→History: Removed irrelevant name. Frédéric Fiebig was not a member of the Brucke group. What Maurice Rheims means is the Fiebig painted in a similar style to the Brucke group artists, but so did many early twentieth century painters.
|
m En dash fix (via WP:JWB)
|
||
(29 intermediate revisions by 23 users not shown) | |||
Line 1: | Line 1: | ||
{{Short description|German expressionist artist group}} |
|||
{{Other uses}} |
{{Other uses}} |
||
[[File:Bleyl-Poster.jpg|thumb|140px|[[Fritz Bleyl]] poster for the first |
[[File:Bleyl-Poster.jpg|thumb|140px|[[Fritz Bleyl]] poster for the first Brücke show in 1906]] |
||
[[File:Programm der Brücke.jpg|thumb|upright| |
[[File:Programm der Brücke.jpg|thumb|upright|Brücke manifesto 1906]] |
||
'''Die Brücke''' ('''The Bridge''') was a group of |
'''Die''' '''Brücke''' ('''The Bridge'''), also known as '''Künstlergruppe Brücke''' or '''KG Brücke''', was a group of German [[expressionist]] artists formed in [[Dresden]] in 1905. The 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]].<ref name="bruckemuseumbrucke">[http://www.bruecke-museum.de/englbleyl.htm "The Artists' Association 'Brücke'"], Brücke Museum. Retrieved 7 September 2007.</ref> The group came to an end around 1913. The [[Brücke Museum]] in [[Berlin]] was named after the group. |
||
|
The Brücke is sometimes compared to the roughly contemporary French group of the [[Fauvism|Fauves]]. Both movements shared interests in [[Primitivism|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 [[abstract art|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.<ref>Artspoke, Robert Atkins, 1993, {{ISBN|978-1-55859-388-6}}</ref> |
||
==History== |
==History== |
||
⚫ | 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.<ref name=bruckemuseumbleyl>[http://www.bruecke-museum.de/englbleyl.htm "Fritz Bleyl (1880–1966)"], Brücke Museum. Retrieved 7 September 2007.</ref> They discussed art together and also studied nature,<ref name=bruckemuseumbleyl/> having a radical outlook in common.<ref name=ra>[https://web.archive.org/web/20070926234509/http://static.royalacademy.org.uk/files/kirchner-student-guide-13.pdf "Kirchner - Expressionism and the city"], [[Royal Academy]], 2003. Retrieved 7 September 2007.</ref> Kirchner continued studies in Munich 1903–1904, returning to Dresden in 1905 to complete his degree.<ref name=bruckemuseumkirchner>[http://www.bruecke-museum.de/englkirchner.htm "Ernst Ludwig Kirchner"], Brücke Museum. Retrieved 8 September 2007.</ref> The institution provided a wide range of studies in addition to architecture, such as freehand drawing, perspective drawing and the historical study of art.<ref>[http://www.ingentaconnect.com/content/bpl/ahis/1997/00000020/00000001/art00004 "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.</ref> The name『Brücke』was intended to "symbolize the link, or bridge, they would form with art of the future".<ref name="Dempsey 2010 74">{{cite book|last=Dempsey|first=Amy|title=Styles, Schools and Movements: The Essential Encyclopaedic Guide to Modern Art|year=2010|publisher=Thames & Hudson|isbn=978-0-500-28844-3|pages=74}}</ref> |
||
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.<ref name=ra/> 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.<ref name=ra/> The group published a [[Broadside (printing)|broadside]] called ''Programm der Künstlergruppe Brücke''<ref>{{Cite web |date=February 23, 2024 |title=Ernst Ludwig Kirchner, Manifesto of the Brücke Artists' Group (Programm der Künstlergruppe Brücke) (1906) |url=https://www.moma.org/collection/works/107109 |access-date=February 23, 2024 |website=Museum of Modern Art}}</ref> in 1906, where Kirchner wrote: |
|||
⚫ |
The founding members of |
||
|
{{blockquote|"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."|author=Ernst Ludwig Kirchner|title=Programm der Künstlergruppe Brücke|source=Programm der Künstlergruppe Brücke}} |
||
As part of the affirmation of their national heritage, they revived older media, particularly [[Woodcut|woodcut prints]].<ref name=ra/> The group developed a common style based on vivid color, emotional tension, violent imagery, and an influence from [[primitivism (art)|primitivism]]. |
