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Die Brücke

The Brücke (Bridge), also Künstlergruppe Brücke or KG Brücke, 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. 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.[1] The group came to an end around 1913. The Brücke Museum in Berlin was named after the group.

Fritz Bleyl poster for the first Brücke show in 1906
Brücke manifesto 1906

The Brücke is sometimes compared to the roughly contemporary French group of the Fauves. Both movements shared interests in primitivist art and in the expressing of extreme emotion through high-keyed colors that were very often non-naturalistic. Both movements employed a drawing technique that was crude, and both groups shared an antipathy to complete abstraction. The Brücke artists' emotionally agitated paintings of city streets and sexually charged events transpiring in country settings made their French counterparts, the Fauves, seem tame by comparison.[2]

History edit

The founding members of the 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.[3] They discussed art together and also studied nature,[3] having a radical outlook in common.[4] Kirchner continued studies in Munich 1903–1904, returning to Dresden in 1905 to complete his degree.[5] The institution provided a wide range of studies in addition to architecture, such as freehand drawing, perspective drawing and the historical study of art.[6] The name "Brücke" was intended to "symbolize the link, or bridge, they would form with art of the future".[7]

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.[4] They responded both to past artists such as Albrecht Dürer, Matthias Grünewald and Lucas Cranach the Elder, as well as contemporary international avant-garde movements.[4] The group published a broadside called Programme in 1906, where Kirchner wrote:

We call all young people together, and as young people, who carry the future in us, we want to wrest freedom for our actions and our lives from the older, comfortably established forces.[7]

As part of the affirmation of their national heritage, they revived older media, particularly woodcut prints.[4] The group developed a common style based on vivid color, emotional tension, violent imagery, and an influence from primitivism. 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.[8]

The group members initially "isolated" themselves in a working-class neighborhood of Dresden, aiming thereby to reject their own bourgeois backgrounds. Erich Heckel was able to obtain an empty butcher's shop on the Berlinerstrasse in Friedrichstadt for their use as a studio.[9] Bleyl described the studio as:

that of a real bohemian, full of paintings lying all over the place, drawings, books and artist’s materials — much more like an artist’s romantic lodgings than the home of a well-organised architecture student.[4]
 
Painting of the group members by Ernst Ludwig Kirchner 1926/7, Museum Ludwig, Cologne

Kirchner's studio became a venue which overthrew social conventions to allow casual love-making and frequent nudity.[4] Group life-drawing sessions took place using models from the social circle, rather than professionals, and choosing quarter-hour poses to encourage spontaneity.[4] Bleyl described one such model, Isabella, a fifteen-year-old girl from the neighbourhood, as "a very lively, beautifully built, joyous individual, without any deformation caused by the silly fashion of the corset and completely suitable to our artistic demands, especially in the blossoming condition of her girlish buds."[10]

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."[4]

 
Otto Mueller, 1912

In September and October 1906, the first group exhibition was held, focused on the female nude, in the showroom of K.F.M. Seifert and Co. in Dresden.[10]

Emil Nolde (1867–1956) and Max Pechstein (1881–1955) joined the group in 1906. Bleyl married in 1907, and, with a concern to support his family, left the group.[3] Otto Mueller (1874–1930) joined in 1910.

Between 1907 and 1911, Brücke members stayed during the summer at the Moritzburg lakes and on the island of Fehmarn.[5] In 1911, Kirchner moved to Berlin, where he founded a private art school, MIUM-Institut, in collaboration with Max Pechstein with the aim of promulgating "Moderner Unterricht im Malen" (modern teaching of painting). This was not a success and closed the following year.[5]

In 1913, Kirchner wrote Chronik der Brücke (Brücke chronicle), which led to the ending of the group.[5]

Legacy edit

The Brücke was one of two groups of German painters fundamental to Expressionism, the other being Der Blaue Reiter group ("The Blue Rider"), formed in Munich in 1911. The influence of the Brücke went far beyond its founding members. As a result, the style of a number of painters is associated to the 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 the Brücke expressionist movement, although he was not necessarily conscious of it.[11]

