g e rm a n a rt o f th e t w enti e t h cen t u ry

b y W ern er H aitmann A lf red H entzen Wi ll i am S Li eb erman

.

ed i t ed b y A nd rew Carnd uff Ri t chi e

Th e M us eu m of M o d ern A rt N ew Yo rk ,

in co ll ab o rati o n wi t h The Ci ty A rt M u s eu m o f S t L o u i s M i s s o u ri
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,

di s tribut ed by S im o n an d S chu s t er
, N ew Y o rk
 M us eu m o f M o d ern Art
'

T ru s t e es of th e

N el so n A Ro ck ef ell er Chai rm an o f the B o ard H en ry All en M o e Vi ce-Chai rman Wi lli am

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A M B u rd en Presi d ent; M rs D avi d M L evy Vi c e Pres i d ent Alf red H B arr J r M rs Ro b ert
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Wo o d s Bl iss S t ep hen C C l ark Ralp h P Co l i n M rs W Mu rray C ran e R ené d H arno n co u rt

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M rs E d s e l B F o rd P hi l i p L G oo dwi n A C o n g er G o o dy ear M rs S i mo n Gugg e n h ei m

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Wallac e K H arri so n M rs Walt er H och s ch i ld J ames W H u st ed M rs Alb ert D L as ke r

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M rs H en ry R L u ce Ran al d H M ac d o n ald M rs S amu el A M arx M rs G M ac c u ll o ch

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M i ll er W i ll i am S P al ey M rs Bl i ss P ark i n s o n M rs Charl es S P ay so n D un c an P hi llip s

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A n d rew Carndu f f Rit ch i e D av id R o ck e f ell er M rs J o h n D R o ck ef ell er 3 rd B eard s l ey , , . .

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R u ml P aul J S ach s J o hn L S en i o r Jr J ames Thrall S o by E dw ard M M W arbu rg

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M o n ro e Wh eel er J o hn H ay Whitn ey ,

H o n o rary T ru s t ee f o r Li f e
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T ru s t ees o f th e C ity A rt M u s eu m o f S t L o u i s .

D an i e l K Catl i n P res id ent H en ry P Pfl ager Vi c e P res i d e nt Guy L Bl ackmer T reas u rer

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Wi ll iam H B ixby E wald R F ro es e M i s s M artha L o v e R o l and Ri chard s Sydn ey M Sho e n

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b erg M rs M ark C S t einb erg

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P u b li s h e d b y th e M u s e u m of M o d ern A rt N ew , Y o rk , 1 95 7

All t
ri g h s re s e r ed v
L i b rary of C o n gress Cat al o gu e Card N u mb er 5 7 - 1 1 6 7 9
Ty p o g rap hy b y Charl e s O s car v er d es i gn b y O tl Ai ch er
co

P ri n t e d i n G ermany b y B rii d e r H art mann B e rl i n ,

Le nd ers to th e Exh i b i ti o n

O tto B au m E s sl i nge n ; W alt er B arei s s Greenwi ch Co nn ec ti c ut M rs M argaret e B au

, , , , .

m ei ster S tu ttgart M r and M rs E ri ch C o hn N ew Y o rk M r and M rs B ru ce B D ayto n

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M i nn eap o li s Minn eso t a R i ch ard L F eigen N ew Y o rk M rs W F ei l ch en f eld t Zu ri ch

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S witz erl and D r Max F i s cher S tuttgart And rew P Full er F o rt Wo rth T exas Ku rt H
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Gru n eb au m H arri s o n N ew Y o rk D r H ug o H ari n g Bib erach an d er R i s s ; M rs G ab ri el

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H au ge Washi ngt o n D C M ax Kru s s B erl i n D r S t ep han L ackn er S ant a B arb ara Cali
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f o rmi a M rs G i se la M ack e B o nn M r and M rs S amu el H M as l o n W ayz ata M i nn es o ta

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M r and M rs M o rt o n D M ay S t L o u i s M i s s o u ri M rs G ertrud A M ell o n N ew Y o rk

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M r an d M rs M o rto n N e u man n C hi c ag o M rs H an n a B ekk er vo m Rath F rankf u rt

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N el so n A R o ck ef ell e r New Y o rk Dr and M rs All an R o o s N ew Yo rk W alther S charf

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O b erstd o rf /A llgau ; H erman S h ul man C o ll ec ti o n N ew Y o rk D r B e rnh ard S p reng e l , , .

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H an o v er H an s U hl mann B erl i n M r and M rs Ri ch ard K W ei l S t L o u i s M i sso u ri

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F ri tz Wi nt er D i es s e n/Ammers ee ; D r F erd i n and Zi ersch Wu pp ertal -B armen ; M r an d

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M rs F re d eri ck Z i mmermann N ew Y o rk
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E hemal s S t aatli ch e Mu s ee n B erlin N ati o n al Gall ery Kun s th all e B rem e n Alb right A rt ,
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Gall ery Bu ffal o Th e A rt In sti tu t e o f Chi c ago W al l raf R i chartz Mu s eu m C o l o gn e Th e

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D et ro i t In sti t u t e o f A rt s M i chig an Stad ti s ch es M u seu m D u i s bu rg Kun s t sammlung e n

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d er S t adt D us s eld o rf Ste d el i j k van Abb e mu seu m E i nd h o v e n H o ll and F o lkw ang M u

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s e um E s sen Kun s thall e H ambu rg N i ed e rs ach s i sche L and esg al eri e H an o v er; S t aat
‘

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l ich e Ku n s thall e K arl s ru he ; W alk er A rt Ce nt er M i nn eap o l i s M i nn es o ta B ayeri s ch e

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S taatsgemald e s amml u ng en M u ni ch Th e S o l o mo n R Gugg en h eim Mu seu m N ew Y o rk , , .

, ,

S mith C o ll eg e Mu s e u m o f A rt N o rthampt o n M ass achu s etts Ph il ad elp h i a Mu seum o f , ,

A rt P enn sylv ani a ; P o rtl and A rt Mu seu m O reg o n S aarl and Mu seu m S aarb rii ck en ; C i ty
, , , ,

Art Mu s e u m o f S t L o u i s M i ss o u ri S t aatli ch e Ku n s ts amml u ng en S tuttg art K u n sth au s

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Z u ri ch S witz erl and Fin e A rts A ss o c i at es N ew Y o rk ; R os e F ri e d Gall ery N ew Yo rk

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K l eemann G all eri es N ew Y o rk , .

c o nten ts

F o rew o rd : And rew Carndu ff Rit ch i e

P ainti ng : Wern er H aft mann

S c ulptu re : Alf red H entzen

Print s : Wi lli am S L i e be rman

.

C at al o gu e of the E xhi biti on

Bibli o grap hy : N an c y Ri eg en

Ph o to grap h Cred i t s

Ind ex 23 7
Gu rt Vale n t i n
 f o r ew o r d

The x hi b i ti o n acco mp anyi n g thi s b o o k the fi rs t o f i ts k i nd to b e o rg an i z e d i n A meri ca

e ,

s in ce Alfre d H B arr J r s p i o n e e ring o ne at the Mu s e u m o f M o d ern A rt i n 1 93 1 has

’
. .
,

b een d esign ed to p resent as c o mp reh en s iv e a sho wing o f G erm an tw en ti eth c entu ry -

art as o u r mu se u m s p ac e will p ermi t It i s a qu alitativ e se l ec ti o n n e v erth el es s an d

.
, ,

w hil e all th e maj o r G erman arti s ts o f thi s c e ntu ry are rep res ent e d u su ally b y two o r ,

mo re exampl es o f thei r w o rk so me qu i te reput abl e p ai nt ers and sc ulpto rs had to b e

,

o mi tt e d T hi s h as b e e n d o n e n o t o nly f o r s p ace reas o n s but al s o to av o i d the p o ss i bl e

.
,

t ed i o u sn es s o f a s u rv ey o f mo re arti s t s than th e av erage gall ery vi si t o r i s abl e o r w i ll i ng

to dig es t at o ne v i ewi ng F o rtun at e ly
. f o r the rea d er o f thi s b o o k b o th G erman autho rs
, ,

Dr . H aftmann and D r H entz en hav e av ail e d thems elv es o f the o pp o rtun i ty to di sc u s s

.
,

and to illu s t rat e a nu mb er o f arti s ts an d th ei r w o rk s w hi ch it w as n o t f o und p o ss i bl e to i n

o lud e in th e exh i biti o n O n o th er th e hand b ec au s e o f th e i mp o rt an ce o f p ri nt s in G erman

.
,

tw en ti eth centu ry art W i ll i am S L i eb erman C u rat o r o f P rints o f the Mu s e u m o f M o d ern

—
,
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, ,

A rt w ho h as b e e n wh o lly res p o n s ibl e f o r th e p ri nt sel ec ti o n in th e exhi biti o n has i h

, ,

c lud e d an d d i s c u ss e d a qu i te ext e n si v e b o dy o f g rap hi c w o rk p rac ti cally all o f it d rawn ,

fro m the Abb y Ald ri ch R o ck ef e ll er P ri nt Ro o m o f th e Mu seu m o f M o d ern Art .

T h e exh i b i ti o n b egi n s w i th th e arti s t s o f D i e B rii ck e exp ress i o ni s t m o v e m ent f ro m ,

i ts i n cepti o n ab o ut 1 905 co i n c id e nt w i th the ri se o f th e F auv es i n F ran c e It c o nt i n u es

, .

thro u gh th e n ext w av e o f G erman exp ress i o ni sm kn o wn as D er Bl au e R eit er b egu n , ,

i n 1 9 1 1 th e N eu e S ach l i ch k e i t o r N ew R eal i s m at the en d o f and i mme d i at e ly aft er th e

,

fi rs t W o rld W ar the B au hau s mo v eme nt o f the 1 92 08 an d early sos and ign o ring the
,
’

f al se p ath os and p ro p agand a art o f the N azi regime co n c lud es w i th a hi ghly s el ec tiv e ,

rep re se ntati o n o f s o me o f th e l eading arti s t s o f p o s t-W o rld W ar 11 G ermany .

A s th e o n e chi e fly re s p o n si bl e f o r the s e l ec ti o n o f th e p ainting s and sc ulptu re

in th e exh ibiti o n (Dr H aftmann and D r H entzen hav e giv en v alu abl e adv ic e in thei r
. .

res p e c tiv e fi eld s as h as D r Ku rt M arti n D i re c t o r o f th e Fin e A rt s A c ad e my K arl sru h e)

, .
, , ,

I hav e o f co u rs e attempt e d to sec u re the fi n e s t p o s si bl e ex ampl es o f each arti s t s wo rk

’

, , ,

an d w hat ev er qu ality the ex hibit i o n p o ss es s es i s s u re ly d u e to th e ext rao rd i n ari ly g en

ero u s res p o n se o f G erm an and A me ri can c o ll ec t o rs b o t h publi c and p ri vat e to o u r , ,

re qu es t s f o r l o an s .
 In the p rep arati o n o f an exhi b i ti o n as ext e n sive as this o n e I hav e b een i nd ebt ed ,

to man y p eo p l e n o t all o f w ho m can b e me n ti o n e d b y n ame I wi sh e sp ec i ally h o w ev e r

, .
, ,

to exp ress my g rat i tud e to th e f o ll o w i ng : The G o v ern ment o f th e G erman F e d eral R epu

b l i c f o r i ts s p o n so rs hip o f th e exhi b i ti o n its grant o f f und s to c o v e r th e co s ts o f s hi pping

,

an d th e i n s u ri n g o f all G e rm an l o an s an d its s u b s i d i z i ng o f p art o f the co s t o f the

,

p ubli cat i o n o f t hi s b o o k th e M atthew T M ell o n F o u n d at i o n f o r a gen ero u s g rant f o r thi s

, .

publ i c at i o n the l end ers to the exh i b iti o n w ho se n ame s app ear on p age 5 M o rt o n D
, , .

M ay f o r hi s en t h u s i asti c an d g en ero u s s u pp o rt o f the exhi b i ti o n an d b o o k ; the d i rect o rs

,

an d c u rat o rs o f A meri can mu seu ms to o n u mero u s to l i s t wh o g rac i o u s ly advi se d

, ,

me o f twe nti eth c e ntu ry Germ an w o rk s i n thei r res p e c tiv e c iti es D r B run o W ern er
-
.
,

C ultu ral C o un s e l o r to th e G erman E mb as sy Washi ngto n D C and D r Ku rt M art i n f o r

, , . .
, .

t he ir g reat help i n w o rk in g o u t d etai l s o f o rgan i z at i o n D r L eo p o ld R ei d emei ster D i rec t o r

, .
,

o f the W all raf —R i ch artz M u s eu m C o l o gn e an d D r W i ll G ro hmann f o r th ei r k i n d n ess in

, , .

i nt ro d u c i ng me to man y p riv at e co ll ec t i o n s i n G ermany and f o r thei r advi ce in g e n eral

f o r v al u abl e adv ice in the s e l ec ti o n o f the exh ibiti o n : D r W R Val enti n er D i rec t o r Th e . . .
, ,

N o rth Caro l i n a Mu s eu m o f A rt Ral e igh and Charl es L Ku hn C u rato r Bu s ch R ei si nger

_
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-

Mu s eu m o f G erman i c Cu ltu re H arvard U n iv ersi ty f o r as s i s tan ce i n the p rep arati o n

, ,

o f the E ngl i s h t ext on p ai n ti ng an d sc ulp tu re : Mi ss Gret a D an i e l A s s o c i at e C u rat o r o f ,

D es ign D ep art me nt o f A rch i t ec t u re and D esi gn Mu s eu m o f M o d ern A rt S am H unt er

, , , ,

A ss o c i at e C u rat o r o f the D ep art me nt o f P ai nt ing and S c ulptu re and P ro f esso r H W , . .

J an so n Chai rman o f the D ep artmen t o f F i n e A rt s Was hin gt o n S qu are Co ll ege N ew Yo rk

, , ,

U n iv ers ity M rs G ert rud A Me ll o n f o r her exc epti o n al s ervi c es i n the o rgan i z ati o n o f the
. .

ex hi b i t i o n , M rs D o ro thy S i mm o n s and M rs J an e S ab e rsky I saacso n f o r the i nd e x M i s s

. .

F ran c es P ern as who has seen thi s b o o k thro ugh the p ress Charl es O s car who d es ign ed
, , ,

it and fi n ally M rs M ari ann e Fl ack wh o h as b een re sp o n si bl e f o r th e c at al o g u ing o f

, , .
,

th e exhi b i t i o n an d f o r all the d e tai l s o f co rresp o nd enc e in co nn e c ti o n w i t h it .

A N D R E W CA R N D U F F R I T C H I E
D i re c t o r o f the E xhi b i t i o n
 p ai n t i n g

I s t here s u ch athing as a G erm an mo d ern art? I s no t G erman merely a geo grap hi cal
t erm an hi s t ori cal c o nv enti o n whi ch i d enti fi es cert ain un changeabl e and in ali en abl e
,

way s o f tho ught i m agi n at i o n and exp res s i o n w ith n ati o n al and l angu ag e b o und ari e s ?
, ,

Fo r w e all kn o w th at o n e o f th e m o s t as to n i shing an d s igni fi can t ch arac t eri sti cs o f

mo d ern man i s the really t remend o u s exp an s i o n o f hi s hi s t o ri cal and sp ati al c o n
sc i o u snes s T h e p as t exi s t s f o r u s i n a s i mu lt an e o u s p re s ent : th e ti me l es s i mmo bil i ty
.

of E gyp t the m aj es ty o f an c i en t Greece the s p i ritu al magn i fi c e n c e o f Byz anti u m and

, , ,

th e v i si o n ary exp re s s iv e n es s o f th e early p eo pl es o f N o rthe rn and W es t ern E u ro p e th e ,

p rec i s e d efin i ti o n o f reali ty o f the I t ali an Re n ai ss an c e the e c s tati c illu si o n i sm o f the

,

B aro qu e And thi s i s n o t all that has g o n e to shap e the co n s c i o u s ness o f mo d ern man H e
. .

has al s o heard th e v o i c es o f the magi c al c ultu res o f P eru o f M exi co o f p re-C o lu mb i an

, ,

Am eri c a and res p o nd e d to the c o nt empl ativ e p o i se o f the E as t A si an s th e s en s u o u s

, ,

n es s o f Ind i a an d the mys teri o u s s ign l angu ag es o f Af ri c a All o f thes e c ultu res hav e
, .

aff e c t e d u s and are a p art o f mo d ern s e n s i b i l i ty .

S imi l arly there has b een a wid e exp an si o n o f o u r g eo grap hi c s en se M o d ern mean s .

o f c o mmuni c at i o n the int ern at i o n al s c o p e o f c o mmerc e p o l i ti cs e ng i n eering an d

, , , ,

t ran sp o rtati o n hav e re l at e d the w ho l e w o rld to the i n d ivi du al in hi s d ai ly l i f e W e may

, .

ass um e th at it i s an imp erati v e o f o u r t ime to achi ev e th e spi ri tu al mast ery o f o u r

exp and i ng gl o b al e nv i ro n me nt an d th e d ev e l o p me nt o f o u r d e ep ening p ersp ec ti v e s o f

tim e and sp ace Thi s gl o b al i mage o f the w o rld ari si ng f ro m p rac ti c al exp eri en ce an d
.
,

a n ew h i s t o ri cal co n sc i o u s n es s mu s t b e b al an c e d by a co rres p o n di n g hum an i t ari an i s m

,

and an adj u s tme nt in th e emo t i o n al lif e o f the indiv i du al It re qu i re s a b ro ad hu man .

v i si o n whi ch will c o nt ro l th e pu re thi rst f o r kn o wl e dg e and p rev ent it fro m plungi ng u s

int o anxi e ty and d esp air as has happ en ed in the realm o f mo d ern s c i en c e
, .

A rt i s a fund am ent al refl ec ti o n o f man s emo t i o n al mak e u p In fac t the adv an c e d

'
-
.
,

art o f ou r centu ry c l early res p o nd e d to thi s n ew vi si o n o f a gl o b al c ultu re l o ng b e f o re

publi c aw aren ess o f it S udd enly o l d an d remo t e cultu re s c ame aliv e : the p rehi s to ri c
. ,

the ex o ti c th e p ri miti v e At th e s ame tim e the pl as ti c art s o f the tw enti e th cent u ry

, .
,

F auvi s m Cubi sm Co n s tru c tiv i sm ab s trac t art S u rreali sm were i mme diat ely p ro j ec te d
, , , , ,

up o n a s up ra n ati o n al pl an e as if al l the n ati o n s co n cern ed w ere s ubj ec t to the s ame

-
,

d riv es and c o mpul s i o n s T o d ay the i mp ac t o f P i c ass o Kl ee and Kandin s ky i s w o rld wi d e

.
, ,
- .
 M o d ern archi tec tu re i s the m os t s tri ki ng exampl e I ts c reative i d i o m i s no w inter .

n ati o n al W e mu s t real i z e the s ignifi c an ce o f the f ac t that f o r th e fi rs t ti me in hi s t o ry an

.
, ,

arch ite c t s u ch as L e C o rbu s i er i s c u rrently bu i ld i ng a c i ty i n Ind i a (with the o p en h and

as i ts sy mb o l) an d at the sam e ti me ac ting as c o n s u ltan t to c i ty pl ann ers i n P ersi a

,

an d C o l o mb i a c o n s t ru c ti ng an u rb an h o u s ing d ev e l o p me nt i n M ars ei ll es repl anning

, ,

the c i ty c en t er o f S t D i é and d es ign i ng bu i ld i ng s f o r B erl i n It s h o uld b e n o te d that

.
,
.

L e C o rbu s i er s c o mmi ss i o n s hav e n o t f o ll o w ed in th e w ak e o f p o l i ti c al co nqu es t as did

’

th o se o f the archi tec t s o f the Al ex and ri an empi re but h av e b een the res ult rather o f a ,

spi rit o f int ern at i o n a l c o o p erati o n and und ers t and i ng M o reo v e r i t w as i n D essau an .
,

in sign i f i cant G erman to wn that the B au hau s id eas w ere fi rs t d ev el o p ed id eas o f the
, ,

inter rel ati o n s h i p o f the arts w hi ch i n a s ho rt ti me rec eiv e d i nt ern ati o n al reco gniti o n
-
.

T hey hav e altere d o u r c o n c epts o f l iv i ng s p ac e and the d es ign o f o bj ec t s f o r everyd ay u se .

The i mp o rtan c e o f th e B au hau s i d eas i s co m mo n kn o w l e dg e H o w ev er th ere are .

o th er i mpul s e s o ri g i n at i n g i n Germ any whi ch hav e n o t rec e i v e d the reco gniti o n th ey

d es erve I s hall n o t s t res s influ en ces o f a mo re p erso n al and e p he meral n atu re s u ch

.
,

as B eck man n s ac t i vi ty in A meric a o r K i rch n er s in S w i tz e rl an d L e t me me nti o n o nly

’ '

, .

in p ass ing the great l i b erati ng ro l e pl aye d by M ax E rn s t i n i ntern ati o n al S u rreali sm .

M o re i mp o rtant i t s eems to me has b een the p arti c u l ar w ay in w hi ch the German

, ,

s pi rit res p o nd s to th e w o rld and h o w these res p o n ses h av e af f ec t e d th e sen s ibil i ti es o f

o ther p e0 p 1es P aul Kl ee exp res s e d i n h i s p aint i ng and w ri t in g s o n e o f t he se f acet s o f

.

th e G erman s p i ri t H e re fl ec t e d the i d ea al ready i mpl i c i t i n G erman R o mant i c i sm

.
,

( N o v al i s G o e th e I) that the v i si bl e wo rld o f n atu re i s o nly o ne man i f es t ati o n o f a mu ch

, ,

mo re co mp rehen s iv e c reativ e f o rce B ey o nd the vi si bl e are a mu lt itud e o f o ther truths

, .

o u t o f whi ch man f ro m th e d e pths o f hi s b ei ng d i s co v e rs f o rms that p o ss es s an inn er

, ,

n ecessi ty and a n atu ral val i d i ty The R u ss i an Was si ly K an d in s ky ( l ivin g ho wever i n a

.

German env iro n men t) p ro c l aimed an o ther fund ament al i n s ight that c reativ e man i s ,

abl e to rep o rt o n th e w o rld and o n l i f e with o ut havi ng to re l y o n p hy s i c al app earan ces .

Th i s app ro ach to re ali ty was the essen ce o f ab s trac t p ai n t i ng B o th the ab o ve app ro aches .

w ere extrao rd i n ari ly in flu e n ti al and rad i c ally tran s fo rme d arti s ti c s en s i bili ti es thro ugh
,

o u t the w o rld T h ei r s p i ri tu al b i rthpl ace l ay i n the n o rth eas t e rn E u ro p ean w o rld o f

.

exp ress i o n an d th ey c o uld hav e o ri gi n at e d o nly th ere T w o o t he r i mpul s e s o f i mp o r

, .

t an c e i n co nt emp o rary art s temmi ng fro m the s ame exp res s iv e s o u rc es are f o und i n
, ,

th e w o rk o f H an s H art u ng and o f W o l s Altho ugh th ey b o t h are regard e d as memb ers .

o f th e Eco l e d e P ari s th ey are ac tu all y o f G erman o ri gi n an d are i mmers e d i n th e n o rth

,

eas t ern E u ro p ean mo d e o f exp ress i o n .

At th e 1 95 5 i nt ern ati o n al c o ngress o f ab strac t art held i n V en i c e th e w ell kn o wn ,

-

It al i an artis t Gin o S ev erin i d epl o red the d ec lin e o f the L ati n s p i ri t o f c l ari ty and o rd er
, ,

c au s e d by th e y o u n g er p ai nt e rs add i c t i o n to n o rth eas t ern E u ro p ean E xp ressi o ni s m

’
.
Tho u gh s t at e d n egativ ely thi s co mpl aint mad e a p o s itive p o int In d eed w e fi nd t o d ay a
, .
,

s t ro ng int ern at i o n al t e nd en c y am o n g y o ung e r arti s t s t o w ard s an ab s t rac t E xp re s s i o n i s m

whi ch rel eas es all th ei r p sy ch i c and emo ti o n al i mpul s es a g e n eral mo v em ent no w ,

l ab el ed by su ch d iv erse t erms as T achi sm S p ati al i s m an d N eo E xp res s i o ni s m In ti me

, ,
-
.

it w i ll b e rec o gniz e d that W o l s and H artu n g w ere pi o n eers o f thi s mo v e m ent .

Altho ugh Germany has mad e s ev eral i mp o rtant c o nt ri buti o n s t o ward th e d ev el o p

m ent o f mo d ern p ai nti ng i t mu s t b e reco gn i z ed th at German artis ts hav e no t w o rk e d i n
,

i so l at i o n They c o uld n o t h av e ach i ev e d wh at they did unl ess th ey had b een in co nt ac t

.

with th e res t o f E u ro p e and p arti c ul arly with the extrao rd i n ari ly l o gi c al and p osi t iv e
,

F ren ch mi nd as re p resente d by an arti sti c ev o luti o n ext en ding fro m C éz ann e G augu i n
, , ,

S eu rat van G o gh to M ati s s e Pi c as s o B raqu e D el aun ay and Ju an Gri s

, , , , , .

In s p eak i ng o f t hi s G erman c o ntri buti o n and eve n o f a s p ec ifi c app ro ach o f the
,

G erman mind I hav e evid ently f all en into a co ntrad i c ti o n havi ng j u st e mp has i z ed the
, ,

s up ra regi o n ali s m o f m o d e rn art Pl as ti c sy s t ems and s tyl es are no t i so l ate d thing s

- . .

T hey h av e a f o rmal c o rresp o nd en c e to a mo re c o mp rehe n siv e sy stem o f rel ati o n ship s

in w hi ch man o f a g iv e n p eri o d i s i nv o lv e d and i n t o whi ch i s tigh tly w o v e n hi s attitud e
,

to th e w o rld an d to hi mse lf Th ey are b ase d theref o re up o n a b ro ad hu man f o u n d at i o n

.
, , .

But thi s f o und ati o n i s af f ec te d b y hi s su rro unding s and hi s o rigin s b y traditi o n and ,

n ati o n al p ec u l i ari t i es W e c an o nly und erstand the i nte rac ti o n o f n ati o n al an d int er
.

n ati o n al f ac t o rs i n the f o rmati o n o f mo d ern styl es if w e reco gniz e that mo d ern art i s
ess e nti ally a c o mp o s i t e p i c to ri al sy s t em to w hi ch ind ividu al s and regi o n all y d et er

min e d f orces h av e co nt ri but ed J e an J au ré s o n c e exp ressed p o eti cally a wi sh whi ch

.

p ro mi s es to b eco me a real i ty t o d ay : that the p eo pl es o f the earth s ho uld b e l i ke a

b o uqu et o f fl o w ers i n whi ch each fl o we r has i ts o wn p erfu me and c o l o r and y et i s
, ,

e s se n ti al to th e e ff e c t o f th e wh o l e b o uqu e t I b e l i ev e thi s co n cept whi ch env i s ag es a

.
,

w o rld wid e f ed erati o n ex ac tly ill u s trates th e n atu re o f mo d ern art And it i s a s tri k ing
-
, .

f ac t o f our ti m e .

B ut if thi s i s so i t mu s t b e p o ss i bl e to d efi n e mo re p rec i sely tho se s p ec i al qu aliti es

,

that giv e mo d ern G erman art i ts i n divid u al charac t er within th e l arg er who l e .

Characteri s t i c s of German P ai nt i ng

A c tu ally t he y are n o t to o d i ffic ult to d ef i n e S in c e a p i c tu re i s a vi s u al f act i t i s mo re

.
,

app ro p ri at e to arri v e at in s i gh t by ac tu al l o o k i ng t han b y a d i sc u ss i o n o f g en e ral id eas .

L et u s there fo re c o mp are a f ew pi c tu res fi rs t a mo d ern F ren ch p ai nti ng and then a

,

mo d ern G erman p ainti ng A s an ex ampl e L e L u xe o f 1 9 07 by H en ri M ati sse rep resen t

.
, ,

ing three f emal e n u d es in the o p en ai r (p age In thi s c l assi c al theme we are i mmed i
at ely s tru ck by the p re d o min an c e o f l arg e un i f o rm co l o r s u rf ac es and d ec o rat iv e lin ear ,
 qu al iti es The co nt o u rs d etach themselv es fro m the o bj ec t to b eco me a s i mpl e exp res
.

si ve arab es q u e w hi ch pl ay s o v er th e enti re s u rf ac e in a rhyth mi c d an c e-l i k e mo v e m e nt , .

W hen the me l o di c lin e o f the arab esqu e s o re qu ires n atu ral f o rms are di s t o rt e d wi th ,

o u t h es it ati o n S u ch t ran s f o rma t i o n s are al so ev i d e nt i n th e p ro p o rt i o n s g iv e n to th e

opp osi e,t K i rch n er : Nu de i n H at 1 9 0 7
. .

v 81 x
.

Oil o n c an as , S tad el s che n

fi gu res whi ch are go vern e d o nly by co mp o s i ti o n al c o n s id erati o n s and w hi ch i gn o re tra ,
K u n s t i ns t i t u t Fran k f u rt
, , on l o an f ro m
d i ti o n al l aw s o f p ersp ec tiv e H ere w e are o bv i o u s ly c o nfro nt e d wi th a n ew p i c to ri al c o n
.
p ri vat e c o l l ec t i o n

cept o f s p ac e The rec ess i o n s o f n atu ra l s p ace are t ran s l a t e d i nt o fl at pl an e s u rfac es

.
,

the atmos p heri c el emen t i n s p ac e has b ee n ab so rb e d into th e c o l o r s u rfac e Th e pi c tu re .

p res e nts a s eri e s o f l arg e cal m s up erimp o sed pl an es whi ch pul s ate und er the eff ec t s
, ,

o f c o l o r W e al s o n o t e that l i ght h as l os t i ts ch arac ter o f d irec t i o n al i llu min at i o n it has

.
,

b ec o me an ind ep e nd en t f o rc e eman ati ng f ro m the co l o r areas Co l o r as an exp ress iv e .

v ehi c l e qu i t e ap art f ro m i ts rep resentati o n al fu n c ti o n i s the d o mi n ant f ac to r in thi s

, ,

p i c to rial sche me E v ery pl as tic e l eme nt l i n e fo rm co l o r l ight s p ac e has b een mad e

.
, , , ,

l arge ly self s u ff i c i ent p i c to ri ally c reating and c o mp o sing the i nd ep en d ent fi e ld o f the
-
,

p ainti ng the evo cativ e s u rf ac e In thi s au to n o mo u s p i c to ri al f i eld i n thi s auto n o mo u s

,
"
.
,

pi c to ri al s p ac e i n thi s auto n o mo u s p i c to ri al l igh t in thi s auto n o mo u s d i al e c ti c al

, ,

arrang e me nt o f the f o rmal e l e me nt s th ere ari ses th e esp ac e sp i ri tu e l

”
as M at i sse c all s
, ,

it the s p i ri tu al s p ac e i n w hi ch b eau ty d i sc o v ered i n vi s i bl e n atu re i s el ev at ed ab ov e th e

,

n atu ral p hen o men o n an d app e ars as a harmo ny Thi s i s the p ic to ri al s tru c tu re o f a n ew .

kind o f p ai nti n g whi ch d o es no t rep ro d u c e anythi ng ac tu ally seen but ev o k es a n ew

, ,

harmo ny p ara ll e l to n a tu re as i ts res p o n s iv e c o u nte rp art the ev o c ati ve p i c tu re In

“ “ “ “
, , .

i t n a tu re c an b e co nv e rt e d int o an ind ep e nd e nt p i c t o ri al arrang eme nt i h i t th e c reativ e ,

min d c an p u rs u e the f an c i es that refl ec t i ts atti tud e to lif e S e n si b i l i ty i s o rd ered with .

a fi n e c l ear c o o l regu l ari ty an d i t i s arti c ulat e d s y s temati c ally w i t hi n the to n al s tru c

, , ,

tu re o f the p ic t o rial mean s An exp res si o n inti me co mes to the f o re as c o nt ent

”
. .

N o w l et u s c o mp are th i s w i t h a German p ai n t i n g E L K irchn er s N ud ew ith H at (o p

'

, . .
,

p o s i te) al so d o n e i n the y ear 1 907 W e rec o gn i z e th e s ame s tru c tu ral c o mp o si ti o n w itho ut

, .

b ei n g abl e to as su me any d i rec t i nflu en ce Agai n w e see th e ev oc ativ e s u rfac e to whi ch .

,

arab es qu e f o rm co l o r l i gh t an d s p ace are link e d But the empl o y me nt o f thes e age nts
, , , , .

i s qu ite d i f f eren t ach i ev i ng a c o mmun i cat i o n that can no l o nger b e t erme d exp ressi o n
"
,

intime The l i n es are s trange ly hard an gul ar l i k e tho s e o f a w o o d c ut and the in c i s e d

.
, , ,

l i n es o f a gem c utter T he shap es are aggressive ly res tl ess and c l early l in k e d to the
.

p ri meval b arb ari c f o rms o f p ri mi tiv e rac es Co l o r i s sharp T he l igh t in the p i c tu re i s

-
. .

res tl es s an d b o un ci ng T he s u rf ace i s f ragm ent e d an d n erv o u s ly su bdivid e d T hu s al l

. .
M at i s se : L e L uxe II
, . 1 9 07 . C asei n ,

the p ic t o ri al ag e nts hav e b e e n handl e d i n s u ch a w ay as to rai se the p ainti ng ab o v e the

82 x S tat ens M u s eu m f o r K u ns t ,

J R u mp C o ll ec t io n C o p e n hage n
tranqu i lly harmo ni o u s and the e u ry thmi cally d ec o rativ e i nto the sp here o f al mo s t vi o l e nt
.
, ,

D en mark
exp re ss i o n In f ac t the mo o d o f t hi s p ai nti n g i ts c o mmuni c at e d co nt e n t w hi ch i s i nco r o
.
, , p
rate d into the f o rmal s t ru c tu re ex hi b i t s a p s y chi c res tl ess n ess c o n t ras ting s trang e ly
, n o t i n th e exh i bi ti o n

16
with the A rcad i an c alm o f M ati sse s p ainti n g Whereas the F re n ch p i c tu re i s charac t eriz ed
'
.

b y the lf-su f f i c i en cy o f i ts harm o n i o u s archi te c tu re th e res o n an t d ec o r the German

se , ,

p ai nti ng exhi b i ts the f o rc i ng o f the p i c t o ri al mean s to ward e n han c e d exp re ss i o n mo re ,

p ro f o und co nt e nt p sy chi c i llu strati o n

, .

B o th 1 907 p aintings d en o te a d e fi nit e s tag e i n the d ev el o p ment o f m o d ern art, whi ch

is ca ll ed F auv i sm in F ran ce and e ar ly E xp ressi o ni sm i n G ermany . Th e s itu ati o n g reatly
cha nged h o w ev er o nly a f ew y ears l ater when C ubi sm t oo k o v er L et u s c o n s i d er the .

w o nd erf u l p i c t u re Vi o lin an d P i t ch er p ai nt e d b y G eo rg es B raqu e in 1 9 1 0 (p ag e

, , At
fi rs t gl an ce the d es ign o f the p ainti ng s ee m s to b e qu i te d i ff erent f ro m t hat by M ati s se ,

ev e n in i ts styl i s ti c o ri gin s M at i ss e i s in th e l i n e o f G augu i n an d S e u rat w hi l e B raqu e

.
,

d eriv es f ro m C éz ann e But when w e an aly z e th e f o rmal co mp o siti o n o f th i s p ai n ti ng i n

.

d etai l w e fi nd as t o n i s hi ng an al o gi es W e s e e the s ame rearrang em ent o f the mean s an d

, .

thei r lib erati o n f ro m the re p resen t ati o n al fun c ti o n A f o rmal s tru c tu re rhythmi c ally
.

ex t e nd i n g o v er th e s u rf ac e b reak s and c ru sh es the c o nt i nuu m o f n atu ral s p ac e Th e .

p o s itiv e s ha es o f o
p bj ec ts and the n eg ativ e shap es o f s u rro und i n g sp ac e p ro du ce a
sh i fting s p at i al mo v ement w hi ch fu s es w i t h and ag i t at es th e p i c tu re s u rf ac e S p ac e it se l f .

t ak es o n shap e It l o s es i ts n atu ral i s ti c fu n c ti o n as atmo sp heri c en v e l op e and ach i ev es

.

p i c t o ri al i nd ep e nd en c e i n i ts d ramati c mo v eme nt o f the s u rf ace it b eco mes an exp res

,

s iv e me d i um o f co mmun i c a ti o n A c e nt ral p o i n t o f ref e ren c e f o r p ers p ec tiv e n o l o ng er

.

exi s t s n o r i s th e re a fix e d s o u rc e o f illu min at i o n L i gh t i t s e lf i s rel ease d f ro m i ts n atu

, .

fu n c ti o n and i s ind ep end en tly empl o ye d acco rding to the ac c e nt s re qu i red b y

ral i sti c

the arch i t ec tu re o f th e p ainting T hi s i nd ep end e nt p i c t o ri al fi eld i n exp re ss iv e mo ti o n

.
, ,

again p o s sesses the ch arac te r o f an ev o c ativ e s u rf ac e In f ac t all the d e pth s ugg es ti n g .

-

e l eme nt s in th e p i c t u re t e nd to b e n d b ack i nt o th e s u rf ac e (n o t e th e p i t ch er) O bj e c t s .

are an aly z e d p re s e nt e d p ri s mati c ally an d emerg e as the buildi n g bl o ck s o f the co mp o

, ,

s i ti o n s T hey are tran s l at e d int o g eo m etri cal s tru c t u res (c f the v i o l i n) and an alyz e d
. .
,

f ro m v ari o u s p o ints o f vi ew s i mu ltan eo u s ly T he o b s erver c an c o mpl et ely rec o n s tru c t

.

th e o bj ec t in hi s i mag i n ati o n o u t o f these ev o c ativ e sy mb o l s o n the s u rf ac e The shap es .

i nt o whi ch the o bj e c ts are d i ssec t e d int erp e n e trate an d re l at e t hems e lv es to each o ther ,

t ran s f o rming the res ulting s p ati al d iv i s i o n s i nt o rigi d p att ern s An int ell ec tu al rath er .

than an o pt i c al p ercepti o n o f p he n o me n a b ec o m es th e vi s ibl e co ntent o f the pi c tu re .

T hro ugh p ersi s t ent t ran sfo rmati o n the f amili ar app earan ce o f the rep res ent ati o n al p i c
,

tu re i s c o mpl et ely change d the new pi ctu re i s b o rn th e ev o cativ e p i c tu re A s i n M ati ss e !

, ,
.

And as w i th M ati ss e i t achi ev es an archi t ec tu ral harmo ny a s elf -co nt ai n e d f o rmal o rd er

, , ,
.

N o w l et u s l o o k at an o th er G erman p ai nti ng ; F ranz M arc s An i mal D e s ti n i es d o n e

’

, ,

i n 1 9 1 3 (p ag e It i s unn ecess ary to dw ell up o n th e s i mi l arity o f th e d es ign to i ts

F re n ch c o unterp art It i s q u i te app arent : w e re co gn i z e at a gl an c e the s am e e l ements
. ,

ag ain rearrang e d to ach i ev e t h ei r pi c t o ri al ind ep end e n c e an d the s t ru c tu re o f what w e ,

17
'
h av e ll d the ev o c ativ e p i c tu re But s o me thing has b een add e d and s o methi ng has
ca e .
,

b ee n t ak en aw ay Th e p i c tu re i s rem ark ably res tl ess and dyn ami c p regn ant w i th
.
,

meaning W e s ee an exp ress i v e s p ac e mag i cally illu min at e d with c o l o r an d l ight in

.
,

w hi ch all p o eti c t ran s f o rmati o n s s ee m p o s s i bl e In th i s th ere are i mb e dd e d c o n c re te .

symb o l s symb o l s o f an i mal s Th es e s ymb o l s are n o t acc i d en t al th e y are int e gral 1 m ag es

, .
,

tak e n f ro m n atu re wh i ch as se mbl e int o a typ i c a l sh ap e th e app earan c e an d ess en ce

,

o f th e ani mal T h ey h av e a p arti c ul ar j o b to d o i n th e re al m o f th i s p i c tu re Th ey l i nk th e

. .

ab s t rac t o rgan i s m o f th e p i c t u re to p o et i c exp e ri e n ce that h ad i ts o rigin in n atu re and ,

i nd i c at e th e d i s t an ce t hat th e c re at iv e s en si b i l i ty of the p ai n t er has trav e l e d f ro m i ts

s t art i ng p o i nt Th i s s u rf ac i ng at an o th er pl ace as F ranz M arc o n c e d e fin e d th e n at u re

''
.
,

o f h i s arti s ti c ac t i v i ty remo v es th e acc id ent al an d p art i c ul ar exp eri en c e to a d i s t ant

,

p o eti c sp here w h ere the g en eral me an i ngf u l and sp i ri tu al qu al i ti e s w i th i n i t are real

, , ,

i z ed A symb o l emerg es f ro m a f o rtu i t o u s imp u l s e T hu s thi s p i c tu re i s no t a h armo n i o u s

. .

s e lf s u ff i c i ent c o mp o s it i o n i t reco rd s th e l eg e n d o f th e d eath an d sac ri fi c e o f al l creatu re s

-
,

i n n atu re s h o u rs o f d es ti ny w h e n th e t ree s d i spl ay th e i r ri ng s an d ani mal s th ei r

’

as M arc w ro t e o n th e b ack o f thi s p ai n ting T he ref o re it al so p o s sess es th e

"
art e ri es , .

f u n c t i o n o f i ll u s t rati o n Wh en w e co mp are i t wi t h th e F ren ch p i c tu re i t d o es n o t ai m

.
,

at th e s ame c l ear co mp ac tn es s o f co mp o si ti o n an d f o rm i t s e ems to w ant to d esc ri b e

o th e r mo re co mp re h en s iv e f ac ts o f exp eri en ce It i s mo re o f an i llu s t rat i o n i n th e high er
, .
B ra qu e : S t i ll L i f e w i t h Vi o l i n an d P i t ch er
.

1 9 0 9 1 0 O i l o n c an v as
-
x
s e n s e o f th e t erm mo re a p o e t i c met ap ho r o f u niv ersal exp eri en ce t hat i n c lud es th e
.
,

K u n st mu s eu m B as e l o n l o an f ro m
,
, ,

en ti re man .

p ri v at e c o ll ec t i o n Pari s
,

No w for mp aris o n d ati ng f ro m the thi rd d ecad e o f the cen t u ry i n whi ch

l as t
“

a co , ,

th e re b egan a new g eo me tri z ati o n o f p ai nti ng whi ch end eav o red to ach i ev e a mo re
u n i v ersal h armo ny o f meas u re nu mb er an d p ro p o rt i o n L et u s t ak e o n e o f L ég er s
’

, , .

mo n u mental p i c tu res the Three W o men o f 1 9 2 1 (p ag e , wh i ch cel eb rat es i n a c l assi

cal t he me th e exp e ri en ce o f th e mo d ern w o rk ad ay w o rld an d o f tech n o l o g i c al c iv i l i z ati o n .

W e ag ai n reco g n i z e th e f o rmal s tru c tu re o f the ev ocati v e p i c t u re an d marve l at th e

"

s mo o th machi n e l i k e p re c i si o n o f f o rm an d th e s tabili ty o f th e g e o met ri c al arrang eme nt

,
-

o f th e pi c tu re s arch it ec tu re th e c o o l l o g i c a l ex ac titud e o f i ts i ntu i tiv e math emat i c s

'
.
, ,

Whe n w e c o mp are w ith th i s p i c tu re S chl emmer s Gro up o f F o u rt ee n (p age w e f ind

’

a t o t ally d i f f e re n t mo o d an a l mo s t mys ti c al b e l i e f in th e p i c t o ri al s ign i fi can ce o f th e

,

hu man fig u re It i s a t ru e i mag e o f i d e as ! S ch l emme r att empt s by mean s o f a c o mmo n

.
,

s p i ri t u al d e n o mi n at o r to h armo n i z e the s ev e re id eality o f g eo me t ry w i t h th e f o rms o f

,

l i v in g o rgan i c matt er H e co n s i d ers man as th e f o cal p o i n t o f all mat eri al and spi ritu al
.
,

rat i o n al a n d my s t i cal re l at i o n s h i p H e d ev e l o p s a s up ra-i n d i vi du al g en e ri c s y mb o l an

, .
,

i c o n i c s ign f o r the h u man image as the pl as t i c exp ress i o n o f t hi s b el i e f Thi s i s th e .

ful cru m the s t art i n g p o int an d c ent er o f the c o mp o s i ti o n O pp o sed to i t th ere i s the
, , .

dyn ami c el eme nt sp ace It i s th e med i u m o f i n tern al mo ti o n In t hi s s p ac e th e fi gu res

.
"
.
"

18
'
as a s e l f c o n t ai n e d en t ity exi s t ing o nly as an o bj ec t w ith its aut o n o mo u s archi t ec t u re
-
, ,

h armo n y o rd er an d f o rm; t h ey al so s ee it a s a met ap h o r o f mo re c o mp reh en s iv e

, ,

s p i ri tu al exp eri en c es as an i llu s t rati o n o f man s re l at i o n to th e u n i v e rs e

’
.
,

Ill u strat i o n ? Th at seems to b e a d ero g at o ry w o rd B u t h ere I agre e w i t h th e p ai nt ers

.

t hems elv es In the su mmer o f 1 9 1 4 F ran z M arc w ro t e to Augu s t M ack e exp res s ly
.
,

re f e rri ng to a s i mu l ar Op i n i o n stat e d b y P au l Kl ee : I am a G erman and c an o nly pl o w

“

my o w n fi e ld ; w hat d o I c are ab o u t the p ei n t u re o f t he F rench ? W e G erman s are and

’ ’

remai n b o rn i ll u st rat o rs ev en as p ai n t ers In f ac t w e mi gh t re du c e th e d i ff ere n ce o f

.
,

f o rmal exp res s i o n b e tw een th e F ren ch an d G erman s to th i s s impl e p ai r o f co n cept s :

”
d eco r v ersu s i llu s trat i o n p ro v i d e d t hat we are p rep are d to res t o re to th es e tw o
,

s i mpl e an d t h ere f o re mi s u s e d w o rd s d e c o rat i v e an d i l l u strativ e thei r en t ire s p i ri tu al

” “
, ,

d ign i ty an d s ign i fi can ce .

G en eral C o n d iti o n s

T hes e sp ec i fi c c harac t eri s ti c s al s o b ear the s t amp o f c o u rs e o f th e c o n d i ti o n s o u t o f

, ,

w hi c h mo d ern German p ai ntin garo s e They are q u i t e d if f eren t mu ch mo re c o mpl i c at e d

.
,

an d mo re co n trad i c t o ry t han th o s e o f F ren c h p ai n t i n g F re n c h p ai n ti ng d ev e l o p e d w i th

.

an as t o n i s h i n g c o n s i s t e n c y Th e ro ad f ro m D e l ac ro i x an d C o u rb e t t hro ugh M an e t to
.

the Imp ress i o n i s t s ; th e s u b s e q u en t c ro s s i n g s o f I mp ress i o n i s t b o u nd ary l i n es o f p u re

o pti c al s ee i ng by C ez ann e G au g u i n van G o gh an d S e u rat ; th e d ev e l o p me n t o f a n ew

, , ,

c o n cept o f p ai nt i ng b ase d u p o n i nn er vi s i o n b y th e N ab i s T o ul o u s e L aut rec an d the ,

-
,

N eo I mp res s i o n i s ts an d fi n ally th e reso lu te c o n c lu s i o n s reach e d b y the F auv es an d

-
, , ,

L eg er : T h ree W o me n (L e gran d déj eu n e r) 1 9 2 1 . .

O i l o n c anv as x ,The M u s eu m o f M o d e rn A rt ,

N ew Y o rk M rs S i mo n G u g gen h ei m F u n d
, .

20
S chl e mmer : Gro u p o f Fo u rt ee n i n I mag i n ary Arch i t e c t ure
1 9 3 0 O i l and t e mp e ra o n c an v as
.
, x

W al l raf -R i ch artz M u seu m C o l o g ne

,

the C ubi st s al l o f thi s d i s pl ay s a remark abl e f aultl es s l o gi c O n e d ev el o p e d o u t o f

—
, .

th e o t h er an d c all e d f o rth th e t hi rd i n s m all c o h erent s t ep s N o n e o f t hi s i s to b e f o un d

, .

i n Germany ; here the si tu at i o n i s s trang ely blu rre d and d i s j o i nt ed at the b eginn i ng o f
the c e ntu ry W e n ee d no t thi nk o f th e p ai nters wh o s t oo d in the f o re f ro n t o f fashi o n abl e
.

t as t e du ring the K ai ser Wi l he l m b o o m y ears and mas k e d the t ru e arti st i c d ev el o pm en ts

th e military h i s t o ri c al an d p o rt rai t p aint ers o f the era s u ch as Ant o n vo n W ern er
, , , ,

P i l o ty D ef regger and L eu b ach f o r F ran c e al s o had i ts s h are o f s u ch traditi o n ali s ts

, ,
—

in i ts M ei s s o n i ers and B o ugu ereau s T hi s p i c t u re i s v ery co ntradi c t o ry ev en in the

.

hig h er rank s o f art O n th e one hand w e hav e th e ari st o c rati c id eali sm o f H an s vo n

.
,

M aré e s who s tems f ro m the g reat d raf ts m e n o f th e Itali an R en ai s s an c e and f o rmul at es

,

hi s d o c t rin e o f th e inw ard co n cept o f i mag es t ak en f ro m vi s i bl e n atu re but d ev e l o p e d

f ro m pure p erc ep ti o n whi ch i s so s trangely p arall el to the thinking o f C éz ann e Ju s t
, .

b e f o re the tu rn o f the c entu ry M aré es w as ac co rd ed the reco gniti o n t hat was d en i ed

hi m du ring hi s lif eti me ( h e di e d in R o me in mainly as the res ult o f the c l ear
interp retati o n o f hi s pl as ti c tho ught by K o n rad F i e dl er and th e t heo re ti c al w o rk o f the
,

sc ulpt o r Ad o lf v o n H ild e b rand W hat c o ntinu e d to liv e in hi s id e as w as thi s ext en s i o n

.

an d c l arifi c ati o n o f p u re p ercepti o n by th e inn er i magin ati o n and th e e mp h asi s up o n

,

d es ign and fo rm T he Pro bl e m o f F o rm was the titl e o f the we ll kn o wn b o o k by Ad o lf

" "
-
.

vo n H i l d eb ran d w hi ch w as b as ed up o n th e id eas o f M aré es O n th e o th e r hand th ere

, _
.
,

w as B ock l i n s w o rld o f hi gh ly ro m anti c i mag es T hi s n o t o nly c o nt ain ed a n ew myth o l o gy

’
.
of the ro m ant i c German f eel i ng f o r n atu re and t ran s f o rme d a n ew spi ritu ality o f n at u re
,

i n t o figu rativ e all eg o ri es but al s o ch arge d c o mp o siti o n and f o rm with n ew co nte nt The
, .

a rchitec tu re o f the p i c tu re was put to th e s ervi ce o f n atu re p o e try and co l o r w as i m te n ,

s i fie d to a ri ch n es s o f exp res s i o n u n c o mmo n in the p as t Kl i n g er and F ranz v o n S tu ck .

a d o pt e d t hi s mann er o f p ainti ng Von S tu ck co mbin e d it w i t h th e co n c ept o f th e Jug e nd

.

s t i l p ro v i d e d a f o ru m f o r it in the M u n i ch S ec e ss i o n f o und e d i n 1 893 and t ran s mi tt e d

, ,

i t to the y o ung er g en erati o n in hi s w o rk as a t each er i n th e Mun i ch A cad emy aft er 1 895 .

S u ch i mp o rtant figu res as Kl ee and K an d i n s ky w ere pup i l s o f S tu ck .

O pp ose d to thi s hi gh s trung ro manti c i d eali sm was a q u i et s i mpl e m o d e o f n atu re

-
,

p ai nting who s e mas ter w as Wi l helm L ei b l And thi s n atu ral i s ti c t e nd en cy s i mi l arly s pli t
.

into two di s tin c t mo v ements whi ch were al s o geo grap hi c ally s ep arated O ne had as its .

ch ampi o n M ax L i e b ermann wit h i ts cen t er o f ac ti o n the B e rl i n S e c e ssi o n f o u nd e d in

,

1 892 an d as i ts b ackg ro und the new me t ro p o l i tan so c i ety o f B erl i n whose esth eti c v i e w s
,

w ere sharply Opp o s e d to the i mp eri al c o u rt and i ts rep res en t at i o n al arts that ex t o ll e d
th e milit ary an d the empi re The n ew u n ass u ming an d p ers o n al n atu re p ai n ti n g w as
.
, ,
-

the arti s ti c refl ec ti o n o f th e d e moc rati c an d l i b eral i d eas o f the s e c i rc l es and co mp ri s e d ,

G erman Imp ress i o n i s m It en tered i nt o c o ntac t with F ren ch I mp ress i o ni sm at an early

.

d at e to b e su re but i t w as al so b ase d up o n a p ro vin c i al d ev e l o p ment o f i ts o w n i n the

, ,

p ai ntings o f M en z el I ts i mmed i at e s ou rc e w as n o t i n F ran ce but i n the N etherl and s

.
, ,

in D utch pl ein ai r p ai nti ng as d ev el o p e d by J o ngkind (who i n tu rn w as s ti mul at e d by

-
,

th e B arb i z o n s ch o o l) an d by I srae l T h i s rather N o rd i c o ri gin l e ft a v e ry ch arac t eri s t ic

, .

mark up o n German I mp res s i o n i s m i n the remarkabl e p re f ere n c e f o r p oetic fig u re gro u p s

,

an d in a ly ri c al c o n c ept o f n atu re Th e two s tro ng es t p o w e rs co ntributing to B e rl i n I m

.

p ress i o ni s m at th e b eg i nn i ng o f the c e ntu ry S l evo gt an d C o ri nth h ad b egun o rigi n ally

, ,

wi th ro manti c figu re p ainti ng .

