It’s Day 314 and today’s piece is a little sunnier than yesterday’s but just as fun to create! I love the style and colors of today’s painting. Join me in honoring Ernst Ludwig Kirchner today. Although today’s art is sunny, the artist’s story is still a sad one.
Ernst Ludwig Kirchner was a driving force in the Die Brücke group that flourished in Dresden and Berlin before World War I, and he has come to be seen as one of the most talented and influential of Germany’s Expressionists. Motivated by the same anxieties that gripped the movement as a whole – fears about humanity’s place in the modern world, its lost feelings of spirituality and authenticity – Kirchner had conflicting attitudes to the past and present.
An admirer of Albrecht Dürer, he revived the old art of woodblock printing, and saw himself in the German tradition, yet he rejected academic styles and was inspired by the modern city. After the war, illness drove him to settle in Davos, Switzerland, where he painted many landscapes, and, ultimately, he found himself ostracized from mainstream German art. When the Nazis rose to power in the early 1930s he was also a victim of their campaign against “Degenerate Art.” Depressed and ill, he eventually committed suicide.
studio as their backdrop – pictures in which he captured models posing as well as aspects of his bohemian life. For Kirchner, the studio was an important nexus where art and life met. But the figure also informed his images of Berlin, in which the demeanor of figures in the street often seemed more important than the surrounding cityscape. And, most commonly, he depicted the figure in movement, since he believed that this better expressed the fullness and vitality of the human body.
Kirchner’s Expressionistic handling of paint represented a powerful reaction against theImpressionism that was dominant in German painting when he first emerged. For him, it marked a reaction against the staid civility of bourgeois life. He would always deny that he was influenced by other artists, yet Henri Matisse and Edvard Munch were clearly important in shaping his style. Fauvism was particularly significant in directing his palette, encouraging him to use flat areas of unbroken, often unmixed color and simplified forms.
Ernst Ludwig Kirchner was born on May 6, 1880 in Aschaffenburg, Bavaria, and began studying architecture at the Dresden Technical
High School in 1901 at the encouragement of his parents. While attending classes, he became close friends with Fritz Bleyl, who shared his radical outlook on art and nature. During this time, Kirchner chose to dedicate himself to fine art rather than architecture.
In 1905, Kirchner and Bleyl, along with fellow architecture students Karl Schmidt-Rottluff and Erich Heckel, founded the artist group Die Brücke (“The Bridge.”) The aim was to eschew traditional academic styles and to create a new mode of artistic expression, forming a “bridge” between classical motifs of the past and the present avant-garde. Die Brücke expressed extreme emotion through crude lines and a vibrant, unnatural color palette.
The group would meet in an old butcher’s shop that served as Kirchner’s studio to practice figure drawing. (Studio meetings, however, would often devolve into casual lovemaking and general nudity.) Much of the artwork created by Die Brücke was a direct response to the graphic work of Albrecht Dürer and the bold color palette of the Neo-Impressionists. Kirchner held a particular interest in the woodcarvings of Dürer, and sought to modernize them with his own unique style of pared-down lines and dynamic compositions.
Ernst Ludwig Kirchner was a leading force behind the Expressionist movement in Germany. Since 1913, his work has gained international recognition, extending its popularity into America. His art captures German culture at a critical point in pre-World War I history. Although his work speaks to a specific culture, his expressive skill as a painter and printmaker has influenced generations. Many attempt to emulate Kirchner’s distorted sense of perspective. The graphic, agitated lines and highly-keyed color palette are timeless and distinct to the artist. Kirchner’s work continues to be exhibited and sold around the world. It has also been a significant influence on new generations of Expressionists, including artists such as Georg Baselitz and Jörg Immendorf.
“My paintings are allegories not portraits.”
“The heaviest burden of all is the pressure of the war and the increasing superficiality. It gives me incessantly the impression of a bloody carnival. I feel as though the outcome is in the air and everything is topsy-turvy.. All the same, I keep on trying to get some order in my
thoughts and to create a picture of the age out of confusion, which is after all my function.”
“It seems as though the goal of my work has always been to dissolve myself completely into the sensations of the surroundings in order to then integrate this into a coherent painterly form.”
“All art needs this visible world and will always need it. Quite simply because, being accessible to all, it is the key to all other worlds.”
Biography is from www.theartstory.org.
I hope you enjoy my painting today! I love painting with these colors and there’s this kind of abandon with painting such bold strokes and colors. I will see you tomorrow on Day 315! Then it’s only 50 paintings to go. Whew.