Er schrieb außerdem unter einem Pseudonym Kritiken über die Werke der Brücke-Maler, in denen er die anderen Mitglieder beschuldigte, von ihm abgeschaut zu haben. Charakteristisch ist eine rohe Malweise, unvermischte Farben in intensiven Tö… Though they pursued different goals, the two movements tilled common artistic ground and often addressed similar themes, and by the 1910s, works from both groups could be seen in the same exhibitions. The Brücke Museum in Berlin was named after the group. This ensured that Die Brücke would be recognized internationally as an important player in the development of the later avant gardes. Nolde was a Danish-German painter and printmaker who was affiliated with the groups Die Brucke, the Berlin Secession, and Der Blaue Reiter. The Die Brücke artists would remain in Berlin until their formal breakup in 1913. In Austria, Egon Schiele and Oskar Kokoschka exemplified an idea of artist-as-outcast in a style that drew on Kirchner's example. Detail was relatively sparse, just enough for the viewer to identify different elements of the composition, leaving portraits with a somewhat ghostly appearance. Art critics quickly identified him as the "purest" painter of the group, and he was the most financially successful during the group's tenure. Group of Artists, a painting by Kirchner from 1926/27 is shown to the left and depicts the four key figures of the movement, with Otto Mueller in place of Fritz Bleyl. "Die Brücke Movement Overview and Analysis". Die Brücke rejected the approach of Impressionism in art and searched for intensive and emotional painting by using emotive and unbroken colors in strong … Voor deze tijd was er al sprake van onderhuidse spanningen, aangezien ondanks de collectieve stijl, Kirchner de meeste eer kreeg. The artists of Die Brücke did, however, spend quite a lot of time outside of the city, in an attempt to escape the urban landscape. The other members of the group rejected the draft, and Die Brücke dissolved. The affiliated artists often turned to simplified or distorted forms and unusually strong, unnatural colors to jolt the viewer and provoke an emotional response. Any academic training would have led them down the very same path as previous artists had followed and seriously impacted their creativity as a result. The following decades saw a host of artists from across Europe take up the figurative Expressionist style begun by Die Brücke. Emil Nolde, natura morta con maschere. Neo-Expressionism, a painterly reaction to the popularity of Conceptual art and Minimalism in the 1970s, was an explicit reach back to Die Brücke artists like Nolde and Kirchner, and the style dominated the art world well into the 1980s through the works of artists like Georg Baselitz, Anselm Kiefer, Jean-Michel Basquiat, Julian Schnabel, and David Hockney. The modern city, as depicted in Die Brücke paintings, is a fantastic realm of attraction and repulsion. Die Brücke (The Bridge) was a group of German expressionist artists formed in Dresden in 1905. Pechstein moved to Berlin in 1908, but he would often return in the summers, and the artists would pair off and head out of the city to seek the simplicity of nature, particularly near the lakes of Moritzburg. In June 1905, the four students, now friendly colleagues, decided to form an artist's group opposed to tradition and the academic nature of their prior education. Pechstein succeeded in bringing his Die Brücke cohorts to exhibit with the Neue Sezession in 1910, where they came into contact with and ultimately recruited Otto Mueller. Only the title situates this painting in Dresden, as Kirchner focuses on the passersby, emphasizing the fleeting and contingent encounters made possible by urban anonymity. Later members were Emil Nolde, Max Pechstein and Otto Mueller. His work was branded as "degenerate" by the Nazis in 1933, and in 1937 more than 600 of his works were sold or destroyed. Ernst Ludwig Kirchner, né le 6 mai 1880 à Aschaffenbourg, en Bavière et mort le 15 juin 1938 à Frauenkirch, près de Davos en Suisse, est un peintre expressionniste allemand et l'un des fondateurs de l’association Die Brücke. This idea was likely influenced by the precedent of Worpswede, an artists' colony in northern Germany established in the 1880s that brought cultural luminaries such as the early Expressionist paint… Heckel, for example, became the de facto business manager of the group due to his personable attitude and art world connections. And as youths, who embody the future, we want to free our lives and limbs from the long-established older powers. Anyone who renders his creative drive directly and genuinely is one of us.". Though the show was not a critical success, the experimentation of the young group was on display for the first