Progression of Art
Nude Dancers (Nackte Tanzerinnen)
This woodcut print features a group of voluptuous nude female dancers on stage. Created during the Die Brucke era, the work exemplifies the energetic atmosphere of a meeting in Kirchner's studio, a recurrent scene in his pictures. In an attempt to revive the traditional printmaking, Kirchner created expressive, dynamic black lines by aggressively carving away the woodblock; the large areas of light and dark create an ambiguous sense of spatial depth on a two dimensional surface. Kirchner renders a balance between the two extremes (light and dark, bold and delicate) to create a harmonious composition, allowing the eye to sweep across the picture plane. The conscious decision to leave white areas unrefined, making the process of carving visible, is a rejection of conventional academic teaching, a philosophy typified by Die Brucke.
Woodcut print - Museum of Modern Art, New York
Around the time this picture was painted Kirchner was spending time around the Moritzberg lakes, and the girl depicted is the daughter of a circus artiste's widow that he met there. Emblematic of his Die Brucke phase, Marzella is a provocative depiction of a young, pre-pubescent girl. The youth of the figure coupled with the intense gaze and heavily made-up face give the appearance of uncanny maturity. Unnatural colors and self-conscious body language add to the unease in the composition. The painting is an example of a technique of rapid sketching used by members of Die Brucke, who believed this process allowed them to capture the "soul" of the subject. The picture is also indicative of the influence of Edvard Munch on Kirchner's work, since the composition appears to be based on Munch's Puberty (1892).
Oil on canvas
Deutsch: Nollendorfplatz reveals Kirchner's shift in subject matter from the female nude to depictions of the metropolis. Here, the perspective is skewed, a clear rejection of his previous study of architecture. The quick, gestural use of line creates a sense of immediacy and speed within the piece, capturing the essence of a busy German city. The use of clashing blues and yellows to depict the cityscape is typical of Kirchner's style during the Die Brucke years, though the distorted imagery of the city may also have been inspired by an exhibition of Italian Futurist art that he saw in the year that this was painted.
Oil on canvas - The Museum of Modern Art
The vigorously painted Street, Berlin explores the figure of the city prostitute: chic streetwalkers who have angular, mask-like faces. The two women proudly walk down the busy, tilted street of cloaked men with more sullen expressions. Street, Berlin accentuates the hidden sensuality beneath the prostitutes' haughty fashion. The luxury and anxious energy in painting also serve as a commentary on a pre-World War I German culture, as Kirchner believed increasing political tensions further detached urban individuals from society. The Streetwalker series, of which this is a famous example, is one of the most admired areas of Kirchner's art. The models for the series may have been dancer Gerda Schilling and her sister Edna, who later became the artist's lover. He once described the two women as having "beautiful, architecturally structured, rigorously formed bodies", and his encounter with them undoubtedly influenced this series of figure paintings.
Oil on canvas - Museum of Modern Art, New York
Self-Portrait as a Soldier
Self-Portrait as a Soldier examines the psychological distress experienced by Kirchner during his service in the military. He was a reluctant soldier and soon became preoccupied with avoiding service, and following a self-induced psychosis, aided by his use of alcohol and drugs, he was discharged. The painting displays a uniformed Kirchner standing in his studio, smoking a cigarette. His right hand is severed, symbolizing his trauma and possibly also his anxiety of his loss of manhood; the motif is based on Van Gogh's Self-Portrait with a Bandaged Ear (1889), a picture the artist painted after he too had inflicted injuries upon himself. In the background of Kirchner's picture stands a nude who bears a resemblance to his lover of the time, Erna Schilling.
Oil on canvas - Allen Memorial Art Museum, Ohio
Blick auf Davos
After being discharged from the military, Kirchner took refuge in Davos, where the Alps surrounding his home provided a new kind of bucolic inspiration. The painting depicts a cool mountain range embracing a small town, a pictorial sigh of relief following the end of World War I. Inspired by van Gogh's landscape paintings and the work of the Fauvists, Kirchner used pulsating shades of violet, blue, green, and yellow to depict the rural scene. The swooping perspective is similar to Kirchner's early paintings of urban life.
Oil on canvas