Die Brücke. Die Brücke (The Bridge) was a group of German expressionist artists formed in Dresden in 1905, after which the Brücke Museum in Berlin was named. Founding members were Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff. Later members were Emil Nolde, Max Pechstein and Otto Mueller.
Die Brücke art was also deeply influenced by the expressive simplifications of late German Gothic woodcuts and by the prints of the Norwegian artist Edvard Munch. The movement contributed to the revival of the woodcut, making it a powerful means of expression in the 20th century.
The seminal group had a major impact on the evolution of modern art in the 20th century and the creation of expressionism. The group came to an end around 1913. The Brücke Museum in Berlin was named after the group. Die Brücke is sometimes compared to the roughly contemporary French group of the Fauves.
The paintings and prints by Die Brücke artists encompassed all varieties of subject matter—the human figure, landscape, portraiture, still life—executed in a simplified style that stressed bold outlines and strong colour planes.
Its leading members were Erich Heckel, Ernst Ludwig Kirchner, Max Pechstein, and Karl Schmidt-Rottluff. The name Brücke (“bridge”) reflects these artists' youthful eagerness to cross into a new future.
Printmaking: the Woodcut and the Linocut Perhaps one of Die Brücke's most original contributions to modern art was the reintroduction of woodblock printing.
The Brücke aimed to eschew the prevalent traditional academic style and find a new mode of artistic expression, which would form a bridge (hence the name) between the past and the present.
German Expressionism was an art movement that emerged in the early 20th century and was characterized by a focus on emotion and ideas as inspiration. The basis of the movement came in stark contrast with other movements that preceded it, which focused on more accurate depictions of reality and nature.
Their work was influenced by the Symbolist Post-Impressionism of Paul Gauguin, Edvard Munch and Vincent Van Gogh, as well as the vivid colours and expressive techniques of the French Fauvists, but Brücke was far more aggressive, nihilistic and anarchic in spirit, with discordant colours, harsh, jagged outlines and ...
Broadly speaking, up until the beginning of World War I, the expressionist movement in Germany remained an aesthetic development of the Saxon Worpswede Group and the Parisian Fauvist movement. It was also influenced by Van Gogh's pioneering expressionist paintings like Wheatfield with Crows, and Starry, Starry Night.
Jackson Pollock'sIt is generally recognized that Jackson Pollock's abstract drip paintings, executed from 1947, opened the way to the bolder, gestural techniques that characterize Action painting.
Der Blaue Reiter In contrast to Die Brücke, whose subjects were physical and direct, Kandinsky and other Die Blaue Reiter artists explored the spiritual in their art, which often included symbolism and allusions to ethereal concerns.
Expressionism, artistic style in which the artist seeks to depict not objective reality but rather the subjective emotions and responses that objects and events arouse within a person.
These include a fascination with the enticing yet often sordid experiences of modern urban life; the enduring solace associated with nature and religion; the naked body and its potential to signify primal emotion; emotionally charged portraiture; and, most pivotally, the need to confront the devastating experience of ...
Sold at Binoche Renaud-Giquello & Associés. German Expressionism is an artistic genre that originated in Europe in the 1920s, and is broadly defined as the rejection of Western conventions, and the depiction of reality that is widely distorted for emotional effect.
German Expressionism is linked to a number of other contemporary movements whose goals were overturning traditional society. These movements all shared a desire to bring about changes in society, frequently with a focus on overcoming the bourgeois class and the strength of the individual.
Die Brücke (The Bridge) was a group of German expressionist artists formed in Dresden in 1905, Founding members were Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff.
Expressionism was divided into two groups: Die Brücke (The Bridge), born in Dresden and with an estimated period of activity between 1905 and 1913. Der Blaue Reiter (The Blue Rider), based in Munich and whose production developed approximately between 1910 and 1914.
Definition of abstract expressionism : an artistic movement of the mid-20th century comprising diverse styles and techniques and emphasizing especially an artist's liberty to convey attitudes and emotions through nontraditional and usually nonrepresentational means.
Gabriele Münter. Gabriele Münter, (born February 19, 1877, Berlin, Germany—died May 19, 1962, Murnau, West Germany [now in Germany]), German painter who was closely affiliated with the artists' group Der Blaue Reiter (“The Blue Rider”).
Programme (1906) Artist: Ernst Ludwig Kirchner. The charismatic center of Die Brücke, Ernst Ludwig Kirchner composed and printed their original group statement a year after their formation, championing in it their youth and claims of authenticity.
Developing the modern example of expressive colorists like Vincent van Gogh, Edvard Munch, and Henri Matisse, sharp and sometimes violently clashing colors are often used in Die Brücke painting to jolt the viewer into the experience of a particular emotion.
Expressionism is a broad term for a host of movements in early twentieth-century Germany and beyond, from Die Brücke (1905) and Der Blaue Reiter (1911) to the early Neue Sachlichkeit painters in the 1920s and '30s. Many Expressionists used vivid colors and abstracted forms to create spiritually or psychologically intense works, while others focused on depictions of war, alienation, and the modern city.