time, heralding the rise of Germany's first avant-garde movement. Um seinen Führungsanspruch zu untermauern, datierte er sogar einige seiner Bilder vor. The expressionist artist Karl Schmidt-Rottluff was one of the four founding members of the Die Brücke group, that rejected restrictive social and aesthetic conventions. They exhibited aggressively, mounting over 70 shows in their brief eight-year tenure as a collective. Założone zostało przez czterech studentów architektury: Fritza Bleyla, Ericha Heckela, Ernsta Ludwiga Kirchnera i Karla Schmidt-Rottluffa.Później dołączyli do nich: Emil Nolde i Max Pechstein oraz Otto Mueller (). The core of the group was still set, however, with Kirchner, Heckel, Schmidt-Rottluff, and Pechstein working together to establish a radical modern style in German art. The group came to an end around 1913. In terms of colour, their balances are bold - the closest comparison can perhaps be made with traditional art from the regions of Africa and Oceania. The use of heavy contrasting tones was also used by Norwegian Expressionist, Edvard Munch, and you will find great similarities between his work and those of the Die Brücke movement. His bright, evocative paintings of religious scenes, seascapes, and flowers earned him a unique place in the greater Expressionism movement. Zakládajícími členy byli studenti architektury Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner a Karl Schmidt-Rottluff, dalšími později Emil Nolde, Max Pechstein a Otto Mueller. Nel 1911, insieme ai membri del Die Brücke, si trasferisce a Berlino. Ernst Ludwig Kirchner: um dos principais pintores do grupo Die Brücke O que foi - definição e surgimento O Die Brücke, que significa “A Ponte” em alemão, foi um grupo artístico, que surgiu na Alemanha em 1905. In Die Brücke's early stages, Kirchner's apartment served as a laissez-faire venue for nude life-drawing sessions and casual lovemaking. It was during this time that the artists also began frequenting Dresden's Ethnological Museum, developing an interest in Primitivism, which would prove highly influential on their group style. Artist: Ernst Ludwig Kirchner. To separate themselves from their bourgeois backgrounds, the artists settled into a rebuilt butcher shop in a working-class neighborhood; however, it is unclear how often they roamed those streets for their art, as many of their city images depict wealthy or at least commercial areas. Die Brücke (The Bridge) - in quotes. In 1913 veroorzaakte Ludwig Kirchner de ontbinding van "Die Brücke" met zijn "Brücke-Chronik", die door de overige leden afgekeurd werd. Ernst Ludwig Kirchner, German painter and printmaker who was one of the leaders of a group of Expressionist artists known as Die Brücke (“The Bridge”). In 1906, Heckel obtained permission to host the group's first exhibition at the Karl-Max Seifert lamp factory and showroom in September and October that year. Its leading members were Erich Heckel, Ernst Ludwig Kirchner, Max Pechstein, and Karl Schmidt-Rottluff. Die Brücke Ernst Ludwig Kirchner was a founding member of the groundbreaking German art movement, known as Die Brücke , and formed in the city of Dresden in 1905. The same could be said for the art of post-WWII Britain, where Francis Bacon and Lucian Freud created distorted and psychologically penetrating figural paintings, often of individuals. At the group's genesis, the artists of Die Brücke envisioned themselves primarily as a bohemian collective of artists. Later members were Emil Nolde, Max Pechstein and Otto Mueller. The lack of detail would ensure that long brushstrokes would be used to define form, whilst often shapes would clash rather than merge, with abrupt edges underlining the idea of this being art directly from emotion. Ernst Ludwig Kirchner was one of the founding members of the Brücke. The artists' attitudes toward each other began to deteriorate, with some arguments centering around cordial disagreements over artistic and theoretical issues, and some moving beyond to personal conflict. I l movimento Die Brücke, in italiano il ponte, nacque nel 1905 dal lavoro di quattro studenti di architettura, arrivati alla pittura come autodidatti, nella Technische Hochschule di Dresda. Despite Kirchner's assertion that Die Brücke was a wholly German movement, the internationally followed 1912 Sonderbund exhibition in Cologne was centered around the debt that modern art, including Expressionism, owed to van Gogh, Munch, and other modern artists. Emil Nolde, who was thirteen years older than Kirchner and Bleyl and had been producing work for decades, was invited to join Die Brücke after the artists saw his work at a local exhibition. Die Brücke bei Wiesen, auch Der Wies(e)ner Viadukt, ist der Titel eines spätexpressionistischen Gemäldes des deutschen