T he ro m anti c i s m th at aff ec t ed G erman art f o und el o qu e nt exp re ss i o n in h i gh ly p o eti c

l and s c ap e p ai n ti n g that inten si fi e d a f eel i ng f o r n atu re an d an exalt e d hu man mo o d ,

p ainting that mu s t really b e call e d German n atu re ly ric i s m Cu ri o u s ly c o rresp o nd in g .

to the P o nt Av e n c i rc l e o f p aint ers i n s p i re d by Gauguin and to the B re to n and S c o tt i s h

-
,

l and sc ap e s cho o l s gro up s o f p ai nt ers f o rme d arti s t c o l o n i es i n N o rth and S o uth G ermany
,

an d t ri e d to c aptu re th e sp i ri t o f u n s p ec t ac ul ar n atu re i n th e i r p ainti ng s o f o u t o f th e

— -

w ay un s p o i l e d v i ll ag es heaths an d mars h e s A s f ar b ack as 1 890 a g ro up o f p ai nt ers

, , , .

c ame t o g eth er i n th e s mall v i ll ag e o f W o rp sw e d e i n N o rth G ermany an d s o o n th ere , ,

af te r aro s e th e s ch o o l o f D ach au i n s o u th ern G ermany By 1 895 th e W o rp sw e d e p ai n ters .

had al ready c aptu re d the g o ld med a l s i n th e Muni ch C ry s tal P al ace exhi b i ti o n thu s at ,

t ain i ng o ff ic i al rec o gn i ti o n G erman n atu re lyri c i s m was o f co n si d erabl e imp o rtan c e in

.

the ri se o f G erman Exp ressi o n i s m N o ld e R o h lf s an d P aul a M o d erso hn-B eck e r grew

.
, ,

o u t o f it di re c tly A s a matt e r o f f ac t h e re w e find the g erms o f an E xp ressi o n i s t i n ter

.
,
p retati o n of n atu re , an d o f th e thing s an d f o rces withi n it . In th e vi o l et p oo l s of w at er
i n th e marshes in the bl az e o f the ev e n i ng s u n with the l arg e s i mpl e s i lho u ett es o f
, ,

h o u s e s an d t rees ag ai n s t the gl o wing h eav e n s in the s i mpl e g es tu res o f p eo pl e w ho ,

w o rk e d the s o i l t here l ay a great t empt ati o n to exp ress the p ri mitiv e es s en ce o f thi s
,

n atu re an d qu ality o f myt h by height e ning and si mpl i fying f o rms an d c o l o rs O nly
i ts .

th e s h ad o w s o f th e o l d ro m ant i c t rad i ti o n s ti ll o b s c u re d th e ex p re ssi v e p o ss ib i l i t i es 1a

t ent i n the p i c t o ri al mean s themse lv es in lin e f o rm and co l o r , , , .

B u t no w an a tti tud e p e n etrat ed into thi s co mpl ex mi l i eu fro m the un exp ec t ed di rc o

t i o n o f the appl i ed art s meeti n g these l atent p o s s ibiliti es o f exp res s i o n mo re than half
,

way T hi s w as the Jug end s ti l It d eri v e d i ts n ame f ro m th e m ag azin e Jug end f o u n d ed

. .
,

in Muni ch i n 1 896 whi ch b ecame th e s p o k esman o f the n ew mo v em ent t o gether wi th

, ,

the sat i ri cal mag azin e S i mp l i z i ssi mu s f o und e d at the same ti me and P an w hi ch M ei er ,

G raefe fi rs t publ i she d in 1 89 5 The mo v eme nt had b ro ad intern ati o n al co nn ec ti o n s It

. .

w as alli e d to th e E ngl i sh art s an d c rafts mo v eme nt i n i ti at e d by M o rri s and R u s k i n wh o se ,

m ag azin e T he S tudi o f o und e d in 1 893 an d w i d ely di s tri but ed in G erman y had b eco me
, ,

the v ehi c l e o f the E ngl i sh id eas But th e J u gen d s ti l w as al so c l o s e ly c o nn e c t e d wi th th e

.

B e lgi an and S co tti sh appl i ed arts mo v ements and with F ren ch A rt N o uv eau H e n c e b e
-
.

f o re F ren ch I mp res s i o ni s m its e lf had re a lly tak e n ro o t i n G erman y the b o ld id eas that ,

s uppl ant e d i t w ere a l read y at w o rk in the G erman mi l i e u T h ey w ere the i d eas o f

.

th e F ren ch N ab i s who se o rgan o f publ i cati o n w as L a R evu e Bl an che f o und e d in 1 89 1

, , .

B o n n ard Vu i ll ard D eni s an d S é ru s i er wi th the i r f l at dé co r and arti fi c i ally s i mpl e

, , , ,

"
gau cheri e w ere i mp o rt ant i n flu en ces In the c ase o f S é ru si er an d M au ri c e D e n i s t hese
,
"
.

i nflu e n ces w ere early asso c i at e d w i t h a ro mant i c re lig i o u s rev iv al wh i ch rapidly c ame .

i nto c o nt ac t wi th a s i mil ar t re nd in G e rman y in the s ch o o l o f m o n as t i c p ai n ti ng o f

Kl o s t er B eu ro n and F ather D esi d eriu s L enz Th en there was To u l o u se-L aut rec ; but ab o v e .

all th ere w as F re n ch N eo I mp ressi o n i s m In th e v e ry l at e w o rk s o f S eu rat s u ch as L e

-
.
,

Chah ut o f 1 890 a n ew o rgan i z ati o n o f the p i c tu re s u rf ace had b e e n d ev e l o p ed An ex

, .

p res s iv e undul ating arab es qu e gathe red the d e fi ning c o nt o u rs o f o bj ect s int o i ts rhyth
,

mi c v er the s u rfac e n s i s ti ng ti ny d o ts p i gm ent p read u ri

'

flo w , an d o , co of of p u re , s a c

ou sly m agi c al rad i an c e o f c o l o r P au l S ign ac had p i ck e d up thes e s uggesti o n s o f S eu rat

. .
,

an d f ro m th em d ev e l o p ed a highly d eco rativ e s tyl e o f p aint i ng whi ch o ft e n reach ed the

p hant as m ago ri cal in l
co o r e xp ress i o n H e b ase d hi s styl e up o n
. a theo ry th at emp ha
z d th e c o n st ru c t iv e and exp ressiv e p o ssi b i l i ti es o f the pu re pi ct o ri al me an s H i s b o o k
si e .

F ro m D el ac ro ix to N e o Imp ress i o n i s m app eared i n G erman tran s l ati o n in 1 899 aft er

“
-
,

G ermany h ad al ready s een exh i b it i o n s o f hi s w o rk Thi s b o o k c o nt ain e d rev o luti o n ary .

t t ment s : A rt as creati o n i s s up eri o r to the c o pyi ng o f n at u re An ent i rely n ew co n

s a e
"
.
"

"
c e pt o f p ai n ti ng w as s et f o rth : F ac ing hi s bl ank canv as th e p ai nt er s h o uld ab o v e all ,

d ec i d e whi ch lin es and s u rf ac e ef f ec t s whi ch co l o rs and t o n es are to co v er i t ,He

C ari c at u re f ro m S i mp l i c iss i mus . 1 89 6

pl ay s with the rang e o f hi s co l o rs S u rrend ering c o mpl et ely to the pl easu re o f co n

t ro ll ing the pl ay and st ruggl e o f the sev en p ri smat i c c o l o rs h e i s l i k e a mu s i c i an who ,

vari es th e sev en n o t es o f th e scal e H e will ad apt lin e ch i aro sc u ro and c o l o r to the

.
, ,

ch arac t er h e w ant s th e p i c t u re to hav e By s ub o rd i n ati ng c o l o r an d l i n e to th e emo ti o n

.

he feel s the p ai nt er b ec o mes a p o et a c reat o r These w ere th e i d eas that h ad so p ro

"
.
, ,

f o und an e ff ec t i n th e G erman mi l i eu .

A sati ri c al d raw i ng (ab o v e) d ating fro m 1 896 p ro v i d es an i n s ight i nto a G erman s tud i o
o f th e ti me b e tt e r th an any w o rd s can d o The figu re o f th e art i s t w hi ch typ i fi es th e
.
,

mo d ern arti s t o f that p eri o d i s sho wn w i th a gay c and o r H e i s th e d andy typ e th e

"
, .
,

p ec uli ar arti s ti c s tyl i z ati o n o f th e E ngli sh g e ntl eman that Wal t er P at er had s k etch ed ,

an d O sc ar W i ld e h ad p e rso n i fi e d f o r th e e nt i re d ec ad e th o u gh s t ran g e ly bl end e d with

,

th e F re n ch d ec ad en t typ i cal o f th e F ren ch S ymb o l i s t mo v e me nt an d all in a cl o ud

"
,

o f G erman p ro f und i ty o f c o u rse W e c an easi ly i mag i n e th e l i t e rary t ext s f ro m wh i ch

”
, .

thi s p ai nter had f o rmul at e d hi s atti tud e to l i f e : d o u btl ess fro m O s c ar W ild e but al so ,

f ro m B aud e l ai re f ro m S tri ndb erg and o f co u rse fro m N i etz sch e (T he v ery fi rs t i ssu e
, , ,
.

o f P an in 1 89 5 b egi n s w i th N i etz s ch e s Z arathu s tra b e f o re th e K i ng

”
The p ainting s
’
.

re p res ente d i n th i s d raw i ng are as co mpl ex as the arti s t hi mse lf In the rep resentati o n .

o f S al o me w i th th e h ead o f J o hn an d i n th e shri e king M e d u s a h ead w e se e th e s tudi

, ,

o u sl y l i t erary d emo n i c q u al i ty o f S tu ck Th e p i c tu re o f the sn ak e d agg er an d l i ly an d

, .
, , ,
th e p o rt rait w o man e l ab o rat ely f ram e d by lin e ar d ec o rati o n and d o ubtl e ss ly c all ed
of a

S p hinx s ho w th e f asc i n ati o n wi t h all eg o ry and the o rn ament al l i n e o f th e Ju gend sti l O n

’

.
,

th e ease l atthe rig ht we find a mo t i f th at i s es p ec i ally t reas u re d b y the sch o o l o f G erman

n atu re lyri ci s m Gi rl Pl aying a Flute in a S p ring L and scap e In the b ackg ro und there
, .

i s a seascap e whi ch b e l o ng s to th e s t o ck o f m o t i f s o f the I mp ress i o n i s t pl ei n ai r g ro up ; -

an d in th e f o reg ro und t h e re i s a p i c tu re wh o s e P o intill i s t m an n e r co n fi rms f o r u s th e

infl uen c e o f N eo -Imp ress i o n i sm Thu s we see h o w man y div ers e t end e n ci es o f a hu man
.
,

l i t erary and fo rm al n atu re mad e thei r way into a G erman p ai nt er s s tud i o o f the t ime !
'

But there i s s o methi ng t hey al l had i n c o mm o n : the eff o rt to el evate p ai nti ng to a p o et i c

l ev el whe re th e s ign i fi c an c e o f pu re c o l o r and o f exp ressiv e arab e s qu e are fully real i z e d .

In f ac t the Jugend s ti l al ready c arri ed wi thi n i t an aw aren es s o f th e exp res siv e p os

,

s ib i l i ti es o f pi c t o ri al mean s thems elv es and that aw aren ess ev ent u ally an d l o gi cally
th e ,

"
l ed to ab s trac t p aint i n g The v e ry co n cept o f ab s trac t styl e aro se sh o rtly b e f o re 1 900
.
,

as a t erm to d es ign at e an o rn ament al mann er d ev el o p e d f ro m n o n o bj ec t iv e arab es qu es -

,

" "
an d it i s o pp o s e d to th e fl o ral s tyl e w hi ch re p res ent e d fl o w ers t end ri l s an d c reep ers , , .

Th e s p o k es m an f o r th e ab s t rac t styl e w as the B e lg i an H en ri van d e Ve ld e wh o p ro p e , ,

g at ed in G ermany to w ard the end o f the c entu ry the id eas o f Art N o u v eau and o f N e o
I mp ressi o n i sm d ev el o p e d i n P ari s H e in s i s t ed up o n ab st rac t s ty l e b ec au s e it seemed
.

to h im th at th e n atu ral f o rm merely blu rre d the exp res s iv e p o w er o f th e pi c t o ri al m ean s .

A lin e he tau ght i s a f o rc e ; it d eri v es its f o rce f ro m the en ergy o f the man w ho d rew it
" "
, , .

Thi s agreed with the id eas c i rc ulating i n G ermany The ap o stl e o f Ju gend stil H ermann .
,

B ahr p reach ed the mu s i c o f co l o rs and l o o k ed f or a publ i c that n o l o nger d emand s

,
"

any o bj e c t but i s h appy to l i s t en to th e mu s i c o f c o l o rs

, Th e p ai nt er an d architec t E n d el l
.

p o w er o f pu re co l o rs o v er the hu man mind the sc ulpt o r O b ri st t alk ed

“ "
w ro t e of the ,

of th e p sy ch i c p o w e r o f ab s trac t f o rm s ; an d the p sy cho l o gi st Theo d o r L ipp s d el iv ered

”
l e c tu res at the U niv ers ity o f Muni ch o n the p sychi c e ff ec t o f o rganiz e d lin e s l ec tu res ,

whi ch e nj oye d co n s i d erabl e reput e amo ng arti sts All o f thi s p ri o r to and aro und 1 900 !
.

E nd ell d i d a gi ant rel i e f i n f ree ab s t rac t f o rm s o n th e facad e o f the E lv i ra Ph o to S tudi o

in Mu n i ch w hi l e O b ri s t d es i gn ed emb ro i d ery an d call e d o n e o f t hes e l arg ely ab st ract
,

d es ign s Crack o f the Whi p H i s d ec o rativ e d es ign s f o r fo unt ai n s co uld b e reg ard e d no
.
,

d o ubt as early f o rms o f ab s trac t s c u l ptu re It i s f ro m s ugg esti o n s su ch as t hes e t hat

, .

the p ai n ter H olz el w as s ti mul at ed to expl o re the l aw s whi ch g o v ern pu rely pi c t o rial
mean s and to i nv est ig at e th ei r c ap ac ity to exp res s the spi ritu al el ement in art In the .

gu i se o f o rn ament al f o rm s the fi rs t unfalt ering s t ep s w ere t ak en t o w ard the co mpl ete

,

b nd o nm ent o f pi ctu res d eriv ed f ro m the ac tu al p he n o m en a o f n atu re A nu mb er o f

a a .

art i s ts tu rn e d to ab s t ract sy mb o l s w hi ch w e re d rawn f ro m the mo re arbit rary exp res s iv e

t e nd en c i es o f a n atu re lyri c i s m and to the ab strac t c o n s tru c tiv e arrang em e nt o f c o l o rs

-

f o und i n N eo -Imp res s i o n i s m . A d is tant o bj ec tiv e fl as he d int o vi ew : by co ntinu o u s ly

sp i ritu al i z i ng chargi ng and c o nd en si ng the o rn amen t al an d the d eco rat iv e it b ec ame
, , ,

p o s s i bl e to b u i ld a b ri dge f ro m appl i e d art to a n ew f ree d o mai n i n w hi ch art it self b e

came an exp res s iv e mo v eme nt th e rep ro d u c t i o n an d ev o c at i o n o f s p i ri tu al s t i mul i i n
,

an all eg o ry o f f ree c o l o r f o rms Alth o ug h t h es e G e rman exp e ri me n ts d i d n o t p ro du ce

.

a p i c t o ri al g e n i u s w e mu s t no t o v e rl o o k th e ex t rao rd i n ary p ersp e c tiv e th ey set f o rt h

,
.

They l ed st raight f ro m the ab st rac t styl e o f th e J u gend sti l and the argu ments ass o ci at e d
w ith it to the ab st ract p ai nting o f Kan d i n s ky w hi ch w as b o rn d irectly o u t o f th i s c l i mat e
, .

And no w the en c o u ragi ng exampl e o f g reat i nd iv i du al s b egan to t ak e e ff ec t i n thi s

p regn ant mi l i eu F i rs t there w as the N o rw egi an E dv ard M u n ch who had h ad hi s fi rst
.
,

b ig sh o w i n B erl i n as f ar b ack as 1 89 2 an d to wh o m a g ro up o f l eadi n g p o et s an d w ri t ers

,

o n art i n B e rl i n h ad d edi c ate d a b o o k as early as 1 895 A c t u a lly M u n ch w as a p ai n t er .

who w as abl e to t u rn all th e asp i rati o n s o f the d ec ad e i nt o p i c tu res i n w hi ch th e myth

o f th e w o rld o f N o rd i c d es t i ny w as e mb o d i e d i n a c o mpl e t e l y n ew b o ld mann e r o f ,

givi ng exp res s ive v alu e to f o rms and co l o rs Then t here was the S w i ss F erd i n and H o dl er
.
, ,

who s e b ro ad o rn amental app ro ach and emo t i o n ch arg e d rhy thmi c o rgan i z at i o n o f th e
-
,

c anv as by g es tu ral an d f o rmal rep et i t i o n app eal e d s o s t ro n gly to G erman art i st s And .

no w the F re n ch b eg an to b e mo re and mo re influ e nti al : fi rs t th e l at e I mp re ssi o ni s t s ,

an d esp ec i ally M o n et w ho s e s hi mmeri ng c o l o r t hi s G erman mi l i e u c o uld rei nt erp ret

,

in t erms o f the f abul o u s and p han t as mago ri c j u s t as t hey did w i t h the o p en c o l o r

d esign s o f the N eo I mp res s i o ni st s And so o n t here app eared the g reat rev o luti o n ari es
-
.
,

G augu i n and van Go gh ; C ezan ne s ign i fi cantly remai n e d in the b ackgro und ev e n tho ugh
th e B erl i n N at i o n al Gall ery und er H ug o vo n T sch u d i h ad ac qu i re d a p ai nt i n g by h i m
“

as early as 1 899 Thi s e nt i re s t ru c tu re w as su pp o rt e d an d p ro v i d e d w it h sp i ri t u al und er

.
,

p i nn i ng mai n ly b y a sel ec t gro up o f mu s e u m c u rato rs w ri t ers on art c o ll ec to rs and

, , ,

art te ach ers s u ch as H ug o vo n T schu d i C o unt H arry K e s s l er J u l i u s M ei er Grae f e Al f re d

, , ,
-
,

Li chtwarck E rn st O s th au s and H en ri v an d e Veld e And i t i s t hi s g ro up o f s en s iti v e

, , .

sp i ri t s t hat b eg an to t race th e so u rce s o f man s f i rs t an d mo s t p ri mi t i v e exp ress i o n

'
.

H ere then are the o rigi n s o f the p reo c c up ati o n w i th the early f o rms o f art wi th the
, , ,

mo d e o f exp ressi o n o f p ri mi tiv e p eo pl es with f o lk art and th e d raw ing s o f chi ld re n

, , .

H ere agai n w e fi nd a s ign p o st p o i nt i ng to a n ew go al , .

Thi s c u rs o ry su mmary w o uld no t b e c o mp l ete ho w ever i f w e d i d no t at l east c all , ,

att en ti o n to the g e n e ral s p i rit u al b ackg ro und and f ramew o rk o f t h e se d ev e l o p men t s .

F o r th e G erman fi n d e s i ec l e w as i n a s t at e o f p o w erful sp i ri tu al f erme nt at i o n w hi ch

- -

w as und ermi n i ng al l the b arri ers o f t rad iti o n and c o nv e nti o n W agn e r s mythi c sy mb o l
’
.

i sm h ad al ready p ro du ce d e m ex c i t e d resp o n s e N o w the v i s i o n ary i d eas o f th e R o s i

.

c ru c i an s an d th e o b s c u re v e rb al s pl end o r an d s ub tl e sen si b i l ity o f th e F ren ch S ymb o l

i si s f l o o d e d i n f ro m th e W es t And f ro m the N o rt h w ith Ib sen S t ri n db erg an d J aco b s en

.
, , ,

t here c ame a n ew c o mpl i cat e d p sych o l o gi c al v i ew o f man d i s pl ayin g the many f ac et s

, ,
 M o d e rs o h n -B e ck er : S e lf P o rt rai t w i t h C ame ll i a 1 9 0 7
. .

O il on b o ard , 23 x F o lk w an g M u seu m E sse n

,

28
M o d erso hn-B e cker : O l d P eas an t W o man 1 9 0 6 0 7
.
-
. 0 11 on

v
c an as , x Pri vat e c o l l ec t i o n U S A
, . .

P aul a M o d erso hn-B eck er ( 1 87 6 1 9 07) came direc tly f ro m the sch oo l o f G erman n atu re
-

lyri c i sm She had mov e d to W o rp s w ed e in 1 899 had w

. o rk e d with M ack e n se n an d had
, ,

m arri ed the Wo rp sw e d e p ai nt er M o d erso hn i n 1 9 01 H er f ri e nd shi p with R ilk e and Carl

.

H auptmann put thi s hi ghly emo ti o n al y o ung w o man in c o ntac t wi th the spi ri tu al stimuli
that w ere agi tati ng E u ro p e In . 1 9 00 she w as in P ari s an d d i sco v ered f o r hers elf Mill et
an d B ret o n l and scap e p aint ers ; in o ther w o rd s she saw F re n ch p ai nti ng thro ugh
the ,

W orp sw ed e ey es But as early as 1 9 03 s he was b ack in Pari s in o rd er to regard W o rp s

.
“

W e d e th ro ugh a c ri ti c al l en s . The n atu re lyri c i sm o f th e W o rp sw ed e sch o o l had al ready

b ec o me to o g en re l i k e f o r her She so ugh t a g reat s i mpl i c i ty o f f o rm wh i ch s h o uld ai m
”
-
.

at and s trik e to th e s i mpl e co re o f thi n g s an d c o nv ey the g ri pping emo t i o n ignit e d by

“
thi s new reality She the n b egan to s ee the things and p eo pl e aro und her as great i n
.
thei r simpl i c i ty She re d u c ed each o bj ec tiv e f o rm to i ts ess en ti al f o rmal rud i men t s thu s
.
,

o bt ai n i ng an exp ress i v e p i c t o ri al v o c ab u l ary w ith whi ch o bj ec t s an d th e sen s at i o n s they

”
o c c as i o n co u ld b e d es c ri b e d as with ru n i c wri t in g What h app en e d she f e lt w as that
.
"
, ,

i n l o o k i ng at the f rag me nt e d multipl i c i ty o f n atu re o n e s sen si b i l i t i es b ec ame c o nf u s e d

’

, ,

an d s he a s a p ai nt e r had to re f er to the p o e t i c c o unt erp art f o r exp e ri e n c e i n h er i magi

n at i o n : O n e s h o uld n o t t h i n k s o mu ch ab o ut n atu re w he n p ai nt i ng a p i c tu re M ak e th e .

c o l o r s k e t ch app ro x imat e ly as y o u f e lt i t i n n atu re In thi s c o n c entrat e d l ab o r es s en

.
,

ti ally v ery l o n ely a mann er o f h an dl i n g f o rm g rew u p s l o wly w i thi n h er th at e n abl e d

,

h er to u n d ers t and i mme d i ate ly th e Vi si o n o f G augu i n and C éz ann e w he n s he en co u n

tered t hei r w o rk s i n P ari s i n 1 9 05 an d 1 906 D eath p rev e nt e d P au l a M o d ers o hn —B eck er
.

f ro m bu i ld i ng up o n thi s f o rtu n at e en c o u n t er a ri ch b o d y o f w o rk and o ne o f her l as t

wi shes was to b e abl e to travel to P ari s agai n b ecau s e
, fif ty
-
s ix C ez an n e s w ere b ei n g
’

k
R o hlf s : D ar M o u n t ai n s 1 9 1 2 O i l
. . v
o n c an as , x K l ee man n G all eri es N ew
,
Y o rk
R o hl f s : A ma zo n . v
1 9 1 2 O i l o n c an as, 3 1
. x Fo l k wang M u seu m
,
E ss e n
s ho w n Thu s her w o rk remain ed a fragm e nt But i n her p o rtrai ts (p ag e 79) the exp res
. .

s iv e d efin i ti o n o f f o rm w ho se es s enti al c o re al so rev eal e d th e un iv e rs al myt h i c c ent e r

, ,

o f th e h um an b ei ng p o rt ray ed an d the ceremo n i ally rig o ro u s s ty l e o f he r se lf p o rt rai t s

,

w hi ch are inv es te d with the highly em o ti o n al hum an i ty o f thi s yo ung w o man ( S elf P o r
trait with Camell i a p age i nd i cat e the d i s tan ce that al ready sep arat e d her fro m
,

W o rp s wed e n atu re lyri c i sm .

P aul a M o d erso hn-B eck er had c ro ssed the t hresho ld to the art o f exp ress i o n in a c o m
p l etely i nd ep end e nt al mos t co mp u l s i v e ev o l u ti o n And thi s same n ecess i ty i s exhibit e d
-
.
,

in the wo rk o f Chri sti an Ro hlfs ( 1 84 9 R o h lf s was fif ty s ix y ears o l d w he n he fo und -

hi s o wn E xp ressi o n i s t s tyl e H e h ad b egun as a l and sc ap e p ainter in Wei mar and i n

.

c o n s t ant d ev e l o p me nt had t rav e l e d f ro m an i n tim at e n atu ral i s m to a re s erv e d I mp res

s i o ni s m In the c i rc l e o f van d e V e ld e who h ad t ak en o v er th e di rec ti o n o f th e Appli e d

.
,

A rts S ch o o l in Wei mar at the b egi nning o f the centu ry he en co untered the l ate I mp res ,

s i o n i s m o f M o n e t N eo -Imp res s i o n i s m and s ho rtly t he reaft er van G o g h Th e n O s thau s

, , ,
.
,

who w as at the ti me bu i lding up hi s co ll ec ti o n o f th ese F ren ch i nn o v at o rs t o o k hi m al o ng ,

to H ag e n In O st hau s ext remely E u ro p ean e nv i ro n ment th e n early s ixty -y ear o l d Ro hlf s

’
-
.

w e nt thro ugh a s to rmy p eri o d o f gro wth The t remul o u s ligh t i ntensi fied to the p o int o f .

in co rp o real ity rad i ate d by the c o l o r o f th e l ate M o n et the d ramati c p o w er o f co l o r and ,

the f ree handl i ng o f th e p i c t o ri al me an s d i spl ay e d by van G o g h w ere the p ro bl ems to

b e s o lv ed H i s g o al w as a n ew E xp ress i o ni s t ly ri c i s m F ro m t hese p o int s o f d ep artu re

. . ,

Ro hlfs s u cceed ed i n arriv i ng at hi s i niti al so luti o n s in S o es t i n the su mmer mo nths o f

1 9 05 0 6 They are v i ew s o f t hi s me d i ev al t o wn arch i t ec tu ral p ainting s in pu re lu min o u s
-
.
,

c o l o r l i k e the c at he d ral s o f M o n e t but ex ec ut e d in a s p o n t an eo u s sc ript w ho se call i

gra ghy p o i nt s to van G o gh T he s ubj ec t matt er was reso lut e ly fu sed w i th th e pi ctu re
.

s u rf ac e and the c o l o r o rn ament ally arrang ed in s t ro ng pu re t o n e s The pi c tu re ac qui res , .

th e ch arac ter o f a c o l o re d wind o w illumin at e d fro m withi n H av i ng reach e d thi s p o int

, ,
.

R o hlf s in hi s fu rther d ev el o p me nt w as co n c ern e d with mak i ng the indivi d u al e l ements

gro w t o g ether in o rd er to reinf o rc e the sc i ntill ati o n an d the ho v eri ng qu al i ty o f the in co r
,

p o r e a l c o l o r C o l o
. r i s s i mpl i fi e d to re d blu e-y e ll o w a d o min an t fund ame nt a l an d a ri s ing
-
, ,

ac c o mp anyi ng t o n e attun e d to i t The b as i c c o l o rs are mad e to v i b rat e b y c o n s t ant t ran

.

s i ti ons an d c ro s s i ng s T he o s c i ll a t i o n o f th e s u rface d e mat eri a l i z es the mo ti f an d the

.
,

lyri c al and l ege nd ary di sco v ered w i thin i t app ear o n the ev o c ativ e s u rf ac e The pi c tu re .

b eco mes a vi su al p o em .

Fo r thi s p i c to ri al t ran s f o rmati o n alw ay s inv o lv ed a new way o f p erc e iving real ity It .

s o ugh t th e p ro f o und th e p ri mev al th e l eg e nd w o v e n i nt o n atu re It w as t hi s n ew p ercep

, , .

ti o n that l ed Ro hlf s to find in l at e F re n ch I mp res s i o n i s m the n ew mean s re qu i red f o r

th e d es i re d int e n s i fi c at i o n o f th e exp ressiv e c o nt e nt o f p ai n t in g a hi gh ly cre at iv e mi s

und erstanding T hi s s ame key w o rd mi sund ers tand i ng al s o appl i e s (i n the p eri o d
.
, ,
N o l d e : C hri s t A mo n g th e C hi l d ren . 1910 . Oi l v
o n c an as , x The M u seu m of M o d ern A rt gi f t
, of Dr W R Val e nti n er
. . .
1 90 5 -0 6) to th e thi rd o f the N o rth G erman Exp ress i o ni st s Emi l N o ld e when at th e ag e o f , , ,

f o rty he s aw f o r the fi rs t ti me w o rk s b y th e F ren chmen M o n et G auguin and van Go gh

, , , ,

in the c i rc l e o f O s thau s .

E mil N o ld e ( 1 86 7 1 956) had b een exp o sed to D achau n atu re lyri c i s m in 1 898 and
-
,

i n P ari s i n 1 900 to th e p ai nting s o f M an et D au mi er and G o y a S t i mul at e d by th es e i n fl u

, , .

en c e s h e s o u gh t to t ran s l at e int o p i c t o ri al t erms the ch th o ni an myth i c and l eg en d ary

, , ,

f o rces whi ch h e saw all ab o ut hi m i n n atu re When he saw the n ew F ren ch p ai nt i ngs .

he b ro k e o u t o f th e t o n ali ty o f th e M u n i ch s ch oo l an d th e lyri c i s m o f the D achau

gro up into a w o rld o f free lu mi n o u s c o l o r Thu s he sub s titut e d the sen su o u s sym b o li c
, .
,

p o w er o f c o l o r f o r the l i terary an d th e metap ho ri c al H e had s c arcely en co u n t ered late

‘

I mp res si o n i sm wh en he b egan an ec s tat ic reint erp retati o n o f it H e p aint ed l and scap es .

,

p i c tu res o f gard en s and fl o w ers who s e v i o l ent c o l o r and S p o n tan eo u s call igrap hy rai s e d
the mo t i f w h o lly b ey o nd the rep resen t at i o n al earning hi m i n 1 9 0 6 th e i nv i tat i o no f th e
,

B rii ck e p ai nt ers to j o i n t hei r as s o c i ati o n as p ay ment f o r th es e s t o rm s o f co l o r B u t .

N o ld e s ch tho n i an co n cept o f n atu re an d hi s f antasy whi ch s o ught the mythi c al w ere

’

mu ch to o p erso n al to b e abl e to ri p e n i n a co mmun i ty H e had o ther co mp an io n s .

van G o gh M u n ch E n so r H e w as Opp o se d to di sc u ssi o n Opp o s e d to int e ll ec t i n fav o r o f

, , .
, ,

"
th e p u re p ai n terly i n s tin c t f o r w hi ch a vagu e n o t i o n o nly i n gl o w an d c o l o r s uffi c e d as
,

the impul s e f o r a p ai nt i ng In 1 9 09 h e t ri e d to c o m e c l o ser to th e m y thi cal i n rel i g i o u s

.

p aintings : he p ai n ted a P ent ecos t an d the L as t S upp er and l et thi s s eri es c ul min at e i n th e
alt ar lik e i co n o s t as i s o f the 1 9 1 1 c y c l e o f th e lif e o f Chri s t T h e s e are p ai nti ng s o f p o w er
-
.

ful exp res s iv en ess i n w hi ch ty p i fi e d mask s and arch ai c g estu res ev o k e f ac es o f b arb ari c
p o w er and the gl o w o f th e c o l o r shi ft s th e setti ng int o the l egen d ary and the o ther w o rldly
,
-
.

Thi s b ro ught hi m c l o se to the el emen t al p o w ers o f the art o f p ri mi tiv e p eo pl e In 1 9 1 3 1 4 .

-

N o ld e w en t to N ew Guin ea What he d es c rib e d in hi s d iary there as charac t eri s ti c o f

.

p rimitiv e art al s o d efin es the co re o f hi s o wn art: the ab s o lut e o rigin ali ty the i n t en siv e“
, ,

o ft en g ro t es qu e exp ressi o n o f f o rc e an d l i f e i n th e s i mpl es t f o rm H ere we see N o ld e s

" ’
.

rec u rri ng fund ame nt al exp eri e n c e exp eri e n ci ng n atu re as a my thi c al en c o unt er It i s
, .

thi s exp res siv e f eel i ng f o r n atu re tha t mak e s hi m d o b attl e wi th L i eb ermann s I mp res ’

s i oni s m an d th e B erl i n S eces s i o n an d mak es hi s g en erati o n regard hi m as th e champ i o n

,

Of a n ew German art H i s f antasy i s alw ays l o c ate d in tho s e h u man z o n es where the
.

my th ari s es o u t o f an c i e nt m emo ri es The c l o s e u p v i ew o f thi ng s the si mpl e arch ai c

.
-
, ,

p o w er o f the c o mp o s i t i on the bl az i ng all eg o ri cal v alu e o f c o l o r are the mean s empl o y e d

,

to p resent thi s myt hi cal i s m on th e c anv as In th e tw enti es th e l and sc ap e b eco m es mo re

’
.

p ro mi n ent The d ram ati c i s t ran s f o rme d i n t o the epi c N atu re b eco mes a lu min o u s l ege nd
. . . .

T he exp eri e n c i n g o f reali ty w hi ch had app eare d und er th e as p ec t o f an inti mat e exp res
,

s iv e re l at i o n s h i p b etw een th e w o rld and man at th e b egi nn i n g o f th e centu ry had n o w ,

f o und a mo d e o f exp res si o n .

N o l d e : Fl o w ers . 0 . 1 9 1 5 ? Oi l o n b url ap , x T h e M u s eu m of M o d e rn A rt N ew
, Yo rk , gi f t of Mr
. an d M rs . We rn er E Jo s t en
.
 b v e N o l d e : S t o rmy L an d s c ap e c 1 9 2 0 ? O i l
a o ,
. . v
o n c an as ,

29 x S t aat l i ch e K u n s t hall e K arl sru h e

,

Nol de : A maryll i s an d . t erc o l o r

A n e mo ne W a , x Th e

M u seu m o f M o d ern A rt N ew , Yo rk gi f t o f P hil ip L Go o d w i n

,
.

37
T h e B rii cke C o mmu ni ty of Art i s ts

Whi l e thi s new sp i ri t o p erat e d w i thi n the i nd iv i du al i n N o rth G ermany i n C en t ral ,

G ermany it b ro u ght t o gether i n a co mmu n ity a gro u p o f v ery y o u n g arti s ts f o r who m

thi s v ery co mmu n ity an d c amarad eri e p ro vi d e d a f resh sp iri t o f aggress i v en es s I n 1 904 .

f o u r y o u ng s tud e nt p ain t ers o f the D res d en In s t i tut e o f T ech n o l o gy came to kn o w each

o th er : Ki rch n e r H eck e l S chmi dt R o ttl u ff and Bl ey el and i n 1 90 5 t hey f o und e d an art is t s
’
-
, , , ,

as s o c i at i o n w hi ch th ey c all e d D i e B rii ck e (Th e B ri dg e) Th e i r co ll ec ti v e s t u d i o w as an .

emp ty s ho emak e r s s t o re H ere a j o i n t s ty l e w as ev o lv e d o u t o f a f ee l i n g o f s p i ritu al

’
.

so l i d ari ty an d t hey l i v e d th e d ream o f co mmun i o n w h i ch van G o gh and G au gu i n had

,

d reame d b ef o re them .

T h e B rii cke h ad n o p ro g ram In 1 906 K i rch n er d i d a s mall man i f es t o i n th e f o rm o f

'

a w o o d c u t w hi ch t o g e th e r w i t h a g e n e ral app e al to y o u th c o nt ai n e d n o t hi n g bu t th e
, ,

as s ert i o n that ev e ry o n e wh o p o rt ray s d i rec tly w i th o u t qu ali fi c ati o n the c reativ e

, , ,

i mpul s e b el o n g s to th e B rii cke In a l e tt er o f 1 9 0 6 i n w h i ch S ch mi dt Ro ttl u f f as k e d

"
-
.
,

N o ld e to j o i n th em h e al s o s tat e d as the o bj ec tiv e o f the Brii ck e merely th e att rac t i o n o f

,

y o u ng and f ermen t ing el emen t s .

'

L igh t i s s he d u p o n the i n n er st at e o f t h ese y o u n g p ain t ers b y a rep o rt mad e b y

K i rch n er o n H eckel s fi rs t vi si t to him th e l att er c l imb ing the stud i o s tai rcas e w ith a s hi rt
'

o p en at th e c o ll ar w i th p ro v o c at o ry p o et i c fl o u ri s h an d d ec l ai mi ng Z arath u s t ra al o ud
” "
.
, ,

Thi s f ev eri s h c o n s c i o u s n ess o f b eing o f an e lit e ch arac t eri z es the B rii cke co mmu n i ty ,

whi ch h ad ch o sen as its mo tt o H o rac e s Od i p ro f an u m vulgu s It n o u ri shed i t se l f o n

’ “
.
"

th e re ad i ng o f V e rl ai n e Ri mb au d D A nnu nz i o J ac o b s en W alt Whi tman D o s t o y ev s ky

’

, , , , , ,

St ri n db erg W e d e k i n d H Old erl i n and o v er and o v er agai n N i etz s ch e

, , , , , .

Th e Brii cke h eld i ts fi rs t exh i b it i o n i n 1 906 i n th e sh o w ro o m Of a D res d e n l amp

f ac t o ry ; thi s w as f o ll o w e d i n 1 9 0 7 by a s ec o n d s h o w in Ri cht er s art g all ery i n wh i ch
’

P ech st ei n and N o ld e wh o had b ee n rec ru i t e d i n 1 906 al s o p arti c ip at e d The two s ho w s

, , .

ach i ev e d n o th i ng but a s u cc es d e s c an d al e whi ch ac c o mp an i e d th e B rii ck e art i s t s f o r

”

a l o n g t ime .

What w as sh o w n i n these exhi b i ti o ns was p ai nti ng o f great sp o nt an eity mo ti f s t ak e n ,

d i rec tly f ro m n atu re l an d s cap es n u d es but p resen t e d i n a s u mmary has ty sy mb o l i c

, , , ,

s c ri pt an d i n s ho u t i n g l u mi n o u s c o l o r wh i ch t en d e d to acc u mu l at e i n l arg e c o l o r areas

,

d esp i t e the rap i d i ty o f th e b ru s h w o rk Sp o n t an eo u s and p ers o n al as thi s early B rii cke

.

i d i o m may h av e app eared and d o ubtl ess w as th e s o u rc es that came t o g eth er th ere ,

re l e as i n g a styl e o f g reat h o mo g e n ei ty w e re v e ry d i v e rs e T o b e s u re th e bu rn i n g s p i ri t
, .

o f van G o gh w as a l read y at w o rk ; th e y o u n g p ai n t e rs w ere al s o aw are o f th e I mp res

s i o ni st mean s an d th e N eo I mp res s i o n i s t th eo ry o f th e d iv i s i o n o f c o l o r i nt o its pu re

-

v alu es w hi ch Ki rch n er had b ee n abl e to s tu dy i n an exhi b iti o n o rgan i z e d by Kand i n s ky

,
K i rch ne r : Do do an d t
H er B ro h e r 1 9 0 5 -0 6
. .

O il o n c an v as ,
x S mi t h C o l l ege
M u s eu m of A rt , N o rt h amp t o n , M ass achu s e tt s
K i rch n er : T h e S t ree t . 1 913 . Oil v
o n c an as , 47 x "
3 5 7/s Th e M u se u m of M o d ern A rt N ew
, Yo rk
 k et Pl ac e w i t h R e d T ow er
K i rch ne r : M ar . 1 91 5 . Oi l o n c an v as , Fo l k w ang M us eu m E ss en
,
i n M u n i ch in 1 90 4 The n th ere w ere the exp ress iv e arab es qu e and the d ec o rat iv e fl atn es s
.

o f th e Jug end s t i l an d th e i mp ress i v e art o f E dv ard Mun ch wh i ch exp ress e d i t s e lf wi th ,

simi l ar mean s But t h ere w as so met hi n g e l se as w e ll i mp e tu o u s o rig i n al b arb ari c

.
, , , ,

whi ch g av e thi s p ai nt i ng an u n p rece d e nt e d aggres siv e b o ld n ess In 1 90 4 K i rch n er had .

en co unt e re d th e art o f th e S o uth S eas in th e ethn o grap hi c mu s e u m ; thi s p ro v i d e d th e

c o nfi rmat i o n an d th e mo t iv at i o n n ec ess ary to ext rac t th e ult i mat e p o w e r o f exp ress i o n

f ro m all th es e sugges t i o n s al ready p res ent i n c o nt emp o rary p ai n t in g Th u s there arose .

p ai nt in g o f an as t o ni shi ng al mo s t p o s t er—l i k e app eal wi th i nt e n s e co l o rs wi th s t ri ki ng

, , ,

symb o l s i n th e pl ace o f o bj e c ts w i th a f ev eri sh hi gh ly d ramat i c s ubj ec t matt e r b u t whi ch

, , ,

l
a rea dy c l early p resaged th e fl at s t ru c tu re o f th e new evo c at iv e p i c t u re .

E mpl o y ing a s ec u re ly es t abl i sh e d p attern o f co n stru cti o n and a f o rmally en ri che d

an d t en s i o n ch arg e d p i c tu re s u rf ac e th e B rii ck e p aint e rs fu rth er d ev el o p e d th e i r s tyl e
-
, .

But s i n ce thei r Obj ec tiv es ran p arall el to tho s e o f th e F ren ch F au v es i t was o nly n atu ral ,

that the B rii ck e s o o n ent ered i n t o c o n t ac t w i th F auvi sm at the l at es t b y th e end o f 1 90 7 , ,

w h en P echs t ei n retu rn e d f ro m P ari s The i nd ivi d u al el eme nt s c o mp ri si ng th eir p ainting

.
,

d efin e d o n ly ro ughly u p to that t ime co al es c e d int o a ri cher pi c t o ri al exp ressi o n du ri n g

,

th e w o n d erf ul s u mmers th ey sp ent at th e M o ri tzbu rg l ak es an d o n th e s h o res o f the

N o rth S ea alw ay s in di rec t c o ntac t wi th n atu re Thei r s u rf ac es are b ro k e n u p i nto many

, .

s mall p art s ; the ro u gh Obj ec t sy mb o l s are s u bd i vi d e d w i th g reat er multip l i c i ty i nt o

-

b i ti ng f an l i k e o utli n es and ass u me the ch arac t er o f a n erv o u s s c ript The c o l o r b e

,
-
.

c o mes l e ss b ri ll i ant an d i s arran g e d i n ri ch b ro k e n rhyt hms Th i s seco n d B rii ck e sty l e

, .
,

whi ch evo lv ed i n ti ny s t ep s l as te d unt i l app roxi mat ely 1 9 1 1

, .

In 1 91 1 Ki rchn er H eck el , S chmidt R o ttluff t ran s f erre d th ei r ac t ivi t i es to B erl i n

, and -
,

wh ere P echst ei n had al ready mo v ed i n 1 908 and wh ere O tt o Mu e ll er had j o i n e d the ,

ass o c i at i o n in 1 9 1 0 A n ew an d fin al Brii cke s tyl e n o w d ev e l o p e d i n th e c i rc l e s o f th e

.

N ew S ec es si o n whi ch h ad b ee n reb e ll i o u s ly c arv e d o u t o f L i eb ermann s B erl i n S e

’

c ess i o n b y N o ld e and P ech s t ei n i n 1 9 1 0 It i s b as e d e nt ire ly u p o n t h ei r e arl i er assu mp

.

t i o n s But i f f o r ex ampl e w e ex ami n e H eck el s Cry st al D ay (p age 4 8) o r Ki rchn er s T h e

.
, ,
’ ’

S t reet (p age 4 0) w e d i sc o v er a co mp let e ly new o rg an iz at i o n o f sp ace T h e su rf ac e i s .

b ro k e n i nt o ech el o n e d l ay ers o f fl at rel i ef whi ch are p ec ul i arly meshe d i nt o o n e

,

an o ther and y i e ld a cry s t all i n e s hi ftin g sp ace o f hi gh d ramat i c t e n s i o n E mb e dd e d i n

, .

thi s l iv e ly pl an ar sp ace are the o bj e c t symb o l s wh o s e b rittl e sp i ky c all igrap hy ac cen

—
, ,

tu ates th e d ramat i c sp at i al t en s i o n an d co l o rs are re du c e d to eart h t o n al i t i es f ro m wh i ch

, ,

a re s tl es s gre en o r p i n k stand s o u t sharply h ere and there It i s no w C ub i s m that i n .

fl u ences th e B rii ck e but wi th wh at d i ff eren t o bj e ctiv es ! Th e n ew d ramat i cally wi e ld e d

, ,

mean s s erv e to p u sh the t en si o n o f the p i c tu res to the f u rthes t ext reme Thi s i s
'

c l early s h o wn in H eck el s p ai nt i ng T w o M en at a T abl e o f 1 9 1 2 (p ag e i n whi ch the

'

, ,

w o rld o f f ractu re d f o rms s u gges t s th e mo o d o f D o st o y evs ky s The B ro th ers K aramaz o v ’ “

.
 K i rch n er : Z u ri ch . 1 9 2 6 O i l o n c an
.
v as , 53 x C o ll e c t i o n Mr . an d M rs B ru c e B D ay t o n M i nn eap o l i s
. .
,

t
op p os i e, K i rch n er : The P ai n t ers of th e B rii ck e . 1 92 5 .

O il v
o n c an as , x 49 5
/
s
"
W all ra f R i ch artz M u seu m
-
‘

, C o l o gn e

45
It i s sh o wn to o i n K i rchn er s s t ree t s c e n e b y the hect i c figu rativ e symb o l s th e res tl ess
’

,.

i n t erl ac i ng o f th e sp ace an d th e d esp erat e t e n s i o n o f co l o r all Of whi ch s u p erl ativ ely

, ,

re fl e c t th e s p i ri tu al an d hi s t o ri c al s i tu at i o n B erl i n s Ku rf ii rs tend amm i n 1 9 1 3 !

’

It w as o nly n atu ral that the v ari e d ind ivi d u al i ti es i nv o lv e d in t hi s n ew highly exp res ,

s i v e s ty l e a s ty l e wh i ch e n c o u rag ed s e lf rev e l at i o n s h o u ld gro w ap art Th i s b ro u gh t th e

,
-
, .

co mmu n i ty to an e nd Th e B rii ck e co ll ap s e d i n 1 9 1 3
. .

Th e i nt imat e c o mmu n ity o f th e B rii ck e arti s ts i n whi ch fund ame ntal f o rmal t ech n i cal , ,

o r p i c t o ri al d i s co v e ri es w e re i mme d i at e ly sei z e d up o n b y the en t i re g ro up e n abl e u s

to tr a c e th e d ev e l o p ment o f B rii ck e E xp res s i o n i s m as a c o ll ec tiv e mo v eme nt If w e w ere .

to ch arac t eri z e th e d i f feren t p ers o n al i t i es mo re p rec i s e ly w e mi gh t s ay t hat K irchn er ,

w as th e ri ch es t i n i d eas th e mo st sen s i t iv e and the mo s t gi ft e d al w ay s i n s i st in g o n

, , ,

i mp o s i ng h i s o wn i nt e n s i fi e d f ev eri sh mo o d up o n th e p i c t u re ; th at H e cke l was th e

,

l y ri c i s t wh o so u ght to rep o rt hi s p o eti c exp eri e n ces ; and that S chmi dt Ro ttluff w as -

c l o s es t to th e e art h full o f p o w er and mo s t i n n ee d o f putt i ng h i s exp eri e n c e o f n at u re

, ,

i n mo nu me nt al f o rm O tt o M u e ll er mo re at th e p eri p h ery o f the Brii cke was the g e ntl e

.
, ,

p o et who thro u gho u t hi s l if e d reame d a s i mpl e A rc ad i an d ream But all t h es e p ers o n .

al iti es fitt e d s mo o th ly i nt o a c o mmo n sty l e o f exp res s i o n .

At the b reak u p o f the c o mmun i ty the v ari o u s memb ers p art e d c o mp an y and w en t
-

th e i r o w n w a y s E ri ch H eck e l (b o rn 1 883 ) t u rn e d l wly to a mo re ly ri c al c o n cept o f

.

n at u re th o ught h e d i d n o t b reak en t i re ly w i th th e sty l i s t i c p ro g ram o f th e Brii cke Th e

, .

s ame i s t ru e o f K arl S ch mi dt R o ttlu ff (b o rn an d o f O tt o M u ell er ( 1 87 4 1 93 0) w ho

- -

arri v e d at a s impl e mo nu me nt al an d b ri ll i an tly co l o re d vi s i o n o f n atu re N o t e esp e

, , .

c i all y M u ell e r s l and s cap es hi s figu res on th e sh o res o f l ak es hi s nud e s h arp b reas t e d
’
-
, , ,

gyp s i es th eir hut s si lho u ett ed agai n st the d ark gl o ry o f co l o re d pl an es a s u n fl o w er

, ,

l o o ki n g l i k e a me l an ch o ly s tan the vi s i o n grad u ally reachi ng a mythi c al rad i an ce .

E rn s t L udw ig K i rch n er ( 1 880—1 9 3 8) who b ecame a p at i e nt i n D av o s Swi tz erl an d in ,

1 9 1 7 exp e ri en ce d th e b ro ad es t d ev e l o p men t Thi s man o f th e b i g c ity co mes f ace to .

f ace i n S wi tz erl an d w i t h th e au s t ere mo unt ai n sc en ery an d seek s an d find s a l arg e

s cal e ru n i c s c ript o f ep i c ch aracter H e n o w rec o rd s hi s n ew experi en ce o f real i ty i n

, .

th es e hi ero glyp hs that d e n o t e o bj ect s H i s mo unt ai n l and s cap es and s i mp l e mo n u men tal
.

p i c tu res are t ak en f ro m th e l if e o f the p easants Thei r s t ru c t u re i s very s ev ere emp ha .

,

s iz i n g a f ramew o rk o f v erti cal s an d h o ri z o nt al s Th e p i c t u res n o w ass u me th e mo n u .

men tal ch arac t er o f t ap est ri es (p ag e S o o n aft er 1 9 2 8 Ki rch n er s s tyl e chang es agai n ’

P i c ass o b egi n s to aff ec t it H i s c u rsiv e wri t ings no w reach i nt o mo re ab s trac t regi o n s

. .

Si mu ltan eity o f f ro nt and s i d e vi ew s the tyi ng o f s ep arat e Obj ec t iv e f o rms i n t o a si ngl e

,

arab e s qu e rhyt hmi c mi rro ri ng s th e s ep arat i o n o f u n i fi e d c o mpl ex f o rms b y co l o r; b y

, ,

all th es e d ev i c es th e p i c tu re i s t ran s f o rme d i n t o an ab s trac t rhythmi c —o rn amen t al ,

s t ru c tu re S ho rtly b ef o re hi s d eath K i rch n er s e eme d ab o u t to e n ter a n ew c reativ e

.
H e ckel : T w o M en at a T ab l e . 1912 . Oil v
o n c an as , x t
K u n s hall e , H amb u rg
H eck e l : A C ry s tal D ay 1 9 1 3
. . Oi l o n c an v as , C o l l ec t i o n M ax K ru ss B erl i n
,
S ch mi dt - tt
R o l u ff : Ri si ng M oo n 1 9 1 2 O i l
. . v
o n c an as , C o ll ec t i o n Mr
. an d M rs M o rt o n D M ay
. .
, S t Louis
.
, M i ss o uri
S ch mi dt Ro
-
ttl u ff : Ph ari sees . 1 912 . Oil o n c an v as , 2 9 7 /8 x T h e M u s eu m of M o d ern A rt N ew
, Yo rk , M rs . Gertru d A . M e ll o n Fu n d

t S chmi dt R o tt l u ff :
op p os i e, -
W as h erw o men b y th e S ea 1 9 2 1 O i l o n c an v as
. . ,

x C o ll ec t i o n M r
. an d M rs R i ch ard K W e i l S t L o u i s M i s s o u ri
. .
, .
,

50
M u ell er : A P ai r o f L o v ers . c . 1 9 2 8 Oil o n
. b o ard , x .
d S p re ngel H an o v er
Dr Be rn har ,
it was fi n ally the s l o w e l ab o rat i o n o f the vi su al fi e ld u p o n whi ch the n ew co ntac t with
.

real i ty co uld b e d ep o s it e d as a p i c tu re th e ev o cat iv e s u rf ace O n l y up o n s u ch a su r

, .

f ace w hi ch he ld n o thing vi s ibl e in the sen s e o f an i mit ativ e re al i s m but merely ev o k ed

,

a re l ati o n sh ip to re ality co uld the ac tu al exp eri e n ce o f real i ty b e reco rd e d in runi c

,

w ri ti ng o r in hi ero glyp hs It i s t hi s achi ev em ent in the p i c t o ri al that gives the Brii ck e

.

i ts sp i ri tu al i mp o rt an c e an d at th e sam e ti me re l at es it mo re c l o s e ly to th e p h al anx o f
, ,

F ren chmen l e d b y th e g en i u s o f M ati s se and the F au v es

,
.