Notes and references edit

  1. ^ "The Artists' Association 'Brücke'", Brücke Museum. Retrieved 7 September 2007.
  2. ^ Artspoke, Robert Atkins, 1993, ISBN 978-1-55859-388-6
  3. ^ a b c "Fritz Bleyl (1880-1966)", Brücke Museum. Retrieved 7 September 2007.
  4. ^ a b c d e f g h , Royal Academy, 2003. Retrieved 7 September 2007.
  5. ^ a b c d "Ernst Ludwig Kirchner", Brücke Museum. Retrieved 8 September 2007.
  6. ^ "The Student Years of the Brücke and their Teachers", ingentaconnect.com (abstract of book by Peter Lasko), from Art History, Volume 20, Number 1, March 1997 , pp. 61-99. Retrieved 7 September 2007.
  7. ^ a b Dempsey, Amy (2010). Styles, Schools and Movements: The Essential Encyclopaedic Guide to Modern Art. Thames & Hudson. p. 74. ISBN 978-0-500-28844-3.
  8. ^ "Artists by Movement - Die Brücke", artcyclopedia.com. Retrieved 5 September 2007.
  9. ^ Peter Selz, German Expressionist Painting, Berkeley: University of California Press, 1957, p. 78
  10. ^ a b Simmons, Sherwin. "Ernst Kirchner's Streetwalkers: Art, Luxury, and Immorality in Berlin, 1913-16", The Art Bulletin, March 2000, from findarticles.com. Retrieved 7 September 2007.
  11. ^ Lévy, Hervé (2011). "" Frédéric Fiebig, l'hermite du Tännchel ", POLY, no 137, page 92".

External links edit

  • Brücke on Tate 'Art Terms'
  • Brücke-Museum Website
  • German Expressionist Prints teaching resource on the Brücke
  • Brücke prints at the Museum of Modern Art, New York
  • "Hottentots in tails" A turbulent history by Christian Saehrendt
  • Collection: "Expressionism–Die Brücke" from the University of Michigan Museum of Art