Die Brücke is typically seen as the fountainhead of German Expressionism, chronologically the first of two groups (the other being Der Blaue Reiter) that pushed German modern art onto the international avant-garde scene.
The name Die Brücke was chosen to indicate the group's desire to "bridge" the past and present. From the past, they chose to reassert Germany's rich artistic history, taking inspiration from the print and painting techniques of Albrecht Dürer, Matthias Grünewald, and Lucas Cranach the Elder. Developing the modern example of expressive colorists like Vincent van Gogh, Edvard Munch, and Henri Matisse, sharp and sometimes violently clashing colors are often used in Die Brücke painting to jolt the viewer into the experience of a particular emotion.
In the museums, the hard-won cultural achievements of the last 20 years are being destroyed, and yet the reason we founded Die Brücke was to encourage truly German art, made in Germany."
Progenitors of the movement later known as German Expressionism, Die Brücke formed in Dresden in 1905 as a bohemian collective of artists in staunch opposition to the older, established bourgeois social order of Germany. Their art confronted feelings of alienation from the modern world by reaching back to pre-academic forms of expression including woodcut prints, carved wooden sculptures, and "primitive" modes of painting. This quest for authentic emotion led to an expressive style characterized by heightened color and a direct, simplified approach to form.
A Word of Art (eighth edition) Chapter 5…
The relationship between Pablo Picasso and Henri Matisse can best be described as one of mutual?
Die Brücke art was also deeply influenced by the expressive simplifications of late German Gothic woodcuts and by the prints of the Norwegian artist Edvard Munch. The movement contributed to the revival of the woodcut, making it a powerful means of expression in the 20th century. The first Die Brücke exhibition, ...
The first Die Brücke exhibition, held in 1906 in the Seifert lamp factory in Dresden, marked the beginning of German Expressionism. From this date until 1913, regular exhibitions were held. (By 1911, however, Die Brücke’s activities had shifted to Berlin, where several of the members were living.)
Like many avant-garde artists at the time, Kirchner and Heckel admired the apparent lack of artifice in art from places such as Africa and the Pacific islands and emulated this supposedly “primitive” quality in their own work.
In 1913, provoked by Kirchner’s highly subjective accounts of their activities in the Chronik der Künstlergemeinschaft Brücke, the group disbanded. This article was most recently revised and updated by Jeff Wallenfeldt, Manager, Geography and History.
Both…. … formed a loose association called Die Brücke (“The Bridge”). The group included Erich Heckel, Karl Schmidt-Rottluff, and Fritz Bleyl. These painters were in revolt against what they saw as the superficial naturalism of academic Impressionism. They wanted to reinfuse German art with a spiritual vigour they felt it lacked,….
Western painting: The 20th century. …the style of Kirchner and Die Brücke (“The Bridge”) group, which had been founded in 1905, the label of Expressionism. The worldly subjects of Kirchner represented only one aspect of the group; the earthy Primitivism of Emil Nolde and the emphatic pictorial rhetoric of Karl Schmidt-Rottluff were more typical.
The influence of Die Brücke went far beyond its founding members. As a result, the style of a number of painters is associated to Die Brücke, even if they were not formerly part of the group. As an example, French academician and art specialist, Maurice Rheims mentions Frédéric Fiebig as the only Latvian painter who was really part of Die Brücke expressionist movement, although he was not necessarily conscious of it.
Founding members were Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff. Later members were Emil Nolde, Max Pechstein and Otto Mueller. The seminal group had a major impact on the evolution of modern art in the 20th century and the creation of expressionism. The group came to an end around 1913. The Brücke Museum in Berlin was named after the group.
After first concentrating exclusively on urban subject matter, the group ventured into southern Germany on expeditions arranged by Mueller and produced more nudes and arcadian images. They invented the printmaking technique of linocut, although they at first described them as traditional woodcuts, which they also made.
The founding members of Die Brücke in 1905 were four Jugendstil architecture students: Fritz Bleyl (1880–1966), Erich Heckel (1883–1970), Ernst Ludwig Kirchner (1880–1938) and Karl Schmidt-Rottluff (1884–1976) . They met through the Königliche Technische Hochschule (technical university) of Dresden, where Kirchner and Bleyl began studying in 1901 and became close friends in their first term. They discussed art together and also studied nature, having a radical outlook in common. Kirchner continued studies in Munich 1903–1904, returning to Dresden in 1905 to complete his degree. The institution provided a wide range of studies in addition to architecture, such as freehand drawing, perspective drawing and the historical study of art. The name “Die Brücke” was intended to “symbolize the link, or bridge, they would form with art of the future”.
The group composed a manifesto (mostly Kirchner’s work), which was carved on wood and asserted a new generation, “who want freedom in our work and in our lives, independence from older, established forces.”