TheBl aue R ei t er

Wh i l e th e B rii cke w ere tiv e in N o rth and Cent ral G erman y a s mall c i rc l e o f p aint ers
ac ,

h ad g at h ere d i n Muni ch aro und the R u ss i an W ass i ly Kand i n s ky K and i n s ky had ent ere d .

the Jug e nd s t i l mi l i e u o f Mun i ch i n 1 89 6 ; he had s tud i e d wi th S tu ck and had l earn e d

h o w to exp res s hi s R u s s i an f ant asy o f f ai ry t al e and l eg en d i n th e l angu age o f th e Mun i ch

J u gen d st i l A f t er 1 903 o ther t rav el s t o o k hi m to It aly T u n i s i a an d o ft en to F ran ce
.
, , ,

ac qu ai n t i n g him w i t h the n ew co l o r o f the N eo I mp res s i o n i s t s an d th e F auv e s B u t all -

.

thi s w as l i nk e d u p f o r him w ith o l d reco ll e cti o n s o f vivi d R u ss i an f o lkl o re whi ch he

“

n o w e n co u n t ere d ag ain i n th e p easant art o f U pp er B av ari a f o rc i ng h i m to seek the ,

p o s si b i l it i es o f sp o nt an eo u s n aiv e sp i ritu al exp ress i o n b ehi n d the d eco rativ e and

, ,

co n s t ru c t iv e th e art i sti c v alu es o f co l o r At an early d at e he w as j o i n e d by an o ther

-
.

R u s si an Al ex ei v o n J awl en sky wh o h ad en co unt ere d th e p ai n t i n g o f Cezanne van G o gh

, , , ,

an d M at i s s e i n P ari s and no w t ri e d to int en s i fy th e n ew s k i llfully man ag e d c o l o r o f

, ,

the F ren ch i nto the t ran scend ent al i n hi s o w n R u s si an mann e r T hei r tw o f ri end s
, .
,

G ab ri e ll e M ii nter and M ariann e vo n W e ref kin an d a f ew o ther p ai nters enl arg ed the ,

l o o s e ass o c i ati o n and o u t o f it there arose i n 1 9 09 the N ew A rti st s A ss oc i ati o n o f Muni ch

, .

In add i ti o n to tho s e menti o n ed ab o v e its m emb ers i n c lu d e d E rbl h Kano ld t and Kub i n
.
, , , .

In 1 9 1 0 B echtej eff Karl H o f er M o i s sey K o gan an d P i erre Gi ri eu d w ere add ed An

, , , , .

i n i t i al exh i b i ti o n w as h e ld i n th e wi nt er o f 1 9 09 an o th er i n th e au t u mn o f 1 9 1 0 in whi ch ,

th e y o ung p ai n t ers o f the F ren ch av ant g ard e w ere al so rep res en t e d : Pi c ass o B raqu e , ,

D erai n van D o ngen R o u ault and Vl ami n ck What w as s ho w n w as the F auvi s m o f

, , , .

K an d in s ky an d J awl ens ky rai s ed to the l eve l o f sp o n t an eo u s an d n aiv e exp ressi o n and

, ,

th e w o rk o f E rb l h and K an o l d t,in sp i re d by th e Jugen d s ti l T h e p i c t o ri al c re d o o f th e .

gro up o f p ai nt ers can b e p erf ectly s u mmari z e d in th e w o rd s o f O tt o Fi s ch er in hi s b oo k

D as N e u e B i ld o f 1 9 12 d edi cat ed to the N ew A rti s t s A ss o ci ati o n : C o l o r i s a mean s o f
"
,

exp res s i o n that sp eak s d i rec tly to the s o ul It i s n o t c o rre c t d raw i n g that p o rtray s the
.

n at u re o f thi ng s but rat h er the spi rit e d and exp res s iv e c o nt o u r T hi ng s are no t t hing s
, .

al o n e i f t h ey are th e exp ressi o n o f the so ul .

But K and in s ky was inv o lv ed in s t o rmy i nt e ll ec tu al d ev e l o p me nt s du ring 1 9 1 0 and

M arc : F i g h t i ng C o w s . 1 91 1 . Oi l v
o n can as , x Pri vat e c o l l ec ti o n , Ne w Y o rk

1 91 1 whi ch xte nd e d f ar b ey o nd
e the b o und ari es of th e N ew A rti st s A sso c i ati o n and

tt t d n ew unu s u ally t al ent ed p ai nt ers F ranz M arc Augu st M ack e and s o o n P aul
a rac e , .
, ,

Kl ee j o i n e d hi m i n 1 9 1 1 In 1 9 10 Kandin s ky had s u mmari z e d hi s id e as i n a m an u sc ript

.

o f a b oo k The S pi ri tu al i n A rt (p ubl i shed in

,
"
Thi s i s a p o l emi c again st m at eri ali s m
"

an d ca ll s f or a n ew sp i ritu aliz at i o n of l i f e Ju s t as sc i en ce had di sso lv e d s ub st an ce and

.

matt er j u s t as M ati sse and Pi cas s o had p rep are d a n ew sp i ri tu al vi e w o f the o bj ec tiv e
,

w orld al l p aint i ng mu s t no w b e l i b erat ed fro m its fu n c ti o n o f rep ro du c i ng the w o rld o f

,

mat eri al o bj ec ts and b eco m e a sp iri tu al ev o c ati o n and ac tiv ity The c ul mi n ating id ea o f .

th e b o o k i s th e s t at eme nt : The h arm o ny o f co l o r an d f o rm mu s t b e b as e d so l e ly up o n

the
"
p ri n c ip l e o f th e p ro p er co nt ac t with the hum an so ul The mu si c o f ab strac t co l o r .

areas s h o uld b e s uffi c i e nt to c arry the inn er mu s i c o f thi ng s to w h i ch man s s o ul

’

re sp o nd s T h ink i ng al o ng th ese li n es K and i n s ky in 1 9 1 0 had al ready p ai nt e d in b o ld

.
, ,
M arc : B l ue H o rs e s . 191 1 . Oil v
o n c an as , 41 x W al k er A rt C e n t er M i nn e ap o l i s M i nnes o t a
, ,

a nti c ip ati o n hi s fi rs t ab s trac t p i c tu re These were the i d eas th at s o greatly ex c i t ed hi s

, .

f ri end s and wh i ch they ass o c i ate d wi th the i r o wn ro man tic re l ig i o u s c o nv ic ti o n o f a

, ,

great exi stential b o n d l in k in g man and the un iv erse f o r whi ch the p ai nt er u si ng n ew , ,

t oo l s co uld erec t p i c t o ri al all ego ri es symb o l s th at b el o n g o n th e alt ars o f the co m i ng

,
”
,

s pi ritu al rel ig i o n as F ran z M arc put i t

, .

But thes e i d eas w ere f ar b ey o nd the c o mp rehen si o n o f many o f the o ther art i st s i n
the N ew A rt i s t s A ss o c i at i o n A s a res ult th e assoc i at i o n b ro k e u p i n D e c emb er 1 9 1 1
. .

O n D ec emb er 1 8 1 9 1 1 the c i rc l e aro und K andin s ky an d M arc op en ed an exhib i t i o n o f

,

its o wn u n d er th e t i tl e D er Bl au e R ei t er in w hi ch K and i n s ky M arc M ack e Camp en d o nk , , , ,

the Bu rl iu k b ro th ers th e mu s i c i an A rn o ld S ch onb erg an d th e F re n chman D el aun ay

’

, ,

(as an ex ampl e o f th e great ab s t rac t t e nd en cy) and H e n ri R o u ss eau (as an ex ampl e

" ”
,

"
o f th e g reat real t en d e n c y) t o o k p art A g rap hi c s h o w w as h e ld i n th e G o ltz art g all e ry
"
.
in M arch 1 9 1 2 ; i t i n c lud ed i n additi o n to the Bl au e R ei t er gro up Kubin and Kl ee the
, , ,

F ren chme n B raqu e D erain d e l a F res n ay e Pi c asso and Vl amin ck the p aint ers o f the
, , , , ,

Brii cke H an s A rp an d the R u ss i an s L ario no ff Go ntch aro va an d M al evi ch

, , , , .

E xhi b i t i o n s w ere held i n C o l o gn e B erl i n H agen and F rankfu rt In 1 9 1 3 the Bl au e

, , , .

R eiter again exhib i te d as a g ro up in H erwarth Wald en s B erlin A u tu mn S al o n T he n '

.

th e war t o re the gro up ap art .

Th e so lid c o re o f the Bl au e R eit er co n s i s te d o f K andin s ky M arc M ack e J awl e n sky , , , ,

an d Kl e e The n ame was t ak en f ro m a b o o k th atK and i n s ky and M arc e dit e d i n 1 9 1 1

.

an d publi sh e d i n 1 9 1 2 Th i s d ealt w i th the w o rk s o f th e n aiv e arti s t : p eas an t gl ass

.

p ai nting o l d G erman w o o d c ut s and child ren s d raw i ng s It d escri b e d the new anti
, ,
’
.

n atu rali s t mo v eme nts in Germany R u s s i a and F ran ce S ch onb erg wro t e o n the co rre
’

, , .

sp o nd i ng d ev e l o pm ent s in mu s i c K andin s ky d ev e l o p e d h i s id eas an d co nt ri but e d a

.

An inten s e f rame o f mind p rev ai l s thro ugh

”
pl ay D er g elb e Kl ang ( The Y ell o w " "

o u t thi s b eautiful v o lum e a spi rit c l o s e to th o se great s p i ritu al o bj ec ti v e s t h at F ranz

,

M arc had d efin e d i n a ro manti c p arad o xi cal b u t unu s u ally s ignifi cant f o rmul ati o n as
, , ,

s en s i ng the und erlying my s t i cal d es ign o f the v i s ib l e w o rld

”
.

What F ranz M arc ( 1 880 1 9 1 6) m eant by that can b e see n in hi s p i c tu res Thei r great
-
.

theme i s anim al s f o r in M arc s vi si o n the enti re life and b eing o f anim al s seem e d
'

, , ,

to b e p art o f anexi s ting n atu ral o rd erIf o n e co uld p en e t rat e the anim al s p i ri t an d
.
,

en ri ch o n es v i s u al im agin ati o n w i th i mag es s t emming f ro m the d eep er kn o wl e dg e of

'

the n atu re o f an i mal s it w o u

"
ld b e p o s s ibl e to retu rn to th i s o rd er the F ran c i sc an o rd o
, ,

and to t ak e f ro m i t mo re u ni fi e d i mag es Fo r vi s i bl e n atu re i s o nly o n e p o i nt

'

“ '

cari tati s , .

o f d ep artu re An d t hu s in th e R ed H o rses o r i n the f amo u s T o w er o f Blu e H o rs es

.

(p age 5 8) we see the symb o l o f the an i m al app ear in rad i ant red o r blu e b ec au s e the ,

exp ress i o n d emand s s u ch s pi ritu al res p l e nd e n ce In the T o w er o f Blu e H o rses a m o t i f .

,

that M arc s aw i n the p astu res o f L engg ri es h e erects a tran sp are nt archi t e c tu re o f ,

ani mal b o di es The i r refulg ent blu es b eco me a spi ritu al l i nk to the s ign o f h eav e n a
. ,

c ath e d ral o f c reat u re f o rms in th e gre at sw eep o f the w o rld Ani mal D e s tini es (p ag e 1 9 ) .

t ell s u s o f the d eath and sac rif ice o f ani mal s ; thei r pl ac e and p arti c i p ati o n i n the g reat
cho ru s o f b e ing i s th e th eme o f the p ai nting D eer in th e F o res t , .

These are sp i ri tu al pi c tu res ! They set the gen eral and the m y thi cal f ree f ro m the
p art i c ul ar p en etrating reality itself and co mmuni cating thro ugh s u i t abl e mean s an
, ,

exp e ri e n ce that c o uld no t b e rep ro du c e d but o nly b e ev o k e d If w e c o n s id er th e m ean s .

,

w e find a p ai nti ng fi eld wh i ch i s mo v ed by pl as ti c f o rces and i n w hi ch atmo s p here ,

has b ee n tran sf o rmed int o c ry stall i ne l ight c o l or arab es qu e ; s ig n and symb o l are
/
, ,

co o rd i n at ed with s u re exp ress iv e mean s E v ery f o rm al e l e ment fun c t i o n s d e s c ri ptiv e ly

.

an d al so s upp o rt s th e o rd er o f exp ressi o n O u t o f th e indi s so lubl e un i o n o f these e l ement s

.

i s b o rn a magi c face of c o l o r and ligh t th at i s a v eh i c l e f o r all the p o e ti c t ran s f o rmati o n s .

It h as e mb e dd e d it the sign s o f ref ere n ce that l ead b ack to the o rigin al exp eri en ce
in

i n n at u re Wh at i s ev o k e d fin ally i s the cert ai n s e n s e o f th e i mman e nt unity o f th e

.

un iv ers e I n M arc s ey es bu rs ti ng the b o und s o f the v i s ibl e d i d n o t d o i n ju ry to c reati o n ;

.
’

i t was j u s t at thi s p o i nt that th ere arose th e h o p e o f exp eri en ci n g th e u nd erlyi ng my s t i c

d esign b eh i n d n atu ral app earan ces M arc exp ress es th i s tho u ghf v ery c l early in a
"
.

s t at e me nt o f 1 9 1 3 : L o ngi ng f o r i nd ivi s ibl e B eing l i b erati o n f ro m the erro rs o f sen se i n

“
,

o u r ep h eme ral l i f e i s th e b asi c m o o d o f al l art I ts g reat g o a l i s to d i ss o lv e the e nti re

.

s ys tem o f o u r p arti al sen satio n to s ho w an earth ly B e ing th at dw e ll s b ehi nd everythi ng

,
.

M arc s app ro ach i s v ery c l ear; he b egin s by cho o s i ng s impl e an d typ i cal fo rms t ak en
'

f ro m th e b ewi ld eri ng multipli c ity o f n atu re ; b y mean s o f these typ i c al f o rm s giv e n ,

emp h asi s b y rep eti ti o n h e see k s to s et up a c l ass i c rhy th m whi ch w i ll co rres p o nd to

,

the p u l sat i ng rhyth mi c qu ali ty o f a l i v i ng n atu re In 1 9 1 0 u n d er th e i nfl u en ce o f M ack e

.
, ,

Kan d i n s ky an d Jawl en s ky he b ec ame aw are o f the exp ress iv e p o ss ib ili ti es o f co l o r

, , .

And i n 1 9 1 1 w i th th e p ainting Red H o rs es he t o o k hi s d eci s iv e s te p s freeing co l o r ,

f ro m n atu re and b y the act o f co ntempl ati o n rai s ing it to the hi gher l ev e l o f a symb o l But
, , .

thi s n ew i nd ep end ent l i f e o f co l o r al so re qui re d a n ew f o rmal o rg an i z at i o n C ub i s m .

,

an d i n p art i c u l ar D el au nay s high-co l o re d O rp hi sm w e re o f ass i s t an c e i n thi s t as k

’

, ,

M arc : T o w er o f B l u e H ors es 1 9 1 3 . .

O i l o n c a n v as x,

F o rmerly i n c o ll e c t i o n o f N at i o n al Gall ery ,

B erl i n p rese n t w he reab o u t s u n k n o w n

,
M arc : Tyro l v B ay eri s ch e S taatsge mal d e s amml u ng en M u ni ch
’

Oi l
'

. 1913 14
- . o n c an as , x ,
 nd 1 9 1 2 M arc s great pl as ti c i mag es the n p re sse d t o w ard a uni ty w i th hi s p anthei s ti c
'
aro u .

’
re l igi o u s f eeli n g But o n ce t ak e n thi s d i rec ti o n whi ch w as rei nf o rced b y K andin s ky s
.
, ,

ex ampl e l e d M arc to a b and o n o bj ec t i v e p i c t u res e nti re ly Th e l as t s t ep t o w ard ab s trac t

, .

p ai nting was mad e i n 1 9 1 4 ; the n th e exp eri e n c e o f n atu re and the w o rld e nt ere d into an
ev e n b ro ad er s p h ere o f f ee l i ng M arc at thi s ti me w ro t e in hi s d i ary : What h ad p revi o u s ly
"
.

b ee n t ak en as p i c t o ri al mat eri al by o u r p as s i o n no w i s re du c ed to s imp l e nu meri cal

' ’

re a l ti o n ship s an d vi b rati o n s . But war b ro k e o u t, and M arc f e ll at V erdun in M arch 1 9 1 6 .

Augu s t M ack e (1 887-1 9 1 4) simi l arly f o und hi s p ers o n al s tyl e du ring the se years and
w as s ti mul at e d by th e s ame s o u rces H e w as f ar mo re u n i n hi bit ed th an M arc ; all hi s
.

se n ses w ere d i rec t ed t o w ard n atu re F o r him to p aint w as to go thro ugh

th e b eauty of .
”

N atu re rej o i c in g A s early as 1 907 h e c ame u p o n M ati s s e s lyri cal co l o r i n P ari s and
“
.
’
,

aft er 1 9 1 0 in c o nt ac t w i t h h i s f ri e nd s i n th e Bl au e R e it er h e ach i ev e d a S pi ri tu al m ast ery

, ,

o f c o l o r t hat e n abl e d hi m to t ran s f o rm th e v i s ibl e w o rld i nt o p oet ry In 1 9 1 2 h e met .

D el aun ay and D el au nay s O rp hi s m t aught hi m to arti c ul at e hi s emo ti o n t hro ugh a

,
’

p i c t o ri al o rd er b as ed o n s ubtl e co l o r rel at i o n s hip s M ack e alw ay s had so methi ng b right . ,

c l e ar an d c ry s t allin e b ef o re h i s ey es and h i s ac tu al p i ct u re o f th e w o rld w as ly ri cally

, ,

t ran s f o rme d o n c anv as by t hat i n s ti n c tiv e v i s i o n F ro m th e indi cati o n s s u pp li e d by .

D e l aun ay and f ro m hi s own angl e o f vi s i o n M ack e in a marve l o u s p o et i c p e n etrati o n o f , , ,

vi si bl e n atu re d ev e l o p e d the b ri ll i ant s eri es o f pi c tu res o i 1 9 1 3 s ubj ec t s fro m the Thu ner
, ,

S ee w o m en l o o king o u t th e wi nd o w p e d es tri an s chi ld re n i n th e p ark (p ag es 62

, , ,

H ere hi s f ee l i ng s o f int en se j o yo u s n ess reach ed a h ighly p erso n al exp re ss i o n In the .

s p ring o f 1 9 1 4 h e t rav e l e d w i t h P aul Kl ee an d L o u i s M o ll i et to T uni s In the p rec i o u s .

s eri es o f w at e rco l o rs w hi ch f o ll o w e d M ack e s u ccee d e d i n making e ach pi c tu re a pl as t i c

,

met ap h o r o f the pu re o rd ere d b eauty o f the w o rld and hi s s ubj ec t s ac qu i red p o et i c

, ,

an d l eg end ary qu aliti es But h ere to o d eat h i nt errupt e d a d ev el o pm ent th at was o nly
.

i n its b eginn i n g s ; M ack e d i e d i n Champ agn e i n S ept emb er 1 9 1 4 but many o f h i s th o ught s

m
,

liv e d o n in P au l Kl ee and w ere atu re d by hi m .

The t rip to T uni s with M ack e w as v ery i mp o rtant f o r P aul Kl ee (1 879 1 9 4 0) it rel eas e d -

i n hi m hi s g i ft f o r co l o r Kl ee s ro l e in th e Bl au e R eit er i s a v e ry s p ec i al o ne In 1 9 1 4
’
. .

h e had n o real o e uv re to h i s c re d i t and y et hi s g eniu s w as al re ady o p erating as th e ,

mo ral c o u rt o f j u dgment amo ng these Bl au e R eit er p aint ers who w ere s o d e d i cat e d to
h i gh i d eal s H e p ati e ntly awai te d the s t e ady g ro wth f o r whi ch he see m e d d es tin e d an d
.
,

s et d o wn the s t ag es O f thi s s l o w ev o lut i o n i n s m all d rawi n g s in p ai nti ng s o n gl ass an d , ,

l i ttl e w at erc o l o rs Wh en in th e autu mn o f 1 9 1 1 he j o i n e d the Bl au e R eit er gro up h e

.
,

h ad j u s t d raw n illu st rati o n s f o r V o lt ai re s C and i d e T h ese t remul o u s fig u res re l e as e d

'
.
,

by th e fu rth er d eve l o p ment o f Kl ee s lin e aro se di rec tly o u t o f a w ell sp ri ng o f p sy chi c "
’
- -
,

i mp ro vi sat i o n The lin es f ee li ng thei r w ay li ke t ent ac le s o v er the lu mi n o u s s u rface

.
,

o f the p ap er mat eri aliz e d i nt o l eap ing w i sp y s cen es L i n e as an in st ru me nt o f p sy ch i c

, , .
M ack e : Th e D ress S ho p . 1913 . Oil v
o n c an as , x C o ll ec t i o n M rs . Gi se l a M ack e , Bonn
M ack e : Gi rl s u n d er Trees , 1 914 . Oi l v
o n c an as , x t
K u ns hau s ,
Z u ri ch , on l o an f ro m p ri v at e c o ll ec t ion

63
J awl e n s k y : S t i ll L i f e wi t h L amp . . db o ard
1 9 0 6 - 07 O i l o n c ar , 21 x 18 M rs . H ann a B e kk er v o m R at h F ran k f urt
-
,
J aw l en s ky : E gyp t i an Gi rl . 1 91 3 . Oil o n b o ard , 21 x C o ll ec t i o n Mr . an d M rs M o rt o n D M ay
. .
, S t L ou is
.

65
i mp ro v i s ati o n w as fully mas t ered The ass o c i ati o n wi th Kand i nsky and M arc and his
.
'

c o nt ac t i n 1 9 1 2 w i th D el au nay s p e intu re pu re d i re c t e d hi m t o w ard c o l or and the

” ’ "
,

Futu ri s ts b ro ught b ack int o c l earer co n sc i o u s n ess id eas al ready p res ent i n himregard i ng
the vi su al t ran s l ati o n o f mo t i o n Wh at Kl ee aim e d at w as the c l eares t exp o s it i o n o f hi s
.

"
p o eti c feel i ng as p ro vo k e d by an o bj ec tive exp eri en ce ; he c alle d thi s pu shing i n to th e
B ey o nd But at th e sam e tim e he d i s co v ere d in n atu re s f o rmativ e p ro ces ses i n the
'
.
,

gro wt h o f p l ant s in th e s tru c tu re o f o rgan is ms a fine p l as ti c regul ari ty a ri ch vari ety

, , ,

o f b as i c p att ern s a nd an o rd ering rhyth m And th e n Kl ee s et o u t to c reat e f o r h i ms elf a

, .

set o f rul e s go v e rn i ng p ainti ng m et ho d s w hi ch might p ermit him to m ak e Vi si bl e b o th

,

h i s s ubj e c tiv e s p i ri tu al resp o n ses an d hi s o bj ect iv e i n s ight int o the pl as ti c p ro du c ti o n s

o f n atu re In thi s w ay he c o uld f as hi o n a seco nd and mo re co mpl et e real ity S u ch s ubtl e
. .

exp eri e n c es and th o ught s d rew Kl ee s f ri e nd s in the Bl au e R ei t er c l ose to hi m ev e n

’

th o ugh hi s studi o c o ntai n ed o nly happy i mp ro vi sat i o n s and no rip e res ults .

H i s matu ri ty requ i re d an o v erwh elming v i s u al exp eri en ce and the t rip to T uni s ,

gav e that to him M att er and d ream at the sam e ti me and the th i rd el em ent my Ego
“
.
, ,

al l int erwo ven ,

"
was Kl ee s fi rst
’
re s p o n se to thi s l and H is s tro ng vi s u al and emo ti o n al
.

e xp eri en ce fu se d a nu mb er o f sep arat e influ en ces int o so m ething who l e and ind iv i du al
C éz ann e s co l o r mo dul ati o n the C ub i sts s u p eri mp o s e d p l an es D el au nay s o rd ering o f
’ ”
,
’

,
" '

c o l o r areas A lu mi n o u s p att
. ern o f s p o t s o f c o l o r ab s trac t e d f ro m n atu re g av e ri se to an
, ,

e xp ress iv e s t ru c tu re that n ee d e d o nly the most sp aring grap hi c indi cati o n s in o rd er to

pl ace it al o ngsid e n atu re as an ind ep end ent pl astic i mage In the c o u rs e o f the f ew d ays .

s p e nt in T uni s Kl ee b ec ame a p aint er It w as the b eginning o f th at l o ng s eri es o f p o eti c

, .

p i c t o rial c reati o n s whose i mp o rt an ce as m o d el s w e are j u st b egi nning to und ers tand .

T he ro manti c re ligi o u s t e nd e n c i es impli c i t i n D er Bl au e R ei ter f o und th ei r ch arac

-

teri stic exp ress i o n i n Al ex ei v o n J awl en sky ( 1 864 H e was fi rs t influ en ced by
C éz ann e and then ev en mo re s ign i fi c antly by K and i n sky M ati ss e and by c ertain
, , , ,

s p ec ifi c ally Ru ssi an e mot i o n s W o rk i ng f ro m all th es e s o u rce s h e d eve l o p e d a ch arac

.
,

teri sti c ally n aiv e p i c t o ri al dé c o r t hat ev en in the b eg i nning had a my s t i cal reso n an ce .

D u ring hi s y ears w ith the Bl au e R ei t er he p ai nte d l and s c ap es an d p o rtrai t h ead s al mos t

,

ex c lu s iv e ly (p ag e Thei r p o w erfully lu mi n o u s co l o r and thei r firmarab e s qu es el evate

and t ran s f o rm th e mo t i f i nt o an ing e n u o u s sy mb o li sm th at co uld s o o n tu rn to rel i gi os ity , .

Thi s m o vem ent t o w ard rel igi o u s f eel ing t o o k pl ace du ri ng the war y ears and l ed to a si n
g l e theme that J aw l en s ky s l ipp e d thro ugh hi s fing ers ti rel ess ly l i k e b e ad s o f a ro s ary :
th e hu man f ace o n whi ch c an b e reco gniz e d th e imp ri nt o f th e D ivin e o ft en in th e f o rm ,

o f th e S l av i c d o ubl e c ross T hu s J aw l e nsky b ro ught to ext reme fulfill me nt the e l eme nt o f

.

re ligi o u s th o ught in the Bl au e Re it er H e w i sh e d hi s p i c tu res to b e my s ti c al o bj ec t s o f

.

med i tat i o n S i n c e as he was who lly a man o f the E as t he arriv ed at the mo d ern i co n
.
,
.

H o w ev er the p ri m e m o vi ng s p i ri t in the Bl au e Rei ter was Wass ily Kand i n s ky ( 1 866

 d k
K an i ns y : I mp ro v i s at i o n N o 3 0 ( Warl i k e T he me)
. . 1 91 3 . Oi l o n c an v as , x Th e A rt I ns t i t u t e of C h i cago , t
A r hu r
J ero me E ddy M e mo ri al C o l l ec t i o n
 d k
K an i n s y : C o mp o s i t i o n . 1913 . Oil v
o n c an as , 34 x Ro o m o f C o n t emp o rary A rt, A l b ri gh t A rt Gal l ery , B u ff al o , N ew Yo rk
1 9 1 0 1 1 o ne co uld v n find a rel ati o n shi p to W agn er s great o p erati c co mp o s i ti o n s Ju s t
’
-
e e .

as W agn er s mu s i c i s s atu rat ed w i th s en s u o u s an d s y mb o l i c allu s i o n s an d ev o k es i mag es

’

o f l arg e scen ery an d figu rat iv e an al o gi es in th e l i st en er s mi nd s o th e w av es o f co l o r

'

i n th es e fi rst i n c un abul a o f ab st rac t p ainting c o n j u re up a wh o l e inv e nt o ry o f mat eri al

ass o c i ati o n s : symb o l s o f w alk i ng f o rms h o rs e me n j u mp i ng s tu rdy R u s s i an ch u rch es

, , ,

d ramat i c o r bu co l i c s ceni c b ackgro und s If the ey e f o ll o w s the ep i c co u rse o f th e s o n o ro u s

.

l nt inu ally c o nf ro nt ed by t hese i nd iv i du al figu rat iv e symb o l s l ei tm o tif s as

co o rs , it i s co , ,

i t w ere o f a d ramat ic c o mp os it i o n f o r th e s tag e : m o v em en t s o f my s ti c al co l o r whi ch

,

s e e k to mak e a d ramat i c s t at e o f th e s o ul v i s i bl e but d o n o t y et s u f fi c i e ntly t ru s t thei r

,

ind ep e nd e n ce f ro m rep res ent ati o n to b e abl e to enti rely ab and o n o bj ec tiv e ref eren ce .

S u ch n atu rali sti c and s entim ental residu es sti ll muddy the o v er al l f o rm al o rganiz ati o n -
.

Thi s f ac t emerges mo s t c l earl y i n the sp ati al o rgan i z ati o n whi ch st i ll h as a n atu ral i s t i c
ch arac t er as o f a co rri d o r in th e p ers p ec t iv e g rad ati o n s f ro m f o reg ro und to b ackg ro und
, , .

But the p ai nting chang es as early as 1 9 1 1 The s ch em e o f l i n es t hat d etermi n es the f o rm

.

i s w o v en int o the t emp es tu o u s c o l o re d b ackgro u nd in a f ree arab es qu e A n d n o w to o .

, ,

th e att empt to p ro du ce i llu s i o n s o f s p ace di s app ear The p i ctu re s ee m s to s o ar aw ay.

f ro m t errestrial p e rs p ec tiv e w i th its s i mpl e arrangement o f f o regro und mi ddl e gro und
, , ,

b ackgro u nd i nto a c o s mi c p ersp ectiv e in whi ch thi s c l ear recess i o n i s rep l ac e d by and
,

m erges i nt o a m o re c o mpl ic at e d sp ace 1 9 1 2 1 3 i s the p eri o d i n wh i ch K and i n sky v igo r

.
-

o u sl y c am e to t e rms w i t h th e p i c t o ri al o rg an i z ati o n o f the y o ung F ren chmen In hi s .

p ai n t ings o f 1 9 1 3 (p ages 68 69) w e s ee i llu s i o n is t ic s p ace giv e w ay to a shall o w pi c t o ri al

-

d epth whi ch d o es no t o b serv e t rad i ti o n al p ersp ect iv e a sy s t e m o f s t e pw is e l ayers o f ,

sp ace and i nt erp e n et rat i ng pl an es Th e co mp ari so n w i th C u b i s m i s o bv i o u s but in that

.
,

co mp ari s o n w e re co gniz e th e w ay i n whi ch K andin s ky g iv es t h i s re l at iv ely rati o n al

system w i th its c al c ul at ed arch i t ec tu re a v e ry b ro ad t e n s i o n i n a hi g h ly exp res s iv e

, ,

w ay b y i rrati o n ally pun c tu ring an d o p en i ng up sp ace K i n eti c f o rms o f mo ti o n b ri ng .

a s p ac e ti me el eme n t i nt o the p ai nting In thi s w ay th e o rch es t rat i o n o f a n ew kind o f

-
.

p i c tu re i s creat e d emb rac ing b o th th e rat i o n al and the i rrati o n al the fin i t e and the
, ,

i nfin i t e th e st at i c and th e dyn ami c ; the unb ri dl e d f o rce o f th e N o rth E u ro p ean -E as t ern
,

w o rld o f exp ressi o n has erupt e d i n an O rp hi c s o ng If o ne had to cho o s e a s tyl i sti c .

d es i gn ati o n f o r t hi s art, it co uld o nly b e ll d Ab s t rac t Exp ress i o n is m

ca e .

The O ri gi n of Ab s t rac t Pai nt i ng

What h ad b een achi eved th en w as the d i s c o v ery o f a p l asti c p ro cedu r e wh i ch m ad e

, ,

the exp res s iv e inn er w o rld o f man i mme di at el y vi s ibl e w i th o u t h av i ng to res o rt m et a

p h o ri call y to th e i mag es o f the o ut er w o rld But ho w w as t h at p oss ibl e ? I n p o i nt o f f ac t

.
,

thes e i d eas had l o ng b een p rep are d f o r i n G ermany and w ere mo reo v er i nflu enti al , ,
 d
K an i ns yk : C o mp o s i t i o n v
1 9 1 4 O i l o n c an as ,
.

64 x T h e M u seu m of M o d ern A rt ,

N ew Yo rk , M rs . S i mo n Gu gge n h ei m Fu n d
C o ri nt h : S el f P o rt rai t . 1 92 4 . O il v
o n c an as , x 31 The M u se u m of M o d ern A rt g i f t
, of C urt t
Val e n i n
C o ri n t h : W i n t er at W al ch en se e 1 9 2 4
. .

W at erc o l o r 1 6 x
,
C o ll ec t i o n M r . an d M rs .

E ri ch C o h n N ew Y o rk
“

b el o w C o ri n t h : N ear th e W al ch en s ee S i l v er
,

W ay 1 9 2 3 O i l o n c an v as
. . , x C o l l ec t i o n
M r an d M rs E ri ch C o h n N ew Y o rk
. . ,

73
Ko k o s ch ka : P o rtrai t o f Dr . Ti e tz e an d H is W i f e 1 9 0 9 O i l
. . v
o n c an as , x Th e M u seu m of Mo d ern A rt N ew
, Yo rk , M rs . Jo hn D .

R o ck e f e ll e r J r Fu n d
, .
Ko k o s ch k a : t d
D en d u M i i . 1910 . Oi l v
o n c an as , 31 x C o l l e c ti o n M rs . W . F e i l ch e n f el d t
, Z u ri ch

p ain t erly mean s w ere o f s u ch i nt e n s i ty as to l eav e the o bj ec t rep res e nt e d qu i te u ni nter

es ti n g H i s p l as ti c t hi n k i ng ev o lv e d thro u gh a ch ai n o f d ev e l o p me nt ex t en d in g f ro m
.

I mp ress i o n i sm thro u gh Gau gu i n and th e N eo I mp res s i o n i st s to the F auv es All o f Kan

-
.

d i n sky s w o rk fro m 1 905 to 1 9 1 0 w as d ev o t e d to find i ng a s o l u ti o n s tep b y s t ep to

’ '

- -

Gau gu i n s qu es ti o n Why s ho uld w e n o t b e abl e to c reat e c o l o r harmo n i es that co rre

’

sp o n d to th e s tate o f o u r so ul s And the an sw er fin ally c u lmi n at ed in pu re ab s trac t

p ai nting .

No w , n o ugh the s o l u ti o n s eeme d esp ec i ally to c o i n c id e w i th the great

t
s ran e g ly e ,

ch ang e s o f i d eas i n mo d ern s ci en c e W i th th e sp litti n g o f th e at o m Old co n cepts o f

.
,

matt er w ere repl ac e d by c o n c ep t s o f e n ergy an d the t rad i t i o n al s o l i d i ty o f o bj ec ts gav e

,

76
K o k o s ch k a : P o rt rai t o f H e rw arth W al d e n 1 9 1 0 O i l o n c an v as
. . ,
x C o ll ec t i o n Mr
.

an d M rs S a mu e l H M asl o n W ay z a t a M i nn eso t a ( t h ro u g
. . , ,
h th e c o u rt esy o f l
th e M i n n e ap o i s

I n s t i t u t e o f A rt s )
w ay to th e i d ea o f th e f i eld of f o rce . Fu rthermore there w as th e n ecess i ty as it p ro v ed , ,

of i nt ro d u c i ng th e co n c ep t of s p ac e -
ti me ; it t ran s f o rme d the s tati c p ersp ec tiv e sy s tem ,

by whi ch o b s erv e d rea l i ty h ad b ee n und ers t o o d v i s u ally si n ce th e Re n ai ss an ce i nt o , a

dy n ami c pi c tu re o f th e w o rld whi ch d i s card ed trad i t i o n al p ersp ec tiv e Th ese new .

s ci ent i fi c p remi ses gav e un exp e c t e d co n fi rmat i o n to th e s u sp i c i o n s o f th e p ai n t er th at

vi s u al real ity c o n si st ed o nly i n the hu man cap ac i ty f o r p erc epti o n and f o u n d i ts co u nter
p art i n an i nn er rep rese nt ati o n Wh en Kand i n s ky he ard i n hi s y o u th o f the achi ev eme nt
.

o f s mas hi n g the at o m h e w ro t e Th e d i sc o v ery hi t me wi th fri gh tful f orce as t h o ugh

”
, , ,

th e en d o f the w o rld h ad c o me All th i ng s b ec ame t ran sp aren t witho ut s t ren gth o r

.
,

cert ai nty At that mo men t the chai n b i n d i ng the p aint er to vi si bl e thi ngs b ro k e f o r n o w
.
"
,

th e ab and o nmen t o f n atu ral app earan c es n o l o ng er mean t th at the arti s t d espi s e d o r

vi o l at e d c reati o n ; o n th e c o ntrary it had b ec o me n ec ess ary to b ri ng the n ew an d b ro ad er

,

c o n cepti o n o f th eun i v e rs e i nt o art i s ti c v i s i o n .

Thi s b el i ef in the p o s s ibil i ty o f re nd eri ng i n p i c to ri al t erms the und erlyi ng my s ti cal

d esi gn o f the vi s ibl e w o rld giv es th e Bl au e R eit er p ain t ers thei r great s ign i fi c an ce O u t
"
.

o f th eir app ro ach came th e ab s t rac t an d h erme ti c p ai nti n g whi ch f o rme d th e new atti

tu d es o f mo d ern man to p l as ti c real i ty and to th es e att i tud es Kand i n s ky and Kl ee gav e

,

a w o rld w i d e auth o rity

-
.

O skar Ko ko s chka

Bu t fu rther d esire f o r kn o w l e dg e w as in the mo d ern sp i ri t It w as d i rec te d i mmed i ate ly

'

. .

t o w ard man and hi s i nn er b ei ng Thro u gh Mun ch and S t rindb erg i t had already b ee n
.

mad e c l ear arti s ti c ally that man d o es n o t exi s t o n a n arro w p l an e th at i s f ree o f d o u bt s

, , .

Thi s i n tu i tiv e p ro b i ng o f th e i n n er w o rld o f man thro u gh art was no w p o w erf u lly c o n

fi rme d b y th e s ci en ce o f p sy ch o an aly s i s f o u n d e d b y F reu d i n Vi enn a And o u t o f the .

mi l i e u o f the Vi enn a J u gend sti l c ame th e p aint er O sk ar K o k o s chk a (b o rn w h o h ad ,

an i n c o mp arabl e cap ac i ty f o r u n co v eri ng i mag es b e n e ath th e s e n si ti v e sk i n o f n at u ral

app earan c es At the p o i n t o f s tro ng es t p sycho l o gi c al t en si o n Ko k o s chk a b o re d i n as i t

.
,

w ere and c ame up wi th — th e s e lf p o rt rai t

, .

H i s early p i ctu res o f the p eri o d 1 9 0 8 09 are i mme d iat ely reco gniz abl e rep res entatio n s
,
-
,

of s ti ll lif es an d p o rtraits . Bu t th e vi su al rea l ity o f o bj ec ts and f ac e s wi thi n thes e w o rk s

rea lly rep res e nt s th e p sy ch o l o g i c al s t at e o f the p ainter and thi s i s achi ev e d b y a b e llu c i ,

n ato ry man i p u l ati o n o f th e p ai n t er s o bj ec t s H i s p o rtrai ts are s k et ch es o f hu man f aces

’
.

mad e hal f i n n ce and th ey d i sc l o s e mo re ab o u t the p ai nt er and hi s hu manity than

t
a ra ,

th ey d o ab o ut the mo d el Fo r thi s reas o n all the mo d e l s res embl e e ach o ther in thei r
.

s p i ri tu al c o nd i t i o n Th e ey e o f th e p ai nt e r l oo k i ng at a man s u dd enl y co n c ei v es s o me
.

thi n g p han t asmal in hi m a p l ay o f ges tu re s o me p i ec e o f mi mi c ry caught o n the wing

, , ,
Ko k o s ch ka : The P o we r of M u s i c (D i e M a ch t d er M u s i k) 1 9 1 9 O i l
. . v
o n c an as , x S te d el i j k van A bb e muse u m E i n d ho v e n H o ll an d
-
, ,

wh i ch tak es the p l ac e o f the subj ec t and whi ch the arti s t rel entl ess ly i so l ates and
,

p en etrat es Th i s resp o n se o f the p ai nter s tand s in di rec t rel ati o n s h ip to himself al o n e

. .

His p ai nt i ng i s to b e s u re a v i s u al i mp re ssi o n but there i s b eh ind thi s s ub merg e d an

, , , , ,

e l eme nt o f s e co nd s i gh t an o th er aspec t o f the arti s t s reality — i t i s a rev e l ati o n o f hi m

'
-
,

se lf K o ko s chk a attempts to illu st rat e th i s v i s i o n with th e mean s atth e di sp osal o f p ai nting

. .

T hi s i s o bj ec tiv ely exp resse d i n the p o rtraits by mean s o f grimace an d g es tu re and ,

hen c e the emp hasi s on the head as th e s c e n e o f m i mi c ry and o f the hand as the s cen e
of ges tu re (p ag e T he mean s themselv es are an Imp ress i o ni sm m ad e e cs t at i c ; th e

grap hi c el ement s b ec o me n erv o u s and hec ti c , an d the c o l o r f ev eri sh and p h ant as m ag o ri c .

The g o al o f th e p i c tu re i s the mo st exp ress iv e p ossi bl e ill u s trat i o n o f a vi s i o n that has
b een t o rn o u t o f the f ee l i ngs and an i mp ress i o n ev en tho ugh as may happ e n the
, , ,

g ni c b o d y o f the p i c tu re it s elf i s i n s hre d s The p ai n t ers o f the Brii ck e tho s e o f th e

or a .
,

Bl au e R ei t er and N o ld e all so ugh t to t ran s f o rm a vi s u al exp eri e n c e i nt o p ai nting Ko

, .

k o s chk a c ame f ro m the o ther s i d e o f real i ty f ro m a w o rld that o b j e c ti fied d ream and
,

vi s i o n It w as hi s g e n i u s to sho w th e vi s i o n ary p o ss i b i l i t i es o f German E xp ressi o n i sm

. .

Th e A nswer o f the Env i ro nment

All these n ew ant i n atu ral i st i c mo v ements i n the new German p ai nt i ng w on many
-

f o ll o w e rs i n an ast o n i shi ngly sho rt t ime A gro up o f German p ai nt ers g athere d aro und
.

M ati sse i n P ari s as early as 1 90 8 P u rrmann L evi M 0 11 and i n the Rhi n el and an o ther
, , , ,

c e nt er o f a mo re F ren ch o ri e nt e d exp res s i o n i sm ( Ch agall M ati s s e) t o o k f o rm w i th T h o rn

-
,

Pri kker H e lmu th M ack e C amp en d o nk N au e n and M o rgn er w h o was k i ll e d i n ac ti o n

, , , , ,

at an early ag e Th e o ld e r mast ers o f G erman I mp res s i o n i sm an d esp ec i ally L o vi s

.
,

C o ri nth al s o l et themselv es b e d rawn al o ng a l ittl e w ay and the b ro ad p u bl i c s o o n

, ,

b ecame aw are o f th e new d i re ct i o n s i n p ai n ting In th e su mmer o f 1 9 1 2 the great S o nd er

'

bund s ho w i n C o l o gn e b ro ught t o g ether the e nti re c o n st ell ati o n o f E u ro p ean mo d ern i sm

f o r th e f i rs t t ime Van Go gh Cé z ann e an d M u n ch h ad ro o ms to th ems e lv es A ro und
'

.
, , .

them w ere gro up ed the n ew E u ro p ean p ai nt ing : Pi c asso the F re n ch S wi ss E ngl i sh and , , , ,

D ut ch Agai n s t thi s w o rld b ackgro und there no w app e are d th e E xp ressi o n i st s o f the
.

B erl i n N ew S ec es s i o n the p ai nt ers o f the Bl au e R ei t er and th e Brii ck e Thi s e n s embl e

, .

w as an i mp ress iv ed o c u mentati o n o f the rang e o f the new s tyl es in E u ro p e .

B erl i n had b ec o me a p o w erful p ro p agand a c e nt er marshal i ng the new f o rc es There , .

in 1 9 1 0 H erwarth W ald en f o u n d ed the magazi n e D er S tu rm O rigi n ally i t had b een .

c o n c ei v e d rath e r as a mi l i t ant l i t e rary o rg an but it s oo n b e c ame a rec ru i t i ng me d i u m

,

f o r th e n ew E u rop e an p aint i ng Wald en h ad b ro ught K o ko s ch k a to B erl i n i n 1 9 1 0 an d

.

p ubli shed i n D er S tu rm a l arg e nu mb er o f hi s mas t erly E xp re ss i o n i s t p o rtrai t d raw i ngs

i n a s eri es c all e d P o rt rai t o f th e W ee k In 1 91 1 th e art i st s o f th e Brii ck e c o nt ri b u t e d
"
.

to D er S tu rm as d i d al so in 1 9 1 2 t h ose o f th e Bl au e R ei t er By 1 9 1 3 P aul Kl ee s fi rs t
’
.
,

d rawi ng s app eared o n the t i tl e p ages o f the magaz i n e And the n i n 1 9 1 2 W ald e n att ached .
, ,

a g all ery o f hi s o w n to th e e d i t o ri al o ff i c e s and i n rap i d s u c cess i o n s h o w e d a s o l i d ch ai n

,

o f th e n ew art i s t s : K o k o s ch k a th e Bl ad e Re i t er th e Fut u ri s t s th e G e rman E xp ress i o n i s t s

, , , ,

th e F re n ch C ub i st s an d O rp h i s t s E n so r D e l aun ay A rch ip en k o In th e au tu mn O f 1 9 1 3
, , , , .
,

th e s ame y ear i n whi ch th e f amo u s A rmo ry S h o w w as h eld in N ew Y o rk i nt ro du c i ng ,

th e mo d ern mo v ement to th e U n i t e d S tat es H erwarth W ald e n s u mme d up h i s g all ery

,

ac ti vi ty i n th e fi rs t G erman Autu mn S al o n Th e s h o w c o ntain e d 3 60 w o rk s with the

.
,

p ai nti ng s o f H en ri R o u s seau i n the pl ace o f ho n o r In f rat ern al p ro xi mity to the wo rks .

Ko k o s ch k a : L o n d o n B ri dg e : Vi ew of th e T h ame s . 1 9 2 5 -2 6 . Oil v
o n c an as , x 51 Roo m of C o n t emp orary A rt A l
, b ri g h t A rt Gall e ry , B u ff al o

of G erman inn o vato rs were hung th o s e o f the Itali an Futu ri s t s th e F ren ch Cu bi sts
the , ,

Chagall D el au n ay B ran c u si Arch ip enk o and E p s t ei n ; M o nd ri an w as al s o rep res ent e d

, , , ,

an d so w ere M ax E rn st and H an s Arp Wi th an am azing s u re n es s o f t o u ch Wald e n

. ,

h ad b ro ugh t t o g e th er al mo s t all th e f o rc es that had d et ermi n e d o r w ere to d et ermi n e th e

o v er all p i c tu re o f mo d ern art And th i s d emo n s trat i o n o f th e g reat un i fi e d s tyl i s t i c
- .

t end en cy ,
v
co e ri ng all
unt ri es was o f th e g reat est s ign i fi c an ce It can b e s aid that
co ,
.

af ert th e S o nd erbund exh ibit i o n and th e Autu mn S al o n the s ign i fi c an ce o f mo d ern

p ainting in G ermany co uld no l o ng er b e o v erl o o k ed .

81
T h e W ar an d the N ew R eal i s m

T he n c ame the w ar i nt errupt ing thi s f o rtun at e and c o nt inu o u s d ev el opm ent It l eft many
, .

g reat gap s M arc M ack e and M o rgn er f e ll ; K and i n s ky and J awl en s ky l ef t G ermany
.
, .

Al mo st al l th e p ai nt ers w ere at the f ro nt f o r y ears H o f er was i n a p ri so n c amp i n F ran c e ;

.

Ki rchn er had a n erv o u s b reakd o wn and w as t ak en to S wi tz erl and c ri ti c ally ill The , .

exp eri en ce of th e w ar ch ang e d hu manity W h e n G ermany c o ll ap s ed it w as n o t o nly a

.
,

war that was l o st ; th e enti re p o l i ti cal so c i al an d p hil os o p hi c al s tru ctu re b ro k e d o wn

, , .

Th e d i s i nt egrati o n s in th e so c i al s p h ere ho w ev e r had l ess s ignifi c an c e f o r the new

, ,

f o rmal st ru c tu re o f art Changes o f systems o f exp ressi o n o c c u r o ut si d e o f p o liti c a

. l
li fe; mo reo v er the arti sts had l o ng sin ce as simi l at e d th e war in thei r rev o lut i o n ary
,

t ran s f o rmati o n In 1 9 1 6 P aul Kl ee s et d o wn th e f o ll o wing th o ught : I hav e h ad thi s w ar

.

w i thi n me f o r a l o ng time and th ere fo re it d o es n o t aff ec t me i n wardly at all Thu s the

, .
"

c l ai m o f th e new exp res s iv e p ainti ng an d i ts co ntinuity o f th o ugh t w ere c o n s erv ed ; but

the sp i ri tu al co nd i t i o n o f hu man i ty and t emp o ral ev ent s d i s tu rbing to arti sti c man , ,

h ad ch ang ed .

T h e i nflu en c es that d i d ari se f ro m th e w ar o p erat ed i n tw o d i rec ti o n s I mme di at ely .

aft erw ard s th ere w as f e lt in al l th e co unt ri es o f E u ro p e a n e e d f o r s e re n i ty f or the ,

s t at ely c al m o f th e c l ass i c f o r a qui et er di al o gu e with n at u re I hav e al ready p o int ed

“

.
,

ou t th at at th e begi n n i ng o f the thi rd d ec ad e th e f o remo s t E xp ress i o ni st s N o ld e R o hlf s

, , , ,

H eck e l S chmidt Ro ttlu ff and ev e n Ki rch n er al so b egan to d raw b ack to a l ess agi t at ed
,
-
, ,

m o d e o f co n ceivi ng n atu re and a mo re sere n e and m o nu men tal pi c t o ri al arch it ec tu re .

K o ko s ch k a to o aft er the fi rst h ect i c o utb reak s o f hi s t emp eram ent f o u n d hi s w ay to

, ,

a d ramati c I mp re ss i o ni sm that co rresp o nd e d to hi s mo re re l ax ed and j o y ful mo o d o f

ad o rati o n b ef o re n at u re .

At th e same t ime o ne had to d i gest the t e rri fying exp eri ence o f tre n ch w arfare a ,

b ru tally i mmed i ate re al i ty an d al so to ab s o rb the U to p i an d o gmas o f mas s welfare

,

w hi ch ro s e l i k e bubbl es f ro m thi s qu agmi re and whi ch w ere in co ntras t to the o v er ,

whe l mi ng h arshn es s o f the German p ost war w o rld M an s o u tl o o k b ec ame st ern and
'
-
.

bitt er p reo cc up i e d w i th the d ark s i d e o f so c i al l i fe Pro fiteers p imp s p ro s titut es the muti
, .
, , ,

l at ed the w ret che d fl o t sam o f the w ar w ere co mp e lling subj ec ts f o r pi c tu res with whi ch
,

o n e c o uld ac t iv e ly mo ral i z e A rt b ec o me a w eap o n o f att ack an d d ef en se

. .

