Ernst Ludwig Kirchner. Evening Patrol (Patrouillenritt am Abend). (1915)
Ernst Ludwig Kirchner

Evening Patrol (Patrouillenritt am Abend)

(1915)
Not on view
Medium
Lithograph
Dimensions
composition (irreg.): 20 x 23 5/16" (50.8 x 59.2 cm); sheet (irreg.): 21 7/16 x 25" (54.5 x 63.5 cm)
Publisher
unpublished
Printer
the artist, Berlin
Edition
1 of three proofs of state II (total edition, states I-III: 6 known impressions)
Credit
Riva Castleman Endowment Fund, Edward John Noble Foundation Fund, and Eugene Mercy, Jr. Fund
Object number
65.2002
Department
Drawings and Prints

This print, which the artist made shortly after his discharge from military service following a nervous breakdown, represents the riding instruction Kirchner had received as part of his training. The anxiety he felt about his service is conveyed in the nervous energy of his gestural style. Kirchner suffered from medical and psychological problems for the rest of his life as a result of the war; he committed suicide in 1938.

Gallery label from German Expressionism: The Graphic Impulse, March 27–July 11, 2011

Additional text

It was within the artists' group Brücke (Bridge), founded in 1905, that Ernst Ludwig Kirchner formulated his views on art and established a visual language. Together with other core members—Erich Heckel, Karl Schmidt-Rottluff, Max Pechstein, and, briefly, Emil Nolde—Kirchner sought a new spirit of freedom and authenticity that rejected both the stultifying traditions of the academy and the restrictive conventions of bourgeois society. Brücke artists felt that art could respond to essential life forces with spontaneity and immediacy through such subjects as the nude in nature or figures dancing with frenzy and abandon. Sharing studios and models, teaching each other techniques, and even vacationing together, they evolved a common style that first embraced the fluidity of Fauvism and then turned to the energy and angularity of tribal art for inspiration.

Printmaking was fundamental to Brücke activities, and annual portfolios of prints were published to help the artists gain recognition and produce income. For the most part, however, members' prints were experimental in nature and made with only a few proof impressions. Kirchner continued this unstructured approach to printmaking even after the dissolution of Brücke in 1913, eventually creating some two thousand works, primarily in his own studio. During World War I, after briefly training in the mounted artillery, Kirchner suffered a mental collapse. His depiction as an isolated figure is seen in Evening Patrol of 1915. His series of prints of this period, entitled Schlemihl Meets His Shadow, is also considered the embodiment of his anxiety and paranoia, conditions that would continue to plague him, along with ill health, for the remainder of his life. In 1938, after being ostracized from German art circles by the Nazis, and having hundreds of his paintings removed from museums and declared "degenerate," Kirchner ended his own life.

Publication excerpt from Deborah Wye, Artists and Prints: Masterworks from The Museum of Modern Art, New York: The Museum of Modern Art, 2004, p. 52

Provenance Research Project
This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.
Ernst Ludwig Kirchner; acquired by the Kunsthalle, Hamburg, Germany, 1921 [1]; removed as “degenerate art” by the Reich Ministry for Public Enlightenment and Propaganda, 1937 [2]; sold via exchange to Ferdinand Möller, Berlin, 1940 [3]. Sold through Galerie Kornfeld, June 20, 1986 [4]; to private collector, Chicago, 2000; to private dealer, Chicago, 2002; to The Museum of Modern Art, New York, 2002.
[1] Collection stamp "KUNSTHALLE ZU HAMBURG" on verso. Inventory no. 146.
[2] EK no. 5656: Reiter
[3] Gallery stamp "Galerie Ferdinand Möller / Berlin W35, Kluckstrasse 12" on verso.
Collection stamp "KUNSTHALLE ZU HAMBURG" on verso.
[4] See auct. cat. Ernst Ludwig Kirchner: eine Schweizer Privatsammlung und Beiträge aus verschiedenen schweizerischen und ausländischen Privatsammlungen, Galerie Kornfeld und Cie., Berne, June 20, 1986, lot no. 84.

If you have any questions or information to provide about the listed works, please e-mail provenance@moma.org or write to:

Provenance Research Project
The Museum of Modern Art
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New York, NY 10019

Pictured above: Vasily Kandinsky. Panel for Edwin R. Campbell No. 2 (detail). 1914. Oil on canvas, 64 1/8 x 48 3/8" (162.6 x 122.7 cm). Nelson A. Rockefeller Fund (by exchange). © 2009 Artists Rights Society (ARS), New York / ADAGP, Paris

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Image permissions

In order to effectively service requests for images, The Museum of Modern Art entrusts the licensing of images of works of art in its collections to the agencies Scala Archives and Art Resource. As MoMA’s representatives, these agencies supply high-resolution digital image files provided to them directly by the Museum's imaging studios.

All requests to reproduce works of art from MoMA's collection within North America (Canada, U.S., Mexico) should be addressed directly to Art Resource at 536 Broadway, New York, New York 10012. Telephone (212) 505-8700; fax (212) 505-2053; requests@artres.com; artres.com. Requests from all other geographical locations should be addressed directly to Scala Group S.p.A., 62, via Chiantigiana, 50012 Bagno a Ripoli/Firenze, Italy. Telephone 39 055 6233 200; fax 39 055 641124; firenze@scalarchives.com; scalarchives.com.

Requests for permission to reprint text from MoMA publications should be addressed to text_permissions@moma.org.

Related links:
Outside North America: Scala Archives
North America: Art Resource