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581 S. : Ill. ; 28 cm Sprache: Deutsch Gewicht in Gramm: 2985

4° 311 S. zahlr. Ill. engl. brosch. Geringe Gebrauchssp., ansonsten sehr guter Zustand. Sprache: Deutschu 1,770 gr.

Presented in this volume is a dialog between the different artistic techniques used by Karl Schmidt-Rotluff - oil painting, watercolor, drawing and sculpture - complemented by examples from his personal collection of non-European objects of art, the motifs and influences of which he incorporated into his works. German text. Das Bruecke-Museum präsentiert einen Dialog zwischen den Techniken Gemälde, Aquarell, Zeichnung und Plastik im Werk Karl Schmidt-Rottluffs, bereichert um Teile seiner Sammlung auáereuropäischer Kunst, die Eingang in seinen Werkkosmos fand.

"Anyone who directly and genuinely renders what drives him to create is one of us," proclaimed the manifesto of Die Brücke (The Bridge), a close-knit group of artists who first met in Dresden in 1905. Its founding members were four Jugendstil architecture students: Fritz Bleyl, Erich Heckel, Karl Schmidt-Rottluff and Ernst Ludwig Kirchner. Eschewing the contemporary academic styles and subjects, these four artists instead looked to their German art heritage to make "a bridge" with the past, favoring such artists as Albrecht Dürer, Matthias Grünewald and Lucas Cranach the Elder. They also drew on Fauvist and Primitivist art in their quest for unhindered expression and, with this combination of resources, propelled German art into the twentieth century. In works by Die Brücke, color diverged from nature and became a record of emotion; forms were radically simplified, or exaggerated and distorted; bohemian subject matter argued for a Socialist politics. Their nudes, landscapes and urban scenes--featuring depictions of dances, cabarets, cafés and the sorts of street encounters that were typical of Berlin in the years after 1911--are among the greatest works produced by early-twentieth-century artists. Containing important paintings, sculptures and prints by Heckel, Kirchner, Otto Mueller, Emil Nolde, Max Pechstein and Karl Schmidt-Rottluff, this invaluable volume is a definitive record of the birth of Expressionism.

The Bruecke-Museum in Berlin holds about 400 paintings and many sculptures of the Bruecke group of expressionist artists. Its collection is the most comprehensive worldwide, and contains paintings and sculptures by Karl Schmidt-Rottluff, Erich Heckel, Fritz Bleyl, Ernst-Ludwig Kirchner, Max Pechstein, Emil Nolde, Otto Mueller and Cuno Amiet. On occasion of the museums 100th anniversary, this volume documents the history of the Bruecke from its beginnings to its end. German text.

"Anyone who directly and genuinely renders what drives him to create is one of us," proclaimed the manifesto of Die Brücke (The Bridge), a close-knit group of artists who first met in Dresden in 1905. Its founding members were four Jugendstil architecture students: Fritz Bleyl, Erich Heckel, Karl Schmidt-Rottluff and Ernst Ludwig Kirchner. Eschewing the contemporary academic styles and subjects, these four artists instead looked to their German art heritage to make "a bridge" with the past, favoring such artists as Albrecht Dürer, Matthias Grünewald and Lucas Cranach the Elder. They also drew on Fauvist and Primitivist art in their quest for unhindered expression and, with this combination of resources, propelled German art into the twentieth century. In works by Die Brücke, color diverged from nature and became a record of emotion; forms were radically simplified, or exaggerated and distorted; bohemian subject matter argued for a Socialist politics. Their nudes, landscapes and urban scenes--featuring depictions of dances, cabarets, cafés and the sorts of street encounters that were typical of Berlin in the years after 1911--are among the greatest works produced by early-twentieth-century artists. Containing important paintings, sculptures and prints by Heckel, Kirchner, Otto Mueller, Emil Nolde, Max Pechstein and Karl Schmidt-Rottluff, this invaluable volume is a definitive record of the birth of Expressionism.

In the German city of Dresden on June 7, 1905, the foundation of the Die Brücke artists’ group (1905–1913) is widely regarded as the birth of Expressionism. Led by Ernst Ludwig Kirchner, Fritz Bleyl, Erich Heckel, and Karl Schmidt-Rottluff, the group sought to reject the limits of academia and, as their name suggested, to bridge the path to an artistic future. Their manifesto, printed with woodblock, insisted on absolute freedom from convention in their work as well as their lives.This new, liberated art incorporated portraits, landscapes, and city scenes, but substituted an objective rendering of reality with an expression of interior geography. In paintings, as well as their favored wood and linocut prints, the artists of Die Brücke would fill pictorial space with jagged lines, crude forms, and clashing colors, all to express their subjective experience of the world. Like the Fauves, the artists took stylistic lead from non-Western traditions of Oceanic and African arts, while also reviving the print and painting techniques of Albrecht Dürer and Lucas Cranach the Elder.This richly illustrated book introduces this essential expressionist movement. We examine Die Brücke’s key works and protagonists; its varied, international inspirations; and its crucial influence on later 20th century art. Along the way, we find candid nudes, crowded street views, and blissful bathing idylls, each of them vivid with energy and intent on a new kind of art.