Thi s soc i ally c riti c al real i sm whi ch at the o ut s et had co nn ec ti o n s w i th th e exp ressiv e
mean s o f Futu ri s m D ad ai s m an d the Ital i an p i ttu ra metafis ica was i nt ro du ce d by
, ,
" "

G eo rge Gros z (b o rn M o re a d raftsman than a p ai nt er he had bu i lt up o u t o f ,

sugg es t i o n s f ro m P asc in K o k o s chk a an d Kl e e an app are ntly c

, , hi ldli k e but ac tu ally
, ,

so p hi s ti cat ed l i n ear styl e wi th wh i ch h e t ersely d epi c t e d reality F ro m F u tu ri s m and

, , .

opp o si e, t Gro s z : F u neral of th e P o e t P ani zz a . 1 9 1 7 - 1 8 O i l o n c an as ,

. v x S t aat l ich e K u ns t samml u nge n S t u ttgart

82
Gro s z : Caf e N ep t u n c 1 9 2 0 W at erc o l o r
. . .
,
Th e A rt Gro s z : I n R u e Bl o n del . 1 92 5 . W at e rc o l o r
, x C o ll ec t i o n
I n s t i t u t e o f C hi c ago O l i vi a S hal er S w an F u n d
,
Mr . an d M rs . E ri ch C o h n , N ew Y o rk

D ad ai sm Gro s z ad o pt e d the t ech ni qu e o f simu ltan e o u s v i s i o n i n o rd er to i n t erw eav e

,

i n d iv i d u a l s at i ri c al i mage s i n the wh o l e rhythm o f met ro p o l i t an l i fe (p age H e no w

s e t th e s t ri k i n g p o w e r o f th es e me an s to w o rk i n th e servi ce o f hi s b i t i ng t o p i cal s at i re ,

agg res s iv e ly rep resen t i n g th e b a se s t asp ec t s o f th e real ity o f h i s t imes In th e p ro c es s

.

th e e l emen t s o f c ari c atu re an d s at i ri cal real i s m mo re and mo re d i spl ace d a Fut u ri s t

and D ad a s ty l i st i c v o c abul ary F ro m thi s eme rg e d the cand i d rep o rt o ri a l s tyl e o f a o ri t i

.
,

c ally o b s ervi ng real i s t w h o s e s ard o n i c i mag e s exp ress e d h i s d i sco n t en t w i th th e age

,
.

A n o ther b itt er real i s t aro s e i n t hi s v i o l en t G erman E xp ressi o ni st c l i mat e O tt o Dix ,

( b o rn H i s gl an ce whi ch h ad b ec o me h ard en e d an d ac c u s i ng i n th e f ac e o f th e
,

h o rro rs o f tren ch w arf are exp eri e n c e d as a f ro n t l i n e s o ld i er n o w d i s c o v ere d th e same

,

t erro r ev eryw h ere i n n ak e d real i ty Thi s real i ty was n o t to b e ev o k e d by art O nly

. .

th e d i ss o n an t an d the v ery g ro s s c o u ld b ri ng to a h ei gh t en e d c l arity s u ch a t o rt u re d

84
Gro s z : Th e P o et M ax H erman n N ei sse
-
. 1 92 7 . Oil v
o n c an as , x Th e M u s eu m of M o d ern A rt N ew
, Yo rk

85
Di x : M y P aren t s . 1 924 . Oi l v
o n c an as , x Ni e d ers ach s i s ch e L an d esgal eri e H an o v er
,
 rea lity W ith v i o l ently aggres s iv e v i s i o n D ix d es t ro y s th e s up erfi c i al and arriv es at a
. ,

h arsh reality o f al l th at i s qu esti o n abl e ab s u rd and o bj ec t i o n abl e H alf m as o ch i s t h alf

, , .
,

mo ral i s t h e i llu st rat e s hi s them es i n the fin e t echn i qu e o f the o l d mas t ers The d i s
, .

sec ti ng gl an ce and the re l en tl ess i n s i st e n c e o f the c arefully bu i lt u p o ld master tech

- -

niqu e with whi ch D ix d efin e d o bj ec ts giv e these h o rri bl e th eme s the ghas tly c l ari ty and
s i l ent i mmo b i l i ty o f a d re am (b e l o w) The re n o w app ears th at h eigh t e n e d real i ty w hi ch
.

i llu si o n i s ti c S u rre al i s m so u gh t wi th i ts t ech niqu es

.

In th ese p i c tu res o bj ec t s and an env i ro nm en t ho sti l e to man app ear i n an o th er d i

,

mensi o n They b eco me a magi cal co unt erp art Thi s magi c i s reco gn i z abl e ev en i n the
. .

harshes t re al i ty T hi s ch arac t eri s ti c an sw er o f mo d ern sen s ib i lity to th e t ro ubling qu al i

.

ti es o f co nt emp o rary exi s te n ce had al ready ari sen i n th e Itali an pittu ra metafis i c a "

b o ut 1 9 1 6, an d at ab o ut th e same t i me h ad b ro ught f o rth D ad a s n archi c al

’
a a and yet
v ery p ro fo und m an i pul ati o n o f the p
sc ra s o f re a lity .

Dix : Tre nch W arf are ( S ch u tze ngrab en) . 1 9 2 2 -2 3 .

F o rmerl y i n c o ll e c t i o n o f D res d e n Gal l ery ,

p rese n t w h ereab o u t s u n k n o w n
od, Th e M us eu m

. Jo h n D Ro c
. k ef e l l er , Jr
.

92 6 . 0 11 on wo o d , x 39
"

rk , gi f t of P hi l i p C J o hn so n
.

89
 N o w M axE rn s t (b o rn 1 89 1 ) to o k up thi s theme o f th e n ew rel at i o n ship s o f things H e .

l e ft art o u t en ti re ly H e d rew on mat eri al that al ready ex i s te d that was p ref ab ri c at ed

“ "
, ,

read y mad e H e was f asc in at e d by the magi c al sh arp real i ty o f the t e ch n i cal
"
an d -
.
,

d raw i n gs i n the c atal o gu es put o u t by the machin e i ndu s try and the engravings o f ,

s c i e nt i fi c t ex tb o o k s T h e int e n se reality o f th es e i llu s t rat i o n s c as t a sp e ll an d t emp t e d

.

hi m to man ipul at e th e p refab ri cat ed p i c tu res i n o rd er to mak e th ei r h arsh real i ty mo re

e l o q u e nt by mean s o f i rrat i o n al j uxt ap os iti o n s ( b e l o w) I f o n e o u t th es e p i c tu res ou t
.

and rearrang e d the m f resh ly as a f as c i n at e d c u ri o s i ty mi gh t d i c t at e the e l eme

, nt s o f ,

th e fan t as t i c aut o mat i c ally e m erg e d M o ntages o f a p rec i s e v eri s i mi litud e w ere fo rm ed
.
,

whi ch b ecame d ream pi c tu res by the co nfu s i o n o f rep res e n tati o n o f o bj ec ts o bj ec ts whi ch ,

w ere t ran s f o rme d int o magi cal p res en ces These p refab ri cat e d pi c t ures w ere u sed to
.

fo rm an as t o n i shi ng w o rld o f m arv el s i n an ab s u rd real i s ti c s tyl e ; a p o e ti c rei nterp re

u mn r f i ! n f l W
‘ ’

E rn s t : Th e H at M a k es th e M an . 1 920 . C o ll age , p en c i l i n k w a
, , t erc o l o r, 14 x Th e M useu m of

M o d e rn A rt N ew
, Yo rk
E rn s t : Th e L i tt l e T ear Gl an d T h at S ay s T i c T ac . 1 920 . G o u ach e on w all p ap e r,
x T h e M u seu m of Mo d ern A rt N e w
, Y o rk
S ch wi tt ers : D raw i n g R 2 : H an s i S ch o k o l ad e
- . 1 91 8 . C o ll ag e
o f c o l o re d p ap ers an d wrapp er ,
T h e M u s eu m
o f M o d e rn A rt N ew Y o rk
,

S chw i tt ers : M erz 4 4 8 : Mo s c o w 1 9 2 2 C o l l age o f c ardb o ar d

. .

an d w o o d 6 x
, T h e M u s e u m o f M o d ern A rt N ew Yo rk
, ,

K a t h eri n e S D re i e r B e qu e s t
.

93
S ch w i tt e rs : M er z C o n s t ru c t i o n 1 9 2 1 C o ll age p ai n t e d w o o d
. .
, ,

w i re p ap er
, , x 8 P h i l ad el p hi a M u seu m o f A rt ,

A E
. . Gall at i n C o ll ec t i o n P enn sy lv an i a
,

S ch wi tt ers : M erz 2 0 0 5 C o n s t an t i n o p l e 1 9 2 4 C o ll ag e o f c u t
. .

p ap er c ardb o ard t ram t i ck e t s p e ll e t o f w o o d

, , , x ,

Th e M u s eu m o f M o d ern A rt N e w Y o rk K a t h eri n e S
, , .

D re i e r B e q u es t
S ch wi tt ers : P i c t u re t L i gh t C en t er 1 9 1 9 Pap er c o ll age
wi h . . wi t h o i l o n c ar db o ard , x
Th e M u seu m oi M o d ern A rt N ew Y o rk
,
 Thi s n o v el rel ati o n s hi p o f o bj ec ts an d an exp ress iv e real i sm ro m anti c ally dilut e d
’

, ,

gav e ri s e to th e N eu e S ach l i ch k eit whi ch H artl aub in 1 92 5 b ro u gh t t o g ether i n a g reat

exh ib i t i o n i n hi s gall ery i n M ann heim It co rre sp o nd e d to th e c l assi c real i s t i c t e nd en
.
-

c i es amo ng the It ali an s ( v al o ri pl ast i c i

”
an d th e F ren ch ( D e rain Pi c as s o ) an d w as ,

b ro adly c o n c eiv ed but i t d i d no t b ring to l ight any n am e w o rthy o f p arti c ul ar menti o n

, .

Thi s t re nd ho w ev er c o nt ri bute d to the d ev el o pm ent o f the pi c t o ri al w o rld o f Carl

, ,

H o fer (1 87 8 w ho s e p ai nti ng was ch arac teriz e d b y a s p are an d d i s i llu s i o n e d

i d eal i s m T he s t arting p o i nt f o r H o f er w as H an s vo n M aré es and C éz ann e and he b e
.
,

l i ev ed that in hi s l o ng resi d en ces in I n d i a (i n 1 909 an d 1 9 1 1 ) he had f o und a lyri cal

id eal o f figu re p ai nting But f ri c ti o n w i th th e real i ti es o f lif e the w ar hi s i nt ern ment f o r
.
, ,

y ears as a p ri so n er the b i tte r atmo sp here o f the p os t-war p eri o d c ru shed the s hell o f
, ,

hi s i dy ll The i d eal o f mai d e n h o o d was repl ac e d by th e su b u rb an g i rl an d the pl ace

.
,

o f a gl o wi n g fl eshi n ess w as o ft en t ak en by a mas k H i s p ai nti ng s b ec ame s o b er with

.
,

o u t s e n s u o u s n e s s and th e i r b are s t ru c t u re w as o p en to the l i gh t o f d ay A d ry co l o r .

w i th f ew accent s bu i lt u p th e fl at b ackgro u n d A f ew themes alw ay s rec u r an d in the

.

c o u rs e o f th i s rep e t i t i o n th e o rg aniz ati o n o f th e p i c tu res b ec o mes mo re asc e t i c T hi s

, .

qu al i ty i n G erm an art b e tw een th e two w ars i s a sp ec i al acc e nt H o f er w as a p ainter .

who b eg an with a d ream of id eal b eau ty w h i ch c o ntac t w i th reali ty sh att ere d O u t o f .

thi s d i s en ch antme nt c ame hi s p i c tu res whi ch w ere al so i n t erp ret ati o n s o f hi s t i m es .

M ax Beck man n

Th e mo s t p o w erful figu re i n thi s tre nd o f the ti me t o w ard a n ew d efiniti o n o f real i ty was

M ax B eck mann ( 1 884 The w ar co n f ro nt ed h i m to o wi th i ts s t ern truths an d f o rced ,

h i m to giv e up the early s tyl e that h e h ad d ev el o p ed in the I mp ress i o ni s t c l imate o f the

B erl in S ecessi o n An i n ex o rabl e d etermi n ati o n to s tate f ac ts k ep t him s qu arely f acing
.

real i ty O n ce mo re i t w as the t angibl e o bj e c t o r figu re that l ed to a new arti s ti c s t at eme nt

. .

Phy s i cal real ity was that whi ch co uld b e grasp ed and p rec i s ely d et ermi n e d as a v o lu me .

If th e v i s i bl e w ere d i s ro b e d and p u re and s impl e f o rm d e fin ed these shap es then ai

, ,

tai n e d an unu su ally p o w erf ul embl emat i c p resen c e b e co mi ng s uit abl e m ateri al f o r th e
,

co n s t ru c ti o n o f real i ty H o w ev er s in c e f o rms w ere d efi n e d as s c ulptu re d v o lu mes t hey

.
, ,

e nte re d i n to an intri n s i c co ntrad i c t i o n w i th the i r s u rro u n d i ng s p ace It w as p rec i se ly .

the so l i d i ty o f B eckmann s real i ty th at gav e s p ac e by c o n tras t i ts empty l i mi tl ess

’

, , , ,

un c ert ai n charact er and mad e i t th e l o c u s o f th e go d s an d o f anxi e ty In o rd er to b reak

, .

d o w n thi s v o i d B eck mann struggl ed to fin d a new ari t hme ti c o f s o lid thi n g s ; what had
,

to b e d o n e h e sai d w as to put a j umbl e o f t hi ng s in fro n t o f th e emptin ess o f sp ac e so

, , ,

that i ts f earful d epth w o u ld no t b e seen T h e d rama o f ev e ry p i c tu re b y B eck mann ari s es

.

o u t o f th e t en si o n b e tw ee n the o bj ec t s and s p ace .

H o f er : T h ree C l o w n s . 1 92 2 . Oi l o n c an v as , 51 x 41 W all raf -R i chartz M u seu m
, C o l o gn e
ll o n tag n o l a 1 9 2 6 O i l
. . o n c an vas , x N i e d ers ach s i s che L an d es g al eri e H an o v er
,
p i ec e , in a n aiv e d et ermin ati o n to d efin e he f o und f o r h ims elf th e f o rm and vo lum e
h ard , ,

o f th e o bj ec t fitt i ng it int o th e c o n s tru c ti o n o f th e p i c tu re F o rms are est abli she d by

,
.

d raw i ng ; co l o r seems to hav e b een m erely add ed H e o ft e n mad e t rip s to P ari s and
.
,

aft er 1 9 2 8 h e all o w e d a bl o o ming c o l o rat i o n to g ro w s l o wly in hi s p ainting s Th i s w as

-
.

th e fin al st ep f ro m a g rap hi c t reatm ent o f f o rm to a mo re p ai nt erly d efin i t i o n In thi s

.

n ew p h as e th e s t ern p reocc up ati o n s with co nt o u r v o lu me S p ace and co l o r cam e to a

, , ,

f o rcefu l co n c l u si o n B eck mann n ow exp res sed i ntu i ti v ely th e ent i re c o ntent o f hi s exp eri
.

e n c e o f real i ty i n magnifi ce nt p ainting s G reat t rip ty chs b ec ame th e s t ag e f o r hi s figu re

.

gro up s and f o r the d ark all eg o ri c scen es in whi ch B eck mann l o ck e d hi s exp eri en c e o f
e xi s t e n ce (p ag e s 1 04
B eck mann : Vi ew of Geno a . 1 9 2 7 Oil
. v
o n can as , x C o llec t io n Mr . and M rs M o rt o n D M ay
. .
,
S t L ou is
.
, M i ss ou ri

t
opp osi e, B e ck mann : Fami ly P i c t u re 1 9 2 0 O i l
. . v
o n c an as , x
T h e M u seu m of M o d e rn A rt N ew Y o rk gi f t o f
, , M rs . J o hn D . ke f ell er J r
Ro c .

101
opp os i e, t Beck mann : Th e B at h 1 9 3 1 O il o n c an vas 7 0 x
. .
,

C o ll e c t i o n M r an d M rs M o rt o n D M ay S t L o u i s M i ssou ri
. . .
, .
,

B eck mann : Ru g y b Pl ay ers . 1 929 . O il o n c an vas , x

S tad ti s ch es M u s eu m D u i s
, b u rg
B ec k mann : T e mp t at i o n 1 9 3 6 O i l o n c an v as t rip t y ch
. . ; ,

c e n t er p an e l 7 9 x s i d e p ane l s each x

C o ll e c t i o n D r S t ep han L ack n er S a n t a B arb ara C al i f o rni a

.
, ,

1 05
 Beckmann greatn ess l i es in the in exo rabl e way i n whi ch he g ave exp ress i o n to hi s
’
s

o w n vi s i o n o f real i ty and to h i s p os iti o n i n th e w o rld But t hi s e v oc ati o n o f an ext ern al

.

reality w as at th e s am e ti me a s elf -inv o c at i o n

"
Th e real l o v e f o r th e thing s o uts id e o f
.

u s an d d eep sec ret s of ev ent s within u s as he put it came to charac teri s ti c sy nthesi s
the , ,
'

B eck mann call e d thi s metho d o f hi s t ran s ce nd ent al real i s m "

.

Th e Pai nt ers of th e Bau hau s

T he f
new ef o rts to arr iv e at a pl asti c d efi n iti o n o f co nt emp o rary exp eri e n c e can b e
und er s t o o d as a fu rth er d ev e l o p ment o f th e E xp ress i o ni s t v i e w o f n atu re N o w the .

i d eas co n c ern i ng Orp hi c an d ab s t rac t p ai nt i ng s th at h ad sp ru ng up in th e Bl au e R e it er

w ere d evel o p e d fu rth er and b ro ught to s t ri ki n g matu ri ty They f o u nd t he i r co n cen trate d .

ce nter o f ac ti o n i n the B au hau s .

At the b egin n i ng o f 1 9 1 9 i n W ei m ar W alt er Gro p i u s an archi t ec t had f o und e d the

, , ,

B au hau s an i n s t ituti o n that in res earch and i n s tru c ti o n t o o k f o r i ts t heme the f o rmi ng
,

o f the e nti re hu man e nvi ro n men t th ro ugh arch i t e c tu re indu s t ri al d es ign p ai n ti n g and , , ,

s c ulptu re The f i n e and app l i e d art s w ere s ee n to g ro w o u t o f p re s e nt d ay p rac ti cal

.
-

c i rc u ms tan ces d et ermin ed b y tech n o l o gy as w ell as by s p i ritu al c o nditi o n s T h e f i n e art s

, .

s tud i o s w ere th o ugh t o f as a ki nd o f eman ci p at e d c reativ e c ent er th e chamb ers o f the ,

h eart f ro m wh i ch the el ev ate d and f ree art i s ti c impul ses w ere to p en etrat e int o th e
,

uti l i tari an w o rld o f th e w o rk sho p s Wi th marv e l o u s s u re n ess o f t o u ch G ro p i u s b ro ught

.
,

to gether the mo s t sen si tiv e p ai nt ers th o s e who w ere thi n ki ng t hro ugh the p ro bl em
,

of f o rm mo st k eenly In 1 9 1 9 L yo n el F ei n i n g er w as invi te d to the B au hau s ; i n 1 9 2 1

.
,

P aul Kl ee and O s k ar S chl emmer; in 1 9 22 K and i n sky f o ll o w e d and i n 1 9 23 M o ho ly N agy

, , ,
- .

K and i n s ky and Kl ee c ame d i rec tly f ro m the Bl au e R eit er; F ei n i ng er and S chl emmer
w ere al so c l o s e to th e c i rc l e M o ho ly -N agy an d K and i n s ky (wh o had j u s t ret u rn e d f ro m
.

Ru ssi a) b ro u ght to th i s arti s ti c f o ru m the i d eas o f Ru ssian C o n s tru c tivi sm an d th e D ut ch

d e S ti j l mo v eme nt Van D o es bu rg M o nd ri an M al evi ch E l L i s sitzky N au m G ab o had
.
, , , ,

c l o se p ers o n al rel ati o n shi p s w i th the B au h au s Th e O rp hi s m o f the Bl au e R ei t er an d

.

Co n s tru c tivi s m b al an ced each o t her f ruitf u lly B asi c ally thi s remai n ed the k ey altho ugh
.
,

a C o n s tru c ti vi s t p uri sm an d th e e mp hasi s o n indu s t ri al d es i gn whi ch d ev e l o p e d o u t

,

of it s l o wly c ame to the f o re and p ro du ced seri o u s t en si o n s

,
.

In 1 925 the B au hau s mo v e d to D ess au Gro p i u s l eft in 1 928 and the B au hau s went
.
,

thro ugh a g rav e i nt ern al c ri s i s S chl emmer ac c ept ed a c all to B res l au i n 1 9 2 9 ; i n 1 9 30

.

Kl ee w ent to D usseld o rf M i es v an d er Ro h e in 1 9 3 0 t ri ed to rec aptu re the o l d B au

.

hau s S p i ri t B u t mean w hi l e th e B au hau s had b eco me the t arg et o f the c ultu ra l p ro g ram
.

o f ri si ng n ati o n al soc i al i s m T h en in 1 9 3 2 th e i n s tituti o n re treat e d to B e rl i n and w as

.

c l o se d t here i n M ay o f 1 9 3 3 as a h o tb e d o f c ultu ral B o l sh ev i s m

"
.
Fe i ni nger : The S i d e W hee l e r
. 1913 . Oil o n c an v as , x T he D e t ro i t I ns t i t u t e of ts
Ar , M i ch iga n

1 07
 T he e mig rati o n men o f the B auhau s no w b eg an Gro p i u s Mi es van d er Ro he
of the .
, ,

M o ho ly N agy H erb e rt B ay er M arc e l B re u er d ep arte d f o r th e U n i te d S tat es Kand i n sky

-
, , .

m o v ed to P ari s and Kl ee to B ern Altho ugh t o d ay the n ame o f the B au hau s hasal mo s t
, .

b ec ome syn o nymo u s with fun c ti o n al i sm in arch it ec tu re Co n stru c tivi s m in th e p l as ti c ,

art s an d ind u s t ri al d esign i ts id e nt i fi cat i o n so l e ly with th ese d ev el o p ment s i s a qu i te

, ,

erro n eo u s li mi t at i o n o f its sp i ri tu al rang e The w o rk s an d th e t each ing s o f i ts f o u r

.

great p ai nt ers K and i n sky Kl ee S ch l emmer F eining er mad e a uniqu e and g enu i n e
—
, , ,
-

co ntri but i o n to mo d ern p ainti ng whi ch w as to i n s cri b e the n ame o f the B au h au s fi rmly
,
'

in the ann al s o f the hi s to ry o f th e fin e arts as we ll What to o k p l ac e there o n the highe s t .

art i sti c pl an e w as th e ext en s i o n Of th e i d e as that K andin s k and Kl ee had b egun to set

y
f o rth i n the Bl au e R ei t er F ei n i ng er an d S ch l emmer al so S hared i n thi s acco mpl i shme nt
. .

L yo n el F ei n i nger ( 1 87 1 -1 9 56) exhi b i t e d with the Bl au e R ei t er in the B erl i n A u tu mn

S al o n o f 1 9 1 3 In C ub i sm F eining er f o u n d the harmo ny di sc ipl in e and o rd er that c o rre
.
, ,

sp o n d ed to h i s p ers o n al ity but at th e s ame t ime hi s ro mant i c f ee l i ng f o r n atu re re

,

qu ired him to mak e thi s stri c t o rder p o e ti c In 1 9 1 1 h e b ec ame ac qu ai nt ed wi th D e l aun ay

.

an d no w re co gn i z e d i n O rp h i c C ub i s m th e l yri c al p oss ib i l i ti es o f th e C ubi s t f o rmu l a .

And t hro ugh D el au nay s arch it ec tu ral p i c tu res he f o und hi s w ay to hi s p ref erred th emes
'
.
,

The ev o lut i o n f ro m O rp hi sm to th e Bl au e Rei t er w i th its i d ea o f an und erlying my s ti cal

"
,

d esign was o nly l o gi cal

, .

'

In hi s B au hau s p aintings F ei ninger wo rk e d to c l arify hi s C ubi sm whi ch was in

, ,

i ti al ly v ery d y n ami c F i n e l ay ere d and t ran sp arent pl an es c reat e a co o l sp ati al cry s tal
.
-
,

in whi ch the p l ay o f c l ear ho riz o ntal s and v ertical s are he ld i n asymm et ri c al b al an ce .

C o n stru c tiv e d i rec ti o n al l i n e s and fin e p o i nts o f s upp o rt w h ere F e ining er l i k es to put ,

a h u man figu re as a pun c tu at i o n d e fin e t hi s c l ear sp at i al g e o me try The p i c t o ri al d es i gn

, .
,

co mp o s e d l i k e a fugu e rec aptu res th e c ry s t allin e vi si o n o f th e G o th i c arch it ec tu re o f th e

,

o l d G erman c i t i es (p ag e T h e t ran sp arent st ru c tu re o f th e pi ctu re tran s f o rms th e

mo ti f int o v i s u al p o etry: In Fei n ing er s seasc ap es a g reat o p en sp ace and a mi rro re d
’

atm o sp h e re are fix e d in t hi s c al c u l at e d o rd er The lu c i d mag i c al g eo met ry o f hi s p i c

.
,

tu res whi ch s ets f o rth infi n

, i t e S p ac e i n d i amo nd -lik e f acets all o w s th e ro mant i c sp i ri t ,

an d g entl e my s t i c i sm o f th e Bl au e R e i t er to shin e thro ugh c l early In h i s l as t p i c tu res .

as w ell ( F e i n i ng er retu rn e d to hi s n ati v e A meri c a in the fugi tiv e p l ay o f th e

at mos p h ere i s re f rac t e d i n an en ch ant e d sp ace .

O s kar S ch l emmer ( 1 888 1 9 4 3 ) had no i mmedi at e co n tac t w ith the Bl au e R ei t er b u t

-
,

hi s w o rk to o was ch arac t eri z e d b y th e ef f o rt to hu man i z e th e f o rmal g eo met ri c p ai n t ,

ing o f C ub i s m H e want e d to p reserv e an i mag e o f man at the c e nt er o f the geo me tri cal
.

o rd ers as a h u mani s t sy mb o l j o i n i n g th e rati o n al and th e my s t i cal And s o with p u ri s t

, .

g
ri o r he mp o s e d hi s p ainti ng s s e tt i n g a f o rm ali z ed i d o l i n the mi d s t o f a w o rld
co ,
of

three -
d imen s i o n al g eo metry an i d o l o f man as a symb o l o f a s up ra i nd ividu al
,
-
.
.e S t eamer O di n II
, . 1 927 . O il v
o n c an as . T h e M u s eu m of M o d e rn A rt N ew
, Yo rk , ac qu i re d t hro u gh
l i s s B e q ues t
F ei n i n g er : B arf ii sser C h u rch in E rf u rt . 1 927 . Oil o n c an v as , 39 x C o ll ec t i o n Dr .
Ferd i n an d Z i ers ch ,

Wu pp ert al B arme n
-
 S chl e mmer : S eat e d Figu re . 1 93 6 . O il v
o n c an as , x F o l k w ang M us eu m E ssen
,

t S ch l e mmer : Bau h au s S t ai rway 1 9 3 2 O i l o n c anvas

opp osi e, . .
,
x

T he M u se u m o f Mo d e rn Art N ew Y o rk gi f t o f P h i l i p C J o h ns o n
, , .

115
s ec ti o n s and d i sl o c at i o n s o f the pl an es c re at e a sp ati al g eo met ry wh ose i rrat i o n al ch ar
ac t er re fl ec t s th e inn er t e n s i o n s o f man H i s t he me w as the many s i d e d rep resentat i o n
”
-
.

o f man i n th e ab s t rac t s p ac es o f th e f utu re o f t ran sp are n c y o f mi rro ri ng , In t hi s c o n , .

n ecti o n h e c reate d an i c o n l i k e figu re in wh i ch th e my s t i c al re l at i o n ship o f m

-
an an d

s p ac e c o uld b e c o nt e mpl at e d as a symb o l o f a un i ty o f n atu re an d S p i ri t

"
.

A my s ti cal c o n c epti o n o f th e u n i ty o f all b ei ng w as at the c o re o f th e Bl au e R ei t er .

K an d i n s ky s art d rew i ts l i f e f ro m i t b u t when he c ame to the B au hau s in 1 922 n o t

’

o n ly h i s s tyl e but al s o th e p u rp o se o f hi s art w as g re atly ch ang e d In 1 9 1 5 h e h ad g o n e

, , .

b ack to Ru s si a an d at c l o s e rang e l iv e d thro u gh the exp eri men t s o f the Ru s s i an C o n

stru c tivi s ts wh o c o n c ei v e d o f ab s trac t g eo metri c al f o rm as a co n c re t e real i ty T hi s l e d .

h i m to s u pp ress th e exp res si v e an d p sy ch o l o gi c ally ev o c ati v e f ac t o rs i n h i s art an d to

as se rt th e p i c tu re i n i ts c o n c re t e ac tu al i ty as a s e lf ex i s t e nt h armo ny C arri e d al o ng -
.

b y th e magn i fi cen t sp i ri tu al t en si o n o f th e B au h au s w h i ch u n i qu e ly h e ld i n e qu i l i b ri u m
,

th e mo s t ri g o ro u s arch i t ec t u re an d th e pu re s t p o etry K and i n s ky e nth u si as t i c ally ad o pt e d

,

t hi s n ew i d ea rH i s p i c tu res b eco me sharply d efin e d b right and o f a g eo me tri cal p re

.
, ,

c i s i o n ( o pp o si t e) A s e n s i ti v e pl ay o f b al an c e d g eo met ri c al f o rms i s s e t f o rth o n th e

.

w hi t e s u rf ac e i n b ri ll i ant un adult erat e d c o l o rs : c i rc l es t ri angl es s qu ares ro d s arc s

, , ,

m
, , ,

twi s t s o f l in e A s f ar as p o ss i bl e ev ery f o rm i s s t and ard i z e d an d ex ac tly d e t er i n e d

.

wi th T sq u are t ri angl e an d co mp as s T he c l o s en es s to C o n s t ru c tivi sm i s o bvi o u s b u t

'

-
, , .
,

s t i ll mo re o bv i o u s i s th e d if f e re n c e i n rang e Th e p i ct u res n o w s eem l i k e mu s i c al c o m

.

p o s i ti o n s with a firm b eat i n ri ch rhythm and they c an b e exp eri en ced as p u re co n c re t e

, ,

f o rmal o rgan i z at i o n s w i tho ut s eek i ng re f eren c es to o bj ec t iv e s en s o ry exp eri enc eg By ,

mean s o f s u ch e l ement ary f o rms an au t o n o mo u s veri fi abl e p i c t o ri al real ity i s c o n

, , ,

s tru c t e d w i t h a fin e regul ari ty E xp ress i o n i sm h as t he re by b e e n p ut asi d e S in c e th e

.
,

art i s t s p ass i o n s o r th e s e ttl i ng o f acco unt s w i th v i s i bl e n at u re w ere no l o nger i n qu es

’

t i o n As i n a mu s i cal c o mp o si ti o n the art i s t h as i nv o k ed and c reat e d a higher s tat e o f

.
,

b ei ng f ro m whi ch a gl eam o f a u n iv ersal h armo ny f all s i nt o the d arkn ess that su rro und s
,

man K an d in s ky s p ai nti ng s b ecame an i n s t ru ment o f the u n iv ersalJ and a frat ern al

'

n ei ghb o r to the p u ri tan i c al g e niu s o f M o nd ri an .

In hi s l at e P ari s p eri o d (he e migrat e d to the F ren ch c ap i tal i n K an din s ky o n c e

mo re s h o w ed a magn i fi c ent s ynthes i s i n a styl e o f ext rao rd i n ary sc o p e Then the f rees t .

i ntu i t i o n s u ni t e d w i th th e c l eares t S p i ritu al c o ntro l to achi ev e c o n c re t e f o rms th at o n ce

agai n t o o k o n a mo re h u man c o n t ent .

“
1 f I n si d er Kand i n s ky s w o rk as a who l e it c o mp ri s es the enti re d o mai n o f ab
we co
’

s t rac t p ai nt i ng rang i ng f ro m ab strac t E xp ress i o n i sm to ri g o ro u s C o n s t ru c t i vi s m Thi s

, .

w as th e p o w erf u l mes s ag e th at K an d i n s ky p ass e d o n to the n ex t g e n erati o n to b e

mast ered an d f u rth er d evel op e d It i s p re d o mi n an t t o d ay i n th e mo st s i gn i fi c an t areas
.

o f c o nt emp o rary p ai nti ng in th e w o rl d d

 d k
K an i n s y : No 6 7 8 1 9 4 0 O il
. . . o n c an v as ,

The S o l o mo n R Gu gge nh ei m
.

M u s eu m N ew
, Y o rk

118
 B u t the re was ti ll an o ther arti s tic c o ntribut i o n o f th e B au hau s w hi ch was to fin d
s

w o rld wid e resp o n se It came fro m Paul Kl ee and w as al so b as ed o n th e ro m anti c vi si o n

-
.

o f th e g reat co n n ec ti o n s i n th e realm o f b e i ng b e tw een th e ego an d th e w o rld th e ,

e ar thly and the co smi c F o r Kl ee a p i c tu re w as i n th e highes t s en se a co mp ari so n

.
"

the t o t al i ty o f th e All F o r thi s v i s i o n he s o ught a l as ti n g intu i ti v e symb o l an i mage

"
to .
,

whi ch co uld serv e as a f o rmal an al o gy f o r the al l emb rac i ng un i ty o f man and th e w o rld
-
.

T o fin d thi s un i fy i ng i mag e whi ch was n o t m erely a rep ro du c ti o n o f vi s i bl e n atu re b e

, ,

c are f u lly p rep are d hi s exp ress iv e m ean s h i s t h o ugh t an d hi s t e ch niqu e H e t ran s f o rme d
, , .

ev ery p i c t o ri al d evi c e lin e f o rm rhythm f o rm s o f m o v em en t sp ac e t o n e c o l o r — b y

, , , , , ,

the mos t p rec i se an aly s i s f re e ing the m f ro m t h ei r rep res entati o n al f un c ti o n f o r a m o re

,

v
e oc a tiv e f reed o m As the fi eld in whi ch th es e pl asti c f o rces w ere to app ear h e
.
, p ro
d u c ed the p l an e th e ab s trac t p i c tu re s u rface e nti re ly i nd ep end ent o f n atu re
, , on

whi ch what h ad b een ev o k e d c o uld b e w ritt en d o w n H e co mp o s e d and mo v ed . th e

p i c tu re s u rf ace by hi s o rd ering o f the s up eri mp o s ed pl an es there by c reating an au ,

to n o mous p i c t o ri al sp ace wh i ch d Oes n o t o b s erv e t raditi o n al rul es o f p ersp ec t i v e W i th .

the addit i o n o f c o l o r a magi c ally i llu mi n at e d i nd ep e nd e nt sp ac e o f c o l o re d l i gh t app e ars

, .

He no w
m o v es o v er th i s evo c ativ e s u rface d rawi n g o n it with an attenu at ed li n e w hi ch
,

in the co u rse o f its imp rovi s ati o n b eco mes a v ehi c l e o f ev ery p sy chi c s ti mu lu s H eed i ng .

hi s o wn p o w ers o f asso c i ati o n h e b ring s so methi ng p o eti c to h i s i mme d i ate i ntuiti o n s

, .

Th e res ults may b e a n atu re p o em ab o ut a pl ant ani mal o r l and scap e but th ey c an , , ,

al so l ead to an aeri a l o r s ubt erran ean regi o n ali en to man O r Kl ee may un co v e r mere ly .

a v agu e reso n an ce o r an ac ro b ati c d an c i ng mo v eme nt c au s e d by the rhythmi c pl ay

, ,

o f th e c o l o rs th e ms e lv es S o me th ing myth i cal m i ght b e s ugg es t e d in th e t o n e o f th e

.

co l o rs o r Kl ee migh t l et a d i s c u rs iv e l i n e f e el i ng i ts w ay amo ng th e mag i c z o n es o f

, ,

c o l o rs find ess e n ces th at are at ho m e b e tw e en th e s t ars an d the e arth Th u s h e p re

, .

p ared th e pi c tu re s u rf ace as a vi b rant so und i ng b o ard and a se n s i t iv e or a g n wh i ch re

sp on d ed to p o e ti c impul s es an d intu i tiv e exp eri en ce .

But thes e imp ul ses and exp eri en ces ari s e o u t o f a ve ry d eep rea lizat i o n of p hysi cal
” ”
n atu re A p reo cc up ati o n w i th n atu re was a co nd i ti o s i n e q ua no n f o r Kl ee H e en
. .

d eav o red to o ri e nt hi m self p rec i s e ly in the n atu ral w o rld By the mo s t ex ac t an alyti c .

o b s e rv ati o n o f n atu re s f o rms an d by a p en e trating co nt empl at i o n o f th em h e d ev e l o p e d

’

a re p ert o ry o f quint es s ent i al images F ro m th e s t o ck o f id eas c ultiv at e d in hi s s ub c on

.

s c i o u s th ere emerge d o n th e p i c tu re s u rf ace symb o l s o f real i ty o f an as to n i shi ng p re

,

c i s i o n ; th ey no t o nly rep ro du c ed th e s tat i c f ac t o rs in n atu ral s ce n es but al so th e f o rces

an d g e n e ti c p ro ce ss es o f n atu re : g ro wing bl o o mi ng s treami ng sw aying It i s n atu re

, , , .

d eep ly und ers to o d d eeply i mmers ed in a w ealth o f rememb ered i d eas that w as u sed
,

in the p ain ter s vi s i o n And s o it w as p o ssi bl e f o r thes e inti mati o n s o f a c o mpl ex uni
'
. ,

'

fied rea l i ty to reach exp ress i o n thro ugh w ell h andl e d

-
m ean s b o th refl ec t i ng the p aint er s
,
K l ee : L an d sc ap e w i t h D arn (Fl u ssb au l an d sch a f t) 1 9 2 4 O i l
. . o n c an v as , x S t aa t l i ch e K u ns t hall e , K arl sru h e

1 20
K l ee : A ro u n d th e F is h ( U rn d en Fi sch) . v
1 9 2 6 O i l o n c an as,
. x 25 The M u s eu m of M o d e rn A rt,
N ew Yo rk , M rs . Joh n D . Ro ck e f e ll er, Jr . Fu nd
K l ee : A Gay R ep as t ( Bu n t e M ahl z ei t) . 1 9 2 8 O i l o n can
. v as ,
C o ll ec t i o n M rs . Gab ri el H au ge ,

Was hi ng to n D
, . C .
K l ee : M as k o f Fe ar (M as k e F u rch t) 1.

Oi l o n b u rl ap , x C o ll ec t i
Dr . an d M rs A l l an R o o s N ew Y o rk
.
,
 K l ee : C ap ri c e F eb ru ary ( C ap ri c ci o i m
in
F eb ru ar) 1 9 3 8 O i l o n c an v as 3 9 x
. . ,

C o ll ec t i o n M r an d M rs M o rt o n N eu mann
. .

C hi c ago

126
K l ee : R ev o l u ti o n of th e Vi ad u c t ( Re volu tion d e s Vi a du kt es) . 1 93 7 . Oi l v
o n c an as , 2 3 x t
K u n s h all e ,

H a mb urg
 C ap t i v e ( G ef ange n)
K l ee : . 1 9 4 0 O il o n
. b url ap mo u n t ed on wo o d , C o l l e c t i o n Mr
. an d M rs . Fre d eri ck
Z i mmermann N ew Yo rk
,
P ai n t i ng T o d ay

T he exhi b iti o n i s n o t l arg e e n o u gh to all o w u s to t rac e ad eq u at e ly the d ev e l o p me nt o f

p o s t war G erman p ain t in g Thi s p ai nt i ng w o u ld b e i nt eresti n g merely as a p he n o me n o n
- .

o f i n t e ll e c t u al hi s t o ry F o r it p ro v e d that w h en th e w ar w as hardly o v e r an d all s t ru c tu re

. ,

o f a soc i al p hi l o s o p hi cal an d i n t e ll ec tu al n atu re s ee me d to b e d e s t ro y e d th e id ea

, , ,

co n t ai n e d i n th i s d ev e l o p men t sh o w e d an u n s u s p ec t e d p o w er o f re ge n erat i o n H ardly .

h ad th e i d eal o f mo d ern i s m ri s en ag ai n to the s u rf ac e h ere and th ere i n th e mi d s t o f ,

the hung er an d mi sery o f a ru i n e d G erman y th an it w as at o n c e c l ear t hat i t had n o t

,

b een aff ect e d by the w ar and the h o rribl e p o l i ti c al ev e nt s R ath er it had c o mp l e t ely
.

p reserv ed th at f o rmer c o nti nu i ty o f tho u ght whi ch n o u ri s he d it and w as resp o n d i ng to ,

the s ame f o rc es wh i ch gu i d e d th e n ew E u ro p ean g en erati o n i n p ai nt i ng A un i fi e d .

,

f u n d amental p att ern s eems to b e at th e b o tto m o f all th e e ff o rt s o f th e y o u n g er E u ro p ean

p ai n t ers Thi s was all th e mo re amazi n g i n the c ase o f G ermany i n as mu ch as its l ead in g
. ,

mas t ers Kl ee K an di n s ky K irchn er B eck mann w ere d ead o r o u t o f the co untry an d

, , , , , ,

s u ch sp l e nd i d creat iv e s p i ri t s as H art u n g and W o l s h ad fl ed to F ran c e H ere i s s ee n in .

t ki ng c l ari ty the ext ent to w hi ch al l E u ro p ean p ai nti ng s h ares the s ame spi ri tu al
s ri

l o n gi n g an d co n d i t i o n .

In Germany to o as i n th e res t o f E u rop e ab s trac t p ai ntin g b ec ame the p re d o mi n an t

, ,

s ty l i s t i c exp re ss i o n I t w as n o t th at rep re sen t at i o n al p ai nt i ng d i sapp eare d b u t it c o uld

. ,

n o l o n g er sh ak e th e p os i t i o n att ai n e d b y th e E xpr e ss i o n i s t s an d b y P i c as so and B eck

mann ; i t remai n e d co nfin e d to a q u i et res t rai n e d o ften mel an cho ly o r vi rt u o so lyri c i s m

, ,
.

Th e p o l i t i cal i mp u l s e t o w ard a s o ci al i s t real i s m f o und n o echo i n G ermany Kl ee .

,

K an d i n s ky M o n d rian w ere th e reign i ng sai n t s

,
.

Th e i n fl u en ce o f a p ai nter o f th e o ld er g e n erat i o n Wi ll i B au mei s t er (1 889

,
wh o
had n o t b el o n g ed to th e B au h au s g ro up o f arti s ts b u t h ad b e e n a g oo d n ei ghb o r o f th ei rs ,

s h o u ld n o t b e o v erl o o k e d i n co n s i d e ri ng thi s exp an s i o n o f ab s t ra c t p ai n t in g B au mei s t e r s

’
.

s t art in g p o i n t w as s imi l ar to O s k ar S chl emme r s an d f ro m th e re h e s o o n w e nt o n to the

’

F ren ch p u ri s ts an d L éger D u ri n g th e Naz i p ers ec u ti o n h e s upp ress e d th e o bj ec tiv e mo re

.

mo re In 1 93 7 t h ere came h i s fi rs t i d e o g rams ab s trac t sy mb o l s t hat hav e the

" "
an d .
,

s ame ef f ec t as an c i en t w ri ti ng o n o ld w all s an d th at i nv i t e th e f ant as y to d i st ant fl i ght

,
.

H en c ef o rth B au mei s t er e agerly l et th e s u ggestiv e c all s o f c o l o re d f o rms l ead h im to ev er

n ew d i sc o v eri e s T hi s h as res ult e d i n a many f ace t e d achi ev emen t by a p ai n t e r o f w i d e
.
-

ran g e wh o i s s e n s i ti v e to many s t imu l i H e has p ai nt e d l o o s e p l as t i c c o mp o s i t i o n s

.
,

uti l i z i ng o rgan i c f o rms : canv ase s wi th d ark symb o l s o f an ethn o grap hi c charac ter th at
l o o k l i k e ru bb i n g s f ro m s o me v ery o ld i n s c ript i o n w ith remi nd ers o f the earli es t s agas
,
.

I n th es e f rag men tary f o rms n o w an d t h en fig u res c an b e d i s c ern e d (o pp o s i t e) All th es e .

d irect i o n s c ro sse d each o th er i n many mann ers ; ab s trac t ex erc i se s i n p ro bl ems o f

 M rs M arg are t e B au mei s t er
B au me i s t er : H o mag e to J ero me B o s ch 1 9 5 3 O il on c o mp o si t i o n b o ard x C oll ectio n S t u tt gart
. ,
. . ,

131
B au mei s t er: M o n t arn I . 1 953 . Oil on p as t e b o ard , x N i e d e rs ach s i s c he L an d esgal eri e H an o v er
,

e qu i l i b ri um w ere f o ll o w e d b y a cyc l e o f p i c tu res wi th ab s trac t figu res d ark pi c to ri al ,

myths by gai ly-co l o re d hu mo ro u s f abl es E ach s tyl e s h o w ed an as to n i s hi ng co nn ec ti o n

, , .

with an c i ent memo ri e s an d w i th the p rimitiv es The f o rmal ri chn es s and the b readth .

o f c o nt ent o f t hes e ab s t rac t p ai n t i ng s has s ti mul at ed many y o u n g p ai nt ers .

If w e wi shed to S k e t ch th e s itu at i o n o f art t o d ay in Germany we w o uld hav e to ,

menti o n many d i rec ti o n s and many i ndividu al s W e S ho u ld o n c e m o re en co unt er at .

,

the intersec ti o n o f o bj ec tiv e and ab s trac t p ainting tho s e O rp h i c o r s elf co nt ai n e d ,

-

w o rk s in whi ch an ab s trac t s tru c tu re sti ll p res erves symb o l s ref erri ng to the o bj ec tiv e
w o rld R ep resenti n g t hi s t en d en cy are W ern er H eld t ( 1 90 4
. E du ard Bargheer
(b o rn an d ab o v e all W e rn er Gi ll es (b o rn , as w e ll as H ei nz T ro ek es ( b o rn

whose p ic tu res are s t i ll fu rthe r rem o v ed f ro m the o bj ec t At th e o pp o si te extreme .

w e w o uld find co n c re te p ai n t i ng whi ch f o r th e l as t f ew y ears h as h ad i ts o wn semin ary

,

in the H o ch schul e f ii r Ges tal t ung i n Ul m , und er th e l ead e rs hi p of M ax B i ll and Vo r

D ea d Fo res t (T o t er Wald) . 1 953 . O il on b u rl ap , x 577 a
/
"
C o ll ec t i o n M rs . G ert ru d A . M el l o n N ew
, Y o rk

134
d emb erge-Gi ld enwart B etw ee n thes e two p o s iti o n s there i s a med itative s ch o o l o f p aint
.

ing refl ecti ng the p o eti c p o w er o f ab st rac t f o rm s o f whi ch G erhard P i etz (b o rn 1 91 0)

,

an d K o n rad W es tp hal (b o rn 1 89 1 ) might b e co n s id ered rep resentativ e In co ntras t to .

thi s di rec ti o n f o rm o f p ainting whi ch mak es full u se o f the d ramati c o r figu rat iv e
is a , ,

valu es o f ab s trac t f o rm d eve l op ed by G eo rg M ei s termann (b o rn 1 9 1 1 ) and J os e f F ass

,

b end er (b o rn Am o ng th e y o unger g en erati o n the ab st rac t N eo -E xp ressi o n i sm

intro du ced by H artung an d W o l s h as co me to th e fro nt ; it att empts to d
reco r on th e

W ern er : P remo ni t i o n (Vo rahnu ng) . G ou ache

1 95 2 . on p ap er , x 27

C o ll e c t i o n M rs G ertru d A M e l l o n
. .
, New Yo rk
canvas s u rf ac e i n th e mo st sp o nt an eo u s c all igrap hy mo men ts o f hu man co n s c i o u s n es s
, , .

M any n ames may b e me nt i o n e d i n thi s c o n n ecti o n : H ann Tri er (b o rn F re d

Thi el er (b o rn H o ff mann S o end erb o rg ( b o rn -
G o etz (b o rn Grei s (b o rn
B ern hard S ch ultz e (b o rn etc Th i s i s a v e ry ri ch rep res e ntati o n o f co nt em
.

p o rary ab s trac t p ai nti ng an d i t h as rec ap i tu l ate d th e b asi c p attern o f mo d ern p ai nt i ng

,

i n th e W es t .

Thi s exhi b iti o n p rese nts t hree i nd ep e nd e nt s ign i fi c an t p ers o n aliti es who al ready ,

h av e a l arg e b o dy o f w o rk b eh in d th em : F ri t z W i nt er Th eo d o r Wern er an d E rn s t , ,

Wi l he l m Nay P erhap s th ey rep res ent the h igh p o i nt s o f p resent d ay G erman p ai n tin g ;
.
-

at any rat e th e i r w o rk c e rt ai n ly s ho w s i ts ch arac t e ri s t i c p roc es s e s

, .

F ri tz Wi nt er (b o rn 1 905) mo s t c l early b e l o n gs to that fin e c o n ti n u i ty o f G erman

ro mant i c t ho u g ht that th e Bl au e R ei t er i n tro d u c e d i nt o mo d e rn sen s i b i l i ty an d that w as

f u rther d ev e l o p e d b y Kl ee s w o rk Wi n t er s t art e d f ro m th at p o i nt H e hi ms el f w en t
'
. .

t hro u gh th e B au hau s w as K an d i n s ky s ass i s t ant and was i n c l o s e rel at i o n shi p to Kl ee

’

, , .

There w as i n add i ti o n hi s o w n p erso n al exp eri e n ce In hi s y o u th Wi n ter had w o rk e d .

as a mi n e r an d th e re i n the g ray gl i mme r o f th e ro ck s h ad s een an d l i v e d w i th s u nk e n

“

, ,

p ri mev al f o rms th e i mp ri nt s o f an earl i er w o rld Th e p ro c es s es o f b ec o mi ng and p as s ing

, .

aw ay h e re c ame to l i f e f o r hi m i n a s ec re t s t rat u m T h ey s u mmo n e d hi m to see creat i o n .

i n th e fi n ely f o rme d i mag e s Of n atu re an d to und ers tan d th em mo re b ro adly w i th a

,

v i ew o f th ei r hi dd e n p ro ces s es to t ak e i nt o co n s i d erati o n n o t o n ly thei r n o u n s : a t ree

, ,

a s t ream a fl o w e r b u t al so t h ei r v erb s : g ro w in g fl o w i n g bl o o mi n g W i nt er s o ugh t a

, , , , .

f o rm at th e l ev e l o f th e p i c to ri al th at co uld c o nv ey thi s p o et i c exp eri en c e If w e c l o s e ly .

ex ami n e th e two p i c t u re s b y W i n t er i n th e exhi b i t i o n (p ag es 1 3 3 w e can trace th e

p o e ti c and co n s tru c t ive i n ten s i fi c at i o n o f hi s charac t eri s ti c ally ro mant i c f eel i n g f o r
n atu re H e re t u rn s to th e p o i nt at w h i ch man i s hi ms e lf p art o f c reat i o n an d f ro m wh i ch
.
,

as Kl ee c all e d i t h e rep eat s w ay s o f b ec o mi ng an d gro w i n g

"
o ri g i n al p o i n t o f c reat i o n , ,

w hi ch c o i n c i d e w i th the p ro ces s es o f all n at u re F ac e d b y t h ese p i c tu res o u r c o n c epts

.
,

o f o bj ec t iv e an d ab s t rac t b rea k d o w n W e s ee i n th em i t i s t ru e n o n rep res e nt at i o n al

.
, ,
-

d i agrams o f p hy s i cal an d p sy ch i c en ergi es s tru ctu res fi eld s o f f o rc e b as i c c rys talli n e

, , ,

p att ern s But thes e ab s t rac t s ch emes are p erme at e d b y th e s ugg es t i o n o f a d eep er
.

co n n e ct i o n b e tw ee n Wi n t er s p e rs o n al exp res s i v e w o rld an d th e mo t iv ati ng f o rc e s o f a

’

l iv i ng o rgan i c n at u re the un iv ers al i n u s and aro und u s

, , .

T heo d o r W e rn er (b o rn wh o c ame to ab s trac t p ai nti ng b y way o f C éz ann e an d

th e C ub i s t s h as c o mp arabl e aims but th ey are s t i ll f u rth er remo v e d fro m th e o bj ec ti v e
, ,

w o rld Again s t a ri ch b ackgro u nd o f atmo sp h eri c S p ace are s et i n mo ti o n z igz ags c u rv e d

.
,

f o rms an d arab e s qu es w hi ch are alt ern ate ly d el i cat e and c o arse (p ag es 1 3 5 and
,

’
Th e p ai nter s c o n cept o f the p i c t u re i s al s o attun e d to h i s o wn exp eri e n ce o f the w o rld .

W ern er s i n t ell ig en c e has ab so rb ed th e achi ev emen t s Of mo d ern s ci enc e an d i ts multi

’
d i men s i o n al p i c tu re o f the univ erse Three-di me n s i o n al things n o l o ng er co u nt there ;
.

th ey hav e b e en repl aced by s tru c tu res o f an ab s trac t algeb rai c n atu re o s c ill ati o n s , , ,

mo v em ents t en si o n s M an who i s at a l oss in the new S p ac e s ays W ern er mu st go

, .
, ,

al o ng with t h ese ch ang es e m o ti o n ally A S a p ai nt er he mu s t fin d f o rm s th at c o ndu ct

.

thi s mo d ern exi st enti al s p ace int o th e i magin ary and then an d there l o c at e it in the , ,

e m o ti o n al d o main s o f c o l o r f o rms
”
E xamining W ern er s pi c tu res w e s ee a S p i ri t at
.
’

w o rk that c o n t empl at es a mo re un iv ersal o rd er go i ng b ey o n d the p aint er s mast ery

’

o f n atu re o r pi c t o ri al c o mp os iti o n T hi s S p i rit seek s to re l at e art i s ti c f o rm to the n ew

.

