influência do movimento expressionista na obra de Tennessee Williams, tanto em suas peças quanto nas versões fílmicas. O objetivo dessa dissertação é provar a ligação entre a obra de Tennessee Williams e as peças de dramaturgos expressionistas estadunidenses anteriores, assim como discutir a inter-relação e o aspecto colaborativo entre artes visuais, teatro, literatura e cinema. / The aim of this thesis is to track the development of Expressionism from its roots in Germany in the 1910s to its outcome in the American theatre in the 1920s, as well as the influence of the avant-garde movement in the work of the postwar American playwright Tennessee Williams. For the purpose of the present thesis, a relation including the visual arts, theatre, literature and cinema will be traced, thus setting this work in the field of Interdisciplinary Studies. The analysis will mainly focus on 1920s American expressionist plays by Eugene O'Neill, Susan Glaspell, Elmer Rice and Sophie Treadwell, and four plays by Tennessee Williams and their respective film adaptations: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Firstly, the origins of Expressionism in Germany in the 1920s are presented to define the characteristics of the movement. Later, expressionistic aspects are identified in 1920s American theatre, literature and cinema. And finally, the influence of the expressionist movement is verified in the work of Tennessee Williams, both in his plays and film versions. The objective of this thesis is to prove the connection of Tennessee Willliams's work with that of earlier American expressionist playwrights, as well as to discuss the interrelation and collaborative aspect of the visual arts, theatre, literature and cinema.

Made available in DSpace on 2016-06-02T20:11:02Z (GMT). No. of bitstreams: 1 5477.pdf: 2572805 bytes, checksum: c4bc4bde3a3f6142a98d3e95b8b95f75 (MD5) Previous issue date: 2013-08-21 / Financiadora de Estudos e Projetos / Graciliano Ramos and Cândido Portinari were friends, but they had something in common that bound most strongly: the desire to express in their works the authentic Brazilian man, the worker and the migrant in their daily lives. This research aims to show how the works of Graciliano and Candido Portinari are close, not only as a social content and theme, but mainly as a form, style and technical resources, as the verbal and visual language are intimately linked as modes of representation. The rapprochement between Graciliano and Cândido Portinari, between the books São Bernardo, Vidas Secas, and the frames Café, Lavrador de café, Retirantes and Criança Morta, aims to demonstrate how the life and work of these artists intersect, in order to represent critically the reality of the time, through a dialectical analysis of form and content, combining text and context in levels of interpretation, according to the hermeneutic proposal of Frederic Jameson in the political unconscious (1982) and the principles of visual semiotics. To achieve this goal, we consider the history of each narrative, structural components, linking them to the historical context of the country at the time. Thus we examine how each represents a social issue: the contradictory reality of Brazil, a country that keeps living archaic modes of production with the arrival of Modernism and Capitalism; antagonistic classes of this society, exploiters and exploited, farmers, migrants, landowners, the government; and alienation/reification that they are submitted, direct consequences of this system. The analyzes are performed with dialectic dialogue, form and content, text and context in reading the social content of his compositions. That is, we analyze how they say what they say about this fundamental aspect of socioeconomic and political organization of the country. Thus, through the analysis we confirm why Graciliano and Portinari are considered realistic and social critics, as such works make use of realism and expressionism as technical resources to bring about awareness of the real and present in the political unconscious subtexts, which allows to conclude from the comparison made that the connection between them, the analogy between literature and painting produced, is stronger and larger than the gap. / Graciliano Ramos e Cândido Portinari, além de amigos, tinham algo em comum que os unia mais fortemente: o desejo de expressar em suas obras o autêntico homem brasileiro, o trabalhador e o retirante no seu cotidiano. Esta pesquisa pretende mostrar como as obras de Graciliano Ramos e Cândido Portinari estão próximas, não apenas enquanto conteúdo social e temático, mas, sobretudo, enquanto forma, recursos técnicos e estilo, pois a linguagem visual e a verbal são intimamente ligadas enquanto modos de representação. A aproximação entre Graciliano Ramos e Cândido Portinari, entre os livros São Bernardo, Vidas Secas, e os quadros Café, Lavrador