Malers Ernst Ludwig Kirchner aus dem Jahr 1926, das den Wiesener Viadukt südlich von Davos Wiesen darstellt. Bonzo's Dream wurde als Logo der Schriftzug Brücke von Ernst Ludwig Kirchner aus dem Jahr 1906 verwendet. At that stage he was joined by fellow enthusiasts Fritz Bleyl, Erich Heckel and Karl Schmidt-Rottluff. Moreover, the group marketed itself to ensure financial sustainability in the future, seeking both "active members" (artists) and "passive members" (donors). Die Brucke Breve riassunto delle caratteristiche della corrente artistica Die Brücke e descrizione di due quadri apparteneti a questo movimento di Kirchner e Heckel. The theme of the exhibition was the female nude, which was advertised by a lithographic poster of a semi-abstract woman created by Bleyl. Due anni più tardi, in seguito a rivalità e contrasti, il movimento si scioglie. Founding members were Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff. La vita in città diventa per Kirchner … You will also see the influence of African art on Pablo Picasso, who bridged the gap between the continent and European abstact art. Clashing tones and angular, almost belligerent brushstrokes compose many of their images, even before their contact with the faceting of Cubism and Futurism. © www.ErnstLudwigKirchner.org 2019. Der Blaue Reiter (The Blue Rider), based in Munich and whose production developed approximately between 1910 and 1914. Bleyl broke with the group in 1907 to start a family, and Nolde left shortly after, apparently unwilling to follow the group's rigid exhibition policy. Ernst Ludwig Kirchner (1880-1938) is de belangrijkste vertegenwoordiger van het Duits expressionisme en wordt door velen gezien als voorman van Die Brücke (de Brug), een kunstenaarscollectief dat van 1905 tot 1913 actief was en later uiteenviel.- 1913 Indeed, the movement had become known across Germany via its wide-traveling exhibitions. Expressionism may never have happened were it not for the formation of the Die Brücke art movement in Dresden, 1905. L'institution a fourni un large éve… Founding members were Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner and The collective impulse that pushed Die Brücke to its greatest work was ultimately part of the group's undoing. City scenes would leave you with feelings of loneliness and chaos, with the occasional central figure who would display poise and elegance. In an attempt to find the most direct form of expression, the artists of Die Brücke regained the techniques of artisan printmakers almost one-thousand years deceased and used them to make powerful statements with strong contrasts. Das Bild gehört heute zum Bestand des Kirchner Museums Davos Their shared beliefs, which were catalogued in an artist manifesto, sought to bridge the gap between traditional and academic art and what could be found in the future. [Internet]. They believed this to be a huge positive and perhaps a sign of changing times within the art world, which they viewed as stuffy and in need of progression in line with the rest of society at that time. Cover image: Nollendorfplatz, Ernst Kirchner (Group Die Brücke), 1912 (Stiftung Stadtmuseum of Berlim, Germany). While their color choices took on some of the luminosity of the country during their ex-urban travels, their work largely speaks of the experience of modernity through city life. The artists of the Brücke yielded to the siren call of the modern city, exploring its pleasures and dangers as one of their key themes. Ernst Ludwig Kirchner and Fritz Bleyl met in 1901 at the Technical Institute of Dresden as architecture students interested in Germany's Jugendstil tradition, a local variant of Art Nouveau, and became fast friends. The likes of Kirchner, though, preferred to throw the net much wider with regards drawing in ideas and inspirations to drive their own work. However, the ‘first’ Expressionism dates from about 1905 to 1914. Ernst Ludwig Kirchner was a German expressionist painter and printmaker and one of the founders of the artists group Die Brücke or "The Bridge", a key group leading to the foundation of Expressionism in 20th-century art. Many previous artistic movements in Europe had simply passed on ideas and techniques from previous generations, adding their own innovations as they went. From their first manifesto, written by Kirchner in 1905, Die Brücke sought to create an authentic art that defied the conventions of traditional painting as well as the then-dominant schools of Impressionism and Post-Impressionism. Er findet sich auf dem Titelblatt des Programms der Künstlergruppe Brücke, die sich nur ein Jahr zuvor formiert hatte. Kirchner, for better or worse, felt enervated in Berlin, and his work took on a more agitated, dynamic quality. Despite their collective