Influenced by van Gogh and Matisse, medieval printmakers and the arts of the South Pacific, the Brücke artists rejected academic conventions in favor of a direct and spontaneous freedom of expression. A founding member and leader of Die Brücke The Bridge , he sought nothing less than to rejuvenate German art and free it from the academic style of its time. The change of environment prompted a shift in the subject matter of his paintings, and the mountain landscapes and peasants of his later works are expressive of the link between man and nature. He volunteered for army service in the First World War, but soon suffered a breakdown and was discharged. I think I like also just looking at that little girl and her big hat and her ugly, kind of claw-like hand.
Also, I think just even in terms of looking at the color and composition for some reason and I know that a lot of people like those more. Dating from 1908 to 1914, they coincide with a change from a time of blissful beginnings in the company of close friends in Dresden to a period of disconnection, depression and loneliness in the big city of Berlin. His style is more developed and he's more mature as an artist. The painting displays a uniformed Kirchner standing in his studio, smoking a cigarette. Originally a student of architecture, Kirchner first became interested in fine arts during a visit to Nuremberg.
I guess to me it just seems like these isolated figures and that's what attracts them to me. Around 1911 the Brücke artists moved to Berlin, and two years later the group acrimoniously disbanded. Rather than hanging on four surrounding walls, the paintings are displayed side by side, each on its own separate wall panel. The Street, Dresden Life of Ernst Ludwig Kirchner Ernst Ludwig Kirchner was born in Aschaffenburg in 1880, studied architecture in Dresden and then continued his studies in Munich. I think for me this sort of feels very much about isolation and German angst. The picture is also indicative of the influence of Edvard Munch on Kirchner's work, since the composition appears to be based on Munch's Puberty 1892.
Street, Dresden was painted in 1908 by Ernst Ludwig Kirchner. Emblematic of his Die Brucke phase, Marzella is a provocative depiction of a young, pre-pubescent girl. You can clearly see the expressionism method with the colors that are violently heightened by the use of the urban scene. Then he discovered new motifs, which were city and street scenes. Led by Pablo Picasso and Georges Braque, the Cubists broke from centuries of tradition in their painting by rejecting the single viewpoint. The name Brücke was chosen as a call to other young artists to fight for greater artistic freedom and to create, through their work, a freer, more vital age.
There are a lot of men kind of circling around the women. Ernst Ludwig Kirchner was born in Aschaffenburg, Bavaria. With this exhibition, Neue Galerie New York celebrates its acquisition of Berlin Street Scene 1913-14 by Ernst Ludwig Kirchner. What is most interesting about these works on paper is the biographical background they evoke. When you said neon, I could sort of feel that, those kinds of lights maybe in the dusk in the city. At first the group oriented itself to artists from Late Impressionism. Short Analysis The Street, Dresden by Ernst Ludwig Kirchner is focused on the loneliness of modern society.
Ernst Ludwig Kirchner Aschaffenburg 1880 - Davos 1938 Ernst Ludwig Kirchner studied architecture in Dresden where he met and worked with Fritz Bleyl, Erich Heckel and Karl Schmidt-Rottluff. I guess there's something uncomfortable to me about the way that he's looking at the women here. Group life-drawing sessions took place using models from the social circle, rather than professionals, and choosing quarter-hour poses to encourage spontaneity. A little girl is dwarfed by her hat, one in a network of eddying, whorling shapes that entwine and enmesh the human figures. In 1890, his family moved to Chemnitz, near Switzerland and following his father's wishes, Kirchner decided to pursue a career in architecture. He would always deny that he was influenced by other artists, yet and were clearly important in shaping his style. The angular variations on Gaugin-like exotica are Edenic, not callous or mean.
In an effort to renew German art, Kirchner and the Brücke artists turned to printmaking, particularly woodcuts, which they considered a truly Germanic art form. His right hand is severed, symbolizing his trauma and possibly also his anxiety of his loss of manhood; the motif is based on Van Gogh's Self-Portrait with a Bandaged Ear 1889 , a picture the artist painted after he too had inflicted injuries upon himself. Photo Street, Berlin, from 1913, with its stylishly dressed prostitutes, one of seven similarly themed paintings in the show. But the figure also informed his images of Berlin, in which the demeanor of figures in the street often seemed more important than the surrounding cityscape. Kirchner renders a balance between the two extremes light and dark, bold and delicate to create a harmonious composition, allowing the eye to sweep across the picture plane.
There are hints of architecture and, in Women on the Street 1915 , the abrasive glow of streetlights. When he began to paint he was influenced by Neo-Impressionism but, by 1904, the influence of the Norwegian Expressionist and of African and oriental art helped him to simplify his use of form and color into large flat washes. The entire space is defined by the occupation of these figures or their occupation in space. Wolfgang Henze-Ketterer, Wichtrach, Bern Kirchner trained as an architect to please his parents but was determined all along to be a painter. The demimonde attracted Kirchner, as did the suggestive and syncopated choreography of nightclub dancers. The figures in the very center are two prostitutes who for him embodied not only glamour and alienation, but the sad reality of a culture in which everything was for sale.
But it is not too much of a stretch to see the Berlin street series as a desperate, last ditch effort to hold together, if only through the magic of metaphor, a world that was about to be blown to smithereens. A couple of exhibitions gained notice, but not as much as Die Brücke artists had hoped. Kirchner has violently heightened the colors of this urban scene, depicting its figures with masklike faces and vacant eyes in an attempt to capture the psychological alienation wrought by modernization. The luxury and anxious energy in painting also serve as a commentary on a pre-World War I German culture, as Kirchner believed increasing political tensions further detached urban individuals from society. In 1918, he moved permanently to an Aline farmhouse in Davos.