German Expressionism Die Brucke

Self-Portrait with a Monocle (1910)
Nationalgalerie, Staatliche Museen Berlin.
By Karl Schmidt-Rottluff.

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Like its later Munich equivalent (Blue driver), Die Brucke was ready to accept twentieth century painters from about European countries, hence in 1906 the Swiss painter Cuno Amiet (1868-1961) while the German Emil Nolde (1867-1956) had been invited to become listed on, because were maximum Pechstein (1881-1955) as well as the Finnish singer Akseli Gallen-Kallela (1865-1931). From 1908, the Dutch Paris-based artist Kees van Dongen (1877-1968) had been a sympathiser, while Otto Mueller (1874-1930) joined in 1911.

Model of Expressionism

Initially influenced by the Parisian model of Fauvism, that was established in identical 12 months, Die Brucke quickly established a unique Germanic identification according to radical social views and an untrained but direct way of artwork strategy, along with its garish colour-schemes and strong outlines. If Fauvism was a sophisticated, exuberant design, Die Brucke had been a cruder and much more strident idiom, yet it produced several of the most striking paintings of this twentieth century. Exemplified by garish urban moments, feminine nudes, mystical and visionary compositions, and rough figure painting, noted works feature: Nude on a Sofa (1909) by Erich Heckel; space in the Dyke (1910), as well as 2 Women (1912) by Karl Schmidt-Rottluff; The Prophet (1912, woodcut) by Emil Nolde; Semi-Nude girl with Hat (1911), and Berlin Street Scene (1913) by Ernst Ludwig Kirchner.

Exhibitions

Die Brucke definitely promoted itself at over twenty exhibitions (1906-13) showing a number of news including woodcuts, posters and textile designs, plus artwork and sculpture. But divisions in the group appeared from 1907 onwards, so when the geographic focus regarding the team shifted from Dresden to Berlin - a move completed by 1911 - the currently split motion started initially to fragment inside nervous atmosphere associated with the German capital, featuring its claustrophobic pre-war tension, decadence and depravity. As an example, Heckel and Kirchner, specifically, created a far more intense a number of expressionist paintings marked by broken kinds and dissonant colours. The team disbanded voluntarily in 1913. During the 1930s a number of Die Brucke musicians had been persecuted because of the Nazis within the Nazi campaign against Degenerate Art ("entartete kunst"). Fifty four many years later, a museum focused on the art of Die Brucke had been opened in Berlin by Schmidt-Rottluff. See additionally: reputation for Expressionist artwork (c.1880-1930).

Key Selections

Although functions Die Brucke musicians hang in lots of around the globe's most readily useful art galleries, good selections can be seen at these establishments:

- Brucke Museum, Berlin
- Kunsthaus, Hamburg.