mentality, certain members of Die Brücke held distinct roles in the group. Les membres fondateurs du Die Brücke en 1905 étaient quatre étudiants en architecture de Jugendstil : Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner et Karl Schmidt-Rottluff. Ernst Ludwig Kirchner was one of the driving forces in the Die Brücke group that flourished in Dresden and Berlin before WWI, and one of the most talented and influential of the Expressionists. Another concept with which Die Brücke hoped to overturn stale social and academic conventions was Primitivism. Having met Heckel in 1906 while studying at the Royal Art Academy in Dresden, Pechstein joined the group's lively discussions and came to them as the first member with prior education in painting. Though Max Pechstein moved first, the choice to move the Die Brücke group to Berlin was made largely by Ernst Ludwig Kirchner, who saw greater artistic opportunity in the more populous cultural center. Ils se sont rencontrés grâce à la Hochschule Königliche Technische de Dresde, où Kirchner et Bleyl ont commencé à étudier en 1901 et sont devenus des amis proches dès leur premier mandat. Vier Architekturstudenten – Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt-Rottluffund Fritz Bleyl – schlossen sich zu gemeinsamer autodidaktischer Kunstübung zusammen. Die Brücke's 1905 founding in Dresden also marked the birth of German Expressionism. Perhaps one of Die Brücke's most original contributions to modern art was the reintroduction of woodblock printing. Another interesting aspect to the four initial members of the group was that none had received academic training in their early lives, ensuring that their ideas and techniques were pure and undiluted by art academics. The other major movement within German Expressionism, Der Blaue Reiter focused on abstraction in art and claimed that colors held a spiritual value beyond the emotional value attributed to them by Die Brücke. Kirchner a poursuivi des études à Munich en 1903-1904, et sera de retour à Dresde en 1905 pour faire ses études. Among Germany's lakes and forests, they were able to live closer to their ideal of a bohemian artists' collective. Kirchner stellte sich in der Chronik selbst als wahres Genie der Gruppe dar und hob seinen Einfluss hervor. Bleyl, who would leave the group in 1907, is often considered as less "important" than Max Pechstein, who joined in 1906. 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. The idea of being a collective of artists was central to their thought, and it was established early on that Die Brücke artists would not exhibit outside of the group without permission from the other members. Hence, they termed themselves as The Bridge, or Die Brücke in their native German. Many members of the group held a great enthusiasm for the use of woodblocks, a technique which suggests the influence of past members of the North Renaissance, such as Albrecht Durer and Lucas Cranach. Like many other artists Expressionist styles had threatened his artistic career with the takeover of the Nazis massive. Die Brücke (Le Pont) est un groupe d'artistes allemands expressionnistes formé à Dresde le 7 juin 1905. The exhibition was accompanied by a woodcut leaflet by Kirchner that stated the group's ideals: "With faith in evolution, in a new generation of creators and connoisseurs, we call together all youth. Primitivism appealed to this artist collective, as they also produced wooden sculptures and more simplistic styles of painting. His mature style was highly personal and notable for its psychological tension and eroticism. As the largely figurative German Expressionist corollary to Kandinsky and Der Blaue Reiter's semi-abstract group, Die Brücke was extremely influential for twentieth-century modernism. This technique was also used effectively by a number of artists from Japan as well. However, Kirchner is typically considered the group's leader, largely due to his attempts to theoretically direct the group, the widely held opinion that his art best exemplified the Die Brücke style, and the fact that he wrote the group's first history, the Chronik der Brücke, in 1913. La pintura del grupo Die Brücke es una de las primeras expresiones de las vanguardias del siglo XX. This idea was likely influenced by the precedent of Worpswede, an artists' colony in northern Germany established in the 1880s that brought cultural luminaries such as the early Expressionist painter Paula Modersohn-Becker and the writers Thomas Mann and Rainer Maria Rilke into a communal living and working situation. The group was later joined by Max Pechstein (1881-1955), Otto Mueller (1874-1930) and Emil Nolde (1867-1956). This artwork was created in the years 1909/1910, about 4-5 years after the founding of the group „Die