Summarize this content to 2000 words in 6 paragraphs in Arabic It is midnight on January 1 1925, and a trio of young idealists in Obino, a hamlet in Switzerland\u2019s southern Ticino region, look out on snowy slopes drenched in their imagination in brilliant visionary colours. They toast the new year by founding an art movement, the Rot-Blau Gruppe (Red Blue Group). Their inspiration is a strange, sick, morphine-addicted German painter in another Swiss mountain village, Davos. Dismissed from war service to recover in Davos\u2019s sanatorium in 1917, Ernst Ludwig Kirchner began transmuting the hectic urban expressionism of his shrill Berlin scenes to hallucinatory Alpine landscapes in glowing unnatural pinks and violets.\u00a0For a brief moment \u2014 Thomas Mann\u2019s The Magic Mountain, set in Davos, appeared in November 1924 \u2014 this rural backwater where motor vehicles were still banned became a centre for the German avant garde. It\u2019s a fantastical tale, hardly known, and wonderfully told in a small, riveting centennial exhibition Ernst Ludwig Kirchner and the Artists of the Rot-Blau Group at Lugano\u2019s Museo d\u2019arte.There emerge the distinctive personalities of Hermann Scherer, originally a stone mason, Albert M\u00fcller, trained as a glass painter, and architect Paul Camenisch, as under Kirchner\u2019s spell they created a distinct Swiss expressionism of the mountains. Kircher in turn recalibrated Berlin modernism\u2019s prewar frenzy \u2014 harsh lines, violent chromatic contrasts, jauntily distorted perspectives \u2014\u00a0to depict the ancient rhythms of peasant life as anything but peaceful. A farmer\u2019s wagon with bright yellow wheels and red horses hurtles across the canvas in \u201cChariot and Horses with Three Farmers\u201d. The slow ritual of a parade of cattle climbing to the summit becomes in \u201cAscent to the Alpine Pastures\u201d a feverish scene played out in the shadow of cloud-swirled magenta crags.Rising at the exhibition entrance are the peaks of Kirchner\u2019s \u201cTinzenhorn\u201d beneath a moonlit emerald sky: jagged purple-crimson ridges, a little church in the valley, every feature exaggeratedly angular. The luminosity evokes the clear, crisp mountain air, and as Kirchner explained, \u201cthe changes in form and proportions are not arbitrary, but rather serve\u2009.\u2009.\u2009.\u2009the mental expression\u201d. The painting celebrates nature\u2019s restorative power yet reflects the artist\u2019s instability:\u00a0between elation at his new surroundings, and the anguished effects of a breakdown during the first world war.\u00a0\u00a0Such dissonant landscapes, aggressively vertical, fraught with danger, dominate a vertiginous show. \u201cThe Ravine\u201d is impassable, rushing headlong at the viewer, its slopes studded with pines as spiky and defiant as Kirchner\u2019s feather-hatted Berlin streetwalkers. Wildly coloured, slanting bare trunks shine in the dark wood in \u201cLandscape in a Forest with Stream\u201d.Kirchner\u2019s trees are recalled in the twisting tendrils and gnarled features in Camenisch\u2019s self-portrait \u201cMan in the Vines\u201d, the torrent in his \u201cMale Nude\u201d, a huge wide-eyed figure about to bathe in a fast-coursing stream in an almost psychedelic scene.\u00a0M\u00fcller\u2019s more lyrical \u201cResting Woman\u201d reclines in an abstracted wooded landscape patterned in black lattice work with pink touches, reminiscent of stained glass.\u00a0The earliest painting, \u201cAlpine Kitchen\u201d (1918), from Madrid\u2019s Thyssen-Bornemisza collection, records Kirchner\u2019s initial home, a simple hut in the Stafelalp, and also his emotional state on arrival. In spiralling distortions, warm lemon, orange and rose walls and floors, swaying cupboards and beams, spin around a lone hunched figure with elongated nervy fingers, a self-portrait.\u00a0Unlike Kirchner\u2019s Berlin interiors, focused on powerful characters, here the surroundings overwhelm the downcast figure.\u201cIn Davos I found an emaciated man with a piercing feverish gaze who seemed to observe the approach of death,\u201d wrote Henry van de Velde on first visiting Kirchner. But the painting carries hope: the tilting perspectives lead the eye to the wooden door, open to the Tinzenhorn, the vanishing point of the whole composition \u2014 giving a sense of air and freedom.All this looks superb at the Museo d\u2019arte, whose dramatic main gallery fronted by an enormous window on the lake and mountains pulls landscape into the interior as Kirchner often does.