I would enjoy an evening with lots of pipe smoke and Scotch to discuss a Christian response to this development in the arts:

“First in painting and later in theater and poetry, Expressionismus would be used after 1911 to describe the German avant garde much as Futurismo described the Italian. It would be used retroactively to describe Strindberg’s drama. For painters, it represented the replacement of Seurat by Van Gogh as a model; and the assertion of a new goal: to paint not the observed moment in the life of nature, but nature’s inner life, and the inner life of the artist as well.” (William Everdell, The First Moderns, p. 305)

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