Brücke“. The final straw was Kirchner's authorship of the Chronik der Brücke in 1913, where he emphasized his achievements, claimed that Pechstein had "betrayed" the group by exhibiting with the Neue Sezession, and denied any outside influence from Cubism or Futurism. Heckel felt alienated by the metropolis, and his color palette became more subdued, while Schmidt-Rottluff embraced its modernity and began to incorporate the fragmented geometry of Cubism and Futurism in his work. Erich Heckel and Karl Schmidt-Rottluff, a few years younger, met in grammar school in 1902 before enrolling in the Technical Institute in 1904 and 1905, respectively. ©2021 The Art Story Foundation. The seminal group had a major impact on the evolution of modern art in the 20th century and the creation of expressionism. The leaders of this forward-thinking artist collective included Ernst Ludwig Kirchner, Fritz Bleyl, Erich Heckel and Karl Schmidt-Rottluff. Alla pittura si dedicarono poi solo tre di essi: Ernest Ludwig Kirchner (1880-1938), Erich Heckel (1883-1970) e Karl Schmidt-Rottluff (1884-1976). Naturism, the philosophy of social nudity, had been defended in German intellectual circles around the turn of the century, and the Die Brücke artists embraced it as part of their radical rejection of bourgeois social norms. In addition, they modernized this age-old technique by innovating the linocut, which accomplished a similar effect through the use of modern linoleum, which was easier to gouge into than wood. By 1910, the Expressionist style had developed in Dresden, and Die Brücke had become so popular among young artists that it inspired secession movements in the nation's capital. The group became more involved with the international avant-garde movements of Italian Futurism and French Cubism as a result of the move to the major metropolis, with each artist responding differently to new stimuli. Die Brücke was founded on 7th June 1905 by four architecture students. Their canvases reflected this, turning from urban alienation to themes of happy men and women cavorting naked in nature. Die Brücke (The Bridge) was a group of young German artists, who came together since 1905 - first in Dresden and later in Berlin - as a part of the whole art movement Expressionism of Germany. Die Brücke (El Puente) es la tendencia artística de un grupo de pintores alemanes expresionistas reunidos en Dresde entre 1905 y 1913. Die Brücke ("Ponte") è stato un gruppo di artisti dell'avanguardia tedesca formatosi a Dresda il 7 giugno 1905.Il gruppo fu all'origine di un più vasto e localmente diversificato movimento, denominato espressionismo tedesco e caratterizzato, a differenza delle analoghe proposizioni francesi, da atteggiamenti di decisa opposizione politica e sociale. This led to what has been referred to as the "vital eroticism" of Die Brücke painting. For the artists of Die Brücke (and, for that matter, their contemporaries the Fauves, the Cubists, and the artists of Der Blaue Reiter), this meant their art often evinced a less laborious, more direct rendering of form far from the obsessive pursuit of naturalism and beauty that had previously been considered the highest goal of art. He volunteered for army service in the First World War, but soon suffered a breakdown and was discharged. In 1911, Kirchner persuaded the rest of the Dresden painters to move to Berlin, where he had joined Pechstein to found the private art school Moderner Unterricht im Malen Institut (Modern Teaching of Painting Institute) as a way of promoting their new, modern artistic convictions. Bis 1910 entwickelten sie einen neuen Malstil, den sie auch auf den Holzschnitt und die Holzskulptur übertrugen. Germany possessed a storied lineage of printmaking that reached back through the Renaissance-era masters Martin Schongauer and Albrecht Dürer to the stark, angular, and often grainy prints that survived from the Middle Ages. Ernst Ludwig Kirchner (6 May 1880 – 15 June 1938) was a German expressionist painter and printmaker and one of the founders of the artists group Die Brücke or "The Bridge", a key group leading to the foundation of Expressionism in 20th-century art. And if the abstract variant of Expressionism cultivated by Der Blaue Reiter was a touchstone for Abstract Expressionism in the United States in the work of artists like Jackson Pollock and Mark Rothko, Die Brücke remained an influence on its semi-figurative painters like Willem de Kooning and Philip Guston, whose post-World War II images revised some of the alienation of late Die Brücke canvases. The expressionism Expressionism refers to a set of artistic tendencies that took on different names and that lasted until after World War II. Die Brücke (Most) byla německá umělecká skupina, která vznikla roku 1905 v