\u00a0In \u201cFarmer with Child (Fairytale Teller)\u201d the pair are illumined by a glistening snowscape outside the window, its light echoed in two white coffee cups \u2014 the mood as otherworldly as a fairytale. In deep pinks and purples, \u201cBefore Sunrise\u201d depicts Kirchner and his partner Erna Schilling, fashionably dressed with bobbed haircuts, on their terrace; blue hills and pink trees surge towards them, Kirchner\u2019s rough wood carvings of Adam and Eve loom above.\u00a0Inevitably this Gauguin of the mountains enchanted Swiss painters. Kirchner hosted the three Rot-Blaus in Davos and arranged their exhibition in Dresden in 1926. A self-portrait with M\u00fcller, faces dabbed in green paint, from the journey there, \u201cIn the Train (Albert M\u00fcller and Kirchner)\u201d, sold at Sotheby\u2019s in November for $1.08mn (not in the show), attests to their camaraderie.There is not enough M\u00fcller in Lugano\u2019s exhibition, but Scherer triumphs: in the hot red, burnt umber and acid green of \u201cTicino Landscape\u201d\u2019s stylised, tumbling patchwork of peaks, slope and plateaus and\u00a0in his \u201cSelf-portrait\u201d as an outsize wanderer, precariously leaning back into a multicoloured village. The figure has the hulking proportions and raw finish of the wooden sculptures which Kirchner taught him.In The Magic Mountain the guests get ill rather than cured by their Alpine sanctuary, and something similar decimated the Rot-Blaus. After two years of frantic work, M\u00fcller died at 29 from typhus in December 1926; Scherer died in 1927. Camenisch, sole survivor, founded Rot Blau II in 1928 with Max Sulzbachner; the latter\u2019s arresting \u201cThe Globetrotter\u201d, an elderly figure on the edge of a vermilion path through a forest of twisting scarlet trees, was painted aged 21, a homage to Kirchner. Sulzbachner\u2019s continued impact as a conduit of Swiss expressionism was as a Basel mask-maker and popular theatre designer.Kirchner remained in Davos, and portraits such as the conspiratorial \u201cItalian Railway Workers\u201d \u2014 building the Rhaetian mountain track, begun in Davos \u2014 in capes and fancy hats, faces half obscured by the smoke from their pipes, a miniature train in the background, imply his sympathetic relationship with the community. So does the monumental quartet of individualised grotesques, full of pathos, determination, resilience, in \u201cLunch of the Farmers\u201d. Bought in 1923 for Hamburg\u2019s Kunsthalle, this was confiscated by the Nazis and displayed in the 1937 \u201cDecadent Art\u201d exhibition, an example of Kirchner\u2019s caricature of supposedly harmonious Volk values.\u00a0There is nothing harmonious about this compelling show. Kirchner aimed to create a specifically German art, looking back to Gothic\u2019s extreme linear expressiveness; now Germany banned him. He died by suicide in Davos in 1938, fearing a second world war.Emerging from the first one, he had written: \u201cI am still trying to put my thoughts in order and, from all the confusion, create an image of the times, which is my task, after all\u201d. In his mountain refuge, he did so magnificently.To March 23, masilugano.ch<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic It is midnight on January 1 1925, and a trio of young idealists in Obino, a hamlet in Switzerland\u2019s southern Ticino region, look out on snowy slopes drenched in their imagination in brilliant visionary colours. They toast the new year by founding an art<\/p>\n","protected":false},"author":1,"featured_media":165201,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-165200","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/165200","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=165200"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/165200\/revisions"}],"predecessor-version":[{"id":165202,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/165200\/revisions\/165202"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/165201"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=165200"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=165200"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=165200"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}