Important Art and Artists of Die Brücke
The charismatic center of Die Brücke, Ernst Ludwig Kirchner composed and printed their original group statement a year after their formation, championing in it their youth and claims of authenticity. The statement, seen here, was turned into a leaflet and distributed at the group's first exhibition. Kirchner's choice of the woodcut medium indicates Die Brücke's reverence for German precedents and direct representation. Moreover, his formal style suggests Johannes Gutenberg's innovations in moveable type, with a large capital "M" serving as the first letter, leading compact lines of printed script. However, a closer look reveals the artistic, handmade nature of Programme, which is evident in Kirchner's irregular lettering. That natural, artisanal approach to art and design was a remnant of his education in the Jugendstil mode of architecture and the applied arts, which would greatly influence early Die Brücke art and philosophy.
In September and October of 1906, Die Brücke mounted its first exhibition, focused on the theme of the female nude. The group held the event in the showroom of the Karl-Max Seifert lamp factory, a venue procured through one of Erich Heckel's connections from design school. In contrast to the factory polish of the chandeliers and candelabras on display, Fritz Bleyl designed an expressionistic poster for the event featuring a partially abstracted nude woman. For Die Brücke and its proponents, the figure was striking and direct, reflecting the group's attitude toward open sexuality and the natural state of nudity. Reduced formally by Bleyl's style and the printed medium to a series of curves and contours, the poster was nonetheless deemed too sexually suggestive for public view and banned under the pornography clause in Germany's national penal code.
Karl Schmidt-Rottluff's Self-Portrait with Monocle exemplifies the lively, enervating brushstroke common among many Die Brücke painters. Rather than representing himself in a recognizable domestic interior, Schmidt-Rottluff simplified the background in an angular composition of flat panes of vibrant color. He depicted himself in the pose and garb of a bohemian intellectual, complete with brooding visage, green turtleneck, and thoughtful gesture. With the focus placed on his eye and his painting hand, he modernized the pose of Albrecht Dürer, one of the few masters Die Brücke acknowledged, in his well-loved Self-Portrait Wearing a Coat with Fur Collar (1500).