de café, Retirantes e Criança Morta, tem como objetivo demonstrar como a vida e a obra desses artistas se cruzam, a fim de representar criticamente a realidade da época, através de uma análise dialética entre forma e conteúdo, conjugando texto e contexto em níveis de interpretação, de acordo com a proposta hermenêutica de Frederic Jameson em O inconsciente politico (1982) e os princípios da semiótica visual. Para atingir esse objetivo, consideramos a história de cada narrativa, seus componentes estruturais, ligando-os ao contexto histórico do país na época. Assim examinamos o modo como cada um representa a questão social: a contraditória realidade do Brasil, um país que mantém modos de produção arcaicos vivendo a chegada do Modernismo e do Capitalismo; as classes antagônicas dessa sociedade, exploradores e explorados, lavradores, retirantes, latifundiários, o governo; e a alienação/reificação a que são submetidos, consequências diretas desse sistema. As análises são realizadas de maneira dialética, dialogando forma e conteúdo, texto e contexto, na leitura do conteúdo social das suas composições. Ou seja, analisamos como dizem o que dizem, sobre esse aspecto fundamental da organização socioeconômica e política do país. Assim, através das análises confirmamos porque Graciliano e Portinari são considerados realistas críticos e sociais, como tais obras fazem uso do realismo e do expressionismo como recursos técnicos para trazer à tona a consciência do real e o inconsciente político presente nos subtextos, o que se permite concluir da comparação efetuada, que a aproximação entre eles, a analogia entre a literatura e a pintura que produziram, é mais forte e maior que o distanciamento.

Au lendemain de la Révolution, on observe en Russie l’apparition de nombreux groupes d’avant-garde qui, d’une certaine manière, prolongent tous les groupes antérieurs. Les jeunes poètes qui perpétuent alors le paradigme avant-gardiste forment certains des groupes qui sont au cœur de cette recherche: les expressionnistes (dont Ippolit Sokolov, Boris Zemenkov, Sergej Spasskij, Gurij Sidorov), le Parnasse de Moscou (dont Boris Lapin, Evgenij Gabrilovič), les fouistes (dont Boris Perelešin, Boris Nesmelov, Nikolai Lepok), les émotionnalistes (dont Mixail Kuzmin, Anna Radlova, Konstantin Vaginov), les rienistes (dont Rjurik Rok, Sergej Sadikov, Susanna Mar, Aècij Ranov, Oleg Èrberg), et les biocosmistes (dont Aleksandr Svjatogor, Aleksandr Jaroslavskij). Ce travail cerne leur activité théorique, philosophique et poétique, suit leurs pas dans la vie artistique de l'époque, reconstitue le contexte intellectuel et culturel. Les années 1920 sont, de manière générale, la période où les cultures russe et allemande se témoignent le plus d'intérêt réciproque et un nombre important de contacts s'établit entre les artistes. L'analyse de leur poésie et de leurs manifestes permet de cerner le phénomène de l'expressionnisme russe, comme mouvement indépendant, et de montrer leur proximité typologique. Quant aux rienistes, on peut les rapprocher des dadaïstes européens. Enfin, les biocosmistes prolongent les idées du cosmisme russe dans une perspective révolutionnaire et utopique. Longtemps négligés, ces groupes apportent la preuve de l'unité vaste et complexe de l'avant-garde russe. Pourtant, leur apport ne fait aucun doute. / Just after the Revolution, in Russia there emerged numerous avant-garde groups that, in a way, continue all previous groups. Young poets who then perpetuate the avant-garde paradigm form certain groups that are at the heart of this research: the Expressionists (including Ippolit Sokolov, Boris Zemenkov, Sergei Spassky, Gury Sidorov), Parnassus of Moscow (including Boris Lapin, Yevgeny Gabrilovich), the Fouists (including Pereleshin Boris, Boris Nesmelov, Nikolai Lepok), the Emotionalists (including Mikhail Kuzmin, Anna Radlova, Konstantin Vaginov), the Nichevoki (including Ryurik Rok, Sergei Sadikov, Susanna Mar, Aetsy Ranov, Oleg Erberg), and Biocosmists (including Alexander Svyatogor, Alexander Yaroslavsky). This work identifies their theoretical, philosophical and poetic activities, following their steps in the artistic life of that time and reconstructs the intellectual and cultural context. The 1920s are, generally, the period when Russian and German cultures reflect greater mutual interest and a large number of contacts is established among artists. The analysis of their poetry and their manifests identifies the phenomenon of Russian Expressionism as independent movement and shows their typological affinities. As regards the Nichevoki, they can be compared to the European Dadaists. Finally, the Biocosmists continue the ideas of Russian Cosmism in a revolutionary and utopian perspective. Long neglected, these groups provide evidence of large and complex body of the Russian avant-garde. Nevertheless, their contribution is certain.

