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L LIBRARY (109.?) Michigan State llllllgllllllgfllllfllllllUllllllllllllIIHHIHHIW 01399 _4581 l LIBRARY (109.?) Michigan State University » —.a._——-——_.——__—— ~—_ __._._ .- . v» This is to certify that the 4 thesis entitled The Influence of Walt Whitman on the German Expres- sionist Artists Karl Schmidt-Rottluff, Erich Heckel, Max Pechstein and Ernst Ludwig Kirchner presented by Dayna Lynn Sadow has been accepted towards fulfillment of the requirements for M.A. History of Art degree in /' l" s in? / l Majo\profe:sor Dateg’v ' ‘0‘ ‘0' 0‘ S 0-7639 MS U is an Affirmative Action/Equal Opportunity Institution PLACE N RETURN BOX to remove thh checkout Irom your record. TO AVOID FINES return on or before dete due. DATE DUE DATE DUE DATE DUE fl! l I MSU IeAn Affirmetive ActioNEquel Opportunity Inetituion Wan-94 THE INFLUENCE OF WALT WHITMAN ON THE GERMAN EXPRESSIONIST ARTISTS KARL SCI-[MIDT-ROTTLUFF, ERICH HECKEL, MAX PECHSTEIN AND ERNST LUDWIG KIRCHNER By Dayna Lynn Sadow A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Art 1994 ABSTRACT THE INFLUENCE OF WALT WHITMAN ON THE GERMAN EXPRESSIONIST ARTISTS KARL SCHMIDT-ROTTLUFF, ERICH HECKEL, MAX PECHSTEIN AND ERNST LUDWIG KIRCHNER By Dayna Lynn Sadow This study examines the relationship between Walt Whitman and the Briicke artists Karl Schmidt-Rottluff, Erich Heckel, Max Pechstein and Ernst Ludwig Kirchner. Chapter I analyzes the philosophy of Whitman as reflected in his book Leaves of Grass and explores the introduction of his work into Germany. Chapter II investigates the doctrine of the Briicke artists. Through this research it has been possible to establish the influence of Whitman's writings on these painters, individually and as an artistic group. Chapter III is an analysis of selected works by Schmidt-Rottluff, Heckel, Pechstein and Kirchner. Two paintings, chosen to represent each artist, are discussed in relation to the work of Whitman and provide substantial evidence for a shared philosophy between poet and painters. to my mother and father ACKNOWLEDGMENTS I would like to thank my advisor Dr. Phylis Floyd for her guidance and support, as well as my committee members Drs. Paul Deussen and Eldon VanLiere for their contributions during the preparation of this thesis. Inga Griittner of the Zentralinstitut fiir Kunstgeschichte in Miinchen, Wiebke Tomaschek of the Staatliche Graphische Sarnmlung, Miinchen and Bernhard von Waldkirch of the Kunsthaus Ziirich provided documents which assisted me greatly during the course of my research. Special thanks go to Dr. E.W. Kornfeld of Galerie Kornfeld, Bern, for his encouraging letters and photocopies from his book Ernst Ludwig Kirchner; Dresden, Berlin, Davos, to vaarie Schmitt, assistant director of the Briicke Museum, Berlin, for her hospitality and assistance and to Dr. Wolfram Gabler, for sharing with me his dissertation "Kirchner als Illustrator:, Freie Universitat Berlin, 1988. Finally, I would like to thank Hans Geissler, executor of the Erich Heckel estate, for his invitation to Gaienhoffen, Germany. This provided me the opportunity to view unpublished documents belonging to Erich Heckel, for which I am very grateful. iv TABLE OF CONTENTS Chapter Page LIST OF FIGURES . iv INTRODUCTION I THE DEVELOPEMENT OF WHITMAN'S PHILOSOPHY AS REFLECTED IN LEAVES OF GRASS . II THE DOCTRINE OF THE BRUCKE ARTISTS IN ART AND LIFE . 14 IH AN ANALYSIS OF REPRESENTATIVE PAINTINGS BY SCHMIDT-ROTTLUFF, HECKEL, PECHSTEIN AND KIRCHNER . 28 CONCLUSION 54 BIBLIOGRAPHY 57 LIST OF FIGURES Figure Page FIGURE ONE - THREE NUDES, 1913 31 NATIONALGALERIE, BERLIN FIGURE TWO - SUMMER, 1913 33 LANDESMUSEUM, HANOVER FIGURE THREE - BATHERS, 1912 37 COLLECTION OF MR. & MRS. MORTON D. MAY, ST. LOUIS FIGURE FOUR - DAY OF GLASS, 1913 39 COLLECTION OF M. KRUSS, BERLIN FIGURE FIVE - DANCING BY THE LAKE, 1912 42 FIGURE SIX - BEACH AT NIDDEN, 1911 44 LOS ANGELES COUNTY MUSEUM OF ART, LOS ANGELES FIGURE SEVEN - STRIDING INTO THE SEA, 1912 48 STAATSGALERIE, STUTTGART FIGURE EIGHT - THE STREET, 1913 51 THE MUSEUM OF MODERN ART, NEW YORK INTRODUCTION When research is undertaken to establish a source of influence on visual art it is done with some trepidation. The general concept of "influence" is itself often suspect and at times regarded as a crutch for a lack of originality or creativity. Throughout the centuries, however, artists have turned to preceding movements and individuals as sources of inspiration. Such external influence should be considered a catalyst for creative development, thus enabling the individual or group to recognize its full artistic potential. This influence usually emanates from an artist of the same medium. For the Briicke artists inspiration was found in a work of literature by Walt Whitman, Leaves of Grass. This investigation, which