Brücke

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I
"The rhythm, the rustling of colours, that's what always enthrals and occupies me."
Karl Schmidt-Rottluff, 1907
In June 1905, four young architecture students in Dresden gave their eruption onto the art scene a name: Brücke (Bridge). The group were united by their protest against established and sclerotic forms of art, and by their yearning to bring art and life together. Life studies in the studio and free drawing in the open air were the starting-points of their artistic endeavour. For the Expressionist artists of the Brücke, the human being is at the centre of creation. Today, the fascination of this human image comes across more strongly than ever, both because it is authentic and also because it is able to reach out to and address the existential condition of each and every beholder.
ERICH HECKEL ERNST LUDWIG KIRCHNER OTTO MUELLER EMIL NOLDE MAX PECHSTEIN KARL SCHMIDT-ROTTLUFF

The author
Ulrike Lorenz studied art theory and archaeology at the University of Leipzig... Tovább

Fülszöveg

I
"The rhythm, the rustling of colours, that's what always enthrals and occupies me."
Karl Schmidt-Rottluff, 1907
In June 1905, four young architecture students in Dresden gave their eruption onto the art scene a name: Brücke (Bridge). The group were united by their protest against established and sclerotic forms of art, and by their yearning to bring art and life together. Life studies in the studio and free drawing in the open air were the starting-points of their artistic endeavour. For the Expressionist artists of the Brücke, the human being is at the centre of creation. Today, the fascination of this human image comes across more strongly than ever, both because it is authentic and also because it is able to reach out to and address the existential condition of each and every beholder.
ERICH HECKEL ERNST LUDWIG KIRCHNER OTTO MUELLER EMIL NOLDE MAX PECHSTEIN KARL SCHMIDT-ROTTLUFF

The author
Ulrike Lorenz studied art theory and archaeology at the University of Leipzig and took her doctorate at the Bauhaus University in Weimar with a dissertation on the avant-garde architect Thilo Schoder (1888-1979). From 1992 to 2004 she was the director of the Kunstsammlung Gera and the Otto-Dix-Haus. Since 2004 she has been the director of the Kunstforum Ostdeutsche Galerie Regensburg and has curated numerous exhibitions, besides writing about art and architecture of Classical Modernism, as well as contemporary artists.
The editor
Norbert Wolf graduated in art history, linguistics and medieval studies at the universities of Regensburg and Munich. He took his doctorate in art history in 1983. In 1992 he wrote his professorial thesis in Munich on carved 14th-century retables. Subsequently he held visiting professorships in Marburg, Frankfurt a M., Leipzig, Düsseldorf, Nuremberg-Erlangen and Innsbruck. He has written extensively on art history, including the following titles for TASCHEN: Diego Velázquez, 1999; Ernst Ludwig Kirchner, 2003; Caspar David Friedrich, 2003; Expressionism, 2004; Romanesque, 2007; Landscape Painting, 2008.
"it was a happy coincidence that the real talents met "
Ernst Ludwig Kirchner Vissza