Drážďanech. Beyond Berlin, Wassily Kandinsky had formed the Neue Kunstvereinigung Munchen (Munich New Artists' Association) in Munich in 1909, which was something of an incubator for the artistic and theoretical ideas he would promulgate in Der Blaue Reiter (The Blue Rider) group from 1911 to 1914. Nevertheless, the formal qualities of their art were undoubtedly influenced by their experience of urban living. All Rights Reserved. Key interests among them were the aesthetics of primitivism and spiritualism, as well as growing trends in Fauvism and Cubism, which led Kandinsky, chief among the Expressionist artists, to experiment more with abstract art. The artists’ group Die Brücke was established in 1905, a moment that is recognized as the birth of Expressionism. Die Brücke (The Bridge), born in Dresden and with an estimated period of activity between 1905 and 1913. Für die Grafik der neuen Ausstellung Vivian Suter. They did not seek revolution, rather evolution but also rarely looked beyond styles relatively local to themselves. Content compiled and written by The Art Story Contributors, Edited and published by The Art Story Contributors. Les premiers membres, quatre étudiants en architecture issus du Jugendstil, influencés par Hermann Obrist étaient Ernst Ludwig Kirchner (1880-1938), Erich Heckel (1883-1970), Fritz Bleyl (1880-1966), Karl Schmidt-Rottluff (1884-1976). Formerly in the Billy Wilder collection, Zwei Akte auf blauem Sofa ("Two nudes on a blue sofa" ) is a vibrant and striking interior scene executed in 1910 during a period in which the art of the Die Brücke artists first began to assert a clear and unique identity of its own. Mar 3, 2018 - 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. After his move to Berlin, Pechstein exhibited with the Berlin Secession, until his and some of his young contemporaries' work was rejected from one of their exhibitions for being too "expressionist," and he helped found the Neue Sezession (New Secession) in 1910. In 1912, Pechstein was expelled from the group for exhibiting work at the Neue Sezession without their consent. Die Brücke 1 Die Brücke Fritz Bleyl poster for the first Die Brücke show in 1906 Die Brücke manifesto 1906 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. Dit is slechts de directe aanzet voor het opbreken van de groep. All Rights Reserved. Portraits, landscapes and scenes of city life form most of their paintings produced under this theme of "The Bridge". Both Dresden and Berlin housed ethnological museums that allowed the group to view African, Pacific, and American artifacts, which they studied for aesthetic inspiration. 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. From 1907 to 1911, the group spent a large portion of its time in Dresden, planning exhibitions and using Kirchner's apartment as a hangout and studio. Though "Primitivism" has negative connotations in the postcolonial era, its use in the arts constituted a genuine attempt on the behalf of modern artists to break through the intellectual constraints of modern Western society by reaching to a "simpler" and potentially "freer" means of expression in less-developed parts of the world. Ernst Kirchner e A Ponte (Die Brücke) Woman holding a bag, Karl Schmidt-Rottluff, 1915, K En 1913 "La crónica" de Kirchner provoca la disolución de este grupo de artistas. Founding members were Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff. Most, inne nazwy Brücke lub KG Brücke) – ugrupowanie niemieckich artystów ekspresjonistów, które powstało w Dreźnie w 1905 roku. He volunteered for army service in the First World War, but soon suffered a breakdown and was discharged. Additionally, contrasts have been made to the Fauvists, such as Matisse, who also chose abrupt colour schemes that would immediately strike you before you could process the precise details placed in front of you. They were: Ernst Ludwig Kirchner (1880-1938), Erich Heckel (1883-1970), Karl Schmidt-Rottluff (1884-1976) and Fritz Bleyl (who left shortly afterwards). Der Blaue Reiter (The Blue Rider) was a group of Expressionist painters in Munich, Germany consisting principally of Wassily Kandinsky, Alexej von Jawlensky,Germans Auguste Macke, and Franz Marc. Die Brücke (niem. In Germany, Otto Dix and George Grosz were Expressionists influenced by the group who ultimately developed the next major German art movement Neue Sachlichkeit. Restrictions were to be thrown aside in favour of full expression, focusing more on emotion than reproducing reality. The artists of Die Brücke derived a great deal of tension in their art from a paradox: though the artists lived in the cities of Dresden and then Berlin, to some extent they never considered themselves of the city.

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