S p aces o f s ci en ce an d b ri ng s u s cl o s er to m an s n ewly f o und re l ati o n ship to an exp and

’
-
,

i ng un ive rs e .

A L atin S p i ri t may p erhap s rej ec t th e w ei ght ing o f th e co n s tru c ti o n and dé co r o f the

p i c tu re wi th the f ar reach i ng c o nt ent W int er and W ern er s eek It i s t ru e t hat a pi ctu re
-
.

i s alw ays a s e lf -co ntai n e d co n cret e f ac t but l i k e ev ery o th er p h e n o men o n i t has b o th

, ,

t
N ay : W i h the R e d an d Bl ac k Do ts . 1 9 54 . O il v
o n c an as , x t
K u n s h al l e , H amb u rg
su rface and d ep th O rd er f o rm co n s tru c ti o n th ese l i e o n th e s u rf ace ; what m o tivat es
.
, , ,

th em ri ses o u t o f th e d epth s o f man hi mself .

E rn s t W i lh el m Nay (b o rn 1 9 0 2) s t and s co mpl etely ap art f ro m thi s ro manti c atti tu d e

an d i ts c o n c ern with co nt e nt H e h as a v ery s p ec i al p o s i t i o n i n m o d e rn p ainti ng O ri gi
. .

n ally Nay who se hum anity and p ass i o n s put hi m c l o se to Ki rch n er w as attrac te d by
, ,

th at arti st s h ec ti c , f o rm al hi ero glyp h i c sH o w ever he soo n tran s l at ed them int o th e realm

'
.

o f co l o r a c o l o r o f th e sh arp e s t and c l eares t g rad ati o n s H i s co l o re d f o rm s ach i ev e d s o

, .

s t ro ng an ev o c ativ e f o rce th at th ey b ec ame c ap abl e o f my s t eri o u s t ran s f o rmat i o n s o f

o p ti cal exp eri en ce and ev e n o f the di sco v e ry o f f ar-re mo v e d mythi c al rep rese nt ati o n s
, .

O ft en o ne c o u ld ask in th ei r p resen ce as d i d M all arme b e f ore Gau gu i n s wo rk H o w

,
” ’

i s i t p oss ibl e to c o mbin e s o mu ch my s t ery with su ch vulgar s pl end o r? But thi s vulgar
”

s pl e nd o r linking he int erac ti o n o f co mpl e m entari es with a glitt eri ng chro mat i c gra
“

t
d ati o n sho w e d N ay s s u re in s tin c tive f ee l i ng f or the l aws o f co l or rel ati o n shi p s At the
’

, .

s am e ti me th es e co l o r co n s t e ll ati o n s reo rganiz e d p i c t o ri al sp ace an d s et i t in mo ti o n ,

b y th e seri al o rd ering o f th e p atches o f c o l o r The fl at pi c to ri al fi e ld w as f o rme d f ro m .

a s u rf ace m o ving in tim e an d S p ace In rece nt y ears N ay h as rem o v e d o ne l ay er af t er

.

an o ther H e e l i mi n at e d o bj ec ti v e e m o t i o n s c o ntent p sych o l o gi cal f ac t o rs an d re d u c e d

.
, , ,

d rawing and f o rm to free S p o t s o f co l o r N ext he s o ught to o rgan i z e these sp o ts int o

.

s i mpl e g eo me t ri cal d es ign s u ntil he had arriv ed at c o l o r as the b as i c essenti al o f f o rm

and s u rf ace T hi s c o nt e mpl ativ e p en et rati o n o f hi s m e d i um c ry s t all i z e d int o a th eo ry

.
,

f reeing hi s c reativ e int elligen ce f ro m m ere i n sti n ct and i mpul s e th ereby al so ex c luding ,

a p s y ch o l o g i cal m o tiv ati o n .

N ay s new pi c tu res are graceful f ree and b right and l eav e b ehi nd all th at i s d ark
’

, , , ,

anxi o u s o r e mo ti o n al Th e y d o no t exp res s anything o th er th an th emselv es th at i s

, .
, ,

anyth ing b ey o nd th e pu re co n cret e f o rmati o n s o n th e su rf ace H i s b as i c t as k i s to c reat e .

th e p i c tu re o u t o f co l o r; hi s b as i c th eme i s to en ergi z e th e s u rf ac e o f hi s p ainting by

mean s o f c o l o r tran s iti o n s whi ch tak e a th eme o v er the c o l o red s u rf ace in ch arac t eri s ti c
,

co unt erp o int The co nt rapunt al int erw e aving o f th ese individu al c o l or th eme s an d
.

cad en ces p l ay i ng again s t th e o rche s trat e d co l or o f th e s u rf ace i t s e lf yi e ld s th e chro

, ,

mati c co mp os i ti o n wh i ch i s the p i c tu re These co l o r e n ergi es wh i ch w ere fi rs t giv en

”
.
,

ex p ress i o n as v ari e d amo rp h o u s co l o r p at ch es b ec ame s o lidifi e d i n N ay s l at es t s e ri es

'

, ,

o f p ainting s i nt o a b as i c f o rm n am e ly th e di s k (s ee D ark M el o d y p ag e
, , N ay ,

exp l ain s th e l o gi c o f t hi s d ev el o pm e nt as f o ll o w s :
”
M o v ement rep resent ed two d imen ,
—

s i o nally by th e d i ago n al s o f th e p l an e s u rf ac e and immo bility rep res ent e d by v ert i c al s, ,

and h o riz o nt al s in co nj un c t i o n p ro du ce o n the fl at s u rf ace the d i s k wh i ch tran sf o rms

, ,

th e dyn ami c e n ergy o f mo ti o n int o a l at ent en ergy c o n cent rat e d i n the d ot Th ese .

p o tenti al co l o r en ergi es s p reading lik e mu s i cal v o i ces o v er the s u rf ace c reat e th e

, ,

int ri cat e p o lyp ho ni c d es ign o f th e p i c tu re .

N ay : k
D ar M e l o dy 1 9 5 6 O i l
. . v
o n c an as , 4 9 x C o ll ec ti o n M rs . G ert ru d A . M e ll o n N ew
, Yo rk

W hat we hav e here i s a s u rp ri s in g i mp u l s e t o w ard p ei nt u re c o n c ret e wh i ch w o uld ,

s eem to p ro vi d e a n ew d i rec t i o n an d a n ew s upp ly o f e n ergy f o r th i s p arti c ul ar k i nd o f

mo d ern p ai nt i ng S i n c e th e d e S ti j l c o nt ri b u ti o n o f M o nd ri an an d van D o es b u rg th at i s
.

to say ab o u t thi rty y e ars ag o thi s p ai nti ng d e sp i t e i ts b as i c v al i d i ty l ap s e d i nt o a ri gi dly

, ,

mo n u men t al pl at o n i c g eo met ry I w o u ld n o t b e s u rp ri s e d to fin d that N ay s p ai nti ng s

’

. ,

p ro du cts o f p u re i nt u i ti o n al ert i nt ell i g en c e p as s i o n an d d i s c ipl in e may t u rn o u t to

, , , ,
 F i rst there w as R ei n h o ld B egas (1 83 1 1 9 1 1 ) an d h i s s ch o o l w ho fill ed B erl i n and mu ch
-
,

o f th e res t o f G erman y w i th c o l o ss al mo n u men t s i n a n eo B aro q u e s ty l e o f f al s e p ath o s

-
.

A ty p i cal examp l e o f the f o rmal co n f u s i o n o f th e s ch o o l an d at the s ame t ime i ts mas t er

,

p i ec e S imply b ecau s e o f its S i z e was the N ati o n al M o n u men t c o mpl e t ed i n 1 89 8

”
, , ,

o pp o si t e th e B e rl i n S ch l o ss T h en came a n ew mo v e me n t i n th e S ec es s i o n co nn ec t e d
.
,

w i th th e n ame o f M ax Kl i n g er ( 1 85 7 w h o s e p ret en ti o u s B eeth o v e n M emo ri al p u t ,

t o ge th er o f c o l o re d mat eri al s w as the s u bj ec t o f p as si o n at e es t het ic d i sc u s si o n And

, .

fin ally there w as an e ff o rt t o w ard s a n ew mo nu me ntal ity whi ch aro s e o u t o f the fru i tfu l
,

mo v ement o f the Ju g en d s til M any go o d w o rk s w ere c reat ed i n s mall si z es but as s o o n

.
,

as th e i d i o m w as t es t e d o n a mo nu me nt al s cal e i n l arg e memo ri al s i t s h o w e d i ts emp ti ,

n ess an d p ro v ed to b e mere ly ext ern al a styl i z ati o n rather than a s tyl e The B i s marck
, .

mo n u me nt i n H amb u rg (1 9 0 6) b y H u g o L e d erer ( 1 87 1 1 9 3 6) i s one exampl e and an o ther

-
,

i s th e B af fl e o f th e N at i o n s mo n u men t n e ar L ei pz ig ( co mpl et e d i n 1 9 1 3 ) w i t h s tat u ary

by F ran z M etz n er (1 87 0 T h es e arti s ts are al ready o f the g en erati o n o f B arl ach ,

wh o s u c ce ed ed i n c ry stall i z i n g th ei r v ag u e f o rmal i nt e nt i o n s b y e nd o w i ng th em w i th
,

a mean i ngf ul c o nt e n t an d th ere b y achi ev e d a n ew s tyl e

, .

W e c an qu i ckly p ass o v er the o ff i c i al and s emi o f fi c i al arti s ti c t e nd en c i es at th e tu rn

-

o f th e c e ntu ry but mu s t s p eak i n s o mew h at mo re d et ai l o f th e re app rai sal o f th e t ru e

,

v alu es o f s c ulptu re th at w as p ro d u c e d b y the w o rk and s till mo re b y the w ri ti n gs o f , ,

H i s f amo u s b o o k D as P ro bl em d er F o rm app eare d

“
Ad o lp h v o n H i ld eb rand ( 1 84 7 "

i n 1 893 an d i ntro d u c e d a n ew t ren d t o w ard p l ast i c i ty H i ld eb rand s b asi c i n s i gh t an d

’
.

c l ear co n c epti o n s w ere o f d ec i s iv e i mp o rt an c e at th e t u rn o f th e c en t u ry f o r the y o u n g er

s c u lp t o rs i n G ermany wh o w ere l o o k i n g f o r th e w ay f ro m f al s e p ath o s to a n ew lu c i d

f o rmal l an gu age H i s vi ew s w ere al so d ec i s i v e f o r G erman es th eti cs ( as i n the c ase o f

.

H ei n ri ch W Ol ffl i n) an d t h ey s t i ll c arry w ei ght t o d ay

'

, .

In h i s b o o k H i ld eb rand d rew a S harp d i s t i n c t i o n b e tw een the tw o mai n p o s si b i l i ti es

of sc ulp t u re an d th ei r eff ec t o n s tyl e : d i rec t c arv i n g and mo d el i n g the c reati o n o f f o rm ,

b y tak i ng aw ay o r b y add i n g .

In hi s ey es th e fi rs t was th e hi gh er o rd er o f w o rk b e c au s e he f e l t th at i t ass u re d
,

th e s tatu e a firm f o rmal an d sp at i al i d ea w hi ch f o r h im w as th e ess en t i al art i s t i c e l eme nt

,

o f s c u lpt u re H i ld e b rand b e l i ev e d th at s c u lpt u re h ad i ts o rig i n i n d rawi ng w hi ch w as

.
,

th en tran s l at e d i nto a rel i ef b y c u tti n g aw ay i n d ep th and fin ally b y a f u rther w o rk in g , ,

l o o s e o f th e f o rms b ecame th e f re e S t an d i n g s tatu e

,
-
.

C o n s e qu en tly as H i ld eb rand s aw it th e s c u lpt o r w o rk in g i n s t o n e o r w o o d mu s t

, ,

s t art f ro m a p i c t o ri al i d ea
”
w hi ch h e d raw s o n th e f ac e o f th e s to n e an d the n carv es
,

o u t l ay e r b y l ay er T hi s o f n ec ess i ty g i v es ri s e to a d i s t in c t p o i nt o f v i e w ac c o rd i ng
.
, , ,

to w hi ch all th e mai n sali e n ces mu s t b e Vi s i bl e ; th i s h e re q u i re d o f any g o o d s c u lpt u re .

Th e mo d e l i ng t ech n i qu e b u i ld i ng u p f o rm f ro m a c o re i s h az ard o u s H i ld eb rand

, , ,
 vo n H i l d eb ran d : D i o ny su s 1 89 0 M arb l e
. . x , C o l l ec t i o n
M rs . E l i s a b e t h Bre w s t er H i l d e b ran d F l o re nc e I t a ly
-
, ,

b el i ev e d b ec au s e th e m o d el er mu s t co nti nu ally mo v e aro und the figu re an d th ereby

,

ru n the ri s k o f l o s ing a c l ear p i c t o ri al id e a H e real i z e d o f co u rs e that art i s t s o f s t ro ng

.
, ,

i magin ati o n co uld p ro du ce w o rk s whi ch o b s erve d hi s f o rmal p rin c i pl es by u s ing the

mo d eling t ech n i qu e as w ell In f ac t he hi ms elf w o rk e d in b ro nz e
.
, .

W e kn o w t o d ay that H i ld e b rand s theo ry d i rec t c arv i ng i s s ubj ec t to hi s to ric al

of
'

li mitati o n s an d that the Greek sc ulpt o rs to

, who m h e app eal e d w o rk e d all aro und the
figu re c utti ng it o u t f ro m al l s i d e s at th e s ame ti me as p rac ti cally ev ery m o d ern
, ,

s c ulpt o r d o es t o d ay i n e ith er s t o n e o r w oo d T hi s h o w ev er S h o uld n o t l ead u s to und er

.
, ,

es t imat e hi s h i s t o ri c al i mp o rtan ce .

H i s Y o uth o f 1 884 in the N ati o n al G all e ry B erlin w as c o n ceiv e d as a c an o n o f h i s

, ,

th eo ry and h ad that ef f ec t B ec au s e o f its s t ri c t ref eren c e to antiqu e s tatu ary e sp ec i ally

.
,

to Augu s t an R o m an it giv es u s t o d ay th e i mp ress i o n o f b ei ng rather co ld N ev erthel es s

, .
,

in the m i d s t o f the f o rm al co nfu si o n then p reval ent i ts rigo ro u s lu c id f o rm o p erate d , ,

as a lib erati ng f o rc e p o inti ng to a n ew way Fo r u s h i s c reativ en es s s eem s mo re c o n

, .

vi nc i ng in th e b eau ti ful re l i e f o f D i o nys u s i n Fl o re n ce (ab o v e) A s a t each er in the .

n o t i n th e exhi bi ti on

1 43
Mu n i ch A c ad emy H i ld eb rand train ed a s u cc ess i o n o f s tud e nts wh o co ntinu ed to w o rk
,

i n hi s sp i ri t H e f o rme d a sch o o l o f sc ulptu re th ere th at k ept i ts un i fi e d ch arac t er ev e n

.

aft er h i s d eath mai nly thro ugh h i s s tud ent H ermann H ahn (b o rn
, In Mun i ch to o , ,

h e c reate d h i s mas terpi ec e th e Wi ttel s b ach F o untai n

,
I ts c l ear f i rm co mp os ito n ,

w as in co n tras t to the res tl ess mo t i o n o f B eg as N ati o n al M o nu men t in B erlin

'

an d t o d ay i t s t i ll rank s as o ne o f the b es t c iv i c s c ulptu res o f th e ni n e t eent h c entu ry .

In B erl i n he al s o f o und f o ll o w ers in L o u i s T u ai ll o n ( 1 862

, wh o s e Am az o n o f
1 895 i n f ro nt o f the N ati o n al Gall ery i s a fine ex ampl e o f th e n ew s ty l e and in Augu s t ,

Gau l (1 869 Gaul had d erive d f ro m the s cho o l o f B eg as but lat er in Ro me after , ,

co n tac t w i th H i ld e b ran d an d h i s o w n s tudy o f th e anti q u e h e attai n e d n ew c l ear f o rms ;

, ,

a g o o d exampl e i s hi s b ro nz e li o n o f 1 904 in th e H ambu rg Ku n s thall e ( b e l o w) W ith .

Gaul w e have reach ed the gen erati o n o f B arl ach who s e i mp o rtan c e he was o ne o f the
,

fi rs t to rec o gn i z e .

B e f o re p ro c ee d ing to the arti sts sho wn in thi s exhi b i t i o n we mu st s ay a f ew w o rd s , ,

at l eas t to i n d i c at e th e f ru c tifying and gu i d i ng i nfl u e n ce o f th e F re n ch s c ulpt o rs at the

,

Thi s i s tru e in p arti c ul ar o f the great es t s c ulpto r o f the nin et eenth

'

tu rn of th e c en tu ry .
-

cen tu ry Augu s t e R o d i n b o th in a p osi t i v e an d n eg at iv e s e n s e Th ere i s no d o ubt f o r

, , .
,

i n s t an c e th at many o f H ild eb rand s p o l emi cal att ack s o n th e mo d e l i ng s tyl e w ere

' ” "
,

d i rec t e d n o t o nly again s t B egas but al so again st R o d i n and h i s G erman i mi t at o rs S o m e .

o f M ax Kl i n g e r s c l ev er alth o ugh d ang ero u s ly f o rml ess b ro n z e b u st s are i n co n cei v abl e

’

, ,

w i tho u t R o d i n Y o ung er arti s t s w ere e nti rely und er R o d i n s i n flu en ce : K arl Al b ik er

’
.

( b o rn 1 878) w as in his s tud i o in 1 9 00 and G eo rg K o lb e ( 1 877 , w h e n s ti ll a p aint er ,

rece i v e d d e c i s iv e i mp ress i o n s f ro m R o d i n i n P ari s i n 1 898 an d b ecame a s c ulpt o r as

Gau l : L i o n 1 9 0 4 Bro n z e
. . 52
"
hig h .

K u n s t hall e H amb urg

,

1 44
 M i n n e : M o urni ng W o me n 1 8 9 6 W o o d
. .
,

t
h i g h K u n s hal l e ,
. H amb u rg

c u ss i o ns in G erman y S ti ll mo re i mp o rtant
. as a p ro t o typ e , h o w ev e r w as
, a s eri e s o f

d rap ed f igu res and gro up s o f figu re s su ch as the M o u rn in g W o men o f 1 89 6 i n th e

,

H ambu rg Kun s thall e (ab o v e) whi ch rec ap tu red the exp res s iv e me d i ev al l angu age o f
, ,

d rap eri es B arl ach l at er w ent f o rw ard f ro m th i s p o i nt

. .

E rn s t B arl ach ( 1 87 0 -1 9 38) was o n ly th ree y ears y o ung er than M inn e but he ach i ev e d
,

hi s o wn s tyl e mu ch l at er than the B elgi an arti st L ik e mo s t o f th e s c ulpto rs o f hi s ge n er

.

ati o n h e b eg an as a p ai nt er o r rath e r as a d raft s m an and remai n e d a s ign i fi c ant grap hi c

, ,

art i s t all hi s l i f e M any o f hi s e arly d raw i n g s w hi ch app e are d i n th e mag az i n e J u g e nd

.

mu s t co nv i n c e ev e n tho s e w ho can n o t s ee the rel ati o n s hi p i n hi s matu re w o rk s o f the ,

o ri gi n o f h i s w o rld o f f o rms in th e J u g en d s til At th e tu rn o f th e c entu ry th e mag az i n e

.

w as an i mp o rtant c e nt er o f the mo v e me nt B arl ach s early d raw i ng s al so S h o w hi s

’
.

remark abl e g i f t s as a d rafts m an O n th e o th er hand hi s early sc u lptu re i s so th o ro u gh ly

.

d o mi n ate d by th e c o nv enti o n al f o rms o f the o ffi c i al art o f the p eri o d that it i s mu ch

h ard e r f o r u s to gl imp s e hi s m atu re arti s ti c p ers o n al i ty i n th em than in f o r ex amp l e
, ,
 t extb o o k Figu renz ei ch nen H ere al o ng with archi t ec to ni c d es ign s in the s tyl e
hi s l i ttl e , .
,

o f L e d e rer and M etzn e r are f o rms w h i ch f o res had o w hi s l ater w o rk In th e spi rit o f the
, .

J u gend stil o ne o f who s e ai m s w as the revi val o f appl i e d arts are B arl ach s cerami cs
, ,
'

whi ch b ro ugh t hi m an app o i ntme nt as teacher at a s ch o o l f o r that c raft .

B arl ach s ch arac teri s ti c w o rk wh i ch w e to d ay co n s id er the b eginn i ng o f m o d ern

’

G erman sc ulptu re b egan o nly i n 1 906 and w as s ti mu l at ed by the exp eri en c e o f a t rip
,

to R u ss i a wh ere hi s b ro th er w as w o rking as an e ng i n eer In co nt ras t to th e c o mpli cat e d .

ind ivi du al s o f the p resen t d ay th e p eo pl e , o f th e e ndl ess Ru ss i an p l ai n s who w ere ,

"
al i k e i nwardly an d o utw ardly b ecame , fo r B arl ach s i mp l e and he n c e p o w erful , ,

symb o li c fo rms and th ey rev eal e d to hi m a new p o ss ibility o f plas ti c c reati o n Th ereaft er
, .

hi s f o rms w ere d i rec t ed t o w ard an extreme s i mpl i c i ty and a hi gh ly c o nd e n s e d exp res

s iv e p o w e r and hi s figu res b ec am e archtyp es o f s p i ri tu al c o nd i ti o n s : B egg ar W o m an
,

(o r as it m ight b ett er b e kn o wn P o v erty) S o rro w i ng W o man (o r b etter S o rro w) The

, , , ,

Av e ng er Th e S o lit ary etc

, , .

O ne c ann o t co mp reh end th e sp ec ifi c n atu re o f B arl ach s art wi th o ut realizing that

’

h e w as l
a s o an i mp o rtant p o e t
b v e all a w ri t er o f d rama The charac t ers in hi s
an d , a o , .

play s are an al o g o u s to th e charac t ers in hi s sc ulptu re In hi s p o ems too th ere p rev ail s .

a h eavy o ft en t e nd e nti o u s seri o u s n ess a t ragi c u nd ert o n e that charac t eriz es all o f hi s
, ,

w o rk H e re and there i s so me grim hum o r but n ev er g ai ety

.
, .

H i s fi rs t w o rk s after th e t ri p to R u ss i a are i n c l ay s o m e o f whi ch w ere i nt end e d f o r

,

fi ring in p o rcel ain o r f o r b ro nz e casting An examp l e i s the exp ress iv e B eggar W o man
, .

" "
o f 1 907 ( b el o w) whi ch g o e s b ack to a s k et ch o u t of hi s b oo k , Figu renz ei chnen, but

”
. z
B arl ach : B e ggar W o man 1 9 0 7 B ro n e 9 h ig h
.
, .

C o ll e c i o n H e rmann Ree m s ma H am u rg
t t ,
b
 B arl ach : S o rro wi n g W o man 1 9 09
. . Woo d 26
"
h ig h .

P res en t w here ab ou t s u nk n o w n

whi ch has ach e e i v d an pl asti c f o rm f or the fi rs t ti me D ep e rso n al iz ati o n

i nd ep e nd e nt .

i s c arri e d s o f ar i n thi s fig u re th at ap art f ro m the hand s n o thi ng reco gn i z abl e i s l eft

o f the b o dy an d o nly the d rap ery g iv es v o i ce to th e exp res s i o n D rap e d fi gu res i n the
, .
,

sen s e i n w hi ch M i nn e h ad re d i sc o v e re d th em n o w b e c ame and remai n e d B arl ach s

'

un i qu e and s o l i tary theme N o t a s in gl e nud e figu re c ame f ro m hi s h and s u re ly the

.
,

o nly s u ch c as e i n E u ro p ean sc ulptu re s i n ce th e M i ddl e Ag es .

B arl ach so o n d i s c o v ere d the mat eri al that w as b es t s u i t e d f o r hi s w o rld o f f o rms

w o o d S i n ce the end o f th e B aro qu e p eri o d w o o d had b een rarely u s e d and then o nly
.

f o r w o rks b e l o w th e fi rs t rank Th e rev i val was n o t d u e to B arl ach a

. l o n e Gaugu i n h ad
.

p re ced e d hi m and M ai ll o l h ad f o ll o w e d him in s o me early w o rk s The mo s t imme d i ate

, .

so u rc e o f i n s p i rat i o n f o r B arl ach i n th i s co nn ec t i o n ho w ev e r w as M i nn e

, , .

S u ch w o rk s o f s culp tu re in w o o d a s th e S o rro wing W o man o f 1 9 0 9 ( ab o v e) b ri ng

o u t w i t h s p ec i al c l arity th e ext e nt to w hi ch H i ld e b rand s b as i c p i c t o rial rul es s t i ll h e ld

“ '

val i d ity f o r B arl ach d esp ite the div erg en ce o f th e tw o art i s t s in sp i ri t and exp ress i o n
, .

B arl ach the d raf t s man al s o starts f ro m a p i c t o ri al id ea c ut s one l ay er aft er an o th er

, ,
"
,

o u t Of th e w o o d mo v i ng f ro m f ro nt to b ack so th at i t i s qu i t e n atu ral f o r al l th e f o rms

, ,
to b e n f ro m a si ngl e p o i nt o f Vi ew T he b ack s o f th e f igu res are to b e su re giv en
s ee .
, ,

f o rm but th ey are no t es s en ti al to the exp ressi o n B arl ach s figu res are tho ught o f as
’
.
,

s t an d i n g ag ain s t the w all an d f o r th at reas o n h e w as al s o abl e to creat e archi t ec tu ral

,

sc ulptu re .

An o th er ti c o f B arl ach s s tyl e i s th e u tt er s e l f co n t ai n ment o f hi s c l o se d

t
ch arac eri s
’
—

f o rms Th e d rap eri es un i f y th e b o di es i n t o a mo n o lithi c bl o ck and th e arms are c l o s e

.
,

to th e b o dy o r c o n ceal e d b y th e d rap ery O n ly rarely an d th e n u s u ally i n b ro n z es s u ch

.
,

as th e S i ng i n g M an o f 1 9 2 8 (p ag e d i d h e ab and o n th i s p ri n ci pl e I n g en eral hi s .

f o rmal e l emen t s are re du c e d to the o pp o si ti o n b etw ee n c o n c av e and co nv ex O c casi o n .

ally as i n the M an i n St o ck s o f 1 9 1 8 (p ag e
, th e d ark n e s s o f a d eep i n c i s i o n c o me s

to e l o qu e nt exp ress i o n Th e s e self co n t ai n e d b l o ck s are f o r th e mo s t p art i n a s t at e o f

.
-

h eavy rep o s e s i tti n g ly i ng s t and i ng s o meti mes g e ntly ro cki n g T h ere are h o w ev er
, , ,
-
.
, ,

ex c ept i o n s whi ch exp res s Vi o l e nt mo v eme nt an d g reat e mo ti o n al ex ci t emen t A mark e d .

e x ampl e o f t hi s i s T h e Av e ng e r o f 1 9 22 (o pp o s i t e) .

B arl ach s fi rs t w o rk s i n the n ew styl e s o o n f o un d a resp o n s e amo ng the mo re p er

’ '

c ep tive l o v ers o f art O f sp ec i al S ign i fi c an c e f o r hi m w as the fri en d s hip o f A u gu s t Gau l

.
,

w h o reco g ni z e d h i s i mp o rtan ce an d i n t ro d u c e d hi m to P aul C ass i rer th e art d eal er Thi s ,

.

e n abl e d h i m to mo v e i n 1 9 1 0 to th e s mall c ity o f Gii stro w in M eckl en b u rg w h e re h e ,

w o rk e d i n s ec lu s i o n u nti l hi s d eath It n ee d h ardly b e sai d th at hi s art at th e b eg i nn i ng

.

w as c o mpl et e ly rej ec t e d b y th e publi c an d th e antag o n i s m to h i s w o rk p ers i s t e d ev en

,

wh en aft er th e fi rs t W o rld W ar i t had mad e i ts w ay i n t o the mu s eu ms Ind ee d thi s

, ,
.

h o s ti l i ty ev en i n c reas ed wh en so me adv en tu ro u s mu ni c i p al i ti es c o mmi s s i o n e d hi m to

_

c reat e w ar me mo ri al s w hi ch o f c o u rs e w ere en ti re ly o u ts i d e th e c o n v en t i o n s o f trad i

, ,

”
ti o n al s c ulptu re an d S h o w e d n o t rac es o f th e h ero i c f o rtu n ate ly B arl ach creat e d f o u r , .

memo ri al s : i n 1 9 2 7 ; the H o v eri ng Ang e l i n th e ch u rch at Gii stro w (p ag e in 1 928

th e F i gh t er o f th e S p i ri t (p ag e 1 53 ) at K i e l h o n o ri ng th e d ead s o ldi ers f ro m th e u n i v ers i ty ;
,

i n 1 92 9 f o r th e c ath e d ral i n M agd ebu rg th e g reat w o o d en g ro u p o f t hree s o ld i ers b ehi nd

th e c emetery c ro ss i n f ro n t o f whi ch th e g rav es are o p en i ng ; an d i n 1 93 1 th e g reat s i mp l e

,

s t e l e i n H amb u rg w i t h th e re l i ef o f a mo u rn i n g mo t h er an d chi ld All th es e mo nu men t s .

,

wh i ch are B arl ach s mo s t magni fi c en t achi ev ement s w ere remo v e d du ri ng th e Thi rd

’

R ei ch b u t i t w as p o ss ibl e to s et all o f th em u p agai n af t er the w ar T h e s ame f at e b ef e ll

, .

th e i mp o rt ant s e ri es Of fig u res c o mmi ss i o n e d f o r th e f acad e o f S t C ath eri n e s Chu rch i n

’
.

L ii b eck ; b y 1 93 3 h e h ad s u ccee d e d i n c o mpl etin g three o f th es e hug e i mp ress i v e figu res , ,

an d two c as t s o f e ach w e re mad e i n gl az e d c e rami c o n e f o r th e ch u rch (p ag e an d ,

o n e to b e s o ld i n o rd er to fin an c e th e w h o l e s ch eme T h e B u s ch R ei si n g e r M u s eu m in .
-

C amb ri dg e M as s ach u setts ha s th e B egg ar f ro m thi s s eri es Th e figu res c o uld b e i n s tall e d
, .

i n L ii b eck f or th e fi rs t ti me on ly a ft er th e w ar; th e S ix mi ssi ng o n es w ere mad e by

G erhard M arck s .
B arl ach : The A v e ng er
. 1 922 . Wo o d , 24
”
h ig h . C o l l ec t i o n H erman S hu l ma n , N ew Yo rk
B arl ach : S i n g i n g M an . 1 92 8 . B ro n z e , h i g h T h e M u se u m
. of M o d ern A rt N e w
, Yo rk , M rs . Jo hn D .

R o ck e f e ll er J r F u n d
, .
 B arl ach s gn i fi c an c e in mo d ern G erm an s c ulptu re c o n si sts p rim ari ly in th e d i s
’
si

c ov ery o f co mpl et e ly s i mpl e e l e ment ary mean s and in th e ab s o lut e h o n esty o f th e

,

d eeply -f elt new s en so u s co nt e nt

, .

Al o ngs id e B arl ach at the f o u n tai n head o f mo d ern German s culptu re S tand s Wilhel m
, ,

L ehmb ru ck B arl ach s antithes i s s pi ritu ally arti s ti c ally i n hi s p erso n al o ri gi n s and th e
,
’

, , ,

s o u rces o f hi s art Th e app earan c e o f tw o s u ch d i ff erent arti s t s o n the s c e n e w as an ext ra

.

o rd i nary pi ece o f g o o d f o rtun e f o r G erman art f o rest alling th e d ang er o f o n e s i d ed n-

, e ss -

whi ch might w ell hav e o ccu rre d if o nly o n e o f th es e two s t ro ng p erso n al i ti es h ad b ee n

p rese nt in a si n gl e p eri o d .

opp o s i e, t Barl ach : H o v eri ng A ng el ( S ch w eb en d er E n g e l ) .

1 92 7 . z e 8 l o ng M e mo rial i n the C at he d ral i n Gii s tro w

B ro n ,
'
. .

( S e c o n d c as t f o r S t A n t ho ny C hu rch C o l o g n e i l l u s t rat e d)
.
, ,

B arl ach : W o man i n th e Wi n d ( D i e F rau i m W i n d) . 1 93 2 .

Gl az e d c e rami c 6 Facad e S t C at he ri ne s
'
hi g h of
’
, . .

C hu rch , L ii b e ck

1 54
 L ehmb ru ck ( 1 880 1 9 1 9) w as ten y ears y o u n ger than B arl ach Th e o ld erman had co me
-
.

f ro m W e d el in H o l s t ein n ear H ambu rg an d h e was c o nditi o n e d by the N o rth G erman

,

charac t er L eh mb ru ck o n the o ther h and w as b o rn i n M eid eri ch n ear D u i s bu rg in th e

.
, ,

W es t T h e s o n o f a mi n er he t o o k up s c ulptu re at th e n earby ac ad emy o f D us seld o rf

.
,

an d t he n w ent to P ari s w h ere h e rec ei v e d hi s f o rmati v e i mpul s es B arl ach h ad f o un d

, .

n o thi n g in the F ren ch capital th at he c o u ld t ak e aw ay wi th hi m The W es t G erman .

L ehmb ru ck had a mu ch mo re E u ro p ean atti tud e f ro m the o ut s et But as w e o b serv e th e .

two arti s t s f ro m o u r v ant ag e p o i nt in ti me whi ch gi v es u s a p ersp ec ti v e o n th e arti s ti c ally

,

s i gn i fi c an t y ears b ef o re th e fi rs t W o rld W ar w e c an find a d e ep inn er re l ati o n shi p

,

in the tragi c sen s e o f li f e th ey share d In b o th c as es it s temm e d f ro m the d o l o ro u s re

.

j ecti on o f a wo rld f all en p rey to ext ern ali ty mat eri ali sm and hast e ning c atas tro p he
, , .

A S early a s 1 90 7 L ehmb ru ck had exhi b i t e d hi s gro u p M o t h er an d Ch ild i n the P ari s , ,

S al o n and h ad al s o mad e s ev eral tri ps f rOm D usseld o rf to th e F ren ch c ap i tal H e l iv ed

'
' '

i n P ari s f ro m 1 9 1 0 to 1 9 1 4 and th ere hi s e arly mas t erpi eces w ere creat e d i n a s udd e n
,

ri se o f i n s p i rat i o n T he fi rst i s the g reat S t and i ng W o man o f 1 9 1 0 ( Opp o s i t e) ; it i s f ar

.

mo re i mp ressiv e than anythi ng h e had hith erto d o n e an d remai n s t o d ay on e o f the m ost

-

i mp o rt ant w o rk s o f tw e nti eth c e ntu ry G erman sc ulptu re It has b een sai d that c o nt ac t
-
.

with M ai ll o l s w o rk rel eas e d new p o w ers in hi m Thi s i s cert ainly no t enti re ly f al s e but
’

i s sti ll o nly p art o f th e t ruth F Or ev en t h o ugh th e S i mpl i fi c at i o n o f the f orms and the
.

c l ear o rg an i z ati o n o f the wh o l e are c l o s e to M ai ll o l s t reatm en t o f f o rm L e hmb ru ck s

’ ’

m elan cho ly exp ressi o n i s c o mpl et ely ali en to the b ri ght affi rm ativ e n atu re o f the so uthern
F ren chman S i mi l ar echo es are ap paren t i n L ehmb ru ck s early w o rk and w e kn o w
’
.
,

b o th f ro m p erso n al st at ement s and o u r o wn vi su al exp eri en ce th at thi s is th e result o f ,

th e i nflu en ce o f H an s vo n Maré e s ( 1 83 7 the great p ai nt er who i s f ar to o l ittl e

kn o wn o uts i d e o f G erm any M aré es had b een a f ri e nd o f H i ld eb rand and many o f

.
,

H i ld eb rand s tho ught s c ame o rigi n ally f ro m hi m L ehmb ru ck go es b ack d i rec tly to
'

M aré es and su ccee d s i n givi n g a scu lptu ral emb o d i ment to th e p ai nt ers p i c t o ri al an d
’

f o rmal i d eas .

Bu t w h at M aré es tri e d all hi s l i f e to exp ress in p i c t o ri al f o rm was o nly a p hase f o r

L ehmb ru ck In the n ext y ear 1 9 1 1 h e creat e d the Kn e eling Wo man (p ag e
.
, , a tre

mend o u s st ep i nt o n ew t erri t ory w hi ch at fi rst threw ev en L ehmb ru ck s fri end s int o c o n

’

fu si o n O n the b asi s o f rec en t research w e kn o w L ehmb ru ck met B ran cu si that y ear

.

an d v i si t e d h i m i n hi s s tud i o It i s al s o p ro b abl e th at he met M o d i gl i an i at th e same

.

tim e thro ugh B ran c u si But thi s d oes n o t expl ain th e ch ange It may b e th at B ran cu si
. .

g av e h im the c o u rag e to und ert ak e bo ld s t ep s i n f o rm and that M o digl i an i h ad a co rre ,

sp on d i n g m e l an ch o ly but w hat L ehmb ru ck c reat e d h e re i s en ti re ly hi s o wn Th e remi

, .

n i sc en c es o f M aré es h av e v an i s h ed?W e s ee ex ces si v ely s l i m l i mb s unn atu rally attenu ,

at e d i n a w o nd erf u lly harm o n i o u s me l o dy o f c o nt o u r an d so ft me l an ch o ly exp ressi o n s ;

'

,
 L eh mb ru ck : K n ee l i ng W o man 1 9 1 1 . .

C as t s t o n e , h ig h .

T h e M u s eu m of M o d e rn A rt N ew, Yo rk ,

M rs . J o hn D Ro c
. kef el l er , Jr
. Fu n d

L e h mb ru ck : B o w i ng Fe mal e T o rs o . 1913 . T erra c o tt a ,

h igh . C o l l ec t i o n Mr . an d M rs . M o rt o n D M ay
.
,

S t L ou i s
.
, M isso u ri

hi s f o rms are n o t acti v e l i k e B arl ach but ab and o n e d to mo o d B arl ach w as a d ram ati s t
’
s a .
,

whereas L ehmb ru ck w as a lyri ci s t And in p o int o f

. f ac t he wro t e so me b eautiful lyri c
,

p o em s .

Two y ears l at er i n 1 9 1 3 cam e th e B o wing F emal e T o rs o (ab o v e) an d the S tanding

, ,

Y o uth (p age A n o t ew o rthy f eatu re o f the l att er i s the fu rther att enu ati o n o f the l i mb s ,

an d ev en mo re c l e arly t h an in the Kn eeling W o man w e f ee l th e emp hati c ax es o f th e

,

b o dy whi ch are fill ed with a sp i ri tu al exp ress ive p o w er The f ac t that n atu re i s radi cally
, , .

t ran s f o rme d here g-iv es ri s e to new p o s si b i l iti es o f arti sti c exp res si o n These w ere the .

y ears o f th e b i rth o f Cu b i s m and o f ab s trac t art (with Kandi ns ky i n Mun i ch) L ehmb ru ck , .

d i d n o t g o s o f ar an d f o r al l hi s d i s t o rti o n s and t ran sf o rmati o n s remain e d c l o s e to

, ,

n atu re T o d ay hi s w o rk s s e em almo st c l assi c al to u s

. .

15 8
 In 1 9 1 4 the w ar f o rce d him to retu rn to G erman y ; h e l iv e d fi rs t in B erl i n in Z u ri ch ,

f ro m 1 9 1 7 o n an d aft er th e w ar i n B erl i n agai n Th e me an i n gl ess bl o o d b aths o f th e

, , .
-

w ar h ad d ep res s e d hi m d ee pl y M any o f hi s p o ems o f th e p eri o d al ready exp res s th e

.

wi sh to d i e The s cu lptu res o f thes e l at e y e ars u tt er th e s ame mes s age T h e S eat e d

. .

Y o uth ( b e l o w) o f 1 9 1 8 i s s o mu ch a mo u rn i n g figu re that b e tw een th e w ars i t c o n

"

v i n c i n gl y s e rv e d i n L eh mb ru ck s n at i v e c i ty as a sy mb o l i c figu re f o r a w ar c emete ry
’

u n ti l th e N at i o n al S o c i al i s t s remo v e d i t But al o n g w i th i ts e mo t i o n al p o w er i t rev eal s

.
,

n ew art i s ti c me t ho d s an d p o s s i b i l i ti es Th e S p ac e e n c l o s e d b y th e l i mb s b eco me s a
.

h o ll o w an d th e h o ll o w f o rm b ec o mes a d et ermi n i ng e l eme nt o f th e arti s ti c f o rm T hi s

, .

i s th e rud i mentary s tarti n g p o i n t f or n ew f o rmal d ep art u re s whi ch w ere to b e fu rth er

d ev el o p e d i n mo d ern German s c u lpt u re O uts i d e o f G ermany H e n ry M o o re h as go n e

.

f o rw ard mo s t d ec i si v e ly i n thi s d i rec ti o n .

L ehmb ru ck hi ms el f co uld n o l o n ge r en d u re l i f e Ju s t as h e b egan to h av e s o me

“

s u cc e s s i n G e rmany an d aft er h e h ad b eco me a me mb er o f th e P ru s s i an A cad emy o f

,

A rt i n B erl i n and th e N ati o n al G all ery an d o th er G erman mu s e u ms h ad ac qui red hi s

,

s c ulptu re h e t o o k hi s o w n l i f e T h e w o rk o f hi s mat u ri ty whi ch s eems to u s t o d ay to

, .
,

Opp o si e, t L ehmb ru ck : S t an d i n g Yo u t h 1 9 1 3 C as t s t o n e
. .
,

”
7 8 h i g h Th e M u s eu m o f M o d ern A rt N e w Y o rk
’
.
, ,

g i f t o f M rs J o h n D R o ck e f e ll e r J r
. .
, .

L eh mb ru ck : S eat e d Y o u t h . 1918 . C as t s t o n e h igh .

K u ns t mu s eu m , Du is b u rg
l ef t
, Kol be : D anc e r 1 9 1 1 - 1 2 B ro n
. . ze ,
hi g h N at i o n al Gal l ery B erl i n
.
, cen t er d e F i o ri : Y o u t h
, . 1911 . B ro n ze , . t
hig h K u n s hal l e,
M ann he i m ri g h t
,
Al b i ker : Yo u t h
. 1911 . B ro n z e , h ig h F o l k w ang M u s eu m E sse n
. ,

1 62
 b e the great es t ach i evem ent o f G erm an sc ulptu re in th e tw enti eth centu ry w as c reat e d ,

in the sh o rt p eri o d o f nin e y ears .

B arl ach and L ehmb ru ck are the o nly tw o i mp o rtant s c ulpt o rs whose wo rk has an y
thi ng to d o w i th the mu ch mi su se d an d mi sint erp ret e d c o n c ept o f E xp res s i o n i sm At .

any rat e b o th o f th e m so ught to height e n exp res s i o n b y new arti sti c m ean s an d b o th
, ,

d rew up o n an i nn er vi s i o n What they b egan w as to b e t ak en up an d c arri ed f orw ard

.

by a y o ung er ge n erati o n Tho s e who w ere c l oser to the m in ag e p arti ally reali ze d thei r
.

i mp o rt an c e but t rav e l e d d i ff eren t w ay s

, .

L ehmb ruck s g en erati o n in G erm an y w as extrao rd i n ari ly ri ch in tal ent ed s c u lpt o rs

’

n o t all o f w h o m c an b e menti o n e d h ere G e o rg K o lb e ( 1 877 who i s rep res ent e d

.

by o ne w o rk in th e exh i b i ti o n w as the mo st f amo u s o f th em H o w ev er m enti o n S ho uld

, .

al so b e mad e o f at l eas t a f ew o f hi s c o nt emp o rari es In o rd er to b ring o u t c l early the .

d i f f eren ce s b etw een th e earn es t n ew l angu ag e o f L ehmb ru ck and the trait s h eld in
co mm o n by hi s co nt e mp o rari es w e giv e h ere i llu s trati o n s o f th ree w o rk s d at e d 1 9 1 1
, ,

th e y ear o f L ehmb ru ck s Kn ee ling W o man : K o lb e s D an cer in th e B erl i n N ati o n al G all ery

’ '

E rn es t o d e Fi o ri s Y o uth i n the M ann hei m Kun s thall e and K arl Alb iker s Yo uth in the
’

,
’

F o lkw ang Mu s eu m E ss e n (o pp o sit e) W he n w e ex amin e them retro sp ec tiv e ly it i s

, .
,

t ni shi ng ho w unif o rm i n ef f e c t are the s ty l es o f these three arti sts ho w ever di ff erent
as o ,

thei r o ri gin s Th ei r figu res are fi xe d i n the mo v ement s o f the d an c e They rep res ent a
. .

mo ment in t i me arre st ed by the arti s t rather t han the ti m el es s un ch an gi ng as p ec t o f

, ,

thi ng s whi ch w as ca ptu re d in L ehmb ru ck

th e scu lptu re o f b o th B arl ach an d .

K arl Alb i ker (b o rn 1 878) w as with R o din aro un d 1 900 H e i s the o nly o ne of the gro up .

w h o b egan d i rec tly as a s c ulpt o r an d no t as a p ai nt er E rn est o d e F i o ri ( 1 884 -1 945) was .

b o rn in R o m e and w as half-It al i an but hi s arti s ti c d ev el o pm ent b el o n gs enti rely to

,

G erman art Aft er s tudy i ng p ai nti ng in Mu n i ch h e live d i n Pari s b etween 1 9 1 1 and 1 91 4

.
, ,

an d t here f o r the fi rs t ti me b e c ame a s c ulpt o r al s o und er R o d i n s i nflu e n ce T h e same

'
.
,

arti s ti c o rigi n i s se e n in the early w o rk s o f G e o rg K o lb e w hi ch p rece d e th e D an cer .

All three s c ulptu res ab o v e are e arly p ro d u c ti o n s by arti sts who creat e d ri ch and many
si d e d b o di es o f w o rk but th ei r charac t e ri s ti c styl e s are rev eal e d i n th ese early w o rk s
,

an d remain th e s ame d es pit e an in c reas i n g m as t ery and a ch ang e in the f o rmul ati o n s
,

o f t hei r s c ulptu ral p ro bl e m s G eo rg K o lb e w as th e o nly o ne w ho in th e y ears aft er th e

.
,

fi rs t Wo rld War wh e n E xp res s i o n i s m was vi c t o ri o u s ev eryw here in G erman y tran s ,

K ol be : A ssu nt a 1 9 2 1 B ro nz e 6 3 h i gh
. .
,
' "
.
f o rmed hi s S tyl e int o a st ri ct and rig o ro u s f o rmal i s m O ne o f the mo st i mp o rtant exam .

T h e D e t ro i t I n s t i t u t e o f A rt s D e t ro i t
pl es o f th i s p eri o d i s hi s A s s unt a o f 1 92 1 (l eft) whi ch was b ro ught to D etro it by Ko lb e s
, ’
,

M i ch i gan
f ri end an d b i o grap h er Wi lli am R Val enti ner H ere the f o rm i s c l earer mo re si mpli fi e d
, . .
, ,

an d rhythmi c al than in e ither earl i er o r l at er w o rk s f o r K o lb e so o n w e nt b ack to hi s ,

fi rs t d an cer them es .

S o me y o unger s c ulpt o rs w ent fu rther al o ng si mil ar p aths T he mos t imp o rtant o f thi s .

1 63
g ro up is E dwin S ch arff ( 1 887 who al so b eg an as a p ai nter w as i n P ari s f ro m 1 9 1 1
,

to 1 9 1 4 w ith L eh mb ru ck F i o ri an d o thers and t h ere b e c am e a s c ulpt o r u nd er th e co m

, , ,

b i ned i nflu en c e o f R o d i n and M ai ll o l T h e s tri c t rhythms o f hi s fi rs t g reat sculptu re th e

.
,

Athl et e o f 1 9 1 3 al ready S ho w hi s great gi ft L at er at the B erl i n A cad emy S charff w as a

, .
,

remark abl e t e ach er o f th e y o u n g er g e n erati o n e sp ec i a lly o f M ettel an d Blu me nth al

, .

H i s T o rso o f 1 93 2 (b e l o w) i n th e H amb u rg Kun s th all e d at es f ro m thi s p eri o d ; d esp i t e

i ts s en s u o u s n ess i t rev ea l s p o s s i b i l i ti es o f a h ei ght e n e d ab s t racti o n
, .

T h e s c ulpto r R ené e S i n teni s (b o rn 1 888) w as ev en mo re f ai thf ul to th e Imp ress i o ni s t

fo rm Th e charmi ng l i ttl e an i mal figu res f o r whi ch she i s p ri mari ly kn o w n are ch arac
.

teri z ed by in s t ant an eo u s mo v ement an d res tl es s s u rf aces S h e h as d o n e o nly a f ew.

l arger w o rk s the mos t i mp o rtan t o f whi ch i s D ap hn e o f 1 9 3 0 (o pp osi t e) : an esp ec i ally

,

s l e nd e r f o rm wi th arms flung hi gh se iz e d at th e mo me nt th at s h e tu rn s h erse lf int o a

,

tre e in o rd er to e scap e the pu rs u i ng Ap o ll o Th ere i s as y et n o expl i c i t S u rreali st

.

s t at ement an d ro o m i s l ef t f o r the o b s e rv e r s f an c y
'

, .

Thes e s c ulpt o rs and many o th ers wh o co uld hav e b ee n m enti o n e d w ere sti ll b as i c
, ,

ally i mp re ss i o n i s t i c s ee ki ng to rep ro du c e in s t ant an eo u s mo v ement an d re lying o n the

,

s e du c ti o n o f th e s u rf ac e C er .tai n ly they d o no t b el o ng to the av ant g ard e and thei r ,

S ch arff : T o rso . 1 932 . B ro n z e , h ig h . t

K u n s h all e , H amb u rg
 W o l ff : P o rt rai t o f th e P o e t Go tt f ri e d B en n . 1 92 7 .

C l ay , hi gh K u n s t h all e H amb u rg
.
,

memo ri al to the Vi c ti ms O i the b o mb i ng s W o l ff s w o rk s ho w e d a w ealth o f f o rmal

'
’

p o ss ib i l i ti es H i s p o rtrai t h ead o f the p oet Go ttfri e d B enn o f 1 92 7 ( ab o v e) w as f reely

.

f o rme d i n c l ay an d the n fi re d and b ec au se o f th e n atu re o f the mat eri al s the f o rm i s

, ,

ro u n d an d s u gg es t s w o rk i n Ce rami c s Th e t ran s l at i o n o f th e i n d i vi du al i nt o th e typ i cal

.

is remi ni s c e nt o f l at e R o man p o rtrai t s .

Th e w o rk o f G erh ard M arck s w hi ch t o d ay c o n ti n u es to d ev el o p i n a b ro ad s tream

, ,

i s esp ec i ally ri ch i n f o rm an d sp i ritu al c o nt e nt H i s w o rk emb rac es t en d er grac e al o ng

.

w i th th e gro t es qu e a qu i et s e lf c o nt ai n e d i ntimacy an d g reat mo nu me nt al f o rm T h e

, ,
-
, .

p aths s t ru ck o u t b y B arl ach an d L ehmb ru ck u n i t e i n hi m i n a n ew sty l e an d hi s i nfl u ,

e n ce i n t u rn exten d s o v er th e e nti re arti s ti c s c e n e i n G e rmany E ach o f th e arti s t s

, , .

c o nt e mp o rary w i th h i m o r y o u ng e r h as ha d to re ck o n w i th hi s w o rk H e i s s ti ll t o d ay
'

th e ce nt er o f G erman s c u lptu re .

T h e an imal sc u lptu re wh i ch h e c reat e d b ef o re 1 9 1 4 i n th e tradi ti o n o f A u gu s t G au l w as

n o t pu rs u e d aft e r 1 9 1 8 M arck s w en t to th e B au h au s i n W ei mar w h ere h e t o o k o v er th e
.

D o rnb u rg c erami c s s tu d i o Al o n g wi th thi s craft ac tivi ty h e p ro d u c e d n ew archai s ti c

.

sc ulptu re s i n w hi ch h e re ac t e d to th e ch all e ngi ng s tyl e o f O s k ar S chl e mme r s p ai nti ng s

'
.