employs a socio-historical methodology, examines the basis of Whitman's philosophy--the concept of the utopian ideal, universal brotherhood and the harmonious coexistence of man and nature. These themes are then discussed in relation to the artists individually and cooperatively as a creative society. The Briicke artists, through the expressive emotion of their painting, captured and mirrored the manifestation of Whitman's philosophy. The artists coalesced their own convictions with the poet's beliefs to create an art which is innovative and electrifying. To perceive their work as anything less is to commit a grave injustice. CHAPTER I THE DEVELOPMENT OF WHITMAN 'S PHILOSOPHY AS REFLECTED IN LEAVES OF GRASS No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead....what happens when a new work of art is created is something that happens simultaneously to all the works of art which preceded it.1 The Expressionist group Die Briicke formulated a common philosophy which served as the primary basis of their creative development. The artists' doctrine, modified to fit their individual as well as collective needs, was shaped by the philosophy and work of Walt Whitman. Whitman was born on Long Island in 1819 to a liberal Quaker family. The Whitrnans were not deeply religious but were very devoted to Elias Hicks, a Quaker minister whose views on secular life and religion were parallel to those of the Whitman family.2 Hicks professed an intense faith in mankind and based his doctrine on the theory of Reason/Deism.3 This theory propagated a mystic view of God and considered Jesus a mystic himself; one who was capable of deepening the consciousness (Reason) to attain a 1TS. Eliot, "Tradition and the Individual Talent", The Sacred Wood, (London: Metheun, Ltd, 1920), 49- 50. 2Henry Binns, A Life of Walt Whitman, (New York: Haskell House Publishers, Ltd., 1969), 14. 3Ibid., 16. During the course of my research I have explored several sources on Whitman - Lawrence Bueli, Charles Rooney, Frank Shay and Carolyn Wells, among others. However, I find Binns to be the definitive authority on the poet and have relied primarily on his writing. 2 3 state of deity (Deism). Hicks was of the opinion that it was possible for man to achieve this condition of God-consciousness and through its development acquire the ability to control his individual thoughts and actions. This philosophy held the inner spirit of man as the ultimate spiritual being and viewed the Bible as a secondary-albeit very important-- guide to a Christian lifestyle. Hicks believed the actual human spirit to be located within the heart of man and that the individual must rely on his own self-power to create an harmonious existence with nature and God. Interpretation of the Gospels was a challenge to man's knowledge of self and consciousness; applied accordingly to one's lifestyle, the doctrine of the Gospels-~referred to by Hicks as the Inner Light—was a transcendental unity which joined the individual with nature, God and the universe and brought these elements into harmony as one.4 The liberal religious philosophy of Hicks, coupled with his hostility to the evangelical dogma of the Quakers, led to his disownment by the Society in 1828. He retained, however, a loyal following-including the Whitman family--and in the same year lectured in the ballroom of Morrison's Hotel, Brooklyn Heights.5 This event was attended by the ten-year—old Whitman and his parents. The doctrine which Hicks espoused at his final gathering (he would die three months later), the belief that an immortal spirituality was immanent in all mankind, would form the basis of Whitman‘s philosophy}S Whitman possessed a complete and utter faith in the inherent goodness of humanity. He was also fully aware of the evils which lurk within the nature of man but was not intimidated by the dangers of sin, instead he recognized the healing powers of love and understanding in correlation to the soul. Whitman believed that everything which exists, no matter how evil, possesses some virtue. The intrinsic power of the soul, above all, is capable of cleansing the evil and thereby enables the virtue to become the dominant 4119121., 17. 51bid., 15. 61bid., 15. 4 force within the being. The entity then adapts to its new, pure environment and serves a specific purpose within the universe. The message of this mystical philosophy is clear". live a life of faith, not fear and live according to the dictates of the soul.7 Whitman's awakening self-awareness could itself be considered a mystical experience, thus, the revelation of Self allowed him to develop a communion with the universe on an all- encompassing level; with nature as well as with men and women the world over. Henceforth was born his desire to create an Utopia on earth.
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