Made available in DSpace on 2015-04-11T13:48:59Z (GMT). No. of bitstreams: 1 Jose Maria.pdf: 1102172 bytes, checksum: 2dbe6a844ea017be6ab9135c4eba48f0 (MD5) Previous issue date: 2012-04-11 / Abstract: Strongly influenced by Schopenhauer s philosophy and by the Buddhist thinking; tapping the innovative vibrations from Baudelaire s poetry; taken by thirst for knowledge with no answer from the science; driven by the microscopic world that only then started to be explored; and the reflex of a changing country in a changing world, Augusto dos Anjos poetry finds it Zeitgeist, the Dionysian spirit of its time, in an expression never before seen in Brazilian poetry, which confused, for a long time, its critical reception. His older poems had already brought the mark of a melancholic lyric I, stricken by loneliness and reflection. In the middle of 1906 this melancholy overflows and the expression, which had become rougher, finally meets its tone. It was no longer the lyric I that expressed itself, but a ramification of it: a suffering, misanthropic, misogynistic character, who seemed to have only one purpose in life to suffer. With the melancholy in exponential growth, that character ripens not only the language, but also the reflections. We intent to show that, running from the confessional lyricism and based upon Schopenhauer s concept of aesthetic pain , the author forged a character, his lyric mask. Its purpose was to denounce the degradation humanity was going through, by the means of poems which subverted the accepted notions of beauty. Augusto dos Anjos invented an expressionist variation, seeking a non- Aristotelic representation of reality, using a fragmented and contrasting form, thus approaching the German expressionists, which makes it completely plausible to classify him as an expressionist poet. And it is not only an expressionist sensibility , but corpus and an idea integrally expressionist. Without fearing the grotesque and the kitsch, extracting beauty from bad taste and decaying matter, Augusto dos Anjos registered Brazilian life on the verge of the twentieth century / Fortemente influenciada pela filosofia de Schopenhauer e pelo pensamento budista; percutindo as vibrações inovadoras da poesia de Baudelaire; tomada por uma sede de conhecimento que não obtinha respostas das ciências; obstinada pelo mundo microscópico que só então começava a ser explorado; e reflexo de um país em transformação, em um mundo em transformação, a poesia de Augusto dos Anjos encontra o seu Zeitgeist, o espírito dionisíaco de seu tempo, em uma expressão inédita na poesia brasileira, que desnorteou, por muito tempo, sua recepção crítica. Os poemas mais antigos já trazem a marca de um eu lírico melancólico, marcado pela solidão e pela reflexão. Em meados de 1906, essa melancolia se exacerba e a expressão, que vinha se tornando cada vez mais áspera, encontra finalmente seu tom. Não era mais o eu lírico que se expressava, mas um desdobramento deste: uma personagem sofrida, misantropa, misógina, que parecia ter uma só finalidade na vida sofrer. Com a melancolia em crescimento exponencial, aquela personagem amadurece não apenas a linguagem, mas também as reflexões. Pretendemos demonstrar, pois, que, fugindo do lirismo confessional, e baseado em um conceito de Schopenhauer, dor estética , o autor forjou uma personagem, sua máscara lírica. A finalidade desta: denunciar a degradação pela qual passava a humanidade, por meio de poemas que subvertiam as noções então aceitas de beleza. Augusto dos Anjos inventou uma variante expressionista, buscando uma representação não-aristotélica da realidade, usando uma forma fragmentada e contrastante, aproximandose de tal forma dos expressionistas alemães que é absolutamente plausível classificá-lo como um poeta expressionista. E não se trata apenas de uma sensibilidade expressionista , mas de um corpus e uma Ideia integralmente expressionistas. Sem temer o grotesco ou o kitsch, extraindo beleza do mau gosto e da matéria em decomposição, Augusto dos Anjos registrou a vida brasileira do limiar do século XX

O trabalho investiga a presença do expressionismo alemão em Mário de Andrade, a partir da análise de alguns momentos de sua atividade intelectual e artística sobretudo, sua crítica de arte, passagens de seus manifestos literários e os livros Losango cáqui e Amar, verbo intransitivo. A escolha desses momentos se deu após uma leitura abrangente da obra, em que foram identificadas três categorias igualmente essenciais ao expressionismo: o primitivismo, a deformação e a preocupação social, que, portanto, nos serviram de guia para o discurso crítico. / The dissertation investigates the presence of German Expressionism in Mário de Andrade, as from the analysis of some periods of his intelectual and artistic activities - especially, his art criticism, his literary manifestos\' passages and the books Losango Cáqui and Amar, verbo intransitivo. The choice of this specific moments occurred after an embracing reading of his work, which identified three essential categories to the Expressionism: the primitivism, distortion and social concern, that led us to the critical speech.

