By Klaus H. Carl

ISBN-10: 1780421591

ISBN-13: 9781780421599

The self-appointed chief of the artists staff Die Brucke (Bridge), based in Dresden in 1905, Ernst Ludwig Kirchner used to be a key determine within the early improvement of German Expressionism. His first works convey the impression of Impressionism, Post-impressionism and Jugendstil, yet by means of approximately 1909, Kirchner was once portray in a particular, expressive demeanour with daring, unfastened brushwork, brilliant and non-naturalistic colors and heightened gestures. He labored within the studio from sketches made very speedily from existence, usually from relocating figures, from scenes of existence out within the urban or from the Die Brucke staff s journeys to the nation-state. a bit later he begun making roughly-hewn sculptures from unmarried blocks of wooden. round the time of his circulation to Berlin, in 1912, Kirchner s variety in either portray and his prolific photograph works turned extra angular, characterised through jagged strains, narrow, attenuated kinds and infrequently, a better feel of anxiety. those positive aspects will be obvious to strongest influence in his Berlin highway scenes. With the outbreak of the 1st global battle, Kirchner grew to become bodily susceptible and liable to nervousness. Conscripted, he was once deeply traumatised via his short adventure of army education in the course of the First international warfare. From 1917 until eventually his dying through suicide in 1938, he lived a reclusive, notwithstanding artistically efficient lifestyles within the tranquillity of the Swiss Alps, close to Davos.(

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Doch mehr noch als die Technik waren es die Sujets in Munchs Werk, die konservative Empfindlichkeiten verletzten. Zwei nackte Frauen 1909 Kreide, 88,5 x 68,5 cm Brücke-Museum, Berlin 48 49 Der Schriftsteller Stanislaw Przybyszewski, Freund und Biograf Munchs, brachte den am meisten beunruhigenden Aspekt des Kusses zum Ausdruck, als er über die Figuren schrieb: Wir sehen zwei menschliche Figuren, jedes der beiden Gesichter verschmilzt im anderen. Nicht ein einziger erkennbarer Gesichtszug bleibt: alles, was wir sehen, ist der Punkt, an dem sie ineinander verschmelzen, ein Punkt, der aussieht wie ein riesiges Ohr, betäubt von der Ekstase des Blutes.

Die ostentative Männlichkeit – schlammige Stiefel und rote Wangen - und ihre Liebe zur deutschen Kultur wird absichtlich mit der verweichlichten, rokokohaften Anmutung der französischen Zivilisation ihrer Umgebung in Kontrast gesetzt. Von Werner war Direktor der Berliner Akademie und die mächtigste Figur in der Welt der institutionellen deutschen Kunst seiner Zeit. , Verliebtes Paar 1909 Tusche und Pinsel, 44 x 32 cm Brücke-Museum, Berlin 44 45 der für seine so dezidierten wie konservativen und stets unverhohlen geäußerten Meinungen zum Thema Kunst bekannt war.

Doch seine fruchtbarste Phase von 1910 bis 1920 hinterließ ein Erbe, das seitdem immer wieder für Nachhall gesorgt hat. Es war eine Zeit, die von intellektuellen Abenteuern, leidenschaftlichem Idealismus und einer tiefen Sehnsucht nach geistiger Erneuerung geprägt war. Landschaft im Frühling 1909 Öl auf Leinwand, 70,3 x 90,3 cm Pfalzgalerie, Kaiserslautern 32 33 In dem Maße, in dem einige Künstler die politische Gefahr der für den Expressionismus charakteristischen Innerlichkeit erkannten, machten sie sich verstärkt daran, sein Potenzial für ihr politisches Engagement und eine tief greifende gesellschaftliche Erneuerung auszuschöpfen.

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Kirchner by Klaus H. Carl

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