GERMAN EXPRESSIONISM MAPS
German Empire Weimar Republic
Established following the defeat of the German Empire in World War I.
Several territories were ceded to neighboring countries.
Advertising a short-lived journal published by the socialist government, this poster warns of the mayhem that would sweep over Germany if the Communists were victorious.
In his illustrations for Curt Corrinth's novella, which imagines a utopian transformation of Berlin, Klee presents the city as a towering, fantastic, and disorienting place.
Kollwitz depicts workers mourning Karl Liebknecht, the socialist leader who was brutally murdered by reactionary soldiers in Berlin in January 1919. She based this woodcut on sketches she made of Liebknecht's corpse in the mortuary.
In contrast to Kollwitz, Beckmann depicts political murder in action, here showing Liebknecht's comrade-in-arms Rosa Luxemburg being carried to her death.
Beckmann depicts himself as a traveler arriving in Berlin, looking to an advertising column for guidance to the city's amusements, which he experiences as a detached observer rather than an active participant.
In this portrait of Berlin society at the Eden Bar, Beckmann captures the alienation and boredom that permeated even the city's elegant locales.
By contrast, Grosz shows the lives of those who go without: the laborers and veterans who filled the streets of the working-class neighborhoods.
- Alfred Flechtheim
- Altershilfe des Deutschen Volkes
- Fritz Gurlitt
- Internationale Arbeiterhilfe
- J.B. Neumann
- Karl Nierendorf
- Paul Cassirer
- Verlag Der Sturm
- Verlag des graphischen Werkes von Käthe Kollwitz (Alexander von der Becke)
- Werbedienst der deutschen Republik
After World War I, Dix returned to Dresden to resume his studies. This woodcut, one of his earliest prints, captures the ceaseless energy and clatter of the city street.
On this print, created in the wake of Germany's November Revolution, Kokoschka parodies the slogan of the French Revolution, changing "Liberty, Equality, Fraternity" to "Liberty, Equality, Fratricide." He executed it in Dresden, his home from 1917 to 1923.
After World War I, Beckmann remained in Frankfurt while his family lived in Berlin. Here, he created an imaginary scene featuring people who remain bored and lonely despite their physical proximity.
In this book, Beckmann illustrated six poems chronicling the author's nightly peregrinations through Frankfurt. Here, two workers spend a cold, uncomfortable night in cramped quarters.
Pechstein returned to his favored prewar haunt, Nidden, in 1919 and found it unchanged by the intervening upheavals. Dialogue blends the rough, raw landscape with nudes inspired by African and Oceanic art.
Pechstein set his illustrations of the Lord's Prayer in Nidden and populated them with the remote town's rustic fishermen. He made these prints after his fifth summer there in 1920.
Kirchner emphasized the rustic and rough-hewn qualities of Alpine life in this woodcut of the son of a local peasant in Frauenkirch, the district in Davos where Kirchner settled after World War I.
Kirchner extolled the grandeur of his new home in the Alps, where "the moon set spectacularly, the mountains all blue, the sky reddish violet with little pink clouds, and the crescent moon yellow. It was simply, fantastically beautiful, but terribly cold."
Vienna's famous Ferris wheel at the Prater amusement park is visible behind the tightrope walkers. Beckmann was in Austria, visiting his wife, Minna, in Graz, when he made this print.
Feininger's soaring Gothic cathedral served as a symbol for the strivings of the Bauhaus, founded in Weimar in 1919. The woodcut appeared on the cover of Walter Gropius's manifesto outlining the school's aim of revolutionizing modern art.
Klee made this fanciful postcard for the annual lantern party at the Bauhaus in 1922. He had moved to Weimar and joined the school's faculty one year earlier.
Klee was living in Munich when he received the commission to illustrate Curt Corrinth's novel about Berlin. At the time, Klee was contemplating a move to the capital, where his pictures sold better than in Munich.
This periodical, with its innovative use of typography and mix of art, literature, and poetry, was published in Hamburg and represented the city's most important contribution to Expressionism after World War I.
At the Westphalen lithography workshop in Flensburg, Nolde printed six variants of Mill by the Water, showing the marshy landscape around his homeland, where Danish drainage projects threatened the traditional way of life.
This variant, printed in dusky grays with an ominous black cloud, evokes a cold, silvery moonlit night.
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