As part of the affirmation of their national heritage, they revived older media, particularly [[Woodcut|woodcut prints]].<ref name=ra/> The group developed a common style based on vivid color, emotional tension, violent imagery, and an influence from [[primitivism (art)|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 [[woodcut]]s, which they also made.<ref>[http://www.artcyclopedia.com/history/diebrucke.html "Artists by Movement - Die Brücke"], artcyclopedia.com. Retrieved 5 September 2007.</ref> |
||
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 (Dresden)|Friedrichstadt]] for their use as a studio.<ref>Peter Selz, German Expressionist Painting, Berkeley: University of California Press, 1957, p. 78</ref> Bleyl described the studio as: |
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 (Dresden)|Friedrichstadt]] for their use as a studio.<ref>Peter Selz, German Expressionist Painting, Berkeley: University of California Press, 1957, p. 78</ref> 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.<ref name=ra/> |
: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.<ref name=ra/> |
||
[[File:EineKünstlergemeinschaft.jpg|thumb|upright|left|Painting of the group members by [[Ernst Ludwig Kirchner]] 1926/7]] |
[[File:EineKünstlergemeinschaft.jpg|thumb|upright|left|Painting of the group members by [[Ernst Ludwig Kirchner]] 1926/7, Museum Ludwig, Cologne]] |
||
Kirchner's became a venue which overthrew social conventions to allow casual love-making and frequent nudity.<ref name=ra/> |
Kirchner's studio became a venue which overthrew social conventions to allow casual love-making and frequent nudity.<ref name=ra/> Group life-drawing sessions took place using models from the social circle, rather than professionals, and choosing quarter-hour poses to encourage spontaneity.<ref name=ra/> 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."<ref name=simmons>Simmons, Sherwin. [http://findarticles.com/p/articles/mi_m0422/is_1_82/ai_63910537/pg_1 "Ernst Kirchner's Streetwalkers: Art, Luxury, and Immorality in Berlin, 1913-16"], ''The Art Bulletin'', March 2000, from findarticles.com. Retrieved 7 September 2007.</ref> |
||
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."<ref name=ra/> |
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."<ref name=ra/> |
||
⚫ | |||
⚫ |
<!--[[File:Pechstein-Brucke-Poster-1909.jpg|thumb|upright|A woodcut poster by [[Max Pechstein]] for the 1909 show of |
||
⚫ | |||
⚫ | <!--[[File:Pechstein-Brucke-Poster-1909.jpg|thumb|upright|A woodcut poster by [[Max Pechstein]] for the 1909 show of the Brücke at the Richter gallery in Dresden. Bottom left: [[Max Pechstein]]; left: [[Erich Heckel]]; bottom right: [[Ernst Ludwig Kirchner]]; top right: [[Karl Schmidt-Rottluff]].]]--> |
||
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.<ref name=simmons/> |
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.<ref name=simmons/> |
||
Line 31: | Line 33: | ||
<!-- [[File:Kirchner 1909 Marzella.jpg|thumb|''Marzella'' by [[Ernst Ludwig Kirchner]] 1909-10]] --> |
<!-- [[File:Kirchner 1909 Marzella.jpg|thumb|''Marzella'' by [[Ernst Ludwig Kirchner]] 1909-10]] --> |
||
Between 1907 and 1911, Brücke members stayed during the summer at the [[Moritzburg, Saxony|Moritzburg]] lakes and on the island of [[Fehmarn]].<ref name=bruckemuseumkirchner/> In 1911, Kirchner moved to Berlin, where he founded a private art school, |
Between 1907 and 1911, Brücke members stayed during the summer at the [[Moritzburg, Saxony|Moritzburg]] lakes and on the island of [[Fehmarn]].<ref name=bruckemuseumkirchner/> 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.<ref name=bruckemuseumkirchner/> |
||
In 1913, Kirchner wrote ''Chronik der Brücke'' (Brücke chronicle), which led to the ending of the group.<ref name=bruckemuseumkirchner/> |
In 1913, Kirchner wrote ''Chronik der Brücke'' (Brücke chronicle), which led to the ending of the group.<ref name=bruckemuseumkirchner/> |