Wh e n th e B au hau s mo v e d to D es s au M arck s w ent to the Ku n st s chul e i n H all e qu i etly

, ,

c o nti nu i ng h i s w o rk A t rip to G reece i n 1 9 2 8 c o n fi rme d hi s o w n d i re c t i o n an d b ro ugh t

.

him n ew s tren gth F ro m 1 9 3 3 to th e e nd o f th e sec o n d W o rld W ar h e l iv e d agai n i n hi s

.

n at iv e B erl i n who s e s c u lptu ral trad i ti o n i s s ti ll al iv e i n man y asp ect s o f hi s w o rk I n

, .
l ef t , W o lff : S t an d i ng W o man 1 9 2 5 S t o n e fi gu re f o r a man t el
. .
, h i gh K u ns h all e
. t ,
H amb urg t
cen er, M arck s : S he nan d o ah 1 9 3 2 S t o n e
. .
,

hi g h . D es t ro y e d ri g h t M arcks : M o u rn i n g A ng el 1 9 4 6
, .
-
49 . S t o ne , 8
’
h i g h M e mo ri al f o r the
. d ea d of W o rl d W ar II C o l o gn e
,
C o ll ec t i o n N el so n A R o ck ef e ll er N ew Y o rk
.
, .

/2 h ig h W al k e r A rt C ent er M i n n e ap o l i s M i nneso t a
"
.
, ,

M arc ks : Al b er t u s M agnu s 1 9 5 5 B ro n z e 8
. .
,
'
h i gh . U nive rs i ty of C o l o gn e (
 l ef t S t ad l er : S t an d i ng Gi rl
,
. 1 9 3 5 -3 8 . C as t s t o ne , Gt
h i g h K u n s t hal l e H amb u rg
.
,

ri g h t S t ad l e r : D iver ( T au ch e r)
,
. 1 9 53 . B ro n ze ,

h i g h O w n e d b y th e art i s t
.

p arti c u l ar G o ttfri e d S chad o w ( 1 7 6 4 -1 85 0) h as alw ay s b een a mo d e l and a gu i d e f o r hi m

, .

G H Wo l f f was th e n sti ll l ivi n g i n B erli n and t here M arck s met o ther co n t emp o rari es
. .
,

and a numb er o f y o ung er s c u lpt o rs T o n i S tadl er P hi lipp H arth L udw i g K asp er H e r

, , ,

mann Blu me nthal H an s M ettel and o thers H e b ecame the c e nt er o f thi s gro up Cu rt
, , . .

V al en ti n who w as th en o p erating the B u chho lz Gal eri e in B erl i n w as th e d eal er and

,
-
,

p erso n al f ri end o f all t hes e arti st s The B erl i n y ears w ere v ery fruitf ul f o r M arck s
.

d esp i t e the ru i n o u s o ffi c i al arti s ti c p o li ci es that s o o n mad e any exh ib iti o n o r publ i c

app earan ce imp o s s i bl e In a w o rk l i k e K as t ali a 1 9 3 3 th e b l o ck l i k e fulln ess o f B arl ach
.
, ,
-

i s c o mb i n e d with th e ly ri c al exp ressi v en ess o f L ehmb ru ck and thi s synt hesi s rem ai n e d
,
 a p erman e nt o n e Aft er the war when al o ng wi th E dw in S charff he w as c all e d to th e
.
, ,

H o chs chul e i n H ambu rg as a t eacher he c o mpl e t ed B arl ach s s eri es o f figu res f o r
,
’

S t C ath erin e s Chu rch i n L ii b eck t ac tf u lly t aki n g o n the s ty l e o f the o ld er man an d
.
’

t ran s l at i n g i t i n t o hi s o wn qu i et er f o rms At th e same t ime h e p ro du c e d maj o r w o rk s

.

su ch as a memo ri al i n H ambu rg an d th e M o u rn i ng Ange l in C o l o gn e S i n c e 1 9 50 h e has .

b e en l ivi n g i n C o l o gn e where h e re c ently co mpl et e d f o r the un iv e rs i ty th e magnifi c e nt

mo nu me nt to Alb ertu s M agn u s , th e me di ev al l
s ch o as ti c (p ag e
T o ni S t adl er (b o rn 1 888) pl ay ed i n Mu ni ch a ro l e s i mil ar to that o f M arck s i n B erlin .

Th e trad i ti o n o f H i ld eb rand was e sp ec i ally al i v e i n Muni ch an d i n th e p eri o d b etween

,

th e w ars H i ld eb rand s d i s c ipl e H ermann H ah n (b o rn an d h i s f o ll o w ers d o mi n at e d

’

s c ulptu re th ere S t adl er h ad p asse d und er the i n flu e n c e o f th i s s ch o o l aft e

. r having b e en
,

S t adl er : D o g 1 9 5 0 B ro n
. . ze , h igh .

B ay e ri s ch e S taats g e mal d es amml u nge n , M u n i ch

h Gau l i n B erl i n But h e s u c c eed e d i n o v erc o mi ng i ts l i mi t ati o n s D i sc i
. .

ai c Gree k an d E t ru s can w o rk s h i s s ty l e w o rk e d i t s e lf f re e f ro m a s t ri c t
,

an d ac qu i re d b readth o n ce agai n A g ro up o f f ri e nd s f o ll o w e d hi m .

nt o n H i ll e r (b o rn Ge o rg B renni n ger (b o rn H ei n ri ch K i rch n er

vas o n ly af t er th e wa r th at th e w o rk o f M ari n o M ari n i app eare d c o n fi rmi ng ,

e T h e f ac t i s t hat M u n i ch h as alw ay s b ee n arti s ti c ally c l o s e r to It aly th an

. .

an In Mun i ch B arl ach s ee me d f ar remo v e d f ro m l o c al art i s t i c i nt eres t s

. ,

fl y th e early w o rk o f L ehmb ru ck h ad any ef f ec t S tadl er s S tan di n g G i rl

’
.
,

.7 0) i n th e H ambu rg Ku n s th all e i n t imat es t hi s rel at i o n s hi p to L ehmb ru ck ;

,

(p ag e 1 7 1 ) s ho w s S tadl er s great pl asti c p o w er and al so i n d i c at es hi s

’

ati o n f ro m th e s ch o o l o f H i ld eb ran d .

u ti o n o f Ph i l i pp H arth (b o rn wh o h as w ri tt en p en et rati n g arti c l es

are ati o n i s n o t s o mu ch a l i b e rat i o n f ro m H i ld eb ran d s t h e o ry as a mo re
’

on of L i k e th at o f A u gu s t Gau l hi s s cu lptu re has b ee n c o nfin e d al mo s t

it .
,

an i mal s i n w o o d s t o n e b ro nz e an d o c c as i o n ally i n c o pp er H i s i n t e n t i o n
, , ,
.

vi si b i l i ty f o r a p i e c e o f s cu lpt u re n o t f ro m o n e s i d e as i n H i ld eb ran d b u t
, ,

f o rmi n g i t i n s u ch a w ay that all th e e s s en ti al p l as ti c f o rms c an b e s en s e d

te o f vi s i o n H i s J agu ar 1 9 2 8 i n w o o d (b e l o w ) i s a g o o d examp l e o f
.
, ,

sh o w s h o w the c l o s e d f o rm o f th e w o o d e n bl o ck i s re t ai n e d All H arth s

’
.

n t th e an i mal i n a typ i cal att i t u d e ; th ey are n o t alw ay s s o c l o s e to n atu re

b u t th e ex ac t s tu dy o f n at u re i s th e b as i s o f h i s f o rmal w o rld .

. r
. 1 928 . Woo d , h i gh . N at i o n al Gall ery , B e rl i n ri g h t
,
Ma t aré : Yo u n g B u ll . 1 923 . Wo o d ,

1,
. S aarb rii cke n
 ll
B e i ng : S cu l p t u re . B ro n z e p art ly s i l v e re d
1 92 3 .
, h i gh , .

T h e M u se u m o f M o d e rn A rt N ew Y o rk A C o n g er G o o d y e ar F u n d
, , .

A c o n temp o rary o f hi s f ro m th e Rhi n el and i s E w ald M ataré (b o rn who s e e arly

w o rk i s al so to a gre at ex t en t ani mal p o rtray al H o w ev er h e g o es ab o ut i t i n an enti rely
.

d i f f erent mann er : he d o es n ot s t art f ro m n atu re b u t f ro m s i mp l e s e lf c o ntai n e d b as i c

,
-
,

f o rms o u t o f whi ch th e an i mal figu re g ro w s H i s w o rk s h av e a mu ch mo re g e n eral i z e d

, .

ef f ec t b e c au seh e s t art s w i t h ab s t rac t f o rm an d th en s u c ce ed s i n b ri n g i n g to i mme d i at e

exp res s i o n s u ch qu al i ti es as th e t en s e l u rk i ng o f a c at an d th e d u ll h eav i n ess o f a b u ll

,

(p ag e T h e b eau ty o f th e mat eri al pl ay s an i mp o rt an t ro l e f o r M ataré H e mak es .

co n s c i o u s u s e o f the g rai n o f the w o o d an d th e p att e rn o f th e b ro n z e as arti s t i c mean s ,

a nd i n o rd e r to b ri n g th em to f u ll e ff ec ti v en es s all d e t ai l e d f o rms are re mo v e d Wi th .

s u ch an app ro ach i t w as n atu ral that h e S h o u ld al s o h av e mad e many o bj ec t s i n v ari o u s

.

c raf t me d i a : i n t ars i a c erami cs an d s t ai n e d gl ass H i s b e au t i f u l co l o re d w

, , . o o d c u ts go

p erh ap s ev en f u rther i n th e c reati o n o f S i mpl i fi e d symb o l s th an d o hi s s c ulptu ral w o rk s .

Aft er th e s e c o n d W o rld W ar he ex ecut e d m any i mp o rt ant c o mmi ssi o n s in c lu ding th e ,

b ro nz e d o o rs f o r th e C o l o gn e Cathed ral In th es e i mp ressive w o rk s in whi ch b ro nz e

.
,

reli ef an d m o s ai c are co mb i n e d th e b asi c f orms o f hi s early s c u lptu re are s uppl eme nt e d

,

by remi n i s ce n ces o f R o man es qu e art .

Rud o lf B e lling o f B erl i n (b o rn 1 886) t o o k an o ther ro ut e to ab strac ti o n H e s o ught a .

new re l ati o n ship b e tw ee n s c ulptu re and archi t e c tu re an d c o ll ab o rate d s u c c e s s f u ll y o n

,

m any o c c as i o n s wi th G erman and D u t ch archi t ects H i s ai m w as a p reci si o n o f f o rm

.

whi ch he c arri ed to th e p o int o f a mach in e l i k e qu al i ty Thi s i s no t v ery app are nt in

-
.

hi s fi rs t c o mpl et ely n o n o bj ect iv e w o rk s su ch as th e T ri ad o f 1 9 1 9 in th e N ati o n al

-
,

Gall ery E xp res si o n i s ti c e l em en t s are s till p res ent as they are i n the early ab st rac t
.
,

w o rk s o f hi s co nt emp o rary H erb ert Garb e d o n e in the s ame p eri o d It i s al s o i mp o rt ant

, .

that th e Ru s si an Al exand er A rchip enk o w h o w as the s am e age as B elling

to real i z e , ,

had a p o w erful influ e n c e i n G ermany at the b egi nn i ng o f th e centu ry H i s fi rs t o n e man .

-

sho w w as h e ld in 1 9 1 0 at the F o lkw ang Mu seu m in H ag en and aft er the w ar hi s w o rk ,

w as S h o wn rep eat e dly in B erl i n where h e l i v e d fro m 1 92 1 to 1 9 2 3 b ef o re g o ing to the

U n i t e d S t at es M any o f hi s s c ulptu res ent ere d G erman mu seu m s an d p riv at e co ll ec t i o n s
.
,

an d t h e se c e rt ainly i nflu e n ce d B e ll i ng Th e w o rk o f B ran c u s i w as al so w e ll kn o wn in

.

G ermany at that ti me N ev erthe l es s i t may b e s aid t hat a w o rk s u ch as B elling s S c ulp

' ’
.
,

H ai z mann : E ag l e . 193 1 .P o l i s he d b ro n z e ,

C o ll ec t i o n Dr. Gu hr H a mb u rg
,
tu re ,
M o d ern A rt whi ch s eems ex c lu s ive ly to emphas iz e
1 92 3 , (p ag e 1 7 4) i n the M u se um o f ,

a mach in e lik e p rec i s i o n fi rs t t es t e d the p o ss i b i l i ti es o f th e S i mult an e o u s Op erati o n

-
,

o f i n n er and o ut e r f orms w hi ch H e n ry M o o re d ev e l o p e d o nly mu ch l ater (in The H e lm et)

and o n the b as i s o f e nti rel y d i f f ere nt p remi s es Th e appl i c ati o n o f p o l i s h e d mat eri al s
.

o f di ff ere nt c o l o rs b rass an d s i lver was l ate r t ak en up an d vari e d b y H an s Uh lmann .

B ell i ng l eft G ermany in 1 93 3 and i s l iving t o d ay in I stan bul wh ere h e has c reat ed ,

m o re co nv enti o n al s culptu res .

A y o ung er extremely i nd ividu al i sti c self t aught s c ulpt o r Ri chard H ai zmann (b o rn

, ,
-
,

w o rk e d i n a si mi l ar di rec ti o n qu i t e ind ep end ently o f M ataré o r B ell i n g and ,

d ev e l o p ed S ti ll f u rther thei r si mplifi e d b as i c f o rms O n o cc asi o n he to o lik e B ran c u s i

.
, ,

o r B e ll i ng p o l i s he d th e su rf ace o f b ro nz e o r b ras s to a mi rro r l i k e fin i s h and h e has

,
-
,

al so c reate d c o mpl et e ly n o n o bj ec tiv e w o rk s H i s mas terp i e ce in p o l i she d b ro nz e th e

-
.
,

E agl e o f 1 9 3 1 (p age ere c t s a f ree i d ea o f f o rm i nt o a s y mb o l t hat ren o u n c es all

o utw ard rep res en t ati o n b u t s t i ll p o ssess es so meth ing o f th e eagl e Th e w o rk w as c reat e d .

as a s k e tch f o r a war mo n u me nt in H ambu rg w hi ch w as l at er ex ec u te d by B arl ach .

H ai zmann was an art d eal er b ef o re he b egan to w o rk as an arti s t aro und 1 927 In .

add i ti o n to hi s s c ulptu re h e has d o n e ceram i cs w i th int e re s ti ng n ew f o rms an d al so ,

d raw ings and l i tho grap hs B etw een th e w ars he w as a maj o r f o rce i n the arti s ti c l i fe
.

o f H ambu rg H i s w o rk i s al mo s t f o rg o tt en t o d ay but unj u s tly s o S in c e the w ar h e has

.
, .

mo v e d al o ng o ther p aths but the p o s si b i l i ti es that he was the fi rs t to i nv es tig at e s t i ll

,

c o nt i n u e to liv e i n y o ung er arti st s s u ch as K arl H artung H e und o u b t e dly kn ew s o m e .

wo rks o f B ran c u s i and A rchip enk o to o may hav e had a l i b erating e ff ec t on hi m but
, , , ,

hi s w o rk o cc u p i es an ind ep end ent pl ac e b etw e en th e two g en erati o n s .

B au m : M e t amo rp h o s i s 1 9 4 8- 4 9
S i n c e H aizmann s w o rk attrac t e d l i ttl e atten t i o n o uts i d e o f H amb u rg d esp i te the
. .
’

,
L i mes t o ne , h igh . O w ne d b y the
en erg eti c adv o cac y o f M ax S au erl and t the art hi s t o ri an i t i s quit e p o ss i bl e th at s u ch
, , ar ti s t
an art i s t as O t t o B au m ( b o rn 1 900) h ardly kn e w o f hi m at th e ti me he b eg an to w o rk .

B au m w ho was a m achi n i s t and a s ai l o r du ring th e fi rs t W o rld W ar b ec ame i nt eres t e d

, ,

in s c ulptu re as a stud ent in the S tuttgart A c ad emy i n 1 9 2 4 A f ter i nteres ti ng ex p eri me nts .

wi th the human f o rm which he s ubj ec te d o cc as i o n ally to b o ld d i s to rti o n s he retu rn ed

, , ,

l i k e H e i zm an n p rin c ip ally to the rep resentati o n Of an i mal s T hes e he co n s t ru c t ed

, .

fro m b asi c pl as t i c shap es (ab o v e) i n an ef f o rt to grasp w h at i s typ i c al in th e an i mal .

T h e o nly G erman sc ulp to r o f thi s g e n erati o n wh o has w o rk e d co nti n u o u s ly and wi th

co n s i s t e nt l o g i c i n pu rely n o n o bj e c ti v e f o rms i s H an s U hl mann (b o rn
-
F ro m the
ch arac t er o f hi s w o rk s i t s e ems p erf ec t ly n atu ral th at aft er s o me b eginn i ngs in sc u lptu re
,

in 1 9 25 he sho u ld hav e att end ed th e T echn i s ch e H o chs chu l e in B erli n and s tud i ed
,

e ng i n eeri ng ( It i s i nt eres t i ng to n o t e th at the A me ri can Al ex an d er C ald er who w as two

.
,

years hi s s en i o r had al s o b een an en gin eering s tud ent ) D u ring hi s p eri o d o f s tudy
, .

U hl mann al so tau ght at the Tech n i s che H o ch sch ul e but thi s c ame to an end in 1 9 3 3 H i s
, .

1 76
sc u lptu ral ac tivi ty w e nt f o rward at the s ame ti m e ferti l i z e d b y the n ew ly w o n t echni c al
,
-

p ro c e du res In 1 9 3 0 he ex hib i t ed f o r the f i rs t ti me but attrac t e d littl e at t en ti o n D u ri ng

. .

a p eri o d o f arti s ti c s e c lu s i o n b e tw een 1 9 3 3 an d 1 9 4 5 hi s p o w ers rip en e d an d w h en , ,

in 1 9 4 7 he o n c e agai n sho w e d a gro up o f hi s w o rk s he i mme d i ately w o n an as s u red ,

pl ace in the d eve l o p ment o f mo d e rn G erman s c ulptu re S i n ce 1 950 h e h as b een a .

p ro f ess o r at the B erl i n A c ad emy H e has d o n e a seri e s o f mass iv e pl as ti c f o rm s cas t

.
,

i n b ro nz e d at i ng f ro m th e end o f th e f o rt i es w h o s e sharp -edg e d ch i sel ed S hap es co nt ai n

, , ,

e ch o es o f h u man f o rms S i n c e t h at t i me ho w ev er h e has b ee n mak i ng f re e sy mb o l i c

.
, , ,

c o n s tru c ti o n s fro m th e mo s t d iv ers e t ech ni c al mat eri al b ras s w i re s t ee l p i p e s tri p s t eel

, , , ,

etc w i th an as to n i s h i ng ri ch n ess o f f o rm al i nv en t i o n w hi ch i s al s o v i s i bl e i n hi s d rawing s

.
, .

H i s t ech ni cal co n s tru c ti o n s w o rk e d o ut with a crafts man s care an d p rec i si o n arti c ul at e

’

, ,

the S p a c e t hat they p en etrat e o r e n c o mp ass wi t h ass u ran c e an d c l arity Th ey are th ere .
,

f o re ex treme ly c o nvin c ing when ad apte d to mo d ern build i ng s

,
.

A nu mb er o f n ew arti s ts are pu rs u i ng the p o s si b i l i ti es Op en ed up b y Uhl mann s ’

exp e ri ment s Th e y o u ng er g en erat i o n i s o f c o u rs e al so influ e n c e d by s u ch n o n G erm an

.
, ,
-

arti s t s as G o nz al e z o r L ard era w h o h av e d o n e w o rk i n th e s am e o r s imi l ar di rec t i o n s

, .

B u t wi thi n hi s o w n ge n erati o n U h l mann l i ke H ai zmann an d B au m e ach i n a d i f f ere nt

, ,

mann e r i s al o n e i n Germany Th e res t o f the G erm an sc ulpt o rs b o rn b e tween 1 900

, .

an d 1 9 1 0 p ers i s t i n th e rep res e ntati o n o f the hu man f o rm an d are mo re c o n serv ativ e

th an thei r co nt emp o rari es i n F ran c e and E ngl an d Thi s d o es n o t h o w ev er d i mi n i sh thei r

.

i mp o rt an ce The s i tu ati o n in G ermany rese mbl es that o f Italy where the g en erati o n
.
,

th at i n c lud es M arin i (b o rn M anz u (b o rn an d F azz i n i ( b o rn 1 9 1 3 ) s i mi l arl y

p res erv e th e hu man f o rm It w o uld al s o b e c o mpl etely e rro n eo u s to i n f er that thes e

.

G erman arti sts w ere aff ec t ed i n th ei r styl es by the art i s ti c d i c tat o rsh i p o f th e T hi rd
R ei ch No t o nly w ere th ey all re j ec t ed by the ru l ers o f that p eri o d and p ro h ibit ed fro m
.

ex hi b i ti ng but all o f the m as s tud e nt s o f th e o ld er g e n erati o n h ad w o rk e d o u t the i r

, , ,

o w n s tyl es l o ng b e f o re 1 93 3 Th ey had S tud i e d B arl ach o r L e hmb ru ck o r b o th an d

.
,

re c ei v e d th ei r f o rmativ e s ti mu l i f ro m M arck s an d S t adl er T h ei r nu mb er i s s u rp ri s ingly .

l arge and their c reativi ty ri ch Th ey are t o d ay d ec i siv e i n the p i c tu re o f German sc ulp

.

tu re W e S hall n ame o nly a f ew : H ei n ri ch K irch n er (b o rn

. H an s M e ttel (b o rn
H ermann Blu men thal (1 905 Ku rt L ehmann (b o rn Gu stav S ei tz (b o rn
H an s Wimmer (b o rn Geo rg B renni nger (b o rn T h i s g ro up i s rep resent e d

by o n ly o ne w o rk i n the exhib i ti o n the Kn ee l i ng Y o uth 1 9 2 9 3 0 o f H ermann Blu menth al

, ,
-
,

(o pp o s it e) W e kn o w t o d ay that Blu menthal w as the mo s t i mp o rtant s c u lpt o r o f hi s

.

ge n erati o n in G ermany and hi s early d eath i n the w ar i n Ru ssi a was a maj o r l o ss

, .

Bl u menthal c ame fro m E ss en an d w as the s o n o f a mi n er l i k e hi s great co mp atri o t

.
,

L ehmb ru ck (and H e n ry M o o re to o f o r that matt er) B ef o re g o ing to th e A cad emy he

, , .

l earn e d the c raft o f th e s to n e maso n as d i d hi s co ntemp o rary M ettel I n B erl i n he w as

, .
 t
B l u me n hal K n e e l i n g Yo u t h 1 9 2 9 3 0 Bro n z e 4 0
.
- .
, hi g h .E he mal s S t aat l i ch e M u se e n B erl i n N at i o n al Gall ery
, ,

on l o an f ro m th e K u l t u rk re i s i m B u n d es v erb an d d e r d e u t sch e n I n d u s t ri e
ef t, t
Bl u me n h al : S tan d i ng Fi gu re 1 9 3 6 3 7
.
- . Bro n ze , 75
"
h i g h N i ed e rs ach s i s che
. L an d esgal eri e ,
H an o ver t
cen er, K i rch n er : Wand ere r
. 1 9 50 .

l ro n z e ,
h i g h O w ne d b y the art i s t
. ri g h t ,
M e ttel : M an w i t h H o rs e . z
1 9 5 0 B ro n e ,
. . t
h i gh K u ns h al l e , H amb u rg

1 s tud en t E dwin S charff Th e so ftly mo d el e d s u rfaces o f hi s early rel i ef s S ho w the

of .

nfl u enc e o f hi s t each er Bu t S ch arff all o w e d h i s s tud ents f ree d o m an d he lp e d th e m to

.

i ev el o p th ei r o wn p o w ers Bl u menthal so o n f o u n d h i s o wn s ty l e and hi s o wn ex p ress i o n

. .

th e Kn eel i n g Y o uth d o n e at th e age o f tw enty f o u r i s o n e o f hi s early co nv i n c ing mas ter

,
—
,

Ji eces Th e i nflu en ce o f L eh mb ru ck c an b e n o t e d in the l en gth e n ed l i mb s but th e

.
,

xp res s i o n o f mo v e me nt i s mu ch mo re p ro n o un ce d Th ere are f e w figu res that an i mat e .

ip ace s o mas te rfully D u ri n g thes e y ears whi l e s ti ll a mas t er s t u d ent at the A c a d e my

.
, ,

1 e c reat e d a s eri es o f masc u l i n e f o rms e qu ally p o w erful i n mo v eme nt A ro und 1 9 3 4 .

i f ter a fi rs t s tay i n R o me h e p ro du ce d un re l i e v e d c l ose d co l u mn ar figu re s l i k e th e

, , ,

V
. l an w i th C ap e (P ro d igal S o n) in w hi ch a v ery free ly alt ered B arl ach influ en c e can b e
,
-

l i s c ern ed L ater hi s s tyl e l o o s en ed to a f ree c l as si cal f o rm as i n the S tanding F i gu re

. .
,

ab o v e) c o mpl e t e d du ring h i s s eco nd s t ay i n R o me O n c e ag ai n Blu me nthal gi v es

'

1 80
 H e i l i g er : H e ad o f E rn s t R eu t e r 1 9 5 4 B ro n z e 1 8" h ig h
. .
, .

C o ll e c t i o n K u rt H Gru n eb au m H arri s o n N ew Yo rk
.
, ,

us th e i mag e o f an i d eal i s t i c y o uth, i n many c as es w i th b o und han d s a sy mb o l o f an

,

asp i ri n g y o u ng man c o n s t rai n e d by c i rc u ms tan c e s H e hi mse lf rese mbl e d thi s fig u re

.

in th at o n h i s w ay to
, n ew h ei ght s h e w as t ak e n i n t o th e army an d d i d n o t ret u rn f ro m
,

th e b attl e fi e ld.

H an s M ettel i s two y ears o ld er than Blu men thal an d co mes f ro m N o rth G ermany .

H e s tart e d f ro m a S i mi l ar b ackgro u n d : app ren t i ce sh i p as a s to n e mas o n S ch arff s s ch oo l

’

, ,

an d R o me H e i s mo re d o gg e d and w o rk s mo re s l o w ly but hi s i d eas are c l o s e l y rel at e d

.
,

to Bl u me nth al s M any o f hi s w o rk s g iv e th e i mp ress i o n o f b ei ng c o nt i nu at i o n s o f th e

’
.

ro ad Bl u me nth al t o o k T h ey are p e rh ap s ev e n mo re ri g o ro u s and re n o un c e mo re co n

.

s c i ou sl y an ythi ng th at c o u ld b e c all e d charm but th ey p o ss es s great pl as t i c p o w e r an d

,

a b rev i ty o f art i s ti c id ea H i s f ee l i ng f o r S p at i al o rg an i z at i o n i s d emo n s t rate d by hi s

.

g ro up M an w ith H o rs e (p age
,
th e f ee t f o rmi n g six p o i nt s are arrang e d o n th e
, ,

b as e to e s t abl i sh a fix ed sp ati al f o rm In recen t y ears he has d o n e p rimari ly archi tec

.

t u ral s c ulptu re H ei n ri ch Ki rchn er b el o ngs to th e gro up o f f ri end s o f T o n i S tadl er and

.
,

h i s art sho w s th e Mu n i ch i nflu en c e Th e b ri dg e f ro m h i m to M ari n i wh o i s ab o ut th e

.
,
sa me age i s eas i ly cro s s ed but hi s d i rec ti o n was f o u nd q u i t e ind e p e nd en tly and the
, , ,

c o nt e nt o f h i s art i s re mo t e f ro m th at o f th e It al i an M arini s mo u nt e d figu res are p ag an

’
.

in s p i ri t w hil e Ki rchn er s su bj ec t s s u ch as th e Pi e ta an d the G o o d S hep h erd b e l o ng

,
’

, ,

to the Catho l i c w o rld H i s W and erer (p ag e 1 80) c an b e pl ac e d b etween th e two t ren d s ;

.

it i s a p rimeval man o f the f o res t f o rme d w i th great p l as ti c s impl i c i ty , .

Th e s ame g en erati o n h as b ro u gh t n ew exp e ri men tal p ossi b i l i ti es to th e fro nt in

G ermany A S an ex amp l e there i s K arl H artu ng (b o rn
. wh o i s ac ti v e t o d ay as
p ro f es s o r at the B erl i n A c ad emy and i s o ne o f the stro nges t o f c o nt emp o rary arti sti c
p ers o n al i ti es H artu ng i s f ro m H ambu rg and und o ubt edly receiv e d s timu l ati o n f ro m
.

H ai z man n i n hi s y o uth H e d ev e l o p e d th i s i n flu en ce i n a fru i t f ul an d many s i d e d mann er

.
-

i n h i s o wn d i s ti n c t s tyl e H i s w o rk c o mb i n e s wh at s e em to b e c o mpl e t e ly c o nt rary

.

t e nd en c i es n amely the ab s trac t an d the figu rative and o cc asi o n ally he ev e n d o es

, , ,

p o rtrai ts H artu ng s w o rk l i k e that o f many p res e nt d ay p a1 nt ers S ho w s that th e c o ntra

.
’

,
-
,

d i c ti o n b etwee n ab s trac t and o bj ec tiv e f o rms v o i c ed b y many c ri ti c s i s n o t ru e co n t ra '

d i c ti o n but th at the s ame sch eme o f v alu es and the s ame exp ressi ve p o w ers may b e
,

p resent i n ei ther altern ativ e A S i ngl e arti s t may mas ter b o th t re nd s wi th o ut re n o un c i ng

.

h i s o wn ch arac te ri s ti c i d i o m o r hi s o wn n atu re H artu n g s T o rs o (p ag e 1 81 ) may b e

’
.

read if o ne w i s h es as an e ch o o f th e o rg an i c h u man f o rm o r as a f re e ly inv e nt e d f o rm

, , .

In any case i t i s a pu re h armo n i o u s sc u lptu re a pl eas u re b o th to th e ey e an d to the t o u ch

, , .

B ern hard H ei l i ger (b o rn 1 9 1 5 ) i s th e y o ung es t o f the s c u lpt o rs rep res e nt e d i n thi s

ex h ib i t i o n H e c o mes f ro m S t e tt i n w h ere h e w as a s tud e nt o f an ex cell e nt s c ulp t o r
.
,

Ku rt S chw erdtf eg er In B erl i n he fi rs t Ori e nt e d h i ms e l f to G erhard M arck s an d l at er c ame

.

v ery c l o s e to H e n ry M o o re as h e so ught n ew f o rms In hi s w o rk to o th e alt ern ativ es

,
.
, ,

o f th e n o n o bj ec tiv e an d figu rativ e co ex i s t S u ch p o rt rai t s as th at o f th e M ay o r o f B erl i n

- .
,

D r E rn s t R e ut er ( o pp o s ite) are int eres ti ng f o rmally an d are al s o ex treme ly g o o d l i k e

.
,

n e ss e s .

G erman s c u lp tu re o f the tw e nt i e th c entu ry w h i ch i s illu s trat e d i n thi s exhib i ti o n b y

,

a f ew ch o s e n e x ampl es rang i ng f ro m B arl ach to H artu ng mad e a n o t i n co n s i d erabl e ,

c o n t ri b u ti o n to E u ro p ean art I ts i n flu e n ce o u t s i d e o f G e rmany i s to b e s u re w i th th e

.
, ,

si ngl e e x c e pti o n o f L eh mb ru ck l es s ext e n s iv e th an th at o f o t h e r c o u n t ri es i f w e th i nk

, ,

O f M ai ll o l o r M o o re o r M ari n i But as a who l e i t has sh o wn c ertai n u n i fi e d ch arac t er

.

i s ti c s eas i er to f ee l t han to d e fin e a t e nd e n cy whi ch p ro mi ses to e ndu re

, , .

A LF R E D H E NT Z E N
F ei n i n ger : d
B u i l i n gs 1 9 1 9
. . W o o d cu t , x Th e M u seu m of M o d ern A rt N e w
, Y o rk , gi f t of

M rs . L y o n e l F e i n i n g er

1 84
C o ri n t h : A p o c al y p s e . 0 . 1 92 1 ? L i t h o grap h , x T h e M u seu m of M o d ern A rt N ew
, Y o rk

to mass p rin t in g , wood ngrav in g b ec ame the chi e f mean s o f i ll u s t rati o n i n n ew s p ap ers
e ,

p eri o d i cal s , an d_
adv e rti s eme nt s Th e p rec i s i o n o f n i n e t ee n th ce ntu ry w o o d e ng rav i ng
.
-

o f ere
f d a p arad o xi cal c o n tras t to th e d i rec tn es s and S i mpl i c i ty o f early w o o d c u ts But .

b o th l i th o grap hy and wo o d en gravi ng an sw ere d th e gro win g n ee d f o r the l arg e qu an t i

t i es o f cheaply p ri nt e d p i c tu res n ecessary f o r the i n s tru c ti o n an d amu s ement o f
mo d ern man .

A s th e p ers i s t en t d emand f o r ex ac t rep ro du cti o n s ac ri fi c e d o ri gi n al exp res s i o n th e ,

man u f ac tu re o f p ri nts b ec ame d o mi n ate d b y co mmerc i al p ri nt ers an d c raft smen , no t

b y c reat iv e arti s ts E tchi n g an d eng rav i n g al ready a c en tu ry b e fo re h ad b een l arg ely
.
, ,

c o nfin e d to th e sy s t e mat i z e d rep ro du c t i o n o f p ai nt i ng s an d d raw i ng s .

Th e th i rd grap hi c i n n o v at i o n o f th e n i n et een th c en ti1 ry n o t o nly rev o l u t i o niz e d v i s u al

co mmun i c ati o n but c o mpl et ely s u rp as s e d the t rad i ti o n al p ri nt medi a as a m ean s o f
c reating mult i pl e i mag es P h o t o e ngrav i ng at l as t o ff ere d a me ch ani c al meth o d o f
.
-
, ,

re p ro du c ti o n It re du ce d to a mini mu m h um an i nte rp ret ati o n and art i c ul ati o n S l o w

. .
,

p ain s t aking manu al p ro c es s e s w ere no l o nger n e ed e d to m ak e o r rep ro du c e pi c tu res .

C o n sequ ently a w o o d c ut an etch ing a l i tho grap h ceas e d to h av e so c i al and e co n o mi c

, ,

imp o rt an ce as a m ean s o f c o mmuni c ati ng f ac t At th e s ame t i me p rintm aki ng lib erate d .

,

f ro m the b o nd ag e o f rep ro du c ti o n c o u ld again attrac t c reati ve arti s ts P ai n t ers exre

, .

ami n e d th e grap h i c m e d i a : in e tchi ng M an et D e g as Whi stl e r and E n so r; i n w o o d c ut

, , , , ,

G auguin Mun ch and V all o tt o n ; in l i tho g rap hy the p os t-Imp ress i o ni st s i n F ran ce
, , , .

In Germ any the wid es p read revival o f i nt eres t in p rintmak i ng w ai te d u n t i l the end o f
the fi rs t d ecad e o f th e tw enti e th ce ntu ry wh en in D res d e n the fi rs t gro up o f Ex p res s i o n i s t s
, ,

retu rn e d to th e w o o d c ut th e me diu m w i th wh i ch th e hi s t o ry o f p rint s had b egun F o u r

, .

K o ll wi tz : Pl o w men . 1 905 . E t chi n g wi t h p e n c i l c o rre c ti ons , x C o ll ec t i o n Walt er B arei s s ,

Gre e nw i ch C o nn ec t i cu t
,
p ainters o f an o ld er g en erati o n ho w ev er had b ee n f re qu e nt etch ers and li tho grap hers
, , .

.
T o d ay M ax Kl i nger s hallu c i n at o ry w o rld o f s i l e nt n igh tmare s eems d at e d but hi s
’

t ech ni cal f aci l ity as an en grav er o n me tal as t o u nd e d hi s co nt emp o rari es and c ertai nly
i n fl u e n c e d th e early w o rk o f P au l Kl ee I n B erl i n aft er 1 900 the Imp res s i o n i s t t riu mv i rate
.
,

M ax L i eb ermann M ax Sl ev o gt and L o vi s C o ri nth f o ll o w e d t rad i t i o n s b egu n i n F ran c e

, , , .

L i eb ermann s et chi ngs o f shi mmering S h ad e and l i ght captu re mo re su c c ess fully than
’

h i s p ai nti ngs th e tran s i to ry ef f ec ts h e s o ugh t Sl evo gt s b es t l i th o g rap h s th e d ramat i c

'
.

i ll u s t rati o n s to J ames F e n i mo re C o o p er s The L eath ers to ck i ng T al es were c o n fi n e d

’ "
,

b etw een th e c o v ers o f a b o o k C o ri n th co mp o s e d s ev eral s eri es o f et chi ngs and l i th o

.

grap hs and b ef o re hi s p ai nti ngs d ev e l o p e d a l o o s e b u t f o rce fu l s tyl e

, , , .

T wo w o me n P aul a M o d erso hn B eck e r an d K ath e K o llw i tz s t an d b etween p ost I m

,
-
,
-

p ress i o n i s m an d th e E xp ress i o ni s t s M o d ers o hn B eck er s f ew et chi ng s l i k e h er p ai nti ngs

’
.
—
, ,

rev e al a hi gh ly p ers o n al an d d ec o rat i v e ad apt at i o n o f G au gu i n K o llwi tz al mo s t e n t i re ly

.
,

a g rap hi c art i s t p ass e d f ro m th e i nfl u e n ce o f Kl in ger to a mo re exp ress i v e styl e Illu s

, .

trativ e s o mewhat s ent i me nt al exp o s i t i o n s on p ro l e t ari an t h emes c o n s t i t u t e h er early

,

w o rk (p age L at er her p ro te st and s ymp athy b eco me l e s s p art i c ul ari z ed and

, _

mo re d irec t .

E rn s t L udw ig K i rch n er s memo ry was v iv i d i f no t exac t In 1 9 3 7 h e wro t e to C u rt

'

, .

"
V al enti n : D i d y o u kn o w that as f ar b ack as 1 9 0 0 I had th e au d ac i o u s i d ea o f rev i t al i zing
German art? I n d e ed I d i d and the i mpul se c ame to me wh i l e l o o king at an exh i biti o n

S ch mi dt Ro
-
tt l u ff : E ri ch H e cke l 1 9 0 9 L i t h o grap h
. .

T he M u seu m o f M o d ern A rt N ew Y o rk J ames T h rall S o b y F u n d

, ,
 K i rch n er : Gi rl s on k
the Ban s o f th e Elb e .

c . 1910 . C o l o r l i t ho grap h , x
Wal t er B arei ss Gre en wi ch C o n n ec t i c u t
, ,

1915 n ee d s tho ro ugh research F o r i n st an c e thro ugh Gu s tav S chi efl er the catal o gu er
.
, ,

o f hi s p ri nt s h e ass ign e d to th e p eri o d 1 898 1 9 02 a w o o d c ut d at e d in hi s o wn h and

,
-

1 90 7; o r again a w o o d c ut kn o wn to b e c arv e d i n 1 922 w as d at e d by Ki rch n er 1 9 1 4

, ,

(cat n o
. . B o th p ri n ts are in the c o ll ec ti o n o f the Mu seu m o f M o d ern A rt i n N ew Yo rk .

Th e F auv es and the B rii ck e w ere d eep ly i nfl u en c e d by th e p os t I mp ress i o n i st s th e

-
,

Brii ck e p art i c ul arly by p ri mi t iv e art Ind ee d it app ears th at th e Brii ck e art i st s w ere
, .

maki n g d i sco v eri es i n the D res d e n et hn o g rap hi c mu s eu m w ell b ef o re the F re n ch art i sts
b egan c o ll ec ting N egro sc ulptu re B o th gro u p s expl o i t ed u n n atu ral co l o r and b o ld d i s
.

to rti o n The n e u ro ti c me l an ch o ly th e b ro o d i ng int ro sp ec t i o n s o ch arac teri s t i c o f th e

.
,

G erman E xp res s i o n i s ts i s al i e n to the F auv es h o w ev er and rev eal s a g reat er d ebt to

, ,

Mun ch than to van G o gh o r Gaugu i n The mo re i nt imate d ai ly asso ci at i o n o f the German

.
,

art i s t s gav e the Brii ck e a co h es i o n as a b ro t he rh o o d wh i ch th e F auv e s n e i th er so ugh t

1 90
 H e ck el : W hi t e H o rses . 1912 . C ol o r wo o d cu t ,

x T h e M u se u m of M o d ern A rt ,

New Y o rk

nor d esi re d U ntil

. 1 9 1 1 the memb ers wo rk e d i n c l o s e c o ll ab o rati o n , sharing living and
w o rking qu art ers in D res d e n and v ac ati o n i n g t o g ether du ri ng th e s u mmers They f ree ly .

e ch a
x nge d co ver d es ign s f o r p o rtf o li os o f each o th er s p ri nt s
’
and o ft en u sed the sa me
s t o n es f o r t h ei r lith o grap hs .

B erlin , the cap i t al ,

p ro vi d e d b e tt er o pp o rtun it i e s f o r s al e and exh ibiti o n than d i d
D res d en F o r in stan ce in 1 9 1 0 a l arg e exhi b i ti o n i n B erlin d ev o t e d to p rint s f eatu re d
.

e ach m emb e r o f th e B rii ck e B erl i n w as al s o th e p erman ent res id e n c e o f O tt o Mu e ll er

.
,

an d b etw ee n 1 9 1 0 and 1 9 1 1 he w as j o in e d by P ech s te i n Ki rch n er H eck el

, , , an d S chmi dt
R o ttlu f f
.

N o ld e had remai n ed aff i li at ed with the s o c i ety o nly a y ear and a half F ritz Bl ey l .

had res ign e d as an activ e memb er i n 1 9 09 to d ev o t e h i ms e lf to t each ing Th e mo v e to .

B erlin sp ell e d the fin al d i s i nt eg rati o n o f th e gro up S u ccess o r d esi re f o r s u ccess as

, ,

1 91
i ndividu al s rath er than as memb ers o f a b ro th erh o o d accel erat e d th e b reakup Ki rchn er s ’
.

v o l atil e and d o min eering p ers o n ality to no s mall ext ent c o ntrib u ted f Th e arti s ts h ad
agree d to exh i b i t o nly j o i ntly P ech s t ei n th e fi rs t to re cei v e a me as u re o f reco gniti o n
.
, ,

b ro ke the rul e and w as exp ell e d There was d i ssen si o n and rec rimin ati o n Ki rch n er s
. .
’

"
Chro ni c l e o f the Brii cke o f 1 9 1 3 agai n c o mp o s ed as a wo o d c ut attempt e d to sp eak
”
, ,

f o r the remai ning memb ers T h e m an i f es t o f at al as w e ll as fin al w as re j ec t e d by b o th

.
, ,

H eck el an d S ch midt-Ro ttlu f f O nly the g e ntl e Mu ell er remai n e d f aithful to Ki rch n er and
.
,

hi s w o rk i s l eas t typ i cal o f th e gro up .

T h e Brii cke h ad w o rk e d i n th e three b asi c p ri nt p ro c es ses : w o o d c ut l i th o g rap hy and

, ,

intagl i o P ri n t s no t o nly i n creas e d the v ari ety o f m e d i a f o r exp ressi o n but s in c e they
.
,

are mult ipl e he lp e d p ro p ag and i z e th e n ew gro up The p u bl i c invit e d to j o i n as ac tiv e

, .
,

o r l ay me mb e rs was s o l i c i te d w i th s ub s c ripti o n p rint s M an i f es t os p ost ers s tati o n ery

, .
, , ,

ann o un cemen t s annu al rep o rts memb e rs hip c ard s all c o n s i s t e d o f w o o d c ut s and
, ,

l i th o grap hs In additi o n b e tw een 1 9 06 and 1 9 1 1 the so c i e ty publi shed s ix p o rtf o li os

.
, ,

d ev o t e d to the w o rk o f si ngl e o r o f sev eral memb ers .

"
There i s n o way to s tudy an artis t b ett er than by hi s grap hi c w o rk w ro t e Ki rch n er
, ,

and the w o o d c ut i s th e mo st grap hi c o f th e p rint p roc es s es

" "
. T h e fi rs t B rii cke p rints
w ere w oo d c uts and in them reapp ears a traditi o n th at s eems essenti ally G erm ani c

K i rch n e r : S t ree t C rossi ng L e i p z ig 1 9 1 5 1 6 L i t ho grap h

, .
-
.
,

2 3 ‘la x C o ll ec t i o n Wal t e r B are i ss C o nne c t i c u t

,
S ch mi dt -
tt
R o l u ff : Th e M i rac u l o u s D rau g h t of Fi s hes . 1918 . W o o d cu t , C o ll ec t i o n M rs . Gert ru d A . M ell o n N ew
, Yo rk
 In 1 907 S ch midt-R o ttlu f f i nt ro du c e d litho grap hy whi ch h e h ad j u st l earn e d to th e
, ,

o t her m e mb ers o f th e s o c i ety F ro m th e o ut s et th ey d i s d ain e d t ran s f er p ap er (s o o ft e n

.

u sed in F ran ce) and d re w di re c tly o n th e s t o n e The in si st ent app earan c e Of the ac t u al
.

e dg e o f th e s t o n e in Ki rch n er s an d N o ld e s litho g rap h s i s ch arac t eri s t i c o f th e B rii ck e

’ '

as p ri ntmak ers L i tho grap hy al s o invit es the f ree d o m o f th e b ru sh an d man y o f the i r

.
,

lith o grap hs seem mo re S p o nt an eo u s an d l ess sch ematiz ed th an thei r w o o d c ut s .

A s w o rk s o f art the p ri nt s o f th e B rii ck e arti sts are f requ ently m o re co n v i n c i ng th an

thei r p aintings M any o f thei r b es t p rint s rep eat the s ubj ec t s o f th ei r p aint ings an d i n
.
,

the t ran s lati o n and re du c t i o n to a grap hi c m e dium g ain a max i mu mo f e ff ec t by a mi n i

,

mum o f mean s Ki rch n er h i ms e lf t ri e d to expl ain th e mys t eri o u s att rac ti o n o f p ri nt s

.
" ”
.

"
P erhap s th e u rge w h i ch d riv es th e arti s t to p rintm aking i s p artly d u e to the e ffo rt to
fix in fin al fo rm what in d rawing re main s l o o se an d unp redi c tabl e The ac tu al t ech n i cal
.

manip ul ati o n s rel eas e i n the arti s t p o w ers whi ch d o no t co me i nt o p l ay i n the mu ch

easi er h and i w o rk o f d rawi ng an d p ai n t i ng The p ro cess o f p ri nt i ng w e ld s th e p rev i o u s
.

"
and sep arate s t ep s int o a unity .

H ecke l : N u d e ( Fran z i) 1 9 1 1 C o l o r w o o d c u t
. .
, x

C o ll ec t i o n W al t er Barei ss Greenwi ch C o n nec t i c u t

, ,
N o l d e : S cri b es . 1911 . E t ch i ng an d a quat i nt , 10 x 11 The M u s eu m o f M o d ern A rt
, N ew Yo rk

E rn s t L udwig Ki rchn er p ro du ced m o re than 1 700 w o o d c uts l i th o grap hs and etch i ngs , , ,

in qu anti ty a grap h i c o eu vr e u n e qu all ed by any m o d ern arti st H i s n eed f o r exp ress i o n .

as a p rintmak er w as co mpul si v e and witho ut any re f e re n c e to hi s p ainting hi s ch ar

, , ,

ac t er an d qu al i ty as an art i s t c an b e d et ermin e d t hro ugh hi s grap hi c w o rk .

T h e real i s t i c n atu ral i sm o f hi s early s tyl e d i sapp eare d und er th e influ en ce o f th e

Jug end s til and V all o tt o n By 1 908 und er th e i mp ac t o f M u n ch the f o rmal and p sy ch o
.
, ,

l o gi c al s tre ngth o f h i s o wn p rints p o i nt ed th e di rec t i o n h e w as to f o ll o w The su b se .

qu ent b ro ad er an d l o o s er d raw i ng o f hi s Brii cke l i th o g rap hs b etwe en 1 909 and 1 9 1 1

ackn o wl e dg e d th e F au v e s (p ag e but the n ext y ears s aw b o ld er d i st o rti o n and a
mo re d ramati c b al an c e b e tw e en st ri d ent co l o r and s imp l i fi e d f o rm (p ag e
’
The d i rec t s l ash i ng s tro k es an d sharp e dg es o f Ki rch n er s p ai n t in g s d eri v e as mu ch
,
 E ri ch H eck e l mad e ab o u t 900 p ri n t s p erhap s a thi rd o f wh i ch are w o o d c ut s H i s b es t
, .

grap hi c w o rk unl i k e th at o f Ki rch n er b e l o ngs sp ec i fi c ally to th e B rii ck e p eri o d The

, , .

p s ych o l o gi c al o b ses s i o n s o f K i rchn er d i d n o t d i s tu rb H eck e l an d if hi s w o o d c u t s s eem

,

l e s s b o ld they are n ev erthe l e ss re fl ec tiv e s en s itive an d grac e d b y hu mo r th e amu s i ng

, , ,

s tan c e o f F ran z i (p ag e th e exp e c t ant mo me nt b ef o re a s t o rm (p ag e an d ,

l at er the qu i et i nt ro sp ect i o n o f h i s o w n s elf p o rtrai t L i k e Ki rchn er H eck el o ft e n all o w e d

,
.
,

th e S h ap e o f th e bl o ck to d et e rmi n e th e o v er all l imi t s o f th e c o mp o s i ti o n

—
.

In an ef f o rt to d i s co v er the v i tali ty o f the p ri mi tiv e Karl S chmidt Ro ttlu f f achi ev ed

,
-

o nly th e mann e ri s m o f th e arch ai c T h e s tyl e o f h i s p ai nti ng mo re c o n vi n c ing than hi s

.
,

e mo t i o n ev o lv e d f ro m hi s exp e ri e n c e as a carv e r o f w o o d c uts It w as ab o u t S ch mi dt

, .

R o ttl u ff s p ri n t s ro bu s t i f h eavy th at Mun ch ex c l ai me d : M ay Go d p re s erv e u s th ere

’ ”
, , ,

w i ll b e d i ffi c u lt t imes ah ead !
S chmi dt Ro ttl u ff p ro du ce d mo re th an 3 00 w o o d c uts o nly o n e o r tw o i n c o l o r as w ell
-
, ,

as l i t ho grap h s an d a f ew e t ch i ng s In c o mp ari s o n w i th hi s e arly w o rk (p ag e

. the

s ch e mat i z at i o n o f hi s f o rms app ears arb i trary an d ro uti n e T h o ugh hi s s t ri k i ng bl ack

.

an d w hi t e i d i o m w as f o rme d by 1 9 1 2 h i s mo s t memo rabl e p ri nt s are p e rhap s th o se

-
,

N o ld e : T h e Do c t o rs . 1 922 . W o o d cu t ,

x T he M u s e u m of M o d ern A rt ,

gi f t of M rs . J o hn D Ro c
. kef ell er , Jr
.
 W i n d mi ll on th e S h o re . 1 92 9 . C o l o r l i t h o grap h ,
Th e M u s eum of M o d e rn A rt N e w , Y o rk J ames T h ral l S o b y F u n d
,
.

l e r : T w o Gy p s i es . 1 92 7 . C o l o r l i t h o grap h , 27 x C o ll ec t i o n W al t er B arei ss Gree nw i ch

, , C o nn ec t i c u t

of 1 9 1 7 -1 9 1 9 b as e d o n re ligi o u s themes (p ag e Th es e recall G o thi c w o o d c ut s but ,

th e i r st yl e s ee ms mo re h eath e n th an C hri s t i an Ind e e d th e h ead s o f Chri s t an d H i s

.

di s c ip l es are un ab ash edly d eriv e d f ro m Af ri c an mas k s .

O tt o Mu ell er c arv ed f ew w o o d c ut s P erhap s the d i rectn es s o f the med iu m c o u ld no t

'

e n h an ce th e ro man t i c i f mo n o t o n o u s arcad i a o f hi s p as t o ral s M i l d alw ays f e l i c it o u s

, , .
, ,

p ark e d b y the v i t al ity o f th e o ther Brii ck e memb e rs H e h i ms elf

'

h i s W ork i s no t s . ackn o wl
‘

e dge d as hi s mo s t d i s t i ngu i s he d g rap hi c ach i e ev me nt th e s u i t e o f c o l o r l i th o g rap h s o n

gyp sy themes co mp o s e d
(ab o v e)
i n 1 927 .

W he n E mi l N o ld e j o i n e d the gro up i n D res d en i n 1 906 he w as al ready an ac c o m ,

p l i s h ed an d hi gh ly o ri g i n al e t ch er H e remai n e d af fi l i at e d w i th th e B rii cke o nly a y e ar

.

'

an d a h alf ; th e as soc iati o n al th o u gh b ri e f w as i mpo rt ant H e i n s tru cte d the o th er

'

.
, ,

memb ers i n the chemi s t ry o f e tchi ng In intagli o ho w ev e r the w o rk o f Ki rch n er and

.
, ,

H eck el s e ems t entativ e ev e n s c ratchy N o ld e s e tch ing s s u rp as s tho s e o f the o ther me m

, .
’

b erS an d mo re than h i s p aint i ng s th ey rev e al the influ e n c e o f t hat o th er f ant asi s t

, , ,

J ames E n s o r who m he met i n 1 9 1 2 (p age

,
 M arc : T i gers . 1 912 . W o o dcu t ,

Th e M u se u m of Mo d ern A rt, N e w Y o rk

F ro m the B rii cke N o ld e l earn e d w o o d c u t and l i tho grap hy T h e exampl e o f the y o unger .

art i s ts al s o st imu l at e d th e d ev e l o p me nt o f hi s o w n p ers o n al S ty l e H e retu rn e d to .

