GERMAN EXPRESSIONISM MAPS
German Empire Weimar Republic
Established in 1871 through the unification of numerous
German territorial states, the largest of which was Prussia.
Klinger set his tale of sexual desire and loss at one of Berlin's popular new sites for leisure and entertainment, the Central Skating Rink.
Varieté (in-text plate, title page) from the periodical Der Sturm. Wochenschrift für Kultur und Künste, vol. 2, no. 71 (Aug 1911)1911
Even before Kirchner moved to Berlin in October 1911, the seminal Berlin-based periodical Der Sturm was featuring his woodcuts on its cover.
Kirchner's street scene, showing prostitutes prowling for their next customers, uses garish colors and jagged planes to emphasize the intoxicating modernity of Berlin.
In the years before World War I, Meidner loved roaming the nighttime streets of Berlin, which thrilled him with new experiences and sights unavailable in his small hometown.
I No Longer Know of Factions ... (in-text plate, p. 1) from the periodical Kriegszeit. Künstlerflugblätter, vol. 1, no. 1 (31 Aug 1914)1914
This cover of Kriegszeit shows a mass of people surging in support of Wilhelm II, who announces the beginning of World War I from the castle balcony.
At the Moritzburg lakes, which he began visiting in 1909, Kirchner discovered a world of peace and harmony, where bodies could move freely in nature, away from the constraints of modern bourgeois life.
This woodcut, also dating from Kirchner's first trip to the Moritzburg lakes, embodies the freedom he found in nature. Here, in touch with nature, nudes play unselfconsciously in the reeds.
The subject of harmonious nudes in nature was also central to Heckel's work. This woodcut dates from Heckel's third and final trip with Kirchner to the Moritzburg lakes in summer 1911.
In this bustling street scene of Dresden's premier shopping avenue, Kirchner emphasizes the disorienting and anonymous qualities of modern urban life.
In contrast to Kirchner's elegant street scene, this etching depicts the less trafficked, working-class neighborhood known as the "Potholder district," where he lived and worked.
In their studios, the Dresden-based Brücke artists created a world removed from everyday life. This woodcut by Heckel probably shows Ernst Ludwig Kirchner with two nude models in the background.
This woodcut dates from Heckel's first summer spent in Dangast, where he focused on depicting the elemental power of nature.
After suffering a nervous breakdown during World War I, Beckmann moved to Frankfurt am Main. The style of this painting was inspired by Old Master works he saw in the city's collections.
Beckmann shows a peaceful view of Frankfurt, with the Wilhelm Bridge (today known as the Peace Bridge) and the cupola of the Städel art museum in the background.
Beckmann mused, "By chance I landed in Frankfurt am Main. Here I found a stream that I liked, a few friends, and a studio as well." The Battenbergs were his closest friends in Frankfurt and provided his studio.
In 1909, Pechstein spent the first of many summers in Nidden, where he lived in a simple fishing hut along the shore. He was fascinated by the seemingly timeless and uncorrupted way of life there.
Probably at Pechstein's urging, Schmidt-Rottluff retreated to Nidden after the Brücke artists' group disbanded in 1913. The landscape struck Schmidt-Rottluff as totally foreign, as if he had left the German Empire behind.
The Dancer Gertrude Barrison (plate 3) from the First Theater Program of Kabarett Fledermaus (Cabaret Fledermaus)1907
This is an illustration of a performance at the Cabaret Fledermaus, a nightclub in Vienna where the city's modern elites whiled away their boredom.
Kokoschka's fairytale of awakening adolescent sexuality points to the anxieties and desires lurking just beneath Vienna's elegant and decorous exteriors. It was exhibited at the Kunstschau exhibition of contemporary art in Vienna in 1908.
This poster advertised the premiere of Kokoschka's play Murderer, Hope of Women at the second Kunstschau exhibition of contemporary art in 1909. Its barbarous plot, language, and staging scandalized the city.
Schiele cropped a self-portrait, showing his face in a confrontational grimace, for use in this advertisement for a lecture by cultural critic Egon Friedell at an avant-garde cultural association in Vienna.
In his studio in Vienna, Schiele created powerfully expressive nudes using taut, sinuous lines. Their awkward poses and blatant sexuality challenged the city's bourgeois complacency.
Classical warriors storm a fortress in this poster for the first exhibition of the progressive Phalanx group, founded in Munich in 1901. With this poster, Kandinsky announces that the battle for the new art had begun.
Kandinsky once told his companion Gabriele Münter, whom he met in Munich, that this woodcut depicted his love for her. This mysterious image evokes a fairytale world, far from the modern city.
This woodcut of a couple on horseback beneath an idealized city on a hill served as the membership card for the New Artists' Association Munich, an organization Kandinsky spearheaded in 1909.
This poster advertises the Austrian-born artist's first solo exhibition at the prestigious Moderne Galerie Heinrich Thannhauser in Munich. The police in the conservative Bavarian city banned it as indecent.
This print was published in the almanac of the Blaue Reiter artists' association, which had its first exhibition at the Moderne Galerie Heinrich Thannhauser in Munich in December 1911.
One of four woodcuts Nolde made during his three-week trip to Hamburg in winter 1910, this print shows the rolling swells of the sea against the blackness of the fishing steamer.
Nolde also made 19 etchings during this trip. In this scene of a loading dock at the harbor, Nolde emphasized the hulking ships against the smoky sky and wavy sea.
This etching of an empty pier captures the cold and gray atmosphere of a late winter day along the harbor, which is eerily devoid of human presence.
By contrast, Beckmann's lithograph, dating from his trip to the city in 1912, focuses on the city's human pleasures, showing prostitutes in front of one of the city's many brothels near the harbor.
Beckmann first sketched this scene of a brutal murder, probably in a brothel, during his 1912 stay in Hamburg. This print was made several years later.
Dancer was the last—and his favorite—of the prints that Nolde made at the Westphalen lithography workshop in Flensburg during an eight-week period in 1913.
This is one of 68 color variants Nolde made of this lithograph during an extraordinarily experimental period in 1913 when he created lithographs at the Westphalen workshop in Flensburg.
Another variation of Young Couple reveals Nolde's excitement and, in the artist's own words, the "pure sensual abandon and creative joy" he felt while working at the Westphalen workshop.
Nolde depicts a fishing village on the island Alsen, where he had a house from 1903 to 1916. He printed this lithograph at the nearby Westphalen workshop in Flensburg.
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