FRANS MASEREEL PASSIONATE JOURNEY PDF

Each of the woodcuts centers on a young man who we may as well think of as Masereel himself, who was in his early thirties when he cut this novel. The young artist enters a city by railroad and walks crowded streets with bemused amazement. Throughout the series he undergoes various pleasures and pains of the physical, mental, political, moral, and religious life as a sort of preparation for a Christlike death and spiritual rebirth. Audiences today will appreciate its value as a characterization and equally as a caricature of European intellectual life during the first two and a half decades of this century.

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Each of the woodcuts centers on a young man who we may as well think of as Masereel himself, who was in his early thirties when he cut this novel.

The young artist enters a city by railroad and walks crowded streets with bemused amazement. Throughout the series he undergoes various pleasures and pains of the physical, mental, political, moral, and religious life as a sort of preparation for a Christlike death and spiritual rebirth. Audiences today will appreciate its value as a characterization and equally as a caricature of European intellectual life during the first two and a half decades of this century.

We can no longer flip through it with the passion and mounting excitement which Mann describes in his introduction. For us, such journeys seem to end very close to where they began. A contemporary of Kathe Kollwitz and George Grosz, his "novels-without-words"--completely composed of woodcuts--have been neglected in the States. The protagonist travels to distant lands; this journey of vibrant percipience propels him toward an enlarged comprehension of his role in a world of good and evil, love and tenderness and clashing social interests.

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Passionate Journey: A Vision in Woodcuts

In Masereel settled in Paris for four years and then emigrated to Switzerland, where he worked as a graphic artist for journals and magazines. Cornucopia , a mosaic by Frans Masereel Masereel could not return to Belgium at the end of World War I because, being a pacifist, he had refused to serve in the Belgian army. The magazine was first published in Antwerp in August He also produced a series of illustrations for the classic Legend of Thyl Ulenspiegel and Lamme Goedzak by his fellow Belgian Charles De Coster ; these illustrations followed the book in its translations to numerous languages. He lived for a time in Berlin, where his closest creative friend was George Grosz.

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