S ch l esw ig i n n o rth ern Germany an d i n 1 9 1 3 i n a p ri nt er s w o rk sh o p b e c ame fas c i n at e d

,
’

by th e p o s s i b i l i t i es o f l i tho grap hy O v er and o v er agai n h e p ull e d the same c o mp o si t i o n

.

in an a lmo s t en dl ess seri es o f v ari at i o n s in co orl . The Y o u n g C o u pl e (p age 1 9 7) i s o nly

o ne of s o me 7 2 d i ff ere nt p ri nt i ng s fro m the s ame s t o n es .

N o ld e s grap hi c o euv re n u mb ers s o me 500 etch i n gs l i tho g rap h s and wo o d c u t s U nl i k e

'

,
.

th e Brii ck e art i s t s h e d i d n o t o rd i n ari ly rep eat th e s ubj ec t s o f hi s p ai nti ng s but i n s t e ad

,

exp an d e d the th emes o f hi s art The w i ld g es t u res o f hi s figur es an d th e sh aggy c o nt o u rs

.

o f h i s d raw i ng o ff er a p ec ul i ar c o mb i n ati o n o f th e G o thi c th e g ro t es qu e th e ly ri c an d

, , ,

”
the d eep ly re l i g i o u s H i s d escrip ti o n o f th e art i s t i s ecst ati c : Th e d ev i l dw e ll s i n hi s
.

l i mb s d ivi n i ty i n hi s heart Who c an real i z e th es e p o w ers fight ing w ith o ne an o ther i n

, .

en dl es s co n fl i c t ? B ehi n d w all s l iv e s th e art i st rarely i n f l i ght o ft en i n h i s s n ai l s sh e ll

’
.
, ,

He l o v es the rares t and mo s t p ro f o u n d n atu ral o c cu rren ce s b u t al s o th e b right th e , ,

o rd i n ary reality mo vi ng c l o u d s an d bl o o mi ng g ro wi n g fl o w ers th e l i vi n g c reatu res

, , ,
.

U nk n o w n u nkn o w i ng c re at u res are hi s f ri en d s H e s ees n o t mu ch but o ther men s ee

, .
,

”
no th ing .
l ef t
,
Ko k o s ch k a : M an an d W o man wi h t C an d l e . 1 913 . L i t h o grap h , T h e M u seu m of M o d e rn A rt N ew
, Y o rk . ri g h t
,
Ko k o s ch k a :
W an d erer . 1914 . L i t ho grap h , x Th e M useu m of M o d ern A rt N ew , Yo rk

caree rs o f b o th arti s ts ho w ev er t ran scend i d e nti fi c ati o n with any p arti c ul ar gro u p O f
, ,
.

al l th e Bl au e R e it e r Kl e e w as th e mo s t v ers at i l e p ri nt mak er J awl en s ky s f ew l i th o g rap h s

’

, .

are f eebl e ; K and i n s ky s mo s t ch arac t eri s ti c p ri nt s w ere p ro du c e d aft er 1 9 20

’
.

Three E xp res s i o n i s t s K o k o s chk a B e ck mann and R o hlf s w ere p ro l i fi c grap hi c arti s ts

, , , ,
- .

When Ko k o sch k a arriv e d i n B erl i n i n 1 9 1 0 h e had al ready f o rmu l at e d hi s p ers o n al

s tyl e L i k e many E xp res s i o n i s t s h e p l ann e d mo s t o f hi s p ri nt s i n cy c l es aro und s p e c i fi c
.

th emes E ss e nti ally a p ai n t er it i s o nly n atu ral that he c o n fi n ed hi ms elf to l i tho grap hy
.
, .

T h e i llu s trati o n s to hi s o wn pl ay D er G ef es s elt e C o lu mb u s (ab o v e l ef t) d es c ri b e a

”

b as i c ant ago n i s m b e tw een th e sexes as in M u n ch th e chi ef i n sp i rat i o n o f hi s early w o rk

, ,
.

T h e l at er l i th o g rap hs to a B ach c an t at a p o rtray th e s ame e l emen tal co n fl i c t i n a l es s

o b s es s iv e f ashi o n K o k o s ch k a s s t ri k i n g s e lf p o rt rai t ( o pp o s i t e) o ne o f th e mo s t p e n e
’
.
,

202
Ko k o s ch k a : S e l f P o rt rai t . 1 923 . C o l o r l i t h o grap h ,
Th e M u s e u m of

M o d ern A rt N ew Y o rk
,

20 3
l ef t
,
R o h lf s : Pri s o n er . 1918 . Wo o d c u t , x Th e M u seu m of M o d ern A rt N ew
, Yo rk . ri g h t
,
t u rn
R o hlf s : R e o f th e

P ro d i gal Son . 1 916 . W o o d cu t , x Th e M u seu m of M o d ern A rt N ew

,
Yo rk

trati ng E xp ress i o n i s t an alyses co mpl ete ly o v ershad o w s hi s mo re rec ent attempts at

,

c o l o r l i th o g rap hy U nf o rtun at e ly in h i s p rint s he h as i gn o re d l and sc ap e an d th e s w eeping

.

p an o rami c vi s tas s o charac t eri sti c o f hi s p ai nti ng .

In B erli n M ax B eckm ann s early wo rk (p age matu re and c o mpl e te in itself was
'

a ll i e d to th e real i s m o f S l ev o gt and C o rinth Th e fi rs t W o rld W ar acce l erat e d a b reak

.

with thi s trad i ti o n and the s u ff eri ng and c arn age serv e d as a t erri bl e i n sp i rati o n B eck
, .

mann hi ms e lf w as ho spital i z ed in 1 9 1 5 and f o r a b ri e f ti me c eased p ai nting to b egi n

,

p rin tmak in g In F rankfu rt until 1 93 3 he c o ntinu e d to mak e many d ryp o i nts an intagli o
.
, ,

metho d o f s c ratchi n g met al whi ch requi res f ew t o o l s o r e q u ip me nt The c ro wd ed i m ag es .

o f hi s e arly d ryp o i nt s o ft en gro t es qu e i n th eir c o mb i n ati o n o f h o rro r and hum o r c u l

, ,

mi nate d i n th e seri es o f l i tho g rap hs entitl e d H ell F ro m thi s p o rtf o l i o i s The N ight (p ag e
"
.
"

a rep e t i t i o n o f a p ai nting Th e tu rbul e nt co mp o s i t i o n th e s ad i s ti c ex ec ut i o n ers

.
, ,

th e g arro t e d man an d b ro k en w o man c re at e a b e dl am as g ru eso me as it w as p ro

,
n o bil ity o f hi s sc ulptu red figu res H i s p rint s are mi n o r ev e n s k etchy and the i llu st rati o n
.
, ,

f o r M acb e th (o pp o s it e) i s n o t typ i cal Ko lb e s exp res s iv e n u d es and the charming

" " ’
.

b esti ary o f S in teni s reapp ear in thei r et ch ing s N o n e o f the three arti st s att empt ed w o o d
.

c arving i n ei th er s c ulptu re o r p ri nts .

In all hi s w o rk E rn s t B arl ach s styl e rem ai n e d c o n si s t en t — earthy ro bu st o ften

’

, ,

p assi o n ate d eceptiv ely s impl e Altho ug h d ec orative hi s d i s to rti o n s are n ev er arbitrary
, .
, .

His w o rk s sp eak w i th th e el o qu en ce o f the m edi ev al s c ulptu res and G o thi c w o o d cut s

whi ch in sp ired hi m A d i s ti ngui she d c o ntribut o r to the G erman theat re B arl ach illu s
.
,

trated hi s o w n f o u r p l ay s an d co mp ose d p rint s o n Chri s ti an th emes E ve n wh en hi s

.

wo rk i s no t sp e c i fi cally rel igi o u s B arl ach l i ke N o ld e i s mo v e d by a d eep ly g enuin e

, , ,

faith U nlik e K o k o s ch k a o r B eck mann he was co nvi n c e d o f th e essenti al g o o dn ess o f

.
,

man H i s i ll u s trati o n s b ro ad en e d hi s s ubj ec t matter an d l itho g rap hy e n co u rag e d a

.
,

thmi c l o o se n es s in hi s d raughts m an shi p B arl ach s w o o d c u ts on p easant themes

’

rhy .
,

ho w ev er are mo re ch arac t eri s ti c and rep eat th e d i rec tn ess o f h i s sc ulptu res (p age
,

G erhard M arck s and E w ald M ataré hav e b een p ro l i fi c c arvers o f w o o d c ut s In thei r .

Beck mann : Da i vd an d t
B a hs h e ba . 1911 . L i t h o grap h , x

Th e M useu m of M o d ern A rt N e w
, Yo rk James T h ral l S o b y Fu n d
,
 k mann : K as b e k 1 9 2 3 D ryp o i n t
l ef t, B e c . .
, x The M useu m of M o d ern A rt N e w
, Yo rk , gi f t of Vi c tor S . R i ese n f el d . ri g h t,

L e h mb ru ck : M ac b e t h 1 9 1 8 E t ch i n g an d d ry p o i n t
. .
, x Th e M u seu m of M o d ern A rt M rs
, . John D Ro c
. k e f ell er, Jr . Fu n d

2 07
p rint s as in thei r sc ulptu res the E xp ressi o ni st t rad it i o n b e c o mes l ess aggressiv e M arck s
, , .
,

l i ke B arl ach w o rk s i n sharp co n t ras ts o f so l i d bl ack and whi t e ; M ataré lik e the Brii cke
, ,

arti st s w o rk s in c o l o r and u s es th e g rain o f the w oo d f o r d eco rati ve e ff ec t In rece nt

, .

years M arck s has illu s t rate d s ev eral b o o k s but hi s mo s t s tri ki n g w oo d c uts d epi c t ani
,

mal lif e (p age 20 1 ) th e i n sp i rat i o n o f M arc and th e p eaceabl e ki ngd o m o f M at aré .

Altho ugh D ad a w as th e fi rs t mo d ern m o v em ent to b eco me truly intern at i o n al in its

memb ership the maj o ri ty o f i ts f o und ers w ere G erm an In ret ro sp ec t it mig ht b e co n
, .

si d ered an o th er man i f es t at i o n o f th e E xp res s i o n i st sp iri t ; but wh ere th e B rii cke and the

Bl au e R eit er h ad rev o lt e d agai n s t reali sm D ad a d en i ed reas o n it s elf

, .

D ad a was b o rn d u ri ng the w ar in n eut ral Z u ri ch Aft er the armi sti ce i t mu shro o med
.

t E rn st : Trop hy H y p e rt ro p hi e d 1 9 1 9 P ho t o me chani c al t ech n i c al en grav i ng al t ere d w i t h p e n and i nk

l ef , , . .
-
, x

T h e M u s eu m o f M o d ern A rt N e w Y o rk g i f t o f T ri s t an T z ara ri g h t Gro s z : M e mo ri es o f New Y o rk 1 9 1 7 L i t h o g rap h

, , .
,
. .

x 11 T he M u s e u m o f M o d e rn A rt N e w Yo rk
,
l ef t S chw i tt ers : M erz C o mp o si t i o n 1 9 2 3 P ro c ess l i t ho grap h w i t h c o l l ag e 2 1 x
,
. .
, Th e M u s e u m of M o d ern Art N ew Yo rk ,
t gi f
of J B N eu mann ri g h t K l ee : D es t ru c t i o n an d H o p e 1 9 1 6 L i t ho grap h an d w at erc o l o r
. . .
,
. .
, 18 x 1 T h e M u se u m o f M o d ern A rt N ew Yo rk
,

W alt er Gro p i u s w as o rn ament e d w ith a w o o d c ut by Ly o n e l F ei n i nger F ro m i ts tu c ep

,
.

ti o n p ai n t ers an d s cu lpt o rs w ere l ead i ng memb ers o f the f acul ty an d th e s tu d e nt ,

c o mmu n i ty i n c l u d e d s eve ral arti s t s Wh o w ere p ermi tte d to d ev o te th ems e lv es to p ainti n g .

But th e emp has i s and i mp act o f the B au hau s w as s t ro ng es t u po n archi t ec tu re and

.

appl i e d d es ign .

In p ri n tmak i ng the B au hau s mo s t imp o rtan t c o nt ri b u t i o n was its early ac tiv e p ro

’

g ram o f publ i c ati o n s B etw een 1 92 1 an d 1 9 2 3 p o rtfo l i o s o f p ri n ts b y F ein i n ger (who had
.

e xh i b i te d w i th th e B lau e R ei t er i n 1 9 1 3 ) an d b y K and i n s ky an d M arck s w ere p ri nt e d

an d publ i s h e d at th e s ch o o l I n add iti o n th e B au h au s i s s u e d f i v e albu ms o f p ri n t s whi ch

.
,

i n c l u d e d c o ntri buti o n s f ro m th e f ac ulty an d mi sc e ll an eo u s arti s t s Int eres t s i n c reat iv e

.

p ri ntmak i ng d ec l i n e d after th e remo v al f ro m W eimar to D es sau i n 1 9 2 5 M arck s had .

 qu i t th e f ac ul ty an d , alth o ug h
F ei n i nger c o ntinu e d in s tru c ti o n in et chi ng and w o o d c ut ,

th e co u rs e s i n c reas ingly s t res s e d typ o g rap hy an d l ay o u t .

B ef o re thei r as soc i ati o n w i th the B au hau s Kl ee an d F ei n i nger had p ro d u c e d many

,

p ri n t s M arck s i nt ere s t in w o o d c ut h o w ev er s e ems to h av e b egu n i n W ei mar The

.
'

, , .

id e nti f ying s tamp o f th e B au hau s as a scho o l the un i ty b e tw een archi t ec t u re an d ,

p ai nt in g i s f o und mo re charac teri s ti c ally i n the w o rk o f o ther memb ers The p ri n t s

, .

o f S ch l emmer M o h o l y—N agy an d l at er Vo rd emb e rg e Gil d ew art typ i c al o f th e i r i n d ivi d

, , ,
-
,

u al s tyl e s , are f ew an d i n c i d en t al K and i n s ky

.
, atth e B au hau s l o s t the f ree exp ress iv en ess
,

of hi s ear ly ab strac ti o n s O nly a f ew pl at es o f hi s Kl e in e W e lte n a p o rtf o l i o o f f o u r

.
,

t
e ch i ngs ,
f o u r l itho g rap hs an d f o u r w o o d c uts o f 1 9 22 co me to li f e A S d ec o rativ e ge
, .

o metry l arger co mp o si ti o n o f th e n ext y ear i s m o re e ff e c tiv e (b e l o w)

, a .

F ei n i n ger s fi rs t p ri nt s l i th o g rap h s an d e tchi ng s ( 1 906 ev o k e a n o s tal gi a f o r

’

, _

th e s h i p s an d t rai n s wh i ch had c aptu re d hi s i mag i n ati o n as a ch ild i n A meri c a In 1 9 1 8

'

he b e g an to c arv e hi s fi rs t w o o d c ut s an d , du ring the n ext d o z en y ears; c o nti nu e d w o o d

d k
K an i n s y : A b s t rac t i o n . 1 923 . C o l o r l i t h o g rap h ,

16 x The M u s e u m of M o d ern A rt N e w , Y o rk

21 1
c u t an d p ai nti ng as p arall el m ean s o f exp ress i o n S i n c e h e w as an i n s t ru c to r i n th e .

grap hi c art s i t i s n o t unn atu ral that hi s y ears at the B au hau s W e re hi s mo s t p ro du ctiv e
,

as a p ri ntmak er M any o f hi s w oo d c ut s rep eat th emes o f earl y p ai nt i ng s an d p ri nt s

. .

Thei r d is j o i nt e d rhyth m and angul ar d i st o rti o n ho w ev er d e p art fro m the n arrativ e , ,

ro manti c i sm o f h i s p revi o u s w o rk and s e em ad mi rably s u i t e d to th e mediu m o f the

w o o d c u t A rchi tec t u re i s f o rc i bly int eg rat ed int o a n erv o u s p attern o f bl ack and W hit e
.

i n th e Bu i ld i ngs (p ag e whi l e hi s mo s t famo u s p ri n t Th e Gat e st and s as a m o re , ,

mo n u me nt al c o mb i n ati o n o f s treng th an d eco rati o n F ei n i ng er mad e mo re than a hu n

d .

d re d p ri nt s two thi rd s o f whi ch are w oo d c uts I n b o th hi s p ri nt s and p ai nti ngs he re

,
-
.
,

f rai n ed fro m the s ch emati z e d ab s trac ti o n s so o ften charac t eri s ti c o f th e B au hau s .

Th e p ri nt s o f P au l Kl ee numb er ab o ut 1 1 0 d i vi d e d al mo s t e qu ally b e tw ee n e t ch ing

,

and l i tho g rap hy In S w itz e rl and h e co mp l e t e d f o u rt ee n e t ch i ng s ( 1 903

. p erv erse
i n th ei r reali s m an d p rec i s e i n the i r s tyl e Thes e s o p h i s ti c at e d p arabl es i nv enti o n s
" "
.
,

h e c all e d th em w ere co n cei v e d with e l ab o rate capti o n s w ri tt e n i n to the m e tal p l at es

, .

Kl e e c o n s i d ere d th e s e ri es hi s fi rs t ind ep end ent ach i ev eme nt as an artis t .

In G erman y b e tw e en 1 9 1 0 and 1 9 3 2 Kl ee c o nti nu e d to mak e a f ew p ri n t s each y ear

, , .

H e b egan li th o grap hy in 1 9 1 2 an d c o nti nu ed to wo rk o n st o n e o r t ran s f er p ap er unt i l

1 9 2 7 S ev eral o f t h es e l i th o g rap h s w ere p ri nt e d in co l o r o r c o l o re d b y h and W hen Kl ee
.
, .

l eft G ermany to ret u rn to S wi tz erl and h e c eas e d p ri ntmaki ng .

In t erms d ev el o p ment as an artis t Kl ee s l at er p ri nt s i mp o rtant tho ugh they

’
of hi s ,

are d o no t h av e the si gn i fi c an c e o f the early s uit e o f e t ch i ng s Th ey are h o w ev er mu ch

, .

mo re th an ech o e s o f hi s p ainti ng s and d raw i ng s T he c o mpl ex o f L ittl e W o rld i s a f o re .

ru n n er o f D ad a c itysc ap e s ; D e s t ru c ti o n and H o p e (p ag e 2 1 0) app ro aches ab s t rac ti o n .

M o re f ami l i ar are th e l ack ad ai si cal S t eam er f o r L ug an o (o pp o s i t e) the i n t en se

.

, , Th e
O ne in L o v e an d th e e ll i pti c al callig rap hy o f Why D o es H e Ru n ? ( o pp o s i t e)
, .

In G ermany th e p h rase N eu e S ach l i chk ei t (new real i sm o r n ew o bj e c tiv ity) was

inv e nt e d to d es c ri b e the in evit abl e reac ti o n agai n s t Exp res si o n i s m and ab s trac ti o n
m
.

O tt o D ix an d G eo rge G ro s z had b o th w o rk e d i n a D ad a id i o b i tter an d sati ri c But , .

thei r mo s t typ i c al w o rk i n th ei r p rints as in the i r p ai nt i ngs was d o n e af t er 1 921 D ix s

, , .
'

s u s tai n e d gro u p o f e tch i ng s D er K ri eg (p age 2 1 5) inv i t e d e li b e rat e c o mp ari so n w i th

" "

G oy a s i n d i c t men t o f war T hei r realism i s ho rri bl e unfl i n ch i n g an d o v erw hel ming ;

’
.
,

th e p o rtfo l i o co uld app ro p ri at ely hav e b een reissu e d aft er the s ec o n d war L es s p ro f o und .

are hi s S i ngl e p rin t s , a ltho ugh th e M ed i t erran ean S ai l o r b ri s tl es w i th a h u mo r co ars e

an d S h arp
“

Gro s z d raught sman ship i s mo re mo rd ant hi s c ri t i c i s m s c athi n g A f ter a f ew early

'

, .

e tch i ngs h e c o nfin e d hi mse lf to l i t ho g rap hy and m o s t o f hi s p ri n t s w ere c o mp ose d in

,

s eri e s H i s d e ri s iv e a
. tt ack s b i t e the b o u rgeo i s and th emi l i tary T he D ad a ef f ects o f .

n o i s e in Chri stmas Ev e (p ag e 2 1 5) ad d no ch arm o f g e n re to th e f ami ly gatheri ng .

B eck mann : T he Ni gh t . 1 91 9 . L i t h o grap h , x 27 Th e M u seu m of M o d ern A rt N ew
, Yo rk

The n ew rea i s m
l c o u ld n o t s uppl ant E xp res s i o n i sm o r ab s t rac ti o n It did att rac t .
,

h o w ev er s ev eral o ther arti s ts — B eck mann b ri e fly ; G eo rg e S ch o lz wh o se litho grap hs

, ,

are u n mitig ate d i n th ei r b itter hu mo r ; an d m o re mi ldly G eo rg S ch ri mpf and Al ex and e r

, ,

K an o l d t .

F ro m th e U n i t e d S tat es i t i s o f c o u rse di f f i cu lt to eval u at e G erman p ri ntmak i ng i n

rec e nt y ears A rt i st s s u ch as M arck s an d M ataré h av e c o nt i nu e d to p ro du ce many
.

w o o d c uts b u t i n gen eral c reativ e p ri ntmak ing d ec l i n e d d u ri ng the Thi rd R ei ch T h e

, .

rep u t at i o n o f three art i s t s h o w ev e r h as b een es t abli she d s i n ce th e w ar R o lf N es ch

, , .

n o w l iv es i n N o rw ay b u t hi s h igh ly d ev e l o p e d an d p ers o n al t e ch niqu es o f intagli o w ere

,

f o rmu l at ed i n G erm any b y 1 9 3 2 (p ag e H e l mut Gri eshab er l ives i n i s o l ati o n o n

th e mo unt ai n o f A ch al i n i n W ii rtemb erg but th e b o ld d e c o rativ e p att ern s o f hi s co l o r
, ,

w o o d c uts (p ag e 2 1 6) c o nt inu e the t raditi o n o f the B ru ck e H an s H artung h as b ee n a .

 Gro s z : C hri s t mas E ve 1 9 2 1
. . L i th o grap h , x

T h e M u s eu m of M o d e rn A rt N e w , Yo rk , gi f t of P au l J S achs
.

Di x : Wo u n d e d Fal l
, 1 9 1 6 , B ap au me . 1 924 . E t chi ng an d a u a q tin t , x 11
3 "
/e T he M u seu m
of M o d ern A rt N ew
, Yo rk , gi f t of M rs . Jo hn D Ro c
. k ef e ll e r , Jr
.

21 5
Gri esh ab er : E ly s i u m 1 9 5 3 C o l o r w o o d c u t 4 3 x
. .
, Th e M u se u m of

M o d ern A rt N e w Y o rk g i f t o f M r an d M rs E P o w i s J o n es
.
, . . .

216
 c at al o g u e o f t h e ex h i b i t i o n

T he M u seu m o f M o d ern A rt N ew Yo rk O c t o b e r 1 D ece mb er ,

-
957 Th e N ig h t . 1 91 9 . L i t ho grap h
Fro m D i e , 21 7
/B
C i t y A rt M u s eu m o f S t L o u i s : Ja nu ary 8 F eb ru ary 2 4 1 9 5 8 .
-
, H Oll e ,
“
a p o rt f o l i o o f 1 0 l i t h o g rap hs p u b l i s h e d b y J B N e u , . .

mann B e rl i n The M u s eu m o f M o d ern A rt N ew Yo rk

In di men si o n s h ei g h t p reced es wi th d , .
, ,

P u rch as e 1 9 4 9 I II p 2 1 4 . . .

B A R LA C H , E rns t 1 87 0 - 1 9 3 8 Fami l y Pi c t u re v
. 1 92 0 . Oil o n c an as , x T he

1 M an i n S t o cks . 1 918 . Wo o d 28 h igh K u ns hall e H am t ,

M u s eu m of M o d e rn A rt N ew , Yo rk , gi f t of M rs . Jo hn D .

, .

b u rg . Il l p 1 4 9
. .
Roc kef e ll e r , J r Il l p 1 0 0
. . .

2 Th e Go o d Samari tan 1 9 1 9 . . W o o d cu t , 7 x T h e M us eu m K as bek 1 9 2 3 D ry p o i n t

. .
, x T h e M u s eu m of

of M o d ern A rt N e w Y o rk ven mo u sl y I ll p 2 0 5 M o d ern A rt g i f t o f Vi c t o r S R i es e n f e l d Ill p 2 0 7

gi an o n y , . . . .

, , . . .

3 Gro up i n a S t o rm 1 9 1 9 W o o d c u t 7 x T he M us e u m o f . .
,
Caf e C o n cert i n th e H o tel . 1 92 4 Wo o d cu t
. x ,

M o d ern A rt N ew Yo rk g i v en an o n y mo u sl y Ill p 2 o5
, , . . .
T h e M u seu m of M o d ern A rt , N ew Y o rk P u rch as e 1 9 4 8 ,

4 a Th e A en g er 1 9 2 2v W o o d 2 4 ” h i gh H erman S c hu l man Co l
. .
, .
Vi ew of Gen o a . 1 9 2 7 O i l o n c an as , . v x C o ll e c

t
l ec i o n , New Y o rk ( E xh i b i t e d i n Ne w Y o rk o n l y) I I! p 1 5 1
. . . .
t i o n Mr an d M rs . . M o rt o n D . M ay S t L o u i s C o l or p l at e p 1 0 1
, . . .

b Th e A v eng er 1 922 Bro n z e ( c as t . . 24

”
h i gh . Fi n e A rt s b P
R ug y l ay ers 1 9 2 9 O i l o n c an as . . v , x S t ad
Asso c i at es N ew Y o rk ( E xh i b i t e d S t L o u is ti s ch es M u seu m Du i s u rg C o l o r p a b l te p 1 02
, . in . o nl y ) , . .

5 Si n g i n g M an 1 92 8 B ro n z e . .
, h i g h T h e M u s eu m
. of Th e B a h 1 9 3 1 O i l t . . o n c an as , v 70 x C o l l ec t i o n M r . an d

M o d ern A rt New Yo rk M rs J o h n , , . D Ro c . k ef ell er , Jr . F u nd .

M rs M o rt o n D M ay
. .
, S t L o uis
.
, M i sso u ri C o l o r p l at e p . . 1 03

I ll p 1 5 2
. .
Temp t ati o n . 1 93 6 . O il o n c an as ; v t ri p ty ch , t
c e n er p an e l
79 x d e p ane l s each x si C o ll ec t i o n Dr
BA U M , O tt o b o rn
.

1 900
S t ep han Lack ner S an ta Barb ara C al i f o rn i a C o l o r p l at e p p , , . .

6 M etamo rp h o si s 1 9 4 8-4 9 . . L i mes t o ne , 39 h i gh . O w ne d b y 1 0 4 -1 05

th e ar t i s t Ill . .
p 1 76 .

BE LLI NG , Ru d o l f b o rn 1 88 6

BA U M E I S T E R Wi ll i ,
1 889 - 1 9 5 5 19 S c ulp t ure . 1 92 3 . B ro n ze
p ar l y
, t v ere d
si l h ig h T h e , .

7 C o mp o si ti o n . 0 . 1 925 ? C o l o r l i t h o g rap h , x The M u s eu m of M o d ern A rt N ew , Y o rk A C o ng er Go o dy e ar

, .

M u se u m of M o d ern A rt N ew Y o rk P u rchas e
, , 1 93 6 Fu n d . 111 p 1 7 4
. .

8 H o mag e to J ero me B o s ch . 1 9 5 3 Oil mp o s i t i o n b o ard

. on co ,
BL U M E N T H A L H ermann , 1 9 0 5-1 9 4 2
x C o ll ec t i o n M rs M arg are te B au mei s t er S t u tt g art
ze ( c as t
.
, .

20 K n eel i n g Yo u th 1 9 2 9 -3 0 B ro n hi gh
C o l o r p l at e
. . .

p 13 1
E he mal s S t aat l i ch e N at i o n al Gall ery o n
.

M u see n B erl i n , ,

9 M o n taru I . 1 953 . O il o n c ar db o ard , x 51 N i e d er l o an f ro m th e K u l t urk re i s i m B u n d e s v erb an d d er d eu t s ch e n

s ach s i s ch e L an d es gal eri e , H ano v er . I ll p 1 3 2
. .
I n d us t ri e Ill p 1 7 9 . . .

B E CK MA NN , Max 1 884 - 1 9 5 0 C O R I N T H L o vi s
,
1 858— 1 9 2 5

10 Da i vd an d B a hsh e t ba . 1 91 1 . L i t h o grap h , x 21 S t u di o C orn er . 1 91 9 . D ry p o i n t , x Fro m Be i d e n

T he M us eu m of M o d ern A rt N ew , Yo rk J ames Th ral l S o b y
, C o ri nthern
"

p or f oli o o f 1 4
, a t t
e ch i n gs an d d ry p o i n t s Th e.

Fund . Ill p 2 0 6 . . M u seu m o f M o ern A rt N ew d , Yo rk , gi v en an o n y mo us l y

2 19
 D eath an d the A rti s t . 1 92 1 . E t ch i n g an d d ry p o i n t x , Th e Li ttl e Tear Gl an d Th a t Say s Ti c Tac . 1 92 0 . G o u ach e
Fro m T o t en t an z ,
"
a s eri es of 5 e t ch i n gs p u b l i s h e d b y on wall p ap er , x T he M u s eu m of M o d ern Art ,

E u p ho ri o n -
Verl ag , B erl i n , 1 9 22 . Th e M u s e u m o f M o d e rn Ne w Y o rk Pu rchase , 1 93 5 . Ill p 9 2
. .

A rt Ne w , Yo rk
J B N eu mann , gi f t of . .

Th e Grami n eo us Garni sh ed w i th B ell s the D app l ed B i cy cl e

Ap o cal yp se 0 1 9 2 1 ? L i t h o grap h 1
. .x T he M us eu m , Fi re D amp s an d th e E chi n o d erms B en di n g th e Sp i n e to
o f M o d e rn A rt N e w Y o rk gi v e n a no ny mo u s l y I l l p 1 8 6
, ,
. . .
L o o k f o r Caresses 1 9 2 0 o r 1 9 2 1 A n at o mi c al ch art alt ere d . .

N ear th e W al ch en see Si l ver W ay 1 9 2 3 O i l o n c anv as . .

,
w i t h g o u ach e x T h e M u seu m o f M o d ern A rt
, ,

x C o l l e c t i o n M r and M rs E ri ch C o hn N ew Y o rk .
N ew Y o rk P u rch as e 1 9 3 7 Il l p 9 1
, . . .
. .
,

I ll p 7 3
. .

Sel f P or trai t 1 9 2 4 Oi l o n c anvas . x 31 . Th e M u ,

F E I N I N G E R L y o ne l , 1 87 1 - 1 9 5 6

s eu m o f M o d e rn A rt N ew Y o rk g i f t o f C u rt Val e n t i n C o l o r Si d e W h eel er 1 9 1 3 v as x "

, , .
37 Th e . . Oil o n c an , 31 3 9 s/e T he
p l at e p 7 2 .
D e t ro i t I n s t i t u t e o f A rt s , De t ro i t , M i ch i gan Ill p 1 0 7 . . .

W i n ter at W al ch en see 1 9 2 4 W at erc o l o r 1 6 x Co l . .

,
38 d
B ri g e 111 . 1 91 7 . on on c an as , v W all raf
l ec t i o n M r an d M rs E ri ch C o hn N ew Y o rk Ill p 7 3 R i ch artz M u s eu m C o l o g n e C o l o r p l at e p 1 09
. .
, . . .

, . .

DIX O tt o b o rn 1 89 1 39 d
B ui l i n g s 1 9 1 9 . W o o dcu t .
, T h e M u se u m of

M o d e rn A rt, N ew Yo rk gi f t of M rs Ly o n e l F ein i ng er Il l
M edi t erran ean Sai l o r 1 9 2 3 L i t ho graph 1 8 x , . . .

27 . .
, The
p 1 84
M u se u m M o d e rn A rt N ew Y o rk P u rch as e 1 9 4 5
.

of , ,

40 Th e Ga t e 1 920 W o o dc u t 16 x Th e M u se u m of
28 My Paren ts 1 924 Oi l o n c an as , v 4s 7
/a x N i e d er . .
,

M o d ern A rt N e w Y o rk J ame s T hrall S o b y F u n d

. .

s achs i s ch e L and esgal eri e H an o v e r C o l o r p l at e , .

p 86 .
, ,

41 Barf u ss er- Ch urch i n E rf urt (B arf u sser Kirch e i n E rf urt)

W o un d ed , Fall 1 9 1 6, B ap au me 1 9 2 4 E ch i n g an d t q ti n t -
29
.

. . a ua ,

x 11 F ro m D e r K ri eg
" “
a p o r f o l io o f 5 0 t e t ch i ngs
1 9 2 7 O i l o n c an v as 3 9 x 3 1
. C o ll ec t i o n D r Fe rd i n an d , .

, ,

Z i e rs ch W u pp e rt al B arme n C o l o r p l at e p 1 1 1
b d b y K arl N i e re nd o rf B erl i n T h e Mu s e u m o f
-
li s h e , . .

pu ,
.

M o d e rn A rt N e w Y o rk gi f t o f M rs J o h n D R o ck ef e l l er J r
, , . . .
42 Th e S teamer x 1 9 2 7 Oi l . o n c an v as , 26
Ill p 2 1 5
. .
The M u se u m o f M o d e rn A rt N ew Yo rk ac q u i re d t h ro u g h , ,

30 D r M ay er-H erman n 1 9 2 6 O i l o n w o o
. . . d x Th e th e L i ll i e P Bl i ss B e q u es t C o l o r p l at e p 1 1 0
. . .

M u s eu m o f M o e rn A rt N e w o r gi f o f d , Y k , t P h i l i p C J o hn s o n . .

( E x hi b i t e d i n New Yo rk on l y) . Il l p a8 . .
G RI E S HAB E R H ,
. A . P . b o rn 1 909

31 Ch i l d t
w i h D ol l . 1 928 . O il on d
woo ,
x T he 43 El y si u m 1 9 5 3 . . C o l o r w o o d cu t , 43 x Th e M u seu m
M u s eu m of M o d e rn A rt N ew , Yo k r , gi f t of M rs . Jo h n D . of M o d ern A rt N ew Y o rk gi f t , , of Mr . an d M rs . E P o w i s J o nes
. .

Ro c k ef ell er , Jr .
( E x hi b i t e d in S t L o u is . o nly ) . Ill p 8 9
. . I ll .
p 21 6
.

ERN ST , b o rn 1 89 1
M ax
G R O S Z Geo rg e b o rn 1 89 3
,

32 Trop hy H yp er trop h i ed 1 9 1 9 P ho t o mech an ic al t e ch n i c al -

, . .

44 M emo ri es k 1 9 1 7 L i t h o grap h
of N ew Yo r
e n grav i ng al t e re d w i t h p e n and i n k x
. .
,

Th e ,
F ro m E rs t e Geo rg e Gro s z M ap p e a p o rt f o l i o o f 9 l i t ho
"
-
"

M u s eu m o f M o d ern A rt N ew Yo rk g i f t o f T ri s t an T z ara
,

g rap hs p u b l i s he d b y H ei n z B arge r B erl i n Th e M u s e u m

, , .

, , .

Ill p 2 0 8
o f M o d ern A rt N ew Y o rk P u rch ase 1 9 4 9 III p 2 o 8
. .

, , . . .

“
L et th ere b e f as hi o n, d ow n w i th art 0 1 9 1 9 L i t ho grap h
F un eral o f th e P o e t Pani zza 1 9 1 7 1 9 1 8 O i l o n c an vas
. . .
,

45 -

x Pro m Fi at mo d es p ereat ars a p o rt f o l i o " . .

,

o f 8 l i t h o g rap h s p u bl i s h e d b y S ch l omi l ch Ve rl a
, ,

55 x S t aat l i ch e K u ns t samml u ngen S t u ttgart C o l , .

g Co l o g n e
o r p l at e p 83
, , .

The M u s eu m o f M o d ern A rt N ew Y o rk P u rch ase 1 9 3 5

.

, ,

34 Th e H a t M ak es th e M an (b ed eckt sami g er s tap el men s ch -

46 C af e N ep t u n c 1 9 2 0 Wat erc o l o r . x . .
, The A rt

n ack ts ami g er w ass erf o rmer kl ei dsame n er I n s t i t u t e o f C hi c ag o O l i v i a S h al er S w an F u n d , . Ill p 84 . .

v atu r au ch ! u mp res sn erven l) 1 9 2 0

. C o l l age p e nc i l i nk . .
, , , 47 Ch ri s tmas E ve 1 9 2 1 . . L i t h o g rap h x , Th e M u
w at erc o l o r 1 4 x 1 T he M u seu m o f M o d e rn A rt N e w Yo rk
, , , s eu m of M o d e rn A rt N ew , Yo rk gi f t o f P au l J S achs Il l
, . . .

P u rch ase 1 9 3 5 III p 9 0 . . .

p 21 5
.

220
 79 S treet S cen e . 1 92 2 . C o l o r w o o dc u t af e r at p ai n i n g t of 1 9 1 4, 93 Cap ri ce i n br uary ( Cap ri cci o
Fe im Febru ar) . 1 93 8 . Oil on

x T h e M u s eu m of M o d ern A rt N ew ,
Yo rk , Pur c an as , v 39 x C o ll ec t i o n Mr . an d M rs M o rt o n N eu .

ch as e 1 9 4 5 man n C h i c ag o 111 p
, . . . 126

80 Th e Pai n ters of the B r i cke . 1 92 5 . Oi l o n c an v as , x 94 Cap ti ve (Gef an g en ) 1 9 4 0 O i l . . on b u rl ap mo u n t e d o n w o o d ,

W all raf R i ch artz M u s eu m C o l o g n e C o l o r p l at e p x C o ll ec ti o n M r a n d M rs F re d eri ck Z i mmer

'

49 —
, . . 44 . .

mann N ew Y o rk C o l o r p l at e p 128
81 Z uri ch . 1 92 6 . Oi l o n c an as , v 53 x C o ll e c t i o n M r an d .
, . .

M rs B ru c e B D ay t o n M i n n e ap o l i s
. .
, , M i n n e s o t a Ill p 4 5 . . .

K OK O S C H K A O s k ar , b o rn 1 886

K L E E P au l
, 1 87 9 — 1 9 4 0 95 P or trai t of Dr . Ti etz e an d H is W if e . 1 9 09 . Oi l o n can v as
82 L i ttl e W o rl d . 1 91 4 . Et ch i n g , T h e M u s eu m of
x 53 The M u s e u m o f M o d ern A rt N ew Yo rk , , M rs .

M o d e rn A rt , N ew Yo rk P u rch as e , 1 94 1
J o hn D Ro c . k ef ell er , Jr . F u n d C o l o r p l at e p 7 4
. .

83 D es tru c ti o n an d H op e . 1 91 6 . L i t h o grap h an d wa t erc o l o r ,

96 Po rtrai t of H erw arth W al d en . 1910 . Oil o n c an as , v x
x T h e M u s eu m of M o d ern A rt , N ew Yo rk P ur ,
27 C o ll e c t i o n M r an d M rs S amu el H M as l o n Way z at a . . .
, ,

M i nn es o t a ( t h ro u gh the c o u rt e sy o f th e M i n n eap o l i s I n s t i
ch as e 1 9 4 4 . Ill p 2 1 0 . .

t u t e o f A rts) C o l o r p l at e p 7 7
'

. .

84 S teamer f o r L u g an o 1 9 2 2 L i t h o grap h . .
,

Pri vat e c o ll ec t i o n N ew Y o rk Il l p 2 1 3 , . . .
97 D en t d u M i i d . 1 91 0 . Oi l o n can as , v x C o ll ec
ti on M rs . W . F e i l ch e n f el d t , Z u ri ch , S w i tz erl an d Ill p 7 6 . . .

ve
C o l o r l i t h o grap h i o 7/a x 7 1 /Q" Fro m
_

85 Th e O n e i n L o . 1 92 3 .
, .

”
M ei s termapp e d es S t aat l i ch e n B au h au ses a p o rt f o l i o o f ,
98 M an an d W o man wi th C an dl e 1 9 1 3 L i t h o grap h . .
, x
8 p ri n t s b y 8 art i s t s p u b l i s h e d b y B au h au s v erl ag M u n i ch , ,
Fro m "
D er Gef esse l t e C o l u mb u s a p o rt f o l i o , of 1 2

W ei mar T h e M u s eu m o f M o d ern Ar t N ew Yo rk Larry

.
, ,
t
l i h o g rap h s i ll u s t rat i n g a p l ay b y th e ar t i s t p u bl i sh e d b y,

A ld ri ch F u n d Fri tz Gu rl i tt B e rl i n , . Th e M us eu m of M o d ern A rt N e w ,

Y o rk gi v en an o n y mo u s l y Ill p 2 02
d s cap e w i th D am (Fl uss b aul an d s chaf t) 1 9 2 4 O i l o n
, . . .

86 L an . .

c a n v as S t aat l i che K u n s t hall e K arl sru he

, , .
99 M an an d W oman S tan d i ng i n R o o m . 1 91 3 . L i t ho g rap h ,

Co l o r p l a t e p 1 2 0 .
x G ef esse l t e C o l u mb u s a p o rt
F ro m
”
D er ,

f o l i o o i 1 2 l i t h o grap h s i ll u s t ra t i n g a p l ay b y the art i s t

87 Fi sh M ag i c (Fi s chz au b er) 1 9 2 5 O i l o n c an vas mo u n t e d o n ,

p u b l i s h e d b y F ri tz Gu rl i tt B erl i n The M u s eu m o f M o d ern

. .

b o ard x P hi l ad e l p hi a M u s eu m o f A rt L o u i s e , .

A rt N e w Y o rk Pu rch as e 1 9 5 1
, ,

a n d W al t er Aren s b erg C o ll ec t i o n P hi l a d el p hi a P en nsy l , ,

, ,

v an i a (E x hi b i t e d i n N ew Yo rk o nl y) Ill p 1 2 1
. . . . 1 00 W an d erer L i t h o grap h
. 1914x Fro m Bach
.
,

k an t at e : O E w i g k e i t D u D o nn e rw o rt a p o rt f o l i o o f 1 1
88 A ro un d th e Fi sh (U m d en Fi s ch) 1 92 6 Oi l on c an as , v , ,

l i t ho grap hs p u b l i s he d b y F ri tz Gu rl i tt B e rl i n T h e M u seu m
. .

3
T h e M u seu m M o d ern A rt N ew Yo rk , , .

18 /3 x of , ,
o f M o d ern A rt N e w Y o rk P u rch ase 1 9 4 7 I II p 2 0 2
J o h n D R o ck ef ell er Fu n d ( E x hi b i t e d S t L ou is , , . . .

M rs . .
, Jr . . in .

o n l y ) Ill p 1 2 2 . . . T he Po w er o f M usi c (D i e M ach t d er M u sik) . 1919 . Oil on

c a n v as 4 0 4/8 x S te d el i ik van A bb e mu s eu m E i n d
-
89 A Gay R ep as tlB u n te M ahl ei ) 1 9 2 8 O i l z t o n c an v as 3 3 x , ,

h o v en H o ll an d Ill p
. .
,

79
C o ec i o n M rs a ri e l H au ge ll t . G b , Was hi ng t o n D C , . .
, . . .

C o l o r p l at e p 123 .
1 02 S elf Po rtrai t . 1 92 3 . Colo r t x
l i h o grap h , T he
M u s eu m o f M o d ern A rt N e w Y ork P u rchas e 1 9 5 2 111 p 2 03
90 M as k of F ear (M as k e F urcht) . 1932 . Oi l on b u rl ap 39 ,
x , , . . .

C o ll e c t i o n Dr . an d M rs . A ll an R o o s , N ew Y o rk .
1 03 L on don d
B ri g e : Vi ew Th ames 1 9 2 5 2 6 O i l o n c an
o f th e .
-
.

Ill p 1 2 4
. .
v as , x R o o m o f C o n t e mp o rary A rt A lb ri gh t ,

91 W h y D o es H e R u n ? 1 932 . E t ch i n g x Th e M u A rt Gall e ry , B u f f al o , N e w Y o rk C o l o r p l at e p 8 1 . .

seu m of M o d e rn A rt N ew , Y o rk P u rchas e , 1 94 9 . III p 2 1 3 . .

K O LB E, Geo rg 1 87 7 - 1 9 4 7
92 Re v ol u ti o n o f the Vi ad u c t (R evo l u ti o n d es Vi ad u k tes) 1 9 3 7 .

O i l o n c an v a s 2 3 x K u n s t hal l e H a mb u rg C o l o r
, , . 1 04 A ss u n ta 1 9 2 1 . . B ro n ze , 6
’
3
"
h i gh The D e . t ro i t I n s t i t u t e of

p l at e p 1 2 7 .
Ar ts , De t ro i t , M i chi g an Il l p . . . 16 3

22 2
1 18 Tyrol . 1 9 1 3 -1 9 1 4 . O il o n c an v as , 53 3
/8 x B ay eri sch e
S taats g e mald e samml u n g en M u n i ch Ill p 6 0 , . . .

MAR CK S Gerhard b o rn
, 1 88 9

119 Tw o C a ts W o o d cu t 9 x 1 5
. 1 92 1 Fro m E rs t e M app e ,

M e i s t er d es S t aat l i ch e n B au hau s e s i n We i mar a p o rt f o l i o ,

o f 1 4 pri n t s b y 7 art i s t s p u b l i s h e d b y th e Bau h au s W e i mar , , .

T h e M u se u m o f M o d ern A rt N ew Yo rk g i f t o f M rs Do nal d , , .

B S t raus
.

”
1 2 0a M aj a 1 9 4 2 B ro n z e 89 h i gh C o ll e c t i o n N e l so n A R o ck e
. .
, . .

f e ll e r N ew Yo rk ( E x hi b i t e d i n N e w Yo rk o nl y) Ill p 1 6 8
, . . . .

”
b M aj a . 1 9 4 2 Bro n e , 89 . z h i gh . C i t y A rt M u s eu m o f S t L o u is .
,

M i ss o u ri .
( E xh i b i t e d in S t L ou is . o nly )
121 B at 1 9 4 8
. W o o d cu t . , x T h e M u s eu m o f M o d ern A rt ,

N ew Yo rk gi f t o f M rs , . D o n al d B . S t rau s . Ill p 2 0 1
. .

1 22 M el us i n e I I I 1 9 4 9 Bro n z e 4 3 . .
, h i gh . Wal k er A rt C e n t er ,

M i n n eap o l i s M i nnes o t a Il l p 1 6 8 , . . .

M A TA R E , E w al d b o rn 1 8 87

1 23 Yo un g B ull . 1 923 . M ah o gany , x S aarl an d

M u s e u m S aarb rii cke n II! , . .
p 172 .

124 Noc t urn al Pas t ure 1 9 2 5 C o l o r w o o d cu t 7 x 1 7 T he . . ,

M u s e u m o f M o d ern A rt New Y o rk gi f t o f E d gar K au f man n J r , , , .

125 S t an d i n g Fi g ure 1 9 2 6— 1 9 2 7 . W al n u t , h i gh C ol l ec .

tion Dr . H u go H ari ng , Bi b e rach an d er R i s s Ill p 1 7 3 . . .

MO D E R S O H N -
BECK E R P au l a , 1 87 6 — 1 9 07

1 26 Bli n d W o man i n th e Fo res t . 1 900 E t ch i ng

.
, x
Th e M useu m of M o d ern A rt N e w , Yo rk L arry , Al d ri ch F u n d
1 27 H ead of a Peasan t Gi rl 1 9 0 0 E t ch i ng . .
, 4 x T he Mu
s eu m of M o d e rn Art N ew Y o rk L arry , , Al d ri ch Fu n d

128 Ol d Peasan t W o man 1 9 0 6 .

-
1 9 07 . O il o n c an as , v 3 0 1 /4 x

P ri v at e c o ll e c t i o n U , . S A Ill p 2 9 . . . .

1 29 S elf Po rtrai t (wi th C amel li a) 1 9 07 O i l o n b o ard . .

, x
F o l k w ang M us eu m E ss en C o l o r p l at e p 2 8 , . .

M U E L L E R O tt o ,
1 87 4 — 1 9 3 0

130 W o od s . C o l o r l i t ho grap h x , C o ll ec t i o n
W al t er Barei s s , Gree nw i ch C o n n e c t i c u t ,

131 Tw o B a h ers t . c 1919? . C o l o r l i t h o grap h , 10 x T he M u

s eu m o f M o d ern A rt N e w , Yo rk , gi v en ano ny mo u sl y

1 32 Th ree Gi rl s i n th e W o o ds . O i l -o n b url ap ,
48 x
C o ll e c t i o n M r an d Mrs M o rt o n . . D M ay , . S t L o u is
.
, M i ss o uri .

C o l o r p l at e p 5 2 .

22 3
133 Two Gyp si es . 1 9 27 . C o l o r l i t ho g rap h , x Fro m 1 48 A mary l l i s m an d x m a "
le T he A ne on e . W at erc o l o r . .

"
Z igeu n ermapp e , a p o r f ol i ot o f 9 c o l o r l i t h o g rap hs C o l . M u s eu m o f M o d ern A rt N e w Y o rk gi f t o f P hi l i p L G o o d w i n , , . .

l ec io nt W al t er Bareiss , Gree nw i ch C o n nec t i c u t Il l p 1 9 9 , . . . Ill p 3 7

. .

134 A Pai r o f L o v ers c 1 9 2 3 O i l o n b o ard x . . .

,
ROHL F S C h ri s t i an
, 1 84 9 -1 9 3 8
C ol l ec t i o n Dr B e rnhard Sp re ng e l H ano v er C o l o r p l at e p . . 53
k M o u n tai n s 1 9 1 2 O i l o n can vas x
.
,

1 49 D ar Kl ee . . ,

mann G all eri es N ew Y o rk Ill p 3 0

E rns t Wi l h el m b o rn
, . . .

N A Y, 1 9 02
1 50 A maz o n 1 9 1 2 O i l o n c anvas 3 1 4/2 x Fo l k w an g
W i th R ed k ts v
. .
,

135 an d Bl ac D o 1 9 5 4 O i l o n c an as , 4 9
M u seu m E ssen C o l o r p l at e p 3 1
. .

t H a mb u rg
, . . .

K u n s hall e Ill p 1 3 8
Three W o men 1 9 1 2 L i n o l eu m c u t 1 4 x
. .
, .

1 51 . T h e M u se u m , ,

136 d
D ark M el o y 1 9 5 6 O i l o n c a n as . . v , Co l l e c o f M o d e rn A rt N ew Y o rk gi f t o f Vi c t o r S R i es e n f el d
, ,
.

ti o n M rs er ru G t d
A M e ll o n , N e w Y o rk C o l o r p l at e p 1 40
S o n g B i rd 0 1 9 1 2 W o o d c u t T h e M u s eu m o f
. . . .

1 52 . x . .
,

M o d ern A rt N ew Y o rk g i f t o f Vi c t o r S R i es enf e l d
b o rn
.
, ,

NESCH , R o lf 1 89 3
1 53 R et u rn o f th e Pro d i g al S o n 1 9 1 6 W o o d c u t x . .
,

1 37 Free Po rt Bri dg e H amb urg 1 9 3 2 A q u at i n t 1 7 3 /4 x ,

. .
,
T h e M u s e u m o f M o d e rn A rt N ew Y o rk P urchase 1 9 4 9 , , .

Fro m H amb u rge r Brii cken a s eries o f aqu at i n ts

“
, . The
I II p 2 0 4
M us eu m o f M o d e rn A rt N ew Y o rk P urch ase 1 9 5 0 III p
. .

21 7
Pri s o n er 1 9 1 8 W o o d cu t 2 4 4/3 x
, , . .

Th e M u seu m
.

1 54 . . ,
of

M o d ern A rt New Yo rk P u rchase 1 9 4 5 I II p 2 0 4

N O L D E E mi l
.
, , . .

, 1 86 7 — 1 9 5 6

1 38 Ch ri s t A mo ng the C h i l
d ren 1 9 1 0 O i l o n c an v as . .
, x S C H L E M M E R O s k ar , 1 888-1 9 4 3

T he M u s e u m o f M o d ern A rt N ew Y o rk gi f t o f W
"
4 1 7 /e R Fi v e M en i n a R o om 1 9 2 8 O i l o n c anvas 5 9 x Co l
, , . .
1 55 . .
,

Val e nti n er C o l o r p l at e p 3 3. .
l ec t i o n D r M ax F i s ch er S t u tt gart C o l o r p l a t e p 1 1 2
.
, . .

139 Scri bes Et ch i ng

. 1 91 1 . an d q t i nt x a ua , T he 1 56 Gro up i n C u t O u t Vi ew (Grupp e i m A usschni t t) 1 9 3 0 O i l
- . .

M u s eu m o f M o d ern A rt , N ew Y o rk P u rchas e 1 9 4 7 , . 111 p 1 9 6 . . o n c an v as 44 x R o se F ri e d Gall ery N ew Y o rk Ill

, , . .

p 113
Prop het 1 9 1 2 W o o d c u t x T he M us e u m
.