L’oeuvre de William Klein est reconnue pour ses stratégies formelles innovatrices et avant-gardistes qui attireront l'attention des artistes et des professionnels de sa génération non sans provoquer au passage quelques scandales ni sans subir les contrecoups de la censure. La trentaine de courts, moyens et longs métrages réalisés par Klein, forme un corpus hétérogène qui affiche à première vue des incohérences sociologiques, politiques, économiques et culturelles potentiellement discutables. Dans ces conditions, la position critique de Klein paraît ambiguë, inconséquente voire, contradictoire, parce que les films diffèrent également par leur thème, leur cible, leur mode de production et leur genre. Nous croyons cependant que l’engagement politique de Klein est le fil d'Ariane qui unit son oeuvre cinématographique et dissipe toute idée de rupture que ses contemporains pourraient lui reprocher. Au cours de cette période cruciale qui s'étend de 1965 et 1970, alors que le libéralisme en tant qu’idéologie officielle du système capitaliste cherche à vaincre le communisme pour s'imposer à l'échelle mondiale, Klein pose son regard sur les célébrités en tant que figures médiatiques et identitaires comme autant de moyens des pouvoirs politiques, économiques et religieux. À l'ère de la guerre froide, de la guerre du Vietnam et des combats pour la décolonisation, il prend le parti des mouvements de droits civils et de libération et se range du côté des révolutionnaires qui les défendent. Il brosse notamment le portrait de personnalités associées à la contre-culture américaine; il remet en question les modèles qui s'étaient jusque- là imposés dans la culture de masse et les idéologies dont ils étaient investis et va jusqu'à critiquer le concept même de célébrité. En procédant notamment à une démystification des moyens de la représentation de l'American Dream et de l’American way of life, William Klein s'en prend aux faux-semblants issus de ces industries (du divertissement) et de ce champ (politique) qui mettent en place des systèmes de production et d’exploitation de la célébrité en tant que symbole, destinée à orienter les goûts esthétique, les comportements commerciaux et/ou les opinions politiques des individus. Il dénonce ainsi les injustices raciales, les inégalités sociales, les abus de pouvoir et8les débordements des gouvernements attribuables à l’impérialisme occidental qui est à l'époque sous l'influence des États-Unis. Le corpus qui nous permettra de développer notre argumentation comprend quatre films, soit deux films de fiction et deux films documentaires. Qui êtes-vous, Polly Maggoo? (1966) et Mister Freedom (1968) sont les deux films de fiction que nous avons qualifiés de « parodies satiriques ». En ces termes, le film Polly Maggoo parodie les contes de fées pour faire la satire de l’industrie de la mode, tandis que le film Mister Freedom parodie les super-héros de bande dessinée et autres justiciers des films hollywoodiens, pour faire la satire de la politique étrangère américaine. Les documentaires politiquement engagés sont à notre avis expressionnistes, comme le propose le critique américain Jonathan Rosenbaum. Muhammad Ali, The Greatest (1964-1974) ; Eldridge Cleaver Black Panther (1970) mettent en scène ceux que William Klein appelle les « Super Noirs américains » et par des moyens réflexifs, ils démontrent de l’inter-subjectivité entre le cinéaste et ses sujets. / The films of William Klein are still little known. His filmography includes thirty titles which appear at first sight heterogeneous, while their sociological, political, economic, and cultural discrepancies seem questionable. As such, and because the themes of his films themes,targets, production modes and genres are constantly moving, Klein’s critical position seem ambiguous, inconsistent if not contradictory. Yet, we believe that the political commitment of William Klein is at the core of all of his films and dissipates all discrepancies.Between 1965 and 1970, while liberalism as the official ideology of the capitalist system is fighting against communism to expand its power around the world, Klein is looking at celebrities as vectors of the political, the economical and the religious powers. While the Cold War, the Vietnam War and the anti-colonial armed struggles are shaking the world, he associates with the counter-culture and