brücke, other, uses, disambiguation, brücke, bridge, also, künstlergruppe, brücke, brücke, group, german, expressionist, artists, formed, dresden, 1905, founding, members, were, fritz, bleyl, erich, heckel, ernst, ludwig, kirchner, karl, schmidt, rottluff, lat. For other uses see Die Brucke disambiguation The Brucke Bridge also Kunstlergruppe Brucke or KG Brucke 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 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 1 The group came to an end around 1913 The Brucke Museum in Berlin was named after the group Fritz Bleyl poster for the first Brucke show in 1906Brucke manifesto 1906The Brucke is sometimes compared to the roughly contemporary French group of the Fauves Both movements shared interests in primitivist art and in the expressing of extreme emotion through high keyed colors that were very often non naturalistic Both movements employed a drawing technique that was crude and both groups shared an antipathy to complete abstraction The Brucke artists emotionally agitated paintings of city streets and sexually charged events transpiring in country settings made their French counterparts the Fauves seem tame by comparison 2 Contents 1 History 2 Legacy 3 Notes and references 4 External linksHistory editThe founding members of the Brucke 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 Konigliche Technische Hochschule technical university of Dresden where Kirchner and Bleyl began studying in 1901 and became close friends in their first term 3 They discussed art together and also studied nature 3 having a radical outlook in common 4 Kirchner continued studies in Munich 1903 1904 returning to Dresden in 1905 to complete his degree 5 The institution provided a wide range of studies in addition to architecture such as freehand drawing perspective drawing and the historical study of art 6 The name Brucke was intended to symbolize the link or bridge they would form with art of the future 7 The Brucke 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 4 They responded both to past artists such as Albrecht Durer Matthias Grunewald and Lucas Cranach the Elder as well as contemporary international avant garde movements 4 The group published a broadside called Programme in 1906 where Kirchner wrote We call all young people together and as young people who carry the future in us we want to wrest freedom for our actions and our lives from the older comfortably established forces 7 As part of the affirmation of their national heritage they revived older media particularly woodcut prints 4 The group developed a common style based on vivid color emotional tension violent imagery and an influence from primitivism 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 8 The group members initially isolated themselves in a working class neighborhood of Dresden aiming thereby to reject their own bourgeois backgrounds Erich Heckel was able to obtain an empty butcher s shop on the Berlinerstrasse in Friedrichstadt for their use as a studio 9 Bleyl described the studio as that of a real bohemian full of paintings lying all over the place drawings books and artist s materials much more like an artist s romantic lodgings than the home of a well organised architecture student 4 nbsp Painting of the group members by Ernst Ludwig Kirchner 1926 7 Museum Ludwig CologneKirchner s studio became a venue which overthrew social conventions to allow casual love making and frequent nudity 4 Group life drawing sessions took place using models from the social circle rather than professionals and choosing quarter hour poses to encourage spontaneity 4 Bleyl described one such model Isabella a fifteen year old girl from the neighbourhood as a very lively beautifully built joyous individual without any deformation caused by the silly fashion of the corset and completely suitable to our artistic demands especially in the blossoming condition of her girlish buds 10 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 4 nbsp Otto Mueller 1912In September and October 1906 the first group exhibition was held focused on the female nude in the showroom of K F M Seifert and Co in Dresden 10 Emil Nolde 1867 1956 and Max Pechstein 1881 1955 joined the group in 1906 Bleyl married in 1907 and with a concern to support his family left the group 3 Otto Mueller 1874 1930 joined in 1910 Between 1907 and 1911 Brucke members stayed during the summer at the Moritzburg lakes and on the island of Fehmarn 5 In 1911 Kirchner moved to Berlin where he founded a private art school MIUM Institut in collaboration with Max Pechstein with the aim of promulgating Moderner Unterricht im Malen modern teaching of painting This was not a success and closed the following year 5 In 1913 Kirchner wrote Chronik der Brucke Brucke chronicle which led to the ending of the group 5 Legacy editThe Brucke was one of two groups of German painters fundamental to Expressionism the other being Der Blaue Reiter group The Blue Rider formed in Munich in 1911 The influence of the Brucke went far beyond its founding members As a result the style of a number of painters is associated to the Brucke even if they were not formerly part of the group As an example French academician and art specialist Maurice Rheims mentions Frederic Fiebig as the only Latvian painter who was really part of the Brucke expressionist movement although he was not necessarily conscious of it 11 Notes and references edit The Artists Association Brucke Brucke Museum Retrieved 7 September 2007 Artspoke Robert Atkins 1993 ISBN 978 1 55859 388 6 a b c Fritz Bleyl 1880 1966 Brucke Museum Retrieved 7 September 2007 a b c d e f g h Kirchner Expressionism and the city Royal Academy 2003 Retrieved 7 September 2007 a b c d Ernst Ludwig Kirchner Brucke Museum Retrieved 8 September 2007 The Student Years of the Brucke and their Teachers ingentaconnect com abstract of book by Peter Lasko from Art History Volume 20 Number 1 March 1997 pp 61 99 Retrieved 7 September 2007 a b Dempsey Amy 2010 Styles Schools and Movements The Essential Encyclopaedic Guide to Modern Art Thames amp Hudson p 74 ISBN 978 0 500 28844 3 Artists by Movement Die Brucke artcyclopedia com Retrieved 5 September 2007 Peter Selz German Expressionist Painting Berkeley University of California Press 1957 p 78 a b Simmons Sherwin Ernst Kirchner s Streetwalkers Art Luxury and Immorality in Berlin 1913 16 The Art Bulletin March 2000 from findarticles com Retrieved 7 September 2007 Levy Herve 2011 Frederic Fiebig l hermite du Tannchel POLY no 137 page 92 External links edit nbsp Wikimedia Commons has media related to Die Brucke nbsp Wikiquote has quotations related to Die Brucke Brucke on Tate Art Terms Brucke Museum Website German Expressionist Prints teaching resource on the Brucke Brucke prints at the Museum of Modern Art New York Hottentots in tails A turbulent history by Christian Saehrendt Collection Expressionism Die Brucke from the University of Michigan Museum of Art Retrieved from https en wikipedia org w index php title Die Brucke amp oldid 1158620888, wikipedia, wiki, book, books, library,

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