1 40 Th e . . ,

of M o d e rn A rt N ew Y o rk gi v e n , , an o n y mo usl y 1 57 B a u h au s S tai rway 1 9 3 2 O i l o n c an vas 63 x T he . .

,

M u s eu m o f M o d ern A rt N ew Y o rk g i f t o f P h i l i p C J o hns o n , , . .

1 41 Yo u n g C o up l e . 1913 . Col o r t
l i h o grap h , x 20 The
C o l o r p l ate p 1 1 4 .

M u se u m o f M o d ern Art N ew Yo rk P u rch as e 1 9 4 1 III p 1 9 7

Seated Fig ure (R u ckli n g ssi tz en d er) 1 9 3 6 O i l o n c anvas
, , . . .

1 58 . .
,

1 42 Gro et s q u es . 1 913 . C o l o r l i t h o grap h , x T he M u 25 x Fo l kwang M u seu m Esse n C o l o r p l at e p 1 1 5 , . .

s eu m o f M o d e rn A rt N ew , Yo rk P u rc has e , 1 941 . III p 1 9 7

. .

SCHM IDT -
R O TT L U FF K arl b o rn 1 88 4
Th ree R u ssi an s 1 9 1 5 O i l o n b u rl ap
,

1 43 x . .
, Co l
l ec t i o n R i ch ard L Fei ge n N ew Y o rk C o l o r p l at e .
, .
p 35.
1 59 Eri ch H eckel . 1 9 09 . L i t ho g rap h , x T h e M us eu m
of M o d e rn A rt N e w , Yo rk J ames , T h rall S o b y Fu n d Ill . .

1 44 Fl o wers O i l o n b u rl ap x 33 T h e M u se u m
p 1 88
.
,

We rne r E
.

o f M o d e rn A rt N e w Y ork g i f t , , of Mr . an d M rs . .

J o s t en C o l o r p l a t e p 3 6
. .
1 60 Ph ari sees 1 9 1 2 O i l o n c an vas
. x 40 .
, Th e M useu m
o f M o d ern A rt N e w Y o rk M rs G ert ru d , , . A M e ll o n
. Fu n d .

1 45 S t ormy L an d scap e c . . 1 9 2 0 ? O i l o n c a n as , 2 9 x v C o l o r p l at e p 5 0 .

S t aat l i ch e K u ns t hall e K arl s ru h e Il l p 3 7

v 34 x C o l l ec t i o n
, . . .

1 61 Ri s i n g M o o n 1 9 1 2 O i l . . o n c an as ,

146 Th e D o c to rs . 1 9 22 . Wo o d c u t , x T he M u seu m Mr . an d M rs M o rt o n D M ay
. .
, S t L o u i s M iss o u ri C o l o r p l at e
.
, .

of M o d e rn A rt N e w Y o rk gi f t of M rs Jo hn D Ro c k ef ell er
, ,
p 49
. .
, .

J r Ill p 1 9 8
Ch ri s t d to E mmau s W o o dc u t
. . .

1 62 o n th e R oa . 1918 .
, 1 5 5/8 x
1 47 W i n d mi l l C o l o r l i t h o grap h
th e x Sh o re 1 92 9 Fro m l "
K ri s tu s ( N eu n
‘

on . .
, re i gi ose a

32 T h e M u s e u m o f M o d ern A rt Ne w Y o rk J ame s T hrall , , p o rt f o l i o o f 9 w o o d cu t s p u b l i s he d , b y K u r W o lff , t L e ip z i g ,

S o b y Fu n d Ill p 1 9 9 . . . 1 9 1 9 K u n s t hall e H amb u rg

.
,

22 4
 s el e c t e d b i b l i o g r ap h y

Th e f o ll o w i n g 2 3 0 t t i v e c ro s s s ec t i o n
ref e re n c es o ff er a rep rese n a - B r u cke an d Emp ressi o n i sm wi th ch ap ers o n t M o d ers o h n
o f th e re l e v a n t l i t era t u re e mp h as i z i n
g w i t h i n th e av ai l ab l e s p ac e B eck er, K ir chn er, S ch mi d t R o t tl u f f K an di n sky J aw l en s ky —
, , , , , ,

i t e ms mo s t d i re c tl y rel at e d to th e e x h i b i t i o n M an y o f t h e s e t i tl es . N o d e an d K o k o schk a v o l 3
l Fro m Pi cass o to S u rreal i am ”
. .
“

c o n t ai n add i t i o n al b i b l i o grap h i c al c i t at i o n s F o r c o n v e n i e n c e th e . co n tai n s ch ap ters o n th e Bl au e R ei t er K an d i n s ky M arc , , ,

mat eri al h as b e en g ro u p e d as f o l l o w s : G en eral ( 1 M o v emen t s K l ee an d th e B au h au s B i bl i o g rap h i es by H an s B oll i g er , Sp e .

an d Gr o up s ( 3 5 7 Pai n ti n g ( 8 0 -
S c ulp t ure ( 9 3 1 Grap hi cs - ci al exp ressi o n i s t bi bl i o g rap h y i n G erman e di ti on o f v o l 2 . .

( 1 04 1 -
I n di vi d u al A r ti s ts ( 1 1 8
R E A D H erb ert A rt N o w : an i n t ro du c t i o n to th e t h e o ry o f
, .

N an cy R i e g en R ef eren ce , L i brari an mo d ern p ai n t i n g a n d s c u l p t u re rev an d en l e d 1 4 4 p i l l , . . . . .

L o n d o n F ab e r an d F ab e r 1 9 4 8
, , .

G E N E RAL
9 SA U E R LA N D T , M ax . Di e K u ns t d er l e tzt en 3 0 J ahre . 2 0 8p .

B o o k s . l
i ll B er i n , R e m b ran dt , 1 9 3 5 2 d ed . . H amb urg L aa tz en , , 1948 .

1 B A R R A lf re d H Jr C u b i s m an d A b s t rac t A rt 2 4 9 p i l l N ew
, . . . .

10 S C H M I D T P au l F e rd i n an d,
. J ii n gs te E n t w i ckl u ng . I n his
Yo rk M u s eu m o f M o d ern A rt 1 9 3 6 A bs tractE wp ressi o n i s m
, , .
”
K u ns t d er Gege nw art .
p . 84 - 1 2 7 i ll . W i l d p ark P o t s d am —
,

i n G erman y
"

p 6 4 72
-
A th e n ai o n 1 9 2 3
. .
,
, .

B U R G E R Fri tz E i n f ii hru n g
, . in d ie mo d ern e K u ns t . 1 3 6p .
T H I E LE E rns t D i e S i t u a t i o n d er B i l d en d en K u n s t i n D eu t s ch
i ll B erl i n A th e n ai o n 1 9 1 7
,
.

.
, , .

I an d 1 4 3 p S t u ttgart C o l o g n e K o h l h ammer 1 9 5 4 P arti al

. .
, , , .

E I N ST E I N C arl , . D i e K u ns t d es 2 0 . Jah rhu n d erts . 3d . ed .

t t D i e Si tu ati o n
co n en s : d er B i l d en d en K uns t i n D eu ts ch
ill B e rl i n P ro py l aen Verl ag 1 9 3 1 l an d v o n E d uard Tri er S amml u n g en un d A u ss tell u n g en
6 5 5p i st ed 19 2 6 , 2d
.

. .
, , . .

ed . 193 1 .
z ei tg en ci ssi s ch er K u n s tv o n
’

K urtM arti n . D eu ts ch es S chri f t

tu m z u r zei tg en hssi s chen K u n s t i m Sp i eg el d er P resse
‘

G R O T E L u d wi g D eu t s ch e K u ns t i m z w an z i gs t e n Jah r
, .

h u n d e rt 2 d : rev e d 1 5 1 p i ll M u n i ch P res t e l 1 9 5 4 1 s t ed
. . . . .
, , . .
TH I E M E ,
B E C K E R Fel i x All g emei n es L exi k o n
Ul ri c h an d ,
.

1 9 5 3 b as ed o n th e 1 9 5 3 L u cern e em h i bi ti o n o f G erman art d e r B i ld e n d e n K ii n s tl er 3 7 v L ei p z i g S e e man n 1 9 0 7 1 9 5 0 . .

, ,
- .

, .

S ee bi bl 20 . .
S up p l emen ted by VO L L M E R H an s A ll g emei n es L exi k o n ,
.

d er B i l d en d en K il n s tl er d es XX J ahrh u n d er t s I n p rog res s . . .

H I LD E B R A N D T H ans , . t d es 1 9 u n d 2 0 J ahr
Di e K u ns . .
3 V p u bd L eip z i g S eeman n 1 95 3 c urren t
. .
, ,
- .

h u n d e rts 4 s8p i ll . . . W i l d p ark P o t s d am A th e n ai o n 1 9 2 4

-
, ,
.

T H OE NE P e t er , , p seu M o ern d . d German A rt 1 0 8p i ll . . .

H U YG H E , R ene
’

, ed . L All e mag n e
’
et t l In
'
I E uro p e c e n ra e .

H armo n d s w o rt h , Mi dd
l es ex E n gl an , d P e n gu i n B o o k s 1 9 3 8
, , .

H u y gh e , Ren e , ed . H i s t o i re de l A rt c o n t e mp o rai n Pari s

'

.
,

A l can 1 9 3 5 ch 1 6 p 4 1 7 4 4 6
, .
. .
-
i l l B i bl i o g rap h i es P ar ti al
. .
S C H E F F LE R K arl G es ch i ch t e d e r eu ro p ai s ch e n M al ere i
, .

c on t en ts v o m I mp ress i o n i s mu s b i s z u r G e g e n w art G es ch i ch t e d er
“
L I mp ressi on i sme et l E tc p ressi o n i s me en A ll e
’ ’
: .

m n eu n z eh n t e n u n d z w an z igs t en J ahr
'

mag n e p ar P au l W es th ei m “
eu ro p ai s ch e n P l as ti k i
'

L A r t h o n f i g u rati f en A ll e
’
-
.

mag n e p ar W i ll Groh mann L a P ei n t ure d e l A l l emag n e .

-“ ’
hu n d ert . 3 4 8p . i ll . B erl i n , C ass i rer , 1 92 7 .

i n q u i ete p ar Fri tz S chi f f

WE S T H E I M Pau l F li r u n d W i d er : k ri t i sch e A nmerk u n ge n
.

.
,

R A YNA L M au ri c e e d Th e H i s t o ry o f M o d ern Pai nt i ng

, , . . z u r K u ns t d e r G ege n w art 1 9 2 p i ll A c o ll ec ti o n o f ess ay s . . .

3 v i ll G e n e va S k i ra 1 9 4 9 5 0 Vo l 2
. .
”
M a ti s s e M un ch
, ,
— . . .
,
o n art an d arti s ts i n cl u di n g H o f er B arl ach B eck man n , , ,
,

R o uau l t Fau vi s m E xp ressi o n i s m co n tai n s s ec ti o n s o n D i e

,
”
S chmi d t R o t tl u f f M uell er R oh l f s Gro s z an d B ell i n g
-
, , ,
.

22 7
 16 WE ST H E I M P au l H e l d e n b e nt euer : We lt u n d Le b e n
, . u nd A PIP E R B U C H E R E I . M u n i ch , P i p er , 1 9 4 3 -c u rre n t Parti al
.

d er K ii ns tl er 2 3 8p i ll B erl i n R e ck e n d o rf 1 9 3 1 A c oll ec ti o n
. . .
, , . co n en tst kmann d er Z ei ch n er, n o
no . 7 4 M ail : B ec
. . 7 5 Fran z .

o f essay s o n v ari o u s arti s ts i n cl u di n g M arc N o l d e Ki rchn er , , ,

M arc B o ts chaf ten an d en Pri n z e n J uss uf f , n o 80 Ch ri s ti an
. . .

K l ee an d Di m R o hlf s Bl att er a u s A sco n a ; n o 84 W i lh el m L eh mbru ck

'

. : . . :

Z ei chn u ng en u n d R adi erung en , n o 89 Osk ar K o k os ch ka . .

C a tal o gu es L i th o g rap hi en , n o 9 0 E rn s t W i lh el m N ay A q uarel l e P i c . . : .

17 B U C H H O LZ GA LLE R Y N EW Y OR K C at al o gu e s 1 2 V i ll N ew ,
.
, . . t ure b o o ks w i th bri ef in tro d u c t o ry tetr t .

Yo rk C u rt Val en t i n 1 9 3 8 1 9 5 5 A p arti al reco rd b o un d -

K U N STWE R K S C H R I FT E N Ba d e n B ad e n K l ei n 1 9 5 0 c u r
.
, , ,
- - -

by ex hi b i ti o n s eas o n s o f th e cat al o g ues o f th i s g al l ery

.
, ,

re n t Parti al co n t en ts B d 13 D eu tsche Grap h i k d er Geg en

,
:
w h i ch i n cl u d ed j o i n t an d i n d i vi d ual sh o w s o f German
. . .

w ar t u n d Ten d en z en
arti s ts n o tabl y K l ee Fei n i n g er an d B eckman n (S et i n M a
B d 22 D eu tsch e B i l dh au er d er Geg en w art; B d 23 F u t uri s ten
.
, ,

s eu m of M o d ern A rt L i brary )
. . . .

Em p ressi o n i s ten B d 26 D eu ts ch e Z ei chn er d er Geg en w art ,

.

. .

18 J U ST I L u d wig Vo n C o ri nt h b i s K l ee 2 0 6p i l l Berl i n Bard

,
. . . .
, ,
B d 4 2 D eu ts ch e M al erei d er Geg en w ar t ; B d
. . Ah .

1 9 3 1 D eu t s ch e M al k u n s t i m 1 9 u n d 20 J ah rh u n d er t ei n
s trak te K u n s t S ep arat e i s s ues o f D as K u n s tw erk o n sp eci al
. . . :
.

Gan g d urch d i e N ati on alg al eri e .

s u bj ec ts .

19 KE S T N E R G E S E LL S C H A FT H A NNO VE R [ E x h i b i t i o n c at al o , .

g u es! i l l H ano v er 1 9 1 6 c urre n t N u mero u s co l l ec ti v e an d

-
mb
. , .

Sp ec i al N u ers o f P e ri o di c al s
i n d i vi d u al s h o w s o f G erman arti s ts e g n o 3 7 L eh mb ru ck , . . .
,

n o 1 3 8 Pau l a M o d ers o h n B eck er D eu ts ch e

'

A RT D A UJ O U R D H U I , A u g
'

.
,
- 28 . 1 953

B i l d h au er d er Geg en w art S er 4 n o
.
,
- 2 7, i tl e t d “
L art abs trai ten A ll e
'
mag n e d
’
au o u rdj
'

20 LUC E R NE K U N ST M U S E U M D e u t s ch e K u ns t zM e i s terw erke

. .
h ui C o n tai n s arti cl es o n th e Bl au e R ei ter an d th e B au
.

h au s by L u d w i g G ro t e an d n o t es o n 18 co n t emp orary German

d es 2 0 J ah rhu n d e rt s 6 4 p i l l M u ni ch P re s t e l 1 9 5 3 E d i t ed
. . . .
, , .

by L u d wi g Gro t e i n c o ll ab orati o n wi th L eo n i e vo n W i l ck en s .
b t
a s rac t arti s s , t i n cl u i ng d B au mei s ter ,
N ay , Uh l mann ,

Wi n t er an d W ern er
N EW H AVE N YA LE U N I VE R S I T Y A RT GA LLE R Y C o l l e c t i o n
.

21 . . .

o f th e S o c i été A n o n y me : M use u m o f M o d ern A rt 1 9 2 0 2 2 3 p .

,.
29 T H E AT A L NTI C n o 3 1 9 5 7 , .
,

i ll N ew H av e n 1 9 5 0 C o ll ec ti o n p resen t ed b y K athari n e
.
, .
Sp eci al n u mber o n Germany C o n tai ns arti cl e by A S Vel . .

l i n g h ausen ti tl ed A rt as evi d en ce o f f reed o m : co n tem

“
S D rei er an d M arcel D u ch amp Catal o g ue ed i ted by G H
. . . .

p o rary p ai n ti ng s c ulp t ure an d archi tec t ure p 1 27 1 4 5 i ll

”
Hami l t o n N u mero u s bi o g rap hi cal n o tes o n German arti s ts
- .
. . ,
. .
,

22 NEW Y OR K M U S E U M O F M ODE RN ART German P ai n t i ng . .

30 DO CU M E N TS ,

an d S c u l p t u re 4 3 p i l l N ew Y o rk 1 9 3 1 I n tro d uc ti o n by . . .
, .
Ge rman c o n t e mp o rary art : a S p ec i al i ss u e p u b l i s he d b y the
A H B arr, J r
. . .
G es e ll s chaf t f li r ii b ernati o nal e Z u samme n arb e i t 1 oep i l l . . .

23 N EW Y OR K U S E U M O F M OD E RN A RT Th e N e w D e c ad e :
. M .
O ff e n b u rg i n B ad e n D o k u me n t e Ve rl ag 1 9 5 2 P u bl i sh ed ,
-
, .

2 2 E u ro p ean P ai n t e rs an d S c u l p t o rs 1 1 1 p i ll N ew Y o rk . . .
,
s u cces si v el y i n Fren ch German an d En g l i sh Co n t ai n s , ,
.

1 9 5 5 Tes t by A C Ri t chi e I n cl u d es Uhl mann W ern er

. . . .
ch ap ters o n E xp res si o n i s m th e Bl au e R ei t er th e B auh au s , , ,
, ,

W i n t er B i b l i o g rap hy . .
B eckman n K o k o s ch k a an d M ack e t wel ve co n tri b u t ors
, ,
.

24 T UR I N M U S E O C I VI CO E xp ress i o n i s mo e A rt e t e d esc a d e l
. .

2 0 S e c o l o D i p i n t i s cu l t u re d i segni d el M u se o W all raf

. .
, , S el e c t e d A rti c l es
R i ch artz C o l o n i a 7 6p i ll T u ri n 1 9 5 4 Pref ace by L eop o l d
L I N D A U R O M M o d e rn mo v eme n t s i n Ge rman art Th e A r ts
. . . .
, .

31 .

R ei d emei s ter
.
,

( N e w Y o rk) 1 4 n o 1 : 2 4 3 0 i ll J u l y 1 9 2 8
.

- .
, .
, .

S e ri e s
32 ROH Fran z L art c o n t e mp o rai n
, .
'
en All e magn e . Pri sme d es
25 J U N G E K UN ST [R ei h e ! L ei p z i g K l i nkhard t 8 B i ermann .
, 1 , A rts 8 2 1 9 2 6 i ll J an 1 9 5 7 - . . .

1 92 1 3 0 Partial co n t en ts Pechs tei n Paul a M o d ers o hn

-
:
C harl o tt e W e s t ern Germany t o day
W E I D LE R M ag a
. .

33 A rt i n
B eck er Kl ee S chmi dt R o t tl u f f Gro s z M ack e R o hlf s
. .
,

zin e o f
. . . .

Ap r 1 9 5 1
.

A rt 4 4,
.

no 4 : 1 3 2 -1 3 7 i ll
D i az K an di n sky Fei ni ng er H o f er K o k os ch k a N ol d e
. . . .

. . . . . .

B eckmann Si n t en i s M os t o f th es e o ri g i n al l y p u bd i n J ah r
. . . 34 Z A HN L eo p o l d ,
. D eu t s ch e K u n s t d e r Gege nw art . D as K u n s t
b u ch d er j u ng en K un s t (L eip zi g ) an d Ci ceron e (L eip z ig) . w erk 2 , no 1 / 2 :
. 5 5 - 65 i ll . 1 948 .

22 8
 S tu r m 78 G I E D I O N Si gf ri e d W al te r Grop i u s and , .
th e B au h au s . In
h i s W al t er Gro p i u s : W o rk an d T eamw o rk
H O FF M AN N E di th , . D er S t u rm , a d o c u men t o f exp ress i o n .
p 2 7 4 4 i ll N ew
.
-
.

i s m Si g n at ure n ew
.
s er . no .
-
5 5 i ll . 1 954
Yo rk Rei nh o l d 1 9 5 4
, , .

, .

S CH RE Y E R L o t h ar E ri nn eru ngen , . S t urm u n d Bau hau s an .

79 M U N I CH H A U S D E R K UN ST D i e M al er am Bau hau s 5 sp
. . . .

i l l M u n i ch Pre s t e l 1 9 5 0 E xhi bi ti on catal o g u e C o n t ai n s

2 9 5 p i ll M u ni ch L an g e n M ull er 1 9 5 6 C o n tai n s ch ap t ers
.
, , . .
. .
, , , .

on k os ch k a S chwi tt ers
Ko Fei n i n g er K l ee S chl emmer an d materi al on K an di n sky Kl ee S chl emmer Fei n i n g er an d , , ,
, , , ,

K an d i n s ky
M arcks I n tro d u c ti o n by L u d wi g Gro te
.
.

D E R S T UR M . W o che ns ch ri f t f li r K u l t u r u nd K uns te B e rl i n
PA I N T I N G
.

191 0-1 93 2 . E d i t ed by H erwarth W al d en .

ST U TT GA R T E R K UN S T K A B I NE TT S T U TT GA R T ( C atal o g u e , .
80 DER I , M ax D i e M al e rei i m XI X
. . J ahrhu n d e rt . 2 v i ll . . B erl i n
t
o f 2 oth A u c i o n) 1 6 5 p i ll . . . S t u tt gart 1 9 5 4 Parti al co n t en ts :
C ass i re r , 1 92 3S upp l emen ted by
. hi s D i e ne u e M al erei .

, .

W al d en 15 1p i ll L eip z ig Seeman n 1 92 1
Samml ung N ell ( D er S t urm
“ . .
, , .

WA LD E N N ell an d S CH R E YE R L o t h ar e d s D er S t urm : ei n
, , , .
81 D O M I N I C K O tt o mar , . Di e s ch bp f eri s ch e n
’

K raf te i n d e r ah

s trakte n M a l erei 1 3 4 p i ll B erge n M ull er 81 K i ep en h eu er

E ri n neru ngsb u ch an H erw arth W al d e n u nd d i e K ii n s tl e r . . .
, ,

au s d e m S t urmk rei s 2 7 5 p i l l B ad e n B ad e n K l ei n 1 9 5 4 . . .
-
,
1 94 7 Ei n Z y kl us mi t F W i n ter
. .
, 0 R i ts ch l , W B au mei s
. . ter ,

A ckerman n G M ei s t ermann
, .

M .
,
. .

N S a ch li ch k ei t
eu e
82 G E R O LD , K arl Gu s t av . D eu t s che Mal ere i u ns e rer Z ei t . 2 2 9p .

69 R E A D H erb ert , . Di e n eu e S ach l i ch k ei t I n his A rt n o w . .

i ll Vi e nna e tc
. .
, D es ch , 1 956 .

rev . 81 e nl . ed .
p 8 4 87
-
. .
L o n d o n Fab er 8 Fab er 1 9 4 8 , 1 , .
83 R A FT M ANN We rn er Ge rman ab s t rac t p ai n t e rs C o ll eg e A rt
, . .

70 R O Il Fran z N ach E xp re ss i o ni s mu s : magi sch er R eal i s mu s

-
, .
-
.
J o urn al 1 4 n o 4 : 3 3 2 3 3 9 i l l S u mmer 1 9 5 5
, , .
- . .

1 3 4 p i ll L ei p z i g K l i n kh ard t 8 B i erman n 1 9 2 5
. .
, 1 , .
84 H A FT M A NN W e rn e r M al ere i i m 2 0 Jahrhu n d ert 2 v i ll, . . . . .

71 S CH M A LE N B A CH Fri tz , . D er N ame neu e S achl i ch k e i t I n .

M u ni ch P res t el 1 9 5 4 C o n tai n s chap ters o n the vari o us
, , .

hi s K u ns h i s t t o ri sch e S t u d i en p 2 2 3 2 . .
- . Bas el 1 9 4 1 S upp l e , .
mo v emen ts i n G erman art o n P aul a M o d ers o h n B ecker ,
-
,

men tad by J ug en ds til un d n eu e Sachl i chkei t N ol d e R o hlf s M arc M ack e Kl ee J aw l en s k y K ok os ch ka

“ -

, p 9 -2 1
. .
, , , , , , ,

K an di n s k y B eckmann H o f er S ch l emmer Fei n i n g er B au

72 S CH M AL E N B A CH F ri tz , . T he term n eu e S ach l ich k ei t . A rt
mei s ter an d E rn s t Vo l 1 Tex t
,

2 Pi c t ori al s upp l emen t

, , , ,

Sep t 1 9 4 0
. . .
, , .

B u l l eti n, 22 no .
-
5, . .

85 H AN DLE R , d Ge rman pai n t i ng i n o u r t i me

G erhar . . 2 0 1p .

B au h au s i ll . B erl i n , R e mb ran dt 1 9 5 6 A l so German ed i ti o n , . .

73 B A U H A U S : Z ei t sch rif t f ii r Ges t al t u ng Des sau 1 9 2 6 1 9 2 9 , ,

-
,
86 H U LPT E G G E R , A e l i n e E v o l u t i o n d e l a P ei n t u re e n All e d .

1 9 3 1 E d i t o rs Gro pi u s an d M o h o l y N ag y 1926 1 9 2 8 , M ey er
. : -
,
- magne e t e n E u ro p e c en t ral e d es O ri gi nes an o s J o u rs 3 sop . .

an d K a ll ai 1 9 2 9 ; H i l b ersh ei mer A l b ers K an d i n s k y 1 9 3 1

, , , ,
.
i ll Pari s H o ri z o ns d e F rance 1 9 4 9 B i bl i o g rap h y
.
, , . .

74 BA UH A U S WE I MAR S t aatl i ch es Bau hau s W ei mar

, .
, , 1 9 1 9 - 1 92 3 . 87 L ON D ON T A T E GA LLE R Y A h u n dre d y ears o f German p ai n t
. .

2 2 5 p i ll W ei mar M u n i ch 1 9 2 3
. .
, , . i n g 3 op i ll L o n d o n 1 9 5 6 E xh i bi ti o n catal og u e I n tro d u c
. . .
, . .

ti o n by A l f red H en t z en
75 B AY E R H e rb ert an d o th ers Bau h au s 1 9 1 9 1 9 2 8 e d b y
, .
,
-
, .
.

H e rb ert Bay er W al t er Gro p i u s I l se G ro p i us 2 2 4 p i ll N ew

, , . . . 88 N E M I TZ Fri tz D e u ts ch e Malerei d er Ge g en wart 1 2 9 p i ll
, . . . .

Yo rk M us eu m o f M o d e rn A rt 1 9 3 8 R ep ri n t B os t o n B ran
, , . : ,
M u n i ch P ip er 1 9 4 8 C o n tai n s chap ters o n M arc K an d i n s ky
, , .
, ,

f o rd 19 5 2 O ri g i n all y p u bl i s h ed o n o ccasi o n o f th e B au h au s
, . K l ee B eckmann H o f er K o k oschk a D i e B rii ck e K i rchn er
, , , , , ,

em h i bi ti o n a t th e M u seu m o f M o d ern A rt N ew York , ,

S chmi dt R o t tl u f f H eckel M uell er Pechs t ei n an d N o l d e
-
, , , .

D ec 193 8 J an 193 9 B i bl i ograp h y i n cl u d es a l i s t o f B au h au s

-

B OT H E L H an s d M o d erne d e u t s che M al erei

. .

K o n ra
.

89 1 01p
p u bl i cati o n s
, . . .

ill W i es b a d e n l
Vo l mer 1 9 5 7 B i l i og rap hi es b
.

.
, , , .

76 BILL , M ax . Th e B au h au s i dea : f ro m W ei mar to Ul m I n .

90 S C H M I D T P au l F erd i n an d G es chi ch t e d er mo d ern e n M a

t ec t s Year Bo o k 3 2 i ll L o n d o n E l e k 1 9 5 3
' , .

A rch i no 5 p 2 9-
, . . . .
, . .

l e re i 2 7 5 p i ll
. Z u ri ch Fre tz 8 W as mu t h 1 9 5 2 “D eu ts ch e
. .
, 1 , .

77 E M GE C , . A Di e . I dee d es B au hau ses : K u ns t u nd Wi rk l i ch M al erei p 1 5 6 2 3 8 Fo urth ed i ss u ed by K o hlh ammer

”
.
-
. .
,

ke it 3 5 p Berl i n P an
. .
, , H ei se , 1 924 . S t u ttg art 1 9 5 4 I n cl u d es bi bl i og rap hy .
 91 WA LD M A NN E mi l e L a P ei n t u re all e man d e c o n t emp o rai ne
, . . 1 03 WE R N E R , B ru n o E . Di e De u t s che Pl as t i k d er Gegenw art .

7 3 p i ll P ari s C res 1 9 3 0
. .
, , . 2 1 4p . i ll . B erl i n , Rem b ran dt , 1 940 .

92 WI LD D o ri s M o d ern e M al ere i : i hre E nt w i ckl u ng s ei t d e m

, .

I mp ress i o n i s mu s 1 880 1 9 5 3 2 6 1 p i ll C o ns t an c e E u ro p a - . . .
, , G RA P H I C S
1 95 0
B U C H H E I M B U C H E R Fe l d afi ng Bu chhei m 1 9 4 5 c urre n t
.

1 04 , , ,
-
.

S C U LPTU R E
Pi c t ure b o o ks o n K o k os chk a B eckman n K irchn er D er B l au e , , ,

R ei ter, g rap h i cs, etc .

93 G I E D I ON WE L C K E R C aro l a C o nt emp o rary S c u lp t ure : an

-

C E LLE S CH LO S S Vo n K l i n ger b i s Beckman n : d eu ts che

, .
'

1 05
e v o l u t i o n i n v o l u me an d S p ac e 3 2 7 p i ll N e w Y o rk W i tt e n
. .

Grap hi k vo n 1 880 hi s 1 9 3 0 5 6 p i ll C ell e 1 9 5 2 E xh i bi

. . .
,

b o rn 1 9 5 5 Al so G erman e di ti o n R evi sed an d en l arg ed . . .

, .

ti o n cat al o g u e I n tro d uc ti o n by L o th ar Pretz el!

.
, .

ed i ti o n o f M o d ern e Pl as ti k E l emen t e d er W i rkl i ch k ei t

“ ” . .

: ,

M ass e u n d A uf l o ckerung Z uri ch 1 9 3 7 B i bl i o g rap hi es , ,

. . 1 06 D U S S E L D O R F S TA D T K U N STS A M M L U N G E N E xp ress i o
. . .

n i s ti s ch e u n d n ach ex p ress i o n i s ti s ch e Dru ck rap h i k

94 G E R T Z U l ri ch P l as t i k d er G ege nw art 2 2 4 p i l l B erl i n g sep . .

, . . . .
,

i ll D uss e l d o rf 1 95 3 Tex t by W ern er D o ed e A i c t u re b o o k

R e mb ran dt 1 9 5 3 Pl a t e sec ti o n Pl as ti k i n D eu ts chl an d “
, .
.
,
p . . .

p 4 1 15 8 G ASL E R C u rt Grap hi k N e u z ei t
-
. .
1 07 , . d er . ss 4 p . il l . B erl i n ,

95 H A M B U R G A L ST E R PA R K Pl as t i k i m Frei en h rs g vo n Carl
. .
, .
C ass ire r , 1 923 .

Geo rg H e i s e 6 4 p i l l M u n i ch Pres t el 1 9 5 3 Catal og u e an d

. . .
, , .

1 08 G OP
E L E rh ard Deu t s ch e H o l z s ch n i tt e d es XX J ah rhu n d erts
, . . .

bi og rap hi cal n o t es p 1 1 1 6 A l s o s upp l emen tary exhi bi ti o n ,

.
- .

ssp i ll W i e s b a d e n I ns el Verl ag 1 9 5 5 A p i c t u re b o o k
. .
,
-
, . .

catal og u e 3 op w i th p ref ace by W H af t man n

,
.
,
. .

1 09 H A R T LAU B G F Di e Grap h i k d es E xp res s i o n i smu s in

H E N T Z E N Alf re d D eu t s ch e Bi l d hau er d e r Ge ge n wart 1 1 8p
, . .

96
Deu t s ch l a n d 6 9 p ill S t u ttgart u nd C alw Hat ie 1 9 4 7
.
, . .

i l l Berl i n R e mb ran dt 1 9 3 4 C o n tai ns ma teri al o n B arl ach

. . .
, , .

.
, , .
,

B ell i n g K o l b e L eh mbru ck M arcks M a tare S i n ten i s S ta dl er

, , , , , ,
1 10 K U N S TWE R K vo l 4 n o 2 1 9 5 0 6 4 p i ll Sp eci al i ss ue ti tl ed
, .
, . . . .

M o d ern e d eu tsche Grap h i k Parti al con ten ts M o d ern e

“ ”
an d o th ers S upp l emen t ed b y K es tn er Ges ell s chaf t D eu ts che - . :
. .

B i l d h au er d er G eg enw art H an o v er 1 9 5 1 E xh i b i ti o n cat a ,

.
d eu tsche Grap h i k ein Ub erbl i ck v on L eop ol d Z ah n D er .

l og u e P ref ace by H en tz au
. .
mo d ern e H o l z schni tt v o n R u d ol f Schrod er Ges chni tten e .

P oesi e H ol z s ch ni tte vo n E M ataré von A S ch ul z e Vell i ng

— -

H I L DE B R A N D T H ans D eu t s che Pl as t i k d er Gegenwart

. .
,
97 ,
Omn i a vana [ K o k os ch ka! v o n H M W i ngl er
. .

h aus en
W erk
. . . .

7 2 Aug 1 9 5 2 -
. .

P F I S T E R K u rt D eu t s che Grap h i k er d er Ge g e n w art 4 1p

K U H N Alf re d D i e n eu ere P l as t i k vo n Ach tz e hn hu n d ert b is . .
, .

98
i l l L ei p z i g K l i nk hard t 81 B i ermann 1 9 2 0
, .

zu r G ege n w art 1 3 4 p i l l M u n i ch D e l p hi n 1 9 2 2 M at eri al

.
, , .

. . .
, ,
.

o n L eh mb ru ck B arl ach an d B ell i n g ,

.
1 12 P O M M E R A NZ -L I E D T K E G erhard , D er grap h i s ch e y l u s
. Z k
NE M I T Z Fri tz J u nge Bil d hau e r 7 9 p i ll Be rl i n R e m b ran dt vo n M ax K l i ng er b i s zu r G e genw ar 2 2 6 p i l l Be rl i n, t . . .

99
t s ch e A k ad e mi e
, . . . . , ,

D eu d er K ii ns te 1 9 5 6
1 9 3 9 M ai nl y p i c t o ri al
, .

. .

1 13 R O S E N B E R G J ak o b German exp ress i o ni s t p ri n t makers

R AVE P au l Ort wi n D eu t s ch e Bi ld n erku n s t vo n S ch ad o w b i s
.
, .

M ag azi n e o f A rt 3 8 no
, .

-
3 0 5 i ll D e c 1 945
zu r G ege nw art 2 3 0 p i ll B erl i n Bard 1 9 2 9 E i n F lih rer
.
, . . .

. . .
, , .

z u d en B i l d w erk en d er N ati o n al G al eri e I n cl u d es chap ters - . 1 14 S CH IEF LER , G u s t av . M ei n e Grap hi k S amml u n g - . 6 6p . il l .

o n K o l b e L eh mbru ck B arl ach an d B ell i n g

, ,
.
H amb u rg G es e ll sch af t , d e r B ii ch erf reu n d e 1 9 2 7 , . C o n tai n s
1 01 R I T C H I E A n d rew C arn d u ff S c u l p t ure o f th e T w en t i et h sec ti o n s o n N o l d e an d th e o th er arti s s o f the B rii cke g ro up t .

, .

C en t u ry 2 3 8p i ll New Y o rk M u seu m o f M o d ern Art 1 9 5 2

. . .
, , . S C HRODE R , Ru d o lf . Deu t s ch e H o l z s chn ei de r . 1 3 2p . i ll .

B i bl i o g rap h y . Duis b u rg , D re i E u l en Verl ag 1 9 4 8 M ai n l y p i c

, . t orial .

1 018 S C H A E F E R S I M M E RN H e nry S cu lp t u re i n E u ro p e T o day

-
, . . WE D D E R K O P H t s ch e Grap hi k d es W es t ens 2 oop
, . von . D eu . .

3 3 p i ll B erk e l ey an d L o s A ng el es U ni v ers i t y o f C al i f o rni a

. .
, i ll W e i mar F e u erverl ag 1 9 2 2 I n cl u d es ch ap t ers on R o hl f s
.
, , .
,

Press , 1 955 . B ri ef t ex t p i c t o ri al s upp l e men t . L eh mbru ck M ack e an d B eckmann ,

.

1 02 T R I E R E du ard , . M o d ern e Pl as t i k vo n A u gu s t e R o d i n b is Z I G R O S S E R C arl T h e E x p res si o n is t s : a su rv ey o f t h ei r

, .

M ari no M ari ni . 1 0 2p . i ll . F ran k f urt am M ai n B ii ch ergi ld e , grap hi c art 3 7 p i ll N ew Y o rk B raz i l l er 1 9 5 7 Tex t w i th

. . .
, , .

Gu t enb erg , 1 9 5 5 Bi l i og rap h y . b .

p i c t o ri al s up p l emen t .

23 1
I N D IVI D UAL AR T I S TS 131 WE ST H E I M Pau l R u d o lf Bel l i ng I n , . . h i s F ii r u nd Wi d er .

p 1 87 1 9 5 i ll P o t s d am K i ep en h eu er 1 92 3
e
.
, .
, , .

B a rl a c h

118 B E R L I N D E U TS CH E A KA D E M I E D E R
, KUN S T E . E rns t B ar Bl u m en th al
l ach A u ss te ll u n g D ez 1 9 5 1 -F eb 1 87 p i ll B erl i n 1 9 5 1
.
, . . . . .

132 H E I S E C G E mp find u n g u nd Ges t al t u ng : zu neu eren

b S upp l emen t ed b y G I E LOW W o l f g ang Ern s t
, . .

B i l i o g rap h y
A rb ei t e n d e s B i l d hau ers H ermann Bl u me n t hal D i e K u n s t
.
, .

Li terat u rv erz ei ch n is 2 7p M u n i ch Gi el o w 19 5 4
.

B arl ach :
( M u n i ch) i ll A u g 1 9 3 9
. .

, ,
.

-4 . . .

11 9 C A R L S C arl D i e t ri ch E rns t B arl ach :

, . d as p l as i s ch e grap h i t ,
133 I S E R M E YE R , C hri s t i an A
-
dolf D er B i l hau er d H ermann Bl u
s ch e u n d d i ch t eri s ch e W erk 6 A u fl
.

1 4 2 p i l l B erl i n R e m
men t he l i ll Berl i n Mann 1 9 4 7
. . . . .
,
1 4p
b ran dt 1 9 5 4 l s t ed 1 9 3 1
. . .
, , .

, , . .

1 20 D R O S S F ri e d ri ch , , ed . E rns t B arl ach : Leb en u nd Werk in C o ri n th

s e i ne n B ri e f e n 2 6 8p i ll M u n i ch ,
. .
, P i p er , 1 95 2
134 K UH N , A f re l d L o vi s C o ri nt h
. . 2 1 5 p i ll . . B erl i n Pro py l ae n ,

Verl ag 1 9 2 5
m
, .

B au

135 O ST E N Gert vo n d er L o v i s C o ri n t h 1 2 4p i ll H an o v er
LE ONH A RD t d O tt o B au m K un s twer k , . . . .
,
121 K ur D er B i l h au er
K u n s tv erei n M u n i ch B ru ckrnann 1 9 5 5 B i bl i o g rap h y
, . .

; , , . .

2 n o 1 0 : 3 6 3 8 i ll
.
-
. 1 948 .

1 22 R O H Fran z O tt o Bau m 3 4 p i ll T ub i nge n

, . . . .
, R e i ch l 1 9 5 0 , . Tex t
Di x
i n G erman E n g l i sh an d Fren ch ,
.

136 BAR R , Alf re d H ami l t o n , Jr . O tt o Dix . Ar s t (New Yo rk)

B au m ei s t e r -
5 1 i ll J an . . 1 93 1 .

1 23 GR O H M A NN Wi ll W i ll i Bau me i s t er 6 op i ll S t u ttgart K o h l
, . . . .
,
1 37 WE S T H E I M P au l Di x : S t e ckb ri e f al s M al me tho d e I n hi s
, . .

hammer 1 9 5 2 Tex t i n German Fren ch an d E ng l i sh B i bl i o

, .
,
.
H el d e n u n d A b en t e u er : W el t u n d L eb en d er K u ns tl e r .

p 2 2 8 2 3 2 i ll B erl i n R eck en d o rf 1 9 3 1
-
g rap hy
.
.
.
, , .

1 24 S ELE C T I O N C hro ni qu e de la ti s t i qu e XI : Wi ll i Bau

v i e ar
E
.

rns t
mei s t er . 6 0p i ll A n w erp ,
. . t E d i t i o ns S é l ec t i o n 1 9 3 1 Tex t by , .

W . Gro h man n , Fl o uq u et, G W al d emar an d o th ers

. .
1 38 E R N S T M ax B ey o n d P ain t i n g an d O t h er W ri t i ngs b y th e
, .

A rt i s t an d h i s F ri e n d s 2 o4 p i l l N e w Y o rk W i tt en b o rn . . .
, ,

B e ck man n S ch u l tz 1 9 4 8 B i bl i og rap hy
, . .

1 25 B E C K M A NN M ax T ageb ii ch er 1 9 4 0 -5 0 4 2 9 p i ll M u ni ch
, . . . .
,
B R U H L S C H L O S S A U G U S T B U R G M ax E rn s t : Gemald e
. .

L ange n , 1 9 5 5 A rran g ed by M ath i l d e Q B eckman n E d i ted

. . .
u nd G rap hi k 1 9 2 0 1 9 5 0 9 7 p i ll B rii hl 1 9 5 1 C atal o g u e
,
-
. . .
, .

b y E rh ar d Gtip el . p u b li sh ed o n th e o ccas i o n o f an exh i bi ti o n to cel ebrat e

E rn s t s 60 th bi rth d ay B i bl i og rap hy
’

G AS E R C u rt M ax B eck mann 87 p i ll M u ni ch
. .

1 26 L , an d o th ers . . . .
,

P i p er , 1 92 4 .
440 WA L D B E R G Pat ri ck , . Le ri re d e M ax E rns t . XXe Si ecl e n ew
ser n o 8 : 1 7 -2 0 i ll J an 1 9 5 7
R E I F E N B E R G Be nno and HA U S E N ST E I N
. . . . .

1 27 , , W i lh el m M ax .

Be ck ma nn 82 p i l l M u ni ch P i p e r 1 9 4 9
F ei n i n g e r
. . .
, , .

1 28 ST LOU I S C I TY ART M U S E U M M ax Be ck mann 1 9 4 8 1 1 4 p

. . .
, . .

1 41 B O S T O N I N S T I T U T E O F C O N T E M P O R A R Y A R T Jaqu es
i ll S t L o u i s 1 9 4 8 E xhi bi ti o n cat al o g u e I n tro d u c ti o n by
. .

Vi ll o n L y o n el F ei n i ng er 4 6p i ll N e w Yo rk C h an t i c l eer
. .
, . .

Perry T b on e ve bi bl i og rap hy
. .
. .
,

R ath E x ten si
. . .

P res s 1 9 5 0 Ly o n el Fei n i n g er by Fred eri ck S W i gh t p 2 8 4 3

, . .
,
.
- .

1 29 S O BY J ame s Th ral l
, . M ax B e ck m ann . I n his C o nt emp o rary B i bli o grap h y .

P ai nt ers .
p 8 5 9 1 i l l N e w Yo rk M u s e u m o f M o
.
—
.
, d ern Art 1 9 4 8 , .

NEW Y OR K M U S E U M O F M O D E R N A R T L y o nel Fe i ni ng er ,
. .

w i t h ess ay s b y A l o i s J S ch ardt an d A l f re d H Barr J r . .

, .
,

B el l i ng
an d e x c erp t s f ro m th e art i s t s l e tt e rs E d i t e d b y D o ro t hy
'

130 K UHN Alf re d R u d o l f Be ll i n g I n hi s N eu ere Pl as t i k vo n

, . . C M i ll e r
. 9 6 p i ll N ew Y o rk 1 9 4 4 Ca tal o g u e o f j o i n t
. .
, .

A ch tz e hn h u n d e rt b i s z u r G ege nw art p 1 2 1 1 2 3 i ll M u n i ch . .
-
, .
, Fei ni ng er H artl ey exhi bi ti o n Fei n i ng er p 6 5 2 Bi bl i og
- .
,
.
- .

D el p h i n 1 9 2 2 , . rap h y .

23 2
K l ee HOPP , A u gu s t Wi l hel m Le h mb ru ck : s ei n e S en d u n g u n d sei n
.

1 67 G RO H M A NN W i ll Pau l K l ee 4 4 7 p i ll N ew Yo rk A b rams . .
, ,
We rk . 1 1 7p . i ll B e rl i n R emb ran dt 1 9 3 6
.
, , .

, . .

1 9 5 4 B i bl i o g rap hy A l so German edi ti o n

. . .
DU SS ELDOR F K UN STS A MM LUNG EN DER STA D T DU SS ELDOR F . .

1 68 H A FT M A NN W ern er T h e M i n d an d W o rk o f Pau l K l ee .
W i l h el m L eh mb ru ck 4 9 p i ll D uss el d o rf 1 4 9 E x hi bi ti o n . . .
, .

, .

cat al o g u e B i bl i o g rap h y
e8p i l l N e w Y o rk P raeg er 1 9 5 4 B i bl i og rap h y A l s o Ger
. .

. . . .
, ,

man edi ti on .
T R I ER E d uard W i l h e l m L e h mb ru ck : Pari s
, . 1 9 1 0-1 9 1 4 . In

1 69 B U L T ON N i k a A n A pp ro ach to Pau l K l ee 6 8p i ll Ne w Yo rk
, . . . .
,
Jah res ri ng 5 5 / 5 6 .
p 1 4 4 1 5 3 , i ll
-
. . S t u ttgart , D eu ts ch e Ver
P i t man 1 9 5 6 , .
l ag s A n s t al t 1 9 5 5
-
, .

1 70 K LE E P au l D as b i l d n eri s ch e D e nk en H rs g u n d b e arb ei t e t
, . . .

M ack e
vo n J ii rg S p i l l er 5 4 1 p i ll B ase l S t u tt gart S ch w ab e 1 9 5 6
. . .
, , , .

171 K LE E Pau l T age b ii che r v o n Pau l K l ee 1 89 8 1 9 1 8 4 2 3 p i ll

, .
- . . .
1 84 H O LZ H A U S EN W al t er A u gu s t Macke , . . 2 9p i ll . . M u n i ch B ru ck ,

imam u 1 9 5 6 S h o rt bi bl i o g ra hy
C o l o gn e D u M o n t S ch au b e rg 1 9 5 7 E di ted by Fel i x K l ee
, , . .
,
p . .

1 85 MUN ST E R L A ND E S M U S E U M K UN ST UN D K U L T UR
. F DR
K k o s ch k G E S CH I CH T E A u g u s t M ack e : Ge d e n k au ss t el l u n g z u m 7 0
o a
. .

1 72 B O ST ON I N ST I T U T E O F C O N T E M P O R A R Y ART Os k ar K 0
. . Ge b u rts t ag 9 8p i ll M uns t er 1 9 5 7 Tex t by Han s Ei chl er
. . .
, .
,

k o s ch k a : a re t ro sp ec t i ve e x hi b i t i o n 87 p i l l New Yo rk ; . . . H erbert Schad e M ax I md ahl W al ter H o l zh au s en Carl , , ,

C han t i c l ee r P ress 1 9 4 8 I n tro d u cti o n by J ames S Pl au t , . . . Ban ter .

Sel ected bi bl i o g rap hy .

1 86 VR I E S E N , Gus t av A u g u s M ac t ke 3 0 6p i ll . . S t u ttg art K o hl

. .
,

1 73 H O FF M A NN E d i t h K o k o s ch k a L i fe and W o rk 3 6 7p i ll
, .
, , . .
hammer 1 9 5 3 B i l i o g rap h y , . b .

Bo s t o n Bo s t o n B o o k
, Art S h o p 1 9 4 7 C o n tai n s two essay s , .

by K o k o sch k a an d a f orew ord by H erb er t R ead . M are

a K O K O S CH KA Os k ar S chri f t e n 1 9 0 7 1 9 5 5 4 8 4 p i ll Mu ni ch
, .
,
- . . .
, 1 87 LA N K H E IT K l au s , . F ran z M arc . H rsg . vo n M ari a M arc 7 8p . .

L angen M ul l e r 1 9 5 6 A rran g ed an d edi t ed wi th exp l an at o ry

, , .
i ll . B erl i n L e mmer , , 1 9 50 .

an d bi bl i o g rap h i c t ex t b y H an s M ari a W i n g l er
S CH A R O I J Fran z M arc 1 7 6 p i l l Berl i n , R e m b ran dt
.

Al o is
'‘
1 88 , . . . .
,

174 WI N G LE R J , . H an s M ari a . O s k ar K o k osch ka : d as W er k d es 1 9 3 6 B i l i o g rap hy

. b .

M al ers 4 0 1 p i ll. . . S al zb u rg Gal eri e Wel z , , 1 9 5 6 B i l i o g rap h y

. b .

M arc k s
K 0 lb e
1 89 M I NNE A P O L I S WA L K E R ART C E N T E R Gerh ard M arcks
t L ed ere r be M ag az i n e
. . .

1 75 G RA PL Y D o ro hy an d K ol of A rt
E xhi bi ti o n ca tal o g Bi bl i og rap hy
, . .

2 3 p i l l M i nneap o l i s 1 9 5 3
. .
, . . .

-
1 2 6 i ll . M ar 1 9 3 3 . .

1 90 T H I E S S F ran k G erhard M arcks ei n B i l hau er d vo n e u ro

P I N D E R W i lh e l m Geo rg be : W erk e d e r l e tzt en Jahre , .

1 76 Kol
,

Th ema ( M u ni ch)
. .

p ai s ch er GroBe 6 i ll Th e
'

-3 1 949
8 4 p i ll B erl i n R e m b ran dt
. . .

1 93 7
en ti re i ss u e i s i ll u s trated by th e w o rks
. .
, , .

of M arcks .

K o l l w i tz
M a ta r é
177 K L I PST E I N , A u gu s t T he Grap hi c W o rk o f K at he
. K o ll wi tz .

3 5 9p . i ll N ew . York Gal e ri e S t E t i e nne 1 9 5 5 1 91 F L E M M I N G H anns Th eo d o r E w al d M ataré , . . 7 9p i l l M u n i ch ,

. .

, .
, .

Pres t e l , 1 9 55 . Bi l i og rap hyb .

178 K OLLWI T Z H ans , , ed . The D i ary an d L e tt ers o f K at he K o ll wi tz .

2 oop i l l
. . C hi c ago R egne ry , 1 9 5 5 , . Tran sl ated by Ri ch ard an d 1 92 TR I E R , E d u ard E w al d M at aré . . 2 3p ill . . C o l o g ne S eemann , ,

1 95 6
Cl ara W i n s t o n .
.

179 Z I GR O S S E R, C arl . K a he K o ll w i t tz . 2 6p i l l N e w
. . Yo rk , Bi tt M o d e rs o h n -B e c k er
n e r, 1 946 .

1 93 MA RTEN , Lu . Pau l a M o d ers o hn-Be ck er B i l d en d e K un s t, .

L eh mb ru ck 1 , no 2 : 1 1 -1 4 i l l
. . 1 947 .

1 80 B E RN E K UN ST H A LLE L ehmb ru ck
, .
, M ack e M arc 2 1 p i ll , . . . 1 94 P A U L I Gu s t av , . u l a M o d ers o hn -
P a- B e cker . 87 p i ll
. . B erl i n ,

B ern e 1 9 4 9 B i bl i o g rap h i es
, . .
W o l ff , 1 919 .

23 4
 M u el l er S c h m i d t -R o t t l u ff

1 95 T R O E G E R E b e rh ard O tt o , . M u ell er 3 op i ll Fre i b u rg / B r , . . . .

2 09 G R O H MANN , W i l l K arl . S ch mi dt R o tt l u ff -
. 3 2 4 p i ll. . S t u tt gart ,

C ro n e 1 9 4 9 K o hl h ammer, 1 9 5 6 . Bi bl i og rap h y .
, .

1 96 WE S T H E I M Pau l O tt o M u ell e r , . . I n his Fli r u n d W i d er P o t s .

210 WE S T H E I M P au l S ch mi dt R o tt l u ff I n h i s Fur u n d
, .
-
. W i d er .

d am K i ep en he u er 1 9 2 3 p 1 20 1 27 i ll p 1 1 1 1 1 9 i ll P o t s d am K i ep e n he uer 1 9 2 3
-
- . .
, , .
.
. , . .

N ay
S c h w i tt e r s

1 97 G R O H M A NN W i ll E W Nay Cahi ers -

22 5
21 1 K E ST N E R E S E LL S CH A FT H A NNO VE R K u rt S ch w i tt e rs
G , . .

H an o v e r 1 9 5 4 E x hi bi ti o n catal o g u e Pref ace b y

, . . . .

51p . ill
i ll D ec
.
, ,
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