youth culture and questions the role models advertised in the mass media, and the ideologies they represent. Portraying the modes of representation that shapes the American Dream and the American Way of Life, William Klein criticises the makes-believes found in the entertainment industry and the political field that aim at shaping our identities, our commercial behaviours and our political opinions. He condemns racism, social inequalities and abuses of power associated with Western imperialism. We propose to analyse two fiction films and two documentaries in the course of our argumentation. Qui êtes-vous, Polly Maggoo? (1966) and Mister Freedom (1968) are what we have called after Daniel Sangsue, satirical parodies. Accordingly, Polly Maggoo parodies fairy tales to satirize the fashion industry, while Mister Freedom parodies the superheros of the comic books to satirize American foreign policies.Based on Jonathan Rosenbaum thesis, we consider Muhammad Ali, The Greatest (1964-1974) and Eldridge Cleaver Black Panther (1970) as expressionist documentaries. The reflexive strategies found in these films is symptomatic of an inter-subjectivity between the filmmakerand his subjects

This master essay is about the process as a motive and how I collaborate with the material. How the paintings go from being constructions to becoming paintings where the color, gestures and mark making creates a content in itself. The fiction of materials.   The essay begins with me in my studio working on a painting. Trying to solve the problems in the painting. This section ends with me flipping the painting upside-down, realising that the problem I had was gone.   The next chapter is about what happens during the process from the first idea to the finished painting. How visual ideas appear in front of me in my everyday life in small details. I compare the ideas with the miracles in the 2006 movie Wristcutters a Love Story and how all the characters see small miracles; no one cares, exact the main character Zia. I also write about the Art Concrete-movment from the 1930s and there attitude towards painting.    In the end of this chapter I write about Günther Förgs artistry; his fascination of the early modernist painters and how he break their rules.    The next chapter is about the importens of AbEx (abstract expressionism), the artistry of Joan Mitchell and how the rapper MF DOOM influens my way of working with painting.   The essay end with me talking about Maria Lassnigs influence over my own artistry. How she haunts me. In this chapter I also write about my background; my home town Gävle, the importens of the HipHop subculture and feeling a bit odd in my hometown.The very last thing is a quote about painting by Amy Sillman from her essay ”On color” and how that quote led me to where I am now as a painter.

This dissertation is a phenomenological study on the origin of expressive arts as an innate human need rooted deeply in the psyche in order to grasp and relate to the human condition. Carl Gustav Jung said, “Life has no rules and that is its mystery.” Art compensates for the chaos that originates and often rules life. The history of art and its evolution in society was explored to paint a picture of the experiences that dominate and leave permanent etchings of the complexities, attachments, and traumas on the psyche. I explored the history of art and its ability to stimulate curiosities, discoveries, and learning. Additionally, I followed the birth of art education and its crossroads within the discovery of the unconscious mind and Jungian psychology. I followed the effects of the unconscious mind and psychology on art and art education, the ecological agents of the Industrial Revolution, the birth of the middle class, and the new accessibility of art. I also discussed the Industrial Revolution and its impact on pushing the artist to new interior boundaries of altered states and the birth of abstract art. Moreover, I looked at expressive art, painting, poetry, and sculpture as the foreground to discover the psychic energy and complexes that stimulate and inspire the artist. I presented eight artist interviews randomly chosen from different backgrounds, specialties, and age. The data analysis process allowed me to gain insights into the artists’ perceptions of how art has enriched the development of their psyches and their lives.