||
==Legacy== |
==Legacy== |
||
⚫ | 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.<ref>{{Cite web|url=http://fr.1001mags.com/parution/poly/numero-137-dec-10-jan-2011/page-92-93-texte-integral|title=" Frédéric Fiebig, l'hermite du Tännchel ", POLY, no 137, page 92|last=Lévy|first=Hervé|date=2011}}</ref> |
|||
A successor group formed in 1919, the [[Dresdner Sezession]], including painter [[Conrad Felixmüller]]. |
|||
⚫ |
|
||
==Notes and references== |
==Notes and references== |
||
{{Reflist}} |
{{Reflist}} |
||
Line 48: | Line 47: | ||
{{Commons category}} |
{{Commons category}} |
||
{{Wikiquote}} |
{{Wikiquote}} |
||
* [https://www.tate.org.uk/art/art-terms/b/brucke Brücke on Tate 'Art Terms'] |
|||
⚫ |
* [http://www.nga.gov/content/ngaweb/education/teachers/teaching-packets/german-expressionist-prints.html/ German Expressionist Prints] teaching resource on |
||
* [http://www.bruecke-museum.de Brücke-Museum Website] |
* [http://www.bruecke-museum.de Brücke-Museum Website] |
||
⚫ | * [http://www.nga.gov/content/ngaweb/education/teachers/teaching-packets/german-expressionist-prints.html/ German Expressionist Prints] teaching resource on the Brücke |
||
* [http://www.moma.org/exhibitions/2002/brucke/ |
* [http://www.moma.org/exhibitions/2002/brucke/ Brücke prints at the Museum of Modern Art, New York] |
||
* [http://www.signandsight.com/features/216.html ''"Hottentots in tails"''] A turbulent history by Christian Saehrendt |
* [http://www.signandsight.com/features/216.html ''"Hottentots in tails"''] A turbulent history by Christian Saehrendt |
||
* [https://exchange.umma.umich.edu/resources/23707 Collection: "Expressionism–Die Brücke"] from the [[University of Michigan Museum of Art]] |
|||
{{Die Brücke}} |
{{Die Brücke}}{{Expressionism}}{{Post-Impressionism}} |
||
{{Post-Impressionism}} |
|||
{{Westernart}} |
{{Westernart}} |
||
{{Authority control}} |
{{Authority control}} |
||
{{DEFAULTSORT:Brucke, Die}} |
{{DEFAULTSORT:Brucke, Die}} |
||
[[Category:German artist groups and collectives]] |
[[Category:German artist groups and collectives]] |
||
[[Category: |
[[Category:German art movements]] |
||
[[Category:German Expressionism]] |
|||
[[Category:1913 disestablishments in Germany]] |
[[Category:1913 disestablishments in Germany]] |
||
[[Category:Arts organizations established in 1905]] |
[[Category:Arts organizations established in 1905]] |
||
[[Category:Organizations disestablished in 1913]] |
[[Category:Organizations disestablished in 1913]] |
||
[[Category:1905 establishments in Germany]] |
Die Brücke (The Bridge), also known as Künstlergruppe BrückeorKG Brücke, was a group of German expressionist artists formed in Dresden in 1905. The 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 MuseuminBerlin was named after the group.
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]
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 Programm der Künstlergruppe Brücke[8] 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."
— Ernst Ludwig Kirchner, Programm der Künstlergruppe Brücke, Programm der Künstlergruppe Brücke
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.[9]
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.[10] Bleyl described the studio as:
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."[11]
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]
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.[11]
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]
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.[12]
| |
---|---|
Founders |
|
Others |
|
|
| |
---|---|
Early Expressionists |
|
École de Paris |
|
Paintings |
|
Expressionist Architecture |
|
German Expressionism in Cinema |
|
Expressionist dance |
|
Expressionist Literature |
|
Der Blaue Reiter |
|
Die Brücke |
|
Expressionist Music |
|
Expressionist Sculpture |
|
Influenced |
|
| |
---|---|
19th-century movements |
|
Artists |
|
20th-century movements |
|
Artists |
|
Exhibitions |
|
Critics |
|
Related |
|
International |
